Parameter Guide
Contents Program mode: HD-1 . . . . . . . . . . . . . . 1 HD-1 Overview. . . . . . . . . . . . . . . . . . . . . . . . . 1 Program P0: Play . . . . . . . . . . . . . . . . . . . . . . . 2 0–1: Main . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 0–6: KARMA GE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 0–7: Controller View/Effect . . . . . . . . . . . . . . . . . . 10 0–8: Audio Input/Sampling . . . . . . . . . . . . . . . . . . 11 0–9: Control Surface . . . . . . . .
–1: OSC Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4–2: Sub/Noise/Ring Mod. . . . . . . . . . . . . . . . . . 4–3: Mixer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4–4: Pitch Common . . . . . . . . . . . . . . . . . . . . . . . . 4–5: Pitch EG/Mod . . . . . . . . . . . . . . . . . . . . . . . . 174 177 178 180 182 Program P5: Filter . . . . . . . . . . . . . . . . . . . . .184 5–1: Filter Basic . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Program P7: EG 3-6 . . . . . . . . . . . . . . . . . . . 303 Combination P2: Timbre Parameters . . . . . . . 360 7-1: EG 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-2: EG 4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-3: EG 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7-4: EG 6 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–1: MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–2: OSC . . . .
1–5: Vector Volume Control . . . . . . . . . . . . . . . . . 1–6: Vector CC Control . . . . . . . . . . . . . . . . . . . . . 1–7: Vector Envelope . . . . . . . . . . . . . . . . . . . . . . . 1–8: Set Up Controllers . . . . . . . . . . . . . . . . . . . . . 1–9: Set Up Pads . . . . . . . . . . . . . . . . . . . . . . . . . . . 453 456 459 462 464 Sequencer P2: Track Parameters. . . . . . . . . . .466 2–1: MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2–2: OSC . . . . . . . . . .
4–2: Per-Step Parameters. . . . . . . . . . . . . . . . . . . . 669 Global P5: Drum Kit . . . . . . . . . . . . . . . . . . . 673 5–1: Sample Setup . . . . . . . . . . . . . . . . . . . . . . . . . 673 5–2: Sample Parameters. . . . . . . . . . . . . . . . . . . . . 677 5–3: Voice Assign/Mixer. . . . . . . . . . . . . . . . . . . . 678 Global P6: Plug-in Info . . . . . . . . . . . . . . . . . 680 Global: Page Menu Commands . . . . . . . . . . . 682 Disk mode . . . . . . . . . . . . . . . . . . . .
057: 2-Voice Resonator . . . . . . . . . . . . . . . . . . . . . 058: Doppler . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 059: Scratch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 060: Grain Shifter . . . . . . . . . . . . . . . . . . . . . . . . . . 061: Stereo Tremolo . . . . . . . . . . . . . . . . . . . . . . . . 062: Stereo Envelope Tremolo . . . . . . . . . . . . . . . 063: Stereo Auto Pan . . . . . . . . . . . . . . . . . . . . . . . 064: Stereo Phaser+Tremolo . . . .
172: OD/Hi Gain // Wah. . . . . . . . . . . . . . . . . . . 173: OD/Hi Gain // Cho/Flanger . . . . . . . . . . . 174: OD/Hi Gain // Phaser . . . . . . . . . . . . . . . . . 175: OD/Hi Gain // Mt BPM Dly . . . . . . . . . . . . 176: Wah // Wah . . . . . . . . . . . . . . . . . . . . . . . . . . 177: Wah // Chorus/Flanger. . . . . . . . . . . . . . . . 178: Wah // Phaser . . . . . . . . . . . . . . . . . . . . . . . . 179: Wah // Multitap BPM Dly. . . . . . . . . . . . . . 180: Cho/Flange // Cho/Flanger . . .
Duration Parameters . . . . . . . . . . . . . . . . . . . . . . . 957 Repeat Parameters . . . . . . . . . . . . . . . . . . . . . . . . . 958 Bend Parameters . . . . . . . . . . . . . . . . . . . . . . . . . . 958 About KORG format files . . . . . . . . . . . . . . . . . . .1030 CD-R/RW disks on the OASYS: UDF and packetwriting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1033 Appendices . . . . . . . . . . . . . . . . . . . . . . . . . .960 Option boards/Memory/Calendar battery .
Program mode: HD-1 HD-1 Overview • Wave Sequencing, for creating rhythmic patterns or complex, evolving timbres The HD-1 High Definition Synthesizer is Korg’s new flagship PCM synthesis engine, featuring outstanding sound quality, unique sound-design tools, and a rich array of modulation possibilities, including: • Vector Synthesis • Dual multi-mode resonant filters • Ultra-high-quality sample interpolation, based on new, proprietary technology, for minimal aliasing and crystal-clear high frequencies •
Program mode: HD-1 Program P0: Play This is the main page of Program mode for HD-1 Programs. Among other things, you can: • Select Programs • Jump directly to the main editing pages • Make basic edits to KARMA If inspiration for a phrase or song strikes you while you’re playing, you can use this function to start recording immediately. To do so: 1. Hold down the ENTER key and press the SEQUENCER REC/WRITE key.
Program P0: Play Bank Bank Type Category Popup Program Select Popup 0–1: Main Tempo Program Select Favorite If a variation bank doesn’t have a different version of the current Program, the basic GM sound will be recalled instead. In this case, an asterisk * will be added to the beginning of the Program name.
Program mode: HD-1 4. Press the OK button to confirm your choice, or press the Cancel button to exit without changing the Program. Category [00…18, Name] All programs are classified into one of eighteen categories, such as Keyboard, Organ, Strings, etc. Each of these categories may also have up to eight subcategories. Selecting by Category lets you search for a specific type of sound (like an electric bass, for example), without concern for what Banks the sounds are stored in.
Program P0: Play 0…7: The programs will be shown by sub-category. • Red: ROM Multisamples 4. Select a program from the list. • Green: RAM Multisamples You can touch a Program’s name directly, or use the Inc and Dec buttons. • Blue: Wave Sequences If there are more Programs than can be shown on the screen at one time, use the scroll bar to browse through the entire Category. The Favorite button trims the list to show only Programs you’ve marked as favorites.
Program mode: HD-1 Common IFX Voice Assign Mode Touch this area to jump to the Program P8– Routing page. This shows the voice assign mode of the program– either POLY or MONO. MFX/TFX Touch this area to jump to the corresponding Program P1– Program Basic page. Touch this area to jump to the Program P9– Routing page. Pitch EG Graphic KARMA This shows the shape of the Pitch EG. This shows the name of the selected KARMA GE. Touch this area to jump to the Program P2– Pitch EG page.
Program P0: Play 0–6a: Program Select, Load GE Options, KARMA T.Sig, Tempo Bank [INT–A…F, GM, g(1…9), g(d), USER–A…G] Bank Type Program (Tempo) [(HD-1, EXi)] [(0…127 (INT and USER Banks), 1…128 (GM Banks)] [040.00…240.00, EXT] These are the current bank, Program, and Tempo. For more information, see “0–1a: Program Select” on page 2.
Program mode: HD-1 Tempo ( ) [040.00…240.00, EXT] This is the tempo for the current Program, which applies to tempo-synced LFOs and Wave Sequences, KARMA, and tempo-synced effects. EXT means that the tempo will sync to external MIDI clocks. You’ll see this if the Global MIDI page MIDI Clock parameter is set to External MIDI, or if it’s set to Auto and the OASYS is currently receiving MIDI clocks. For more information, please see “MIDI Clock (MIDI Clock Source)” on page 652. 040.00…240.
Program P0: Play 0–6c: RealTime Controls This displays the names and stored settings of KARMA SLIDERS 1–8 and KARMA SWITCHES 1–8. 0–6: KARMA GE • 7: Auto Assign KARMA RTC Name. For more information, see “Auto Assign KARMA RTC Name” on page 139. 1…8 The current setting of the KARMA SWITCHES and KARMA SLIDERS are shown here, which are linked with the operation of the front panel switch. KARMA SWITCHES 2-8 and KARMA SLIDERS 2-8 operate in the same manner as Slider 1 and Switch 1.
Program mode: HD-1 0–7: Controller View/Effect 0–7PMC 0–7a 0–7b 0–7c This page shows the functions assigned to the physical controllers, including the vector joystick, SW1 and 2, and knobs 5–8. It also includes an overview of all of the effects, and lets you adjust the Wet/Dry Balances separately for the IFX, MFX, and TFX. Knobs 5…8 0–7a: Program Select IFX1…12, MFX1&2, TFX1&2 Bank This area shows the effect assigned to each insert effect, master effect, and total effect, and its on/off status.
Program P0: Play 0–8: Audio Input/Sampling ▼ 0–7: Page Menu Commands • 0: Write Program. For more information, see “Write Program” on page 138. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138.
Program mode: HD-1 S/P DIF L, S/P DIF R These are settings for the S/P DIF digital audio input, for connecting external A/D converters, computer audio systems, DAT machines, or other digital audio gear. OASYS supports S/P DIF input at either 48 kHz or 96 kHz. You’ll need to select the correct rate using the Global page S/P DIF Sample Rate parameter. 96 kHz data is converted to 48 kHz for sampling. When sampling from S/P DIF, make sure that the Global mode’s System Clock parameter is set appropriately.
Program P0: Play 0–8: Audio Input/Sampling Tip: You can use the control surface to control this parameter. For more information, see “Using the control surface to adjust Audio Input” on page 11. 0–8b: Recording Level [dB] Level This adjusts the signal level at the final stage of sampling. Recording Level [000…127] This controls the level of the external audio signal. The default is 127. [–Inf, –72.0…+0.0…+18.
Program mode: HD-1 When sampling in stereo, the odd-numbered channel (such as 1, 3, 5, or 7) corresponds to the left channel, and the even-numbered channel (such as 2, 4, 6, or 8) corresponds to the right. Again, the goal is to get the level as high as possible without activating the CLIP! or ADC OVERLOAD! messages. Tips for eliminating distortion when using the analog inputs L/R: This lets you sample the signal heard at the main L/R outputs, including any processing by TFX 1/2.
Program P0: Play 0–8: Audio Input/Sampling Source Bus = REC Bus 1/2 Source Bus = REC Bus 1/2 L/R Bus REC REC 1/2 3/4 Indiv. 1/2 3/4 5/6 7/8 ... REC Bus = 1/2 CLIP !! Insert Effects Audio Inputs Level Sampling L-Mono R-Mono Stereo Master Effects Pan Monitor Total Effects [x] Source Direct Solo L/MONO AUDIO OUTPUT HEADPHONES R Insert Effects OSC Bus = L/R or IFX1-12 Source Bus = Audio Input 1/2 Source Bus = Audio Input 1/2 L/R Bus REC REC 1/2 3/4 Indiv. 1/2 3/4 5/6 7/8 ...
Program mode: HD-1 Source Direct Solo [Off, On] On (checked): Only the signal of the bus selected for Source Bus will be output from the L/R jacks and the headphone jack. Turn this on if you want to hear only the sound that will be sampled. Off (unchecked): The L/R (post-TFX) signals and the signals of the bus selected by Source Bus will be output from the L/R jacks and the headphone jack according to the Audio Input Bus Select (8–1c) and post-IFX Bus Select settings. This is the normal state.
Program P0: Play 0–8: Audio Input/Sampling and reduce it to the minimum size necessary. For more information, see “Truncate (for Sample Edit)” on page 623 and “Truncate (for Loop Edit)” on page 628. You can also press the SAMPLING START/STOP switch to manually stop sampling after you have recorded the desired material. For more details on sampling, see “Preparations for sampling” on page 121 of the Operation Guide.
Program mode: HD-1 0–9: Control Surface 0–9PMC 0–9b 0–9a 0–9c 0–9d 0–9e 0–9f The Control Surface is the set of 9 sliders, 8 knobs, and 16 switches to the left of the LCD display. It looks like a mixer, but it can do other things as well, including editing sounds, controlling KARMA, and sending MIDI messages to external devices. This page shows you the current values for each of the sliders, knobs, and buttons, along with information about what they are controlling.
Program P0: Play 0–9: Control Surface AUDIO INPUTS lets you adjust the volume, pan, and send levels for the analog and S/P DIF audio inputs. In Sequencer mode, you can also use this to select two banks of hard-disk recording tracks, as shown by the LEDs to the right of the switch. 2. While holding down RESET CONTROLS, move a slider or knob, or press one of the control surface switches. EXTERNAL lets you send MIDI messages to external MIDI devices.
Program mode: HD-1 MIXER KNOBS [Channel Strip, Individual Pan] LOW EQ [–18.00…+18.00dB] The Mixer Knobs switch is on the front panel, immediately to the right of the knobs, and is also duplicated in the on-screen display. The eight knobs can control two different sets of parameters, depending on the setting of this switch. This controls the gain of the 80Hz Low Shelf EQ, in increments of 0.5dB.
Program P0: Play Solo switch and Select switches 1–2 Master Volume Slider Solo Master Volume [Off, On] Solo lets you isolate one or more Oscillators or Audio Inputs, so that you hear them by themselves. It does this by temporarily muting all non-soloed Oscillators and Audio Inputs. Solo uses the Select switches. These switches can show and control either which Oscillator is currently selected, or which Oscillators are soloed. The main Solo button lets you switch back and forth between the two views.
Program mode: HD-1 0–9c Mixer Knobs 0–9c: Audio Inputs This Control Assign setting lets you adjust the volume, pan, and FX send settings for each of the six audio inputs: Analog 1–4, and S/P DIF left and right. You can use this page to mix sounds from other sources into the OASYS outputs - as an on-stage submixer, for instance.
Program P0: Play Audio Input Pan (1–6) [L000…C064…R127] These control the pan for Analog Inputs 1–4 and S/P DIF Left and Right, respectively. A setting of L000 places the sound at the far left, C064 in the center, and R127 to the far right. Play/Mute switches 1–6 0–9: Control Surface When Solo is On, and one or more Oscillators or Audio Inputs are soloed, the Solo LED will blink on and off to remind you that solo is in use.
Program mode: HD-1 These External Setups are completely separate from the Program. You can think of External mode as being a separate control surface which just happens to share OASYS’s sliders, knobs, switches, and drum pads. When you select an External Setup, it stays selected even when you change Programs, or switch to Combi or Sequencer modes. This makes it easy to select different OASYS sounds without disrupting any external MIDI control, and vice-versa.
Program P0: Play Control [SW1…8, SL1…8] CC parameter scaling This shows which Switch or Slider is currently selected. Assignment 99 [Name] Each KARMA Slider or Switch can control multiple internal parameters simultaneously. The group of parameters can be given a single name, which is shown here. Parameter Value As Programmed You can select different names, if desired.
Program mode: HD-1 Master Volume Slider Master Volume [000…127] This controls the volume of the main stereo outputs, after the Total Effects. It does not affect Individual Outputs 1–8. For more information, see the diagram “Master Volume” on page 21. 0–9f 0–9f: Tone Adjust Tone Adjust lets you use all of the sliders, knobs, and switches on the Control Surface to edit Program parameters, like the knobs on an analog synth.
Program P0: Play 0–9: Control Surface Absolute parameters usually control a single Program parameter, such as Oscillator 1 Transpose. The Program and Tone Adjust parameters mirror one another; when you change one, the other will change to match. Meta parameters don’t affect Program parameters directly. Instead, they affect the way that other Tone Adjust parameters work. For instance, Multisample Min # and Max # set the minimum and maximum values of the Tone Adjust Multisample parameter.
Program mode: HD-1 Value [Depends on parameter] This shows the current value of the parameter. The range of values will vary depending on the parameter assigned to the control. Switches 1–16 Tone Adjust switches act a little differently than knobs and sliders.
Program P0: Play Pitch EG Release Time. (–99…+99) This scales the release times of the Pitch EG (or EGs, in the case of some EXi instruments). Pitch LFO1 Intensity. (–99…+99, CC#77) This scales the effect of LFO1 on the Pitch. –99 removes the LFO modulation entirely. +99 means maximum modulation in the same direction, positive or negative, as the original Program. LFO1 Speed. (–99…+99, CC#76) This scales LFO1’s frequency. When the LFO is in MIDI/Tempo mode, this adjusts the Base Note.
Program mode: HD-1 The list of Multisamples, Wave Sequences, or Drum Kits can be quite long. The sliders or knobs will let you sweep through the entire range, but it may not be possible to select all of the intermediate values. You can always select any individual item by using select the on-screen parameter and use the standard data entry controls, such as the INC and DEC buttons. You can also limit the range of the control by using the Min # and Max # parameters, described below.
Program P0: Play 0–9: Control Surface Default Tone Adjust Settings Tone Adjust provides an elegant physical interface to the HD-1’s parameters. Most of the factory sounds use the default layout, as shown below. You can also customize the layout for individual sounds, if desired.
Program mode: HD-1 Program P1: Basic/Vector 1–1: Program Basic 1–1PMC 1–1a 1–1b 1–1c 1–1d 1–1e 1–1f 1–1g This page contains all of the basic settings for the Program.
Program P1: Basic/Vector 1–1: Program Basic Polyphony also depends on the effects being used, and on which synthesis types are being used (HD-1, AL-1, CX-3 etc.). For more information, see “8–5a: Effect/EXi Fixed Resource Meter” on page 126. The Mode parameter, below, switches between two different Mono Legato effects, each of which achieves this smoothness in a different way. See the description of that parameter for more details.
Program mode: HD-1 This setting does not limit the Unison Number of Voices parameter. For instance, if Max # of Notes is set to 6, and Unison Number of Voices is set to 3, you can play up to 6 notes, each with 3 Unison voices. If the Program is set to Double, the Max # of Notes applies equally to both Oscillators. For instance, if Max # of Notes is set to 4, you can play up to 4 notes on each OSC. Chord Chord [Off, Bsc, Adv] Off disables the Chord function.
Program P1: Basic/Vector Thickness [Off,01…09] Thickness is available when Unison is On. This parameter controls the character of the detuning for the unison voices. Off: Unison voices will be evenly distributed across the Detune range, as shown above. 1–1: Program Basic Using Hold with Drum Kits Hold can be especially useful for drum programs, since it lets the samples ring out naturally. In general, when you set the Oscillator Mode to Drums, it’s good to set Hold to On.
Program mode: HD-1 How Quantize Trigger works Wave Sequence Swing The Quantize Trigger feature tries to make a good guess at where you intended the note to be. If you play the note just a bit late–within a 32nd note of the 8th note–it will assume that you meant the note to sound on the beat that just passed. In this case, the note will play immediately.
Program P1: Basic/Vector Note that for many of the scales, the setting of the Key parameter, below, is very important. Equal Temperament: This is the most widely used scale by far, in which each semitone step is spaced at equal pitch intervals. Equal Temperament allows easy modulation, so that a chord progression played in the key of C sounds roughly the same as the same progression played in F#. Sacrificed, however, is some of the purity of individual intervals offered by the scales below.
Program mode: HD-1 1–5: Vector Control 1–5PMC 1–5a 1–5b 1–5c Vector Synthesis lets you control Program and Effects parameters by moving the Vector Joystick, by using the programmable Vector Envelope, or by the combination of the two. In addition to moving the point directly with the Vector Joystick, you can also use the Vector Envelope to move its position automatically over time, as shown below.
Program P1: Basic/Vector Vector Volume Control and CC Control The Vector does two main things: it can control the relative volume of the two Oscillators in Program mode (or of up to 16 Programs at once in Combi mode), and it can generate CCs for controlling Program and Effects parameters. Vector and MIDI The Vector features interact with MIDI in two different ways: through the Vector Joystick, and through the Vector CC Control.
Program mode: HD-1 OSC2 Center Volume [0, 25, 50, 75, 100%] This sets the volume of Oscillator 2 at the center of the X axis. The volumes at the extreme ends of the X axis are fixed, in the opposite direction of Oscillator 1’s. At the left side, Osc 2 is always at 0% volume; at the right side, Osc 2 is always at 100%.
Program P1: Basic/Vector 1–5: Vector Control Finally, you can also assign +X to control the Master Volume. • 2: Copy Oscillator. For more information, see “Copy Oscillator” on page 144. –X • 3: Swap Oscillators. For more information, see “Swap Oscillator” on page 144. [Off…MIDI CC#119] This assigns the controller sent by the –X vector. It will be grayed out if the VJS X Mode, above, is set to Positive. The selections are the same as for +X, above.
Program mode: HD-1 1–6: Vector Envelope 1–6PMC 1–6a 1–6b 1–6c The Vector Envelope works together with the Vector Joystick to control the Vector position. It’s also special because it’s the only programmable modulation source which lets you modulate both Program and Effects parameters. The Vector Envelope is different from the other envelopes in several ways: • Each point has two “levels” - one for the X axis, and one for the Y axis.
Program P1: Basic/Vector seconds and milliseconds, you can specify the EG times as rhythmic values, using the Base Note and Multiplier parameters. 1–6: Vector Envelope Vector EG times, Loop Type = 1->3 Note-on or reset Note-off Loop 1–6b: Vector Envelope Loop The Vector EG can loop between two points, and can continue to loop either for as long as you hold the note, or for a specified number of repeats. You can also turn the loop off completely, if you like.
Program mode: HD-1 Time [0ms…60sec] This parameter lets you set the Hold Time in seconds and milliseconds. It applies only when the Mode is set to Time. (Base Note) [ … ] Loop This sets the length of time that it takes to move from Point 3 to the first Point in the loop. You can set this in either seconds/milliseconds or rhythmic values, depending on whether the Mode is set to Time or Tempo. This menu sets a basic rhythmic value for the Hold Time, relative to the system tempo.
Program P1: Basic/Vector 1–8: Set Up Controllers ▼ 1–6: Page Menu Commands • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 2: Copy Oscillator. For more information, see “Copy Oscillator” on page 144. • 0: Write Program. For more information, see “Write Program” on page 138. • 3: Swap Oscillators.
Program mode: HD-1 Knob 5 [Off, …, MIDI CC#119] Knob 6 [Off, …, MIDI CC#119] Knob 7 [Off, …, MIDI CC#119] Knob 8 [Off, …, MIDI CC#119] ▼ 1–8: Page Menu Commands • 0: Write Program. For more information, see “Write Program” on page 138. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy Oscillator. For more information, see “Copy Oscillator” on page 144. • 3: Swap Oscillators. For more information, see “Swap Oscillator” on page 144.
Program P1: Basic/Vector Pad Mode: Fixed Velocity vs. Velocity Sensitive Each pad stores a velocity level for each of its 8 notes. The PAD MODE button, to the right of the pads, controls whether or not the pads respond to how hard you play. Its setting is stored with each Program, Combi, and Song. In Fixed Velocity mode, the pads always use their stored velocity settings, regardless of how hard you play. In Velocity Sensitive mode, hitting the pad very strongly produces the preset velocities.
Program mode: HD-1 Program P2: OSC/Pitch These pages control the first and most basic elements of HD-1’s sounds: the Multisamples that the oscillators play, and the pitch at which it plays them. For instance, you can: • Select Multisamples and Wave Sequences for Single and Double Programs, or Drum Kits for Drum Programs. • 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 P2: OSC/Pitch KeyOff is a special setting. Instead of delaying the sound by a particular amount of time, the sound will play as soon as you release the key. You can use this to create the “click” heard when a harpsichord note is released, for instance. In general, when you use the KeyOff setting, it’s also best to set the oscillator’s Amp EG Sustain Level to 0. Mode [Key, Key + Damper] Normally, you play notes simply by pressing keys on the keyboard.
Program mode: HD-1 Multisample ROM Mono Select menu Tab Scroll bar Multisample ROM/EXs Mono/Stereo Select menu If Bank is set to ROM or EXs Mono, the list shows all of the mono Multisamples in the Bank. If the Bank contains stereo multisamples, you’ll also see the left and right channels as separate, mono multisamples, with -L and -R appended to the end of the name. If Bank is set to ROM or EXs Stereo, only stereo multisamples will be shown.
Program P2: OSC/Pitch Reverse [Off, On] This lets you play the selected multisample backwards, without looping. Reverse applies only to Multisamples; when the Type is set Wave Sequence, this is grayed out. When velocities are within the Xfade Range, the Oscillator will use twice as much polyphony as it would normally. Note: You can only fade between two zones at once.
Program mode: HD-1 Power, short for Equal Power, means that the two samples will each be at around 70% of their full volume in the middle of the crossfade. Sometimes, this may create a bump in the volume level, in which case you might try selecting Linear instead. Layer means that the two Multisamples will be layered together, both at full volume, for the entire range of the crossfade. These velocity zones take precedence over the velocity settings for the individual MS1–4.
Program P2: OSC/Pitch KeyOff is a special setting. Instead of delaying the sound by a particular amount of time, the sound will play as soon as you release the key. 2–2: OSC1 Pitch ▼ 2–1: Page Menu Commands In general, when you use the KeyOff setting, it’s also best to set the oscillator’s Amp EG Sustain Level to 0. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Program mode: HD-1 Pitch Slope, pitch, and note Pitch 2oct 1oct 1oct 2–2b: Pitch EG +2 Intensity +1 This controls the initial effect of the Pitch EG on Oscillators 1’s frequency, in half-steps, before any AMS modulation. The Pitch EG’s shape can swing all the way from +99 to –99. When the Intensity is set to a positive (+) value, positive values from the EG raise the pitch, and negative values lower the pitch.
Program P2: OSC/Pitch • Set an initial amount of LFO modulation, using the LFO 1/2 Intensity parameters. • Use JS+Y to scale the amount of the LFO. • Use any AMS source to scale the amount the LFO. You can use each of these methods for each of the two LFOs. The results are added together to produce the total LFO effect. LFO1 LFO1 Intensity [–12.00…+12.00] 2–2: OSC1 Pitch Enable [Off, On] On (checked): Turns on Portamento, so that pitch glides smoothly between notes.
Program mode: HD-1 • 3: Swap Oscillators. For more information, see “Swap Oscillator” on page 144. 2–5: OSC2 Basic This page controls the basic settings for Oscillator 2. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1, as described under “2–1: OSC1 Basic,” on page 48. 2–6: OSC2 Pitch This page controls the pitch settings for Oscillator 2.
Program P2: OSC/Pitch Attack 2–9a: EG Reset [–99…+99] This sets the level at the end of the Attack time. AMS (EG Reset AMS) [List of AMS Sources] This selects an AMS source to reset the EG to the start point. For instance, you can use a tempo-synced LFO to trigger the EG in a repeating rhythm. This reset is in addition to the initial note-on, which always causes the EG to start. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967.
Program mode: HD-1 Classic analog synth envelopes made these curved shapes naturally. The OASYS goes a step further than vintage synths, however, and lets you control the amount of curvature separately for each of the four envelope segments. When you change the curvature, the EG times remain the same. However, greater curvature will tend to sound faster, because the value changes more quickly at the beginning.
Program P2: OSC/Pitch 2–9: Pitch EG 2–9d: Time Modulation These settings let you use an AMS source to control the Time parameters of the EG. The Attack, Decay, Slope, and Release times share this AMS source, but each has its own modulation intensity. Pitch EG Time Modulation AMS=Velocity, Intensity = a positive (+) value Note-on Note-off Note-on Note-off Note-on Note-off “Attack”= + “Decay”= + “Slope”= + “Attack”= + “Decay”= + “Slope”= + “Attack”= – “Decay”= – “Slope”= – Softly played note.
Program mode: HD-1 Program P3: Filter Filtering can make subtle or dramatic changes to the oscillator’s timbre. Each oscillator has two multimode resonant filters, A and B, as well as a dedicated filter envelope and keyboard tracking generator. These pages let you control all aspects of the filters. Among other things, you can: • Set up filter modulation, including keyboard tracking, the filter envelope, LFO modulation, and AMS control.
Program P3: Filter 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. Serial and Parallel Routing Oscillator 3–1: Filter1 Filter A (Low Pass) Filter B (High Pass) Band Reject. This filter type–also called a notch filter– cuts only the parts of the sound directly around the cutoff frequency. Try modulating the cutoff with an LFO to create phaser-like effects.
Program mode: HD-1 Resonance Low resonance value Resonance High resonance value [00…99] Resonance emphasizes the frequencies around the cutoff frequency. When this is set to 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly. ▼ 3–1: Page Menu Commands At medium settings, the resonance will alter the timbre of the filter, making it sound more nasal, or more extreme. The number before each command shows its ENTER + number-key shortcut.
Program P3: Filter 3–2: Filter1 Modulation 3–2: Filter1 Modulation 3–2PMC 3–2a 3–2b 3–2c This page contains the settings for Oscillator 1’s filter modulation. Among other things, you can: 3–2a: Keyboard Track • Set up complex keyboard tracking shapes, and control how the tracking affects filter cutoff. Most acoustic instruments get brighter as you play higher pitches.
Program mode: HD-1 The OASYS keyboard tracking can also be much more complex, since it allows you to create different rates of change over up to four different parts of the keyboard. For instance, you can: • Make the filter cutoff increase very quickly over the middle of the keyboard, and then open more slowly–or not at all–in the higher octaves. • Make the cutoff increase as you play lower on the keyboard. • Create abrupt changes at certain keys, for split-like effects.
Program P3: Filter Low-Center [–Inf, –99…+99, +Inf] This sets the slope between the Low Break and Center keys. For normal key track, use negative values. 3–2: Filter1 Modulation 3–2b: Filter EG [–Inf, –99…+99, +Inf] The Filter1 EG modulates the Filter A and B cutoff frequencies over time. You can control how strongly the EG will affect the filters in three different ways: This sets the slope between the Center and High Break keys. For normal key track, use positive values.
Program mode: HD-1 The Filter EG’s shape can swing all the way from +99 to –99. Positive values increase the cutoff frequency, and negative values decrease the cutoff frequency. For instance, see the graphic “Velocity to A,” above. The EG shape in example A rises up at first, and then falls below 0 towards the end. When Intensity to A is set to a positive (+) value, EG’s effect will match its shape. When the EG rises above 0, the cutoff frequency will increase.
Program P3: Filter 3–3: Filter1 LFO Modulation 3–3: Filter1 LFO Modulation 3–3PMC 3–3a 3–3b LFO1, LFO2, and the Common LFO can all modulate Filter A and B’s cutoff frequencies. You can control the strength of each LFO’s modulation in three different ways, independently for each filter: • Set an initial amount of LFO modulation, using the Intensity to A and B parameters. • Use JS-Y to scale the amount of the LFO. • Use any AMS source to scale the amount the LFO.
Program mode: HD-1 Intensity to A [–99…+99] This controls the depth and direction of the LFO1 AMS modulation for Filter A. For example, if AMS is set to After Touch, positive settings mean that aftertouch will increase the amount of LFO1 applied to Filter A. Intensity to B [–99…+99] This controls the depth and direction of the LFO1 AMS modulation for Filter B. LFO 2 The parameters for LFO2 are identical to those for LFO1. For more information, see the descriptions under LFO1, above.
Program P3: Filter Attack 3–4a: EG Reset 3–4: Filter1 EG [–99…+99] This sets the level at the end of the Attack time. AMS (EG Reset) [List of AMS Sources] This selects an AMS source to reset the EG to the start point. For instance, you can use a tempo-synced LFO to trigger the EG in a repeating rhythm. This reset is in addition to the initial note-on, which always causes the EG to start. Break [99…+99] Break, short for Break Point, sets the level at the end of the Decay time.
Program mode: HD-1 In other words, each segment’s level will change quickly at first, and then slow down as it approaches the next point. This tends to sound better than straight, linear segments. Classic analog synth envelopes made these curved shapes naturally. The OASYS goes a step further than vintage synths, however, and lets you control the amount of curvature separately for each of the four envelope segments.
Program P3: Filter Decay 3–4d: Time Modulation These settings let you use three different AMS sources to control the Time parameters of the EG. For each of the three AMS sources, the Attack, Decay, Slope, and Release times each have their own modulation intensities. Filter EG Time Modulation Note-on Note-off Note-on Note-off Note-on Note-off [–99…+99] This controls the depth and direction of the AMS modulation for the Decay time.
Program mode: HD-1 3–8: Filter2 EG This page controls Oscillator 2’s Filter EG. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1, as described under “3–4: Filter1 EG,” on page 68.
Program P4: Amp/EQ 4–1: Amp1/Driver1 Program P4: Amp/EQ Oscillators 1 and 2 have separate controls for volume (also called “amplitude,” or “amp” for short), pan, and Drive, as well as dedicated amp envelopes and keyboard tracking generators. Additionally, both Oscillators share a three-band EQ. These pages let you control all of these related parameters. Among other things, you can: • Set up the Driver circuit, which adds saturation and bass boost to the timbre. • Set the pan position and pan modulation.
Program mode: HD-1 Low Boost [00…99] This low-frequency EQ controls the body character of the sound. The specific EQ frequencies affected will change with the Drive setting. Higher amounts increase the bass boost, and will also intensify the effect of the Drive parameter. AMS (Low Boost) [List of AMS Sources] This selects an AMS modulation source to control the Low Boost amount. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967.
Program P4: Amp/EQ 4–2: Amp1 Modulation 4–2: Amp1 Modulation 4–2PMC 4–2a 4–2b 4–2c 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. The total effects of the modulation can increase the volume to a maximum of two times louder than the Amp Level setting.
Program mode: HD-1 Center-High 3. While holding ENTER, play a note on the keyboard. [–Inf, –99…+99, +Inf] This sets the slope between the Center and High Break keys. For normal key track, use positive values. Ramp Positive ramp values mean that the keyboard tracking output increases as you play farther from the Center Key; negative ramp values mean that it decreases.
Program P4: Amp/EQ 4–2: Amp1 Modulation Amp Keytrack is also an AMS source AMS (LFO1) You can use the keyboard tracking as an AMS source to modulate other parameters, just like the envelopes and LFOs. Simply select Amp Keytrack in the AMS list for the desired parameter. This selects an AMS modulation source to scale the amount of the LFO1 applied to the Amp level. [List of AMS Sources] For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967.
Program mode: HD-1 4–3: Amp1 EG 4–3PMC 4–3a 4–3b 4–3c 4–3d These parameters let you create time-varying changes in the volume of oscillator 1. These parameters specify how the amp 1 EG will change over time. 4–3a: EG Reset AMS (EG Reset) 4–3b: Envelope [List of AMS Sources] This selects an AMS source to reset the EG to the start point. For instance, you can use a tempo-synced LFO to trigger the EG in a repeating rhythm.
Program P4: Amp/EQ Time 4–3: Amp1 EG Amp EG Curve Higher values mean longer times, as shown below. EG Value 00 0.667 ms 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 Curve = 0 (Linear) Actual Time Curve = 10 (Exp/Log) Curve = 0 (Linear) Different curve settings for up and down You may find that different amounts of curvature are suitable for segments which go up and segments which go down.
Program mode: HD-1 Once an EG segment begins, it can’t be modulated Once the EG has started a segment between two points, that segment can no longer be modulated. This includes both the time of the segment, and the level reached at the end of the segment. For more information, see “Once an EG segment begins, it can’t be modulated” on page 70. AMS [List of AMS Sources] This selects an AMS source to control the EG’s Level parameters.
Program P4: Amp/EQ 4–6: Amp2 Mod. 4–6: Amp2 Mod. This page controls Oscillator 2’s amp modulation. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1, as described under “4–2: Amp1 Modulation,” on page 75. 4–7: Amp2 EG This page controls Oscillator 2’s amp EG. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out.
Program mode: HD-1 High Gain [–18.0…+18.0dB] This controls the gain of the 10kHz High Shelf EQ, in increments of 0.5dB. ▼ 4–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Program. For more information, see “Write Program” on page 138. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy Oscillator.
Program P5: LFO 5–1: OSC1 LFO1 Program P5: LFO Each of the Oscillators has two LFOs, which you can use to modulate the filter, amp, pitch, and many other parameters. The two Oscillators also share a single Common LFO, similar to the global LFO on some vintage analog synths. These pages let you set up all of the parameters for all five LFOs. 5–1: OSC1 LFO1 5–1PMC 5–1a 5–1b 5–1c This page has all of the controls for the first LFO of Oscillator 1.
Program mode: HD-1 Random2 (S/H) randomizes both the levels and the timing. Random3 (S/H) generates a pulse wave with random timing. It’s the opposite of traditional sample and hold; the timing varies, but the levels don’t. Random4–6 (Continuous) are smoothed versions of Random 1–3, with ramps instead of steps. You can use them to create more gentle random variations. Start Phase [–180…+180, Random] This controls the phase of the waveform at the start of the note, in steps of 5 degrees.
Program P5: LFO Offset [–99…+99] By default, almost all of the LFO waveforms are centered around 0, and then swing all the way from –99 to +99. This parameter lets you shift the LFO up and down, so that–for instance–it’s centered on 50, and then swings from –49 to +149. For example, let’s say that you’re using an LFO for vibrato. If the Offset is 0, the vibrato will be centered on the note’s original pitch, bending it both up and down.
Program mode: HD-1 Times (Sync. Times) 5–1c: Frequency MIDI/Tempo Sync MIDI/Tempo Sync [Off, On] On (checked): When MIDI/Tempo Sync is On, the LFO will synchronize to the system tempo, as set by either the Tempo knob or MIDI Clock. The LFO speed will be controlled by the Base Note and Times parameters, below. All settings for Frequency and Frequency Modulation will be ignored.
Program P5: LFO 5–9: Common LFO 5–9: Common LFO 5–9PMC 5–9a 5–9b 5–9c This is a single, free-running LFO, global for all voices in the Program–like the modulation LFOs in some vintage analog synths. Differences from LFO1/2 The Common LFO starts running as soon as you select the Program, and only resets when you tell it to do so explicitly via the Reset Source control, below. This is different from LFO1/2’s Key Sync parameter, which resets whenever all notes are released.
Program mode: HD-1 Stop [Off, On] On (checked): When Stop is On, the LFO does not advance, and the Frequency parameters are ignored. Instead, the LFO simply generate a single value when the Program is selected, and then holds that value until you select another Program, or until you reset the LFO via AMS. Note: this is different from LFO1/2, in which the value is reset with every note-on.
Program P6: AMS Mixer/Common Key Track 6–1: OSC 1 AMS Mixer Program P6: AMS Mixer/Common Key Track Each Oscillator has two AMS Mixers, which are simple but powerful tools for combining and modifying AMS signals. The two Oscillators also share two Common keyboard tracking generators, in addition to the dedicated keyboard tracking for the Filter and Amp. These pages let you control all of these modulation sources.
Program mode: HD-1 Gate chooses between two AMS inputs (or fixed values) based on a third AMS source. See “Gate” on page 93 for more information. AMS B Amount A+B Amt A x B AMS Mixer, Type = A+B AMS Mixer, Type = A x B Amt A [–99…+99] This controls the depth and direction of the AMS B input. AMS A Output AMS B AMS A Output AMS B Amt B Amt B A+B merges two AMS sources into one.
Program P6: AMS Mixer/Common Key Track 6–1: OSC 1 AMS Mixer AMS A Amount Amount to 0. 2. Set AMS B to SW 1 or 2, and AMS B Amount to +99. Now, SW1 or 2 will turn AMS A on and off. Offset [–199…+199] This controls the basic level of AMS A. +199 doubles the original signal level, while –199 doubles the level and inverts the phase. The values are clipped only at the output; internally, they can be greater than the normal range of –99 to +99.
Program mode: HD-1 AMS A Decay [00…+99] AMS Mixer Shape examples This controls the decay time of the smoother, or how long it takes the smoother to reach a new, lower value. Bipolar Triangle Wave Asymmetric Higher Decay settings mean longer times. +99 Shape 0 This Mixer Type adds curvature to the AMS input. Shape can create custom controller curves, such as exponential joystick, logarithmic velocity, and so on. It can also alter the shape of programmable modulation sources, such as EGs and LFOs.
Program P6: AMS Mixer/Common Key Track Unipolar sources only go from 0 to 99, with 50 in the middle. MIDI controllers, such as JS+Y (CC#1), are all unipolar. In practice, EGs are usually programmed to be unipolar, even though the Filter and Pitch EGs do allow both positive and negative levels. With unipolar sources, it’s almost always better to use the Symmetric mode. The Asymmetric mode can cause offsets and other strange results. 6–1: OSC 1 AMS Mixer 5.
Program mode: HD-1 Gate Output 10.Use the ribbon to bend the pitch of the new note. If the value of the Control Source is less than the Threshold, the Gate outputs the preset value or AMS source selected under Below Threshold. The new note will bend, but the original chord (played before you pressed on the foot-switch) will not. If the value of the Control Source is greater than or equal to the Threshold, the Gate outputs the preset value or AMS source selected under At & Above Threshold.
Program P6: AMS Mixer/Common Key Track 6–5: OSC 2 AMS Mix 6–5: OSC 2 AMS Mix This page controls the two AMS Mixers for Oscillator 2. These are available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1, as described under “6–1: OSC 1 AMS Mixer,” on page 89.
Program mode: HD-1 You can think of the resulting shape as being like two folding doors attached to a hinge in the center. At the Center key (the main hinge), the keyboard tracking has no effect. The two folding doors swing out from this center point to create changes in the higher and lower ranges of the keyboard.
Program P6: AMS Mixer/Common Key Track 6–9: Common Keyboard Track • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy Oscillator. For more information, see “Copy Oscillator” on page 144. • 3: Swap Oscillators. For more information, see “Swap Oscillator” on page 144.
Program mode: HD-1 Program P7: KARMA This pages let you control the Program’s KARMA settings. In Program mode, you can use one KARMA Module (Module A). Turning KARMA on and off KARMA can be enabled or disabled for the current Program by using the front-panel KARMA ON/OFF switch. You can also temporarily disable KARMA for all Programs, Combinations, and Songs by using the Global All KARMA Off parameter. For more information, see “All KARMA Off” on page 643.
Program P7: KARMA Load GE Options [Dialogue] These options let you specify whether the values and assignments for the KARMA SLIDERS and SWITCHES will be set automatically, be initialized, or be preserved when you select a GE. For a detailed description of this parameter, please see “Load GE Options” on page 7. KARMA T.Sig (Time Signature) [GE/TS, 1/4…16/4, 1/8…16/8, 1/16…16/16] This specifies the time signature of the phrases or patterns generated by the KARMA Modules.
Program mode: HD-1 ▼ 7-1: Page Menu Commands • 2: Copy KARMA Module. For more information, see “Copy KARMA Module” on page 146. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 3: Initialize KARMA Module. For more information, see “Initialize KARMA Module” on page 147. • 0: Write Program. For more information, see “Write Program” on page 138. • 1: Exclusive Solo.
Program P7: KARMA 7–2: MIDI Filter/CC Offset These settings do not affect the Dynamic MIDI (7–7) settings. If you have specified MIDI control data as the Dynamic MIDI source, it will be valid regardless of these settings. KARMA function KARMA Module MIDI IN GE OASYS’s controllers After Touch Transmit MIDI Filter Tone generator Dynamic MIDI [Off, On] Specifies whether MIDI aftertouch messages will be echoed to the tone generator.
Program mode: HD-1 Envelope1/Envelope2/Envelope3 [Off, On] Specifies whether to transmit the various MIDI messages or other functions generated by Envelope 1, Envelope 2, and Envelope 3 of the GE selected by the KARMA Module. If Envelope 1, Envelope 2, or Envelope 3 are producing pitch bend messages, these settings will be ignored, and the “GE Bend” setting will be used. GE Notes [Off, On] Specifies whether the MIDI note-on/note-off messages generated by the KARMA Module will be transmitted.
Program P7: KARMA 7–3: Module Parameters-Control 7–3: Module Parameters-Control 7–3PMC 7–3a 7–3b Here you can set KARMA Module Control parameters. Note that in Program mode, you can use one KARMA Module (Module [A]). You can make the following settings: • Specify the transposition, range, and chord inversion for phrases and chords generated by the KARMA module • Control the clock that operates the KARMA module • Convert or delete the note data generated by the KARMA module.
Program mode: HD-1 Resulting transposed input notes: C3–B3[2] Lowest: input notes transposed to E2 G#2 B2 D#3 Resulting transposed input notes: Highest: input notes transposed to E4 G#4 B4 D#5 D#3 E3 G#3 B3 (EMaj7/D#) “Force Range” = Lowest Input Notes D#3 E3 G#3 B3 (EMaj7/D#) D#3 E3 G#3 B3 (EMaj7/D#) (all identical) “Force Range” = Higest “Force Range” = C3-B3[1] C3–B3[1]: all notes near 4th octave (maintain inversion) The input notes will be fo
Program P7: KARMA This can allow a GE to behave more predictably with all inversions of a chord. (See “Note Series Group” on page 900.) Note: When the GE-Type is Generated-Drum, the notes come from Drum Patterns and not the Note Series. The drum patterns can be used to generate melodies, in addition to drum and percussion grooves. “Root Position” also has a similar effect on how the Drum Patterns are transposed, but only if “DrumTrack Keyboard” is on. For more information, see “Drum Group” on page 949.
Program mode: HD-1 Event: The phrase or pattern will be advanced by one note or one chord, ignoring the rhythm of the phrase or pattern. Each trigger will produce the next note or chord in the phrase. Chord Trigger Mode [Off, 1st, Chord1, Chord2, Chord3] This is valid when “Mode” is Dyn, Auto + Dyn1 or Auto + Dyn2. It specifies how a chord will be sounded when that chord is input from the keyboard. Off: There will be no sound when you input a chord from the keyboard.
Program P7: KARMA Chord Track (Note Map Chord Track) [Off, On] Selects whether the Note Map Table will track your chord changes within the range of a single octave. Tables use the key of C as a reference. As an example, assume you play a C Chord that generates a C Major arpeggio (C-E-G etc.) in the Middle C octave (C4 to C5). You edit that octave in the note Map Editor to have no 3rd (E4 removed).
Program mode: HD-1 7–4: Module Parameters-Trigger 7–4PMC 7–4a 7–4b Here you can set KARMA Module Trigger parameters. In Program mode, you can use one KARMA Module (module [A]). You can make the following settings. • Timing correction and latch operation for triggers • Settings for the envelope generators inside the GE 7–4a: Program Name and Tempo For descriptions of these parameters, please see “7–2a: Program Name and Tempo” on page 100.
Program P7: KARMA Note Note Trigger [Any, AKR, 1st, Dyn] Any (Any Note + Dynamic MIDI): Every note-on will cause triggering; i.e., each note-on will cause the phrase or pattern to restart from the beginning. AKR (1st Note After Key Release + Dynamic MIDI): Triggering will occur when the first note-on occurs from a state in which no keys are “on.” Triggering will not occur if even one note is being pressed.
Program mode: HD-1 For Sus2 and Rel2, the envelope will continue repeating even if the key is released. • 2: Copy KARMA Module. For more information, see “Copy KARMA Module” on page 146. ▼ 7-4: Page Menu Commands • 3: Initialize KARMA Module. For more information, see “Initialize KARMA Module” on page 147. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Program.
Program P7: KARMA For details on the individual GE Real-Time parameters, please see the “KARMA GE guide” on page 893. MIN (Minimum Value) [–5000…+5000] This sets the parameter value when the selected controller is at its minimum point—for instance, when a slider is at the bottom of its throw. Note that you can reverse the action of the controller by setting this to be higher than the MAX value, below. The available values will depend on the GE Real-Time parameter.
Program mode: HD-1 7–6: Perf Real-Time Parameters 7–6PMC 7–6a 7–6b Here you can assign controllers to KARMA Performance Real-Time Parameters (Perf. RTP) outside of the GE Real-Time Parameters that control the internal settings of the GE. Examples include the KARMA Key Zone parameters (Program 7-1b) and KARMA Control and Trigger parameters (Program 73, 7-4). Parameter By assigning these to KARMA SLIDERS 1–8 and KARMA SWITCHES 1–8 etc., you can control them in real-time while you play.
Program P7: KARMA A ( Module A) [Off, On] Specifies the module to which the settings of RT Parm 1–8 will apply. In Program mode, only one KARMA Module (module [A]) can be used. Thus in Program mode, you can turn the RT Parm 1–8 settings on/off. On (checked): RT Parm settings will be valid. Off (unchecked): RT Parm settings will be ignored. Assign [---, Slider1…8, Slider (SW) 1…8, SW1…8, DynaMIDI1…8] Assigns the selected parameter to a controller.
Program mode: HD-1 Note Map Table [+0000…+0064] Assigns the “Table (Note Map Table)” (Program 7–3b) function. +0000: Custom For more information, see “Table (Note Map Table)” on page 106. [–0012…+0012] Assigns the ”Transpose (Note Map Transpose)” (Program 7-3b) function. [+0000…+0003] Assigns the “Note Trigger” (Program 7–4b) function. +0001: AKR +0002: 1st +0003: Dyn For more information, see “Note Trigger” on page 109.
Program P7: KARMA Key Zone Bottom [+0000…+0127] 7–6: Perf Real-Time Parameters Assigns the “Bottom (Key Zone Bottom)” (Program 7– 1a) function. Note: If the “Start Seed” value is set to a value outside of this range when you first assign it as a RT Parameter, it will be limited to either end of the range. +0000…+0127: C-1–G9 (corresponds to note numbers) Freeze Loop Length For more information, see “Bottom (Key Zone Bottom)” on page 99. Assigns the “Top (Key Zone Top)” (Program 7–1a) function.
Program mode: HD-1 • 6: Capture Random Seed. For more information, see “Capture Random Seed” on page 147. 7–7: Dynamic MIDI 7–7PMC 7–7a 7–7b Source Dynamic MIDI lets you use this instrument’s controllers and MIDI control messages to control specific KARMA functions. You can take advantage of this to control KARMA in various ways while you play. For example, you can use note-ons to advance the KARMA clock (Manual Advance), or a joystick to Trigger the start of the patterns.
Program P7: KARMA 7–7: Dynamic MIDI The controller value and the on/off status are related as follows. • 5: Swap Scenes. For more information, see “Swap Scene” on page 147. 000 → 127: on at 127 • 6: Capture Random Seed. For more information, see “Capture Random Seed” on page 147. 127→ 000: off at 000 Toggle: The parameter will be controlled as a toggle switch.
Program mode: HD-1 7–8: Random Seeds 7–8PMC 7–8a 7–8b The Random Seeds page allows you to control some of the randomizable characteristics of a Module’s GE. You can freeze (capture) the endlessly varying phrases generated by KARMA’s randomize features. 7–8a: Program Name and Tempo For descriptions of these parameters, please see “7–2a: Program Name and Tempo” on page 100. By using the “Capture Random Seed” (☞p.
Program P7: KARMA 7–8: Random Seeds For more information, see “Checking the Freeze Randomize function, and performing “Capture Random Seed”” on page 148. Freeze Loop Length [Off, 01…32] Specifies the number of measures in the phrases that are repeatedly generated by the KARMA Module. After being triggered, the module will generate a phrase of the number of measures you specify here, and will then repeat that phrase. If you set this to Off, the phrase will not be repeated. 6.
Program mode: HD-1 phrase will loop (e.g., D-D-C-C, D-D-C-C, D-D-CC, …). (☞ “Retrigger Each Time” on page 115) 4. “Start Seed”: any value, “Freeze Loop Length”: 1…32 The same phrase will play each time you trigger the GE. That phrase will loop for the number of measures you specified in “Freeze Loop Length.” For example if you select a program or combination, and make these settings for a KARMA Module that generates random changes each time it is triggered, the exact same phrase will loop every time.
Program P7: KARMA 7–9: Name/Note Map 7–9: Name/Note Map Here you can assign the names for KARMA SLIDERS 1-8 and KARMA SWITCHES 1-8, view Global Note Map Tables, and edit the Custom Note Map Table stored with the Program. 7–9a: Program Name and Tempo For descriptions of these parameters, please see “7–2a: Program Name and Tempo” on page 100. Here you can assign the names for KARMA SLIDERS 1-8 and KARMA SWITCHES 1-8. The RTC Models include appropriate names for the sliders and switches.
Program mode: HD-1 Out (Note Out) [Remove, C-1…G9] Specify what will be done with the note you specified in the “In” field. Remove: The note specified by “In” will be removed from the output data (and changed to a rest). C1…G9: The note specified by “In” will be converted to the note number you specify here, and sent to the tone generator. Note: When “Out” is selected, you can hold down the ENTER switch and press a note on the keyboard to set the “Out” field to that note.
Program P8: Insert Effect 8–1: Routing Program P8: Insert Effect These pages let you can make settings for the insert effects. For instance, you can: • Make detailed settings for insert effects • Send the output of a oscillator to an insert effect For more information, please see “Effect Guide” on page 727.
Program mode: HD-1 Use Dkit Setting = On 8–1c: Bus Select (IFX/Indiv.Out Assign) 8–1e: REC Bus All OSCs to [L/R, IFX1…12, 1…8, 1/2…7/8, Off] All OSCs to This specifies the output bus for oscillators 1 and 2. These settings send the output of the oscillator 1, 2 to the REC busses (four mono channels: 1, 2, 3, 4). L/R: The oscillators will be output to the L/R bus. Normally you will choose L/R. IFX1…12: Output to the IFX1–12 busses.
Program P8: Insert Effect 8–1: Routing 8–1f: OSC MFX Send OSC1 Send1 (to MFX1) [000…127] Sets the volume (send level) at which the output of oscillator 1 will be sent to master effect 1. This applies only when Bus Select (8–1c) is set to L/R or Off. If Bus Select is set to IFX1–IFX12, the send levels to master effects 1 and 2 are set by Send 1 and Send 2 (8– 5a) after passing through IFX1–12.
Program mode: HD-1 8–5: Insert FX 8–5PMC 8–5b 8–5a 8–5a: Effect/EXi Fixed Resource Meter Background information Most hardware synthesizers offer a single, fixed method of synthesis, a predetermined number of voices, and a fixed amount of effects processing power. OASYS is different; it has no fixed synthesis method, and it shares its processing power between voices and effects. This flexibility means that the system can deliver power where you need it the most.
Program P8: Insert Effect 8–5: Insert FX Category/IFX Select menu Note: As with the meter as a whole, the number shown in FREE FOR VOICES is only an approximation. For example, if FREE FOR VOICES is showing 98, the maximum polyphony for the HD-1 may not be exactly 172 × 0.98 (approximately 168). The maximum polyphony will also depend on various other parameters; for more information, see “A note about polyphony” on page 32. 8–5b: IFX IFX1 [000…185] This selects the effect type for insert effect 1.
Program mode: HD-1 Bus Sel. (Bus Select) IFX2: Chain to [IFX3…IFX12] Specifies the bus to which the signal will be sent immediately after the insert effect. [L/R, 1…8, 1/2…7/8, Off] IFX3: Chain to [IFX4…IFX12] L/R: The signal will be sent to the L/R bus, which passes through TFX 1 and 2 and then goes to the main L/R outputs. This is the default setting. IFX4: Chain to [IFX5…IFX12] IFX5: Chain to [IFX6…IFX12] 1…8: The signal will be sent, in mono, to the selected individual output.
Program P8: Insert Effect 8–6: Track View 8–6: Track View 8–5b 8–6PMC 1–1a 8–6a 8–6b 8–6a: Track View This shows the oscillator 1, 2 output and insert effect routing. The selected slot is shown in dark blue. In the “Selected” area below, you can specify the “Effect Type” and “On/Off” status. The “Insert IFX Slot” and “Cut IFX Slot” page menu commands will apply to the slot you select here. If you move from this page to the P8– IFX1–12 page, the IFX you choose here will be selected.
Program mode: HD-1 • 0: Write Program. For more information, see “Write Program” on page 138. • 4: Insert IFX Slot. For more information, see “Insert IFX Slot” on page 150. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 5: Cut IFX Slot. For more information, see “Cut IFX Slot” on page 151. • 2: Copy Insert Effect. For more information, see “Copy Insert Effect” on page 149. • 6: Clean Up IFX Routings. For more information, see “Clean Up IFX Routings” on page 152.
Program P8: Insert Effect 8–7: IFX 1–12 Note that edits to effects parameters are automatically stored with the Program–you don’t need to store them as an Effect Preset. Presets just make it easier to re-use your favorite settings. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. For instance, you can save an Effect Preset while working on a particular Program, and then later use the same Effect Preset in a different Program, Combi, or Song. • 3: Swap Insert Effects.
Program mode: HD-1 8–9: Common FX LFO 8–9PMC 8–9a 8–9b The two Common FX LFOs allow you to synchronize LFO-based modulation for multiple effects, such as phasers, flangers, filters, and so on. The Common LFOs control only the frequency, MIDI synchronization, and reset options; each individual effect still has its own settings for the LFO waveform and phase.
Program P8: Insert Effect 8–9: Common FX LFO Common FX LFO LFO Type = Common1 Common FX LFO1 Frequency[Hz] Reset Stereo Flanger Waveforem = Triangle Phase Offset = 0 [deg] Generate original LFO waveform Stereo Phaser Waveforem = Sine Phase Offset = 0 [deg] Stereo Auto Pan Waveforem = Sine Phase Offset = +90 [deg] ▼ 8–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Program mode: HD-1 Program P9: Master/Total Effect Here you can make settings for the master effects and total effects. For instance, you can: • Make detailed settings for master effects and total effects • Route a sound to an master effects and total effects For more information, please see “Effect Guide” on page 727. 9–1: Routing 8–5b 9–1PMC 1–1a 9–1a 9–1b 9–1c Here you can specify the type of master effects and total effects, and turn them on/off. The master effects are sent to the L/R bus.
Program P9: Master/Total Effect 9–1: Routing Category/MFX Select menu MFX2 MFX2 MFX2 On/Off Return 2 [000…185] [Off, On] [000…127] The total effects are stereo-in and stereo-out, but the output may be monaural depending on the type of effect you select. (See “In/Out” on page 734.) TFX1 TFX1 [000…185] These parameters specify the effect type for master effect 2, its on/off status, and the return level from master effect 2 to the L/R bus. See “MFX1” on page 134.
Program mode: HD-1 ▼ 9–1: Page Menu Commands 9–1c: Master Volume Master Volume [000…127] This specifies the final level of the audio output that has passed through total effects 1 and 2, and output from AUDIO OUTPUT (MAIN OUT) L/MONO and R. Note: You can control the master volume from the control surface. You can also control this setting from the P0– Control Surface page. 1. Press the CONTROL ASSIGN MIXER TIMBRE/TRACK, MIXER AUDIO or R.TIME KNOBS/KARMA switch to turn it on (lit). 2.
Program P9: Master/Total Effect 9–3: MFX2 ▼ 9–2: Page Menu Commands • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 2: Copy MFX/TFX. For more information, see “Copy MFX/TFX” on page 153. • 0: Write Program. For more information, see “Write Program” on page 138. • 3: Swap MFX/TFX.
Program mode: HD-1 Program: Page Menu Commands ENTER + 0-9: shortcuts for menu commands Each page has a set of menu commands, which provide access to different utilities, commands, and options, depending on the page you’re currently on. You can use the menu commands entirely from the touch-screen, by pressing the menu button in the upper right-hand corner of the screen and then selecting an option from the menu that appears.
Program: Page Menu Commands Auto Assign KARMA RTC Name • Program mode: “Solo” on page 21 Auto Optimize RAM • Combination mode: “Solo” on page 336 If Auto Optimize RAM (Global 0–1d) is enabled, you don’t need to use the Optimize RAM command; instead, RAM will be optimized automatically. • Sequence mode: “Solo” on page 440 Auto Assign KARMA RTC Name This command is available on the KARMA GE tab of the Play page, and the Name/Note Map tab of the KARMA page.
Program mode: HD-1 The Auto +12 dB On setting is made independently for Program, Combination, Sequencer, and Sampling modes. Top Key (Sampling 0–1b). The Original Key will increment by one after sampling, and the next higher note will be assigned the next time you sample. 4. “Convert to” specifies whether the sample will automatically be converted into a program as soon as it has been sampled. This is convenient when you want to hear the sound immediately after sampling. 5.
Program: Page Menu Commands Auto Sampling Setup Auto Sampling Setup Auto Sampling Setup is available on the Audio In/Sampling tab of the Play page. This command automatically configures the Program mode sampling-related parameters, making it easy for you to sample an external audio source or to resample your performance as you play a Program. You can also use this command to initialize the sampling settings.
Program mode: HD-1 Note f: If you execute Auto Sampling Setup with “Save to” RAM and the “Convert to Program” option checked, and you continue sampling, each successive sample will be automatically assigned to C2, C#2, D2, … to create a multisample. A new multisample will be created the next time you execute Auto Sampling Setup and start sampling. REC Audio Input Note: To sample, execute REC Audio Input, then press SAMPLING REC, and then START/STOP to begin sampling.
Program: Page Menu Commands Automatically-set parameters and their values Parameter Input (Input Source) : Input1 : Input2 : Recording Setup : REC Sample Setup : 2.REC Audio Input 1. Initialize Analog, S/P DIF*1 Level 127 Pan L000 Bus Select Off Send1 000 Send2 000 Level 127 (Source Audio)*2 3.Auto Resampl e through IFX Analog, S/P DIF*1 Copy Tone Adjust Copy Tone Adjust Copy Tone Adjust is available on the Control Surface page when CONTROL ASSIGN is set to TONE ADJUST.
Program mode: HD-1 3. To execute the Reset Tone Adjust command, press the OK button. To exit without resetting the controls, press the Cancel button. 1. Select “Copy Vector Envelope” to open the dialog box. Copy Oscillator Copy Oscillator is available on all of the tabs under the Basic/Vector, OSC/Pitch, Filter, Amp/EQ, and AMS Mix/Common Key Track pages. This command is used to copy the settings from one oscillator to another. 1. Select “Copy Oscillator” to open the dialog box. 2.
Program: Page Menu Commands 3. Select the copy-source pad number. If you want to copy all settings for pads 1–8, check the All option. 4. Use the “To” field to specify the copy-destination pad. Note: Executing this command will copy the note number and velocity value. The MIDI channel is not copied. 5. Press the OK button to execute the Copy Pad Setup command, or press the Cancel button to cancel.
Program mode: HD-1 This option is available only when the Oscillator Mode is set to Double. 6. If you want to copy the note and velocity settings of pads 1–8, turn “Pads” on. 1. Select “Sync Both EGs.” 7. Press the OK button to execute the Copy KARMA Module command, or press the Cancel button if you decide to cancel. The LCD screen will indicate “Sync Both EGs,” and the two EGs will be synchronized.
Program: Page Menu Commands In addition to the content copied when “GE RTP Control Setting & Scenes” is Off (unchecked), the following content is copied. •7–5: GE RTP page “ASSIGN” and “POLARITY” settings. •The KARMA CONTROLS slider and KARMA SWITCH settings of each scene in the copysource buffer, and the currently selected scene.
Program mode: HD-1 When you are listening to the randomly changing phrases generated each time a KARMA Module is triggered, and you hear a phrase that you would like to reproduce consistently each time you trigger that GE, you can execute this command to capture the seed that resulted in that phrase. For more information, see “Checking the Freeze Randomize function, and performing “Capture Random Seed”” on page 148. 1. Select “Capture Random Seed” to open the dialog box. 2.
Program: Page Menu Commands Phase Pattern of 8 steps (bars), so it may not sound always as if it is restarting every 2 bars, because of the internal settings of the Phase Pattern. It will repeat the same randomizations, but not necessarily restart the riff from the beginning. However, this can also be useful for getting the same rhythm and note movements, with a longer evolving phrase. Copy Insert Effect Example: Capture Random Seed has set “Start Seed” to a value of +0254861235 9.
Program mode: HD-1 From (Mode) [Program, Combination, Song, Sampling Mode] All of the parameters shown on the IFX 1-12 pages will be copied. This selects whether you’ll copy from a Program, a Combination, a Song, or the current Sampling Mode settings. Other IFX slot parameters will not be affected, including Pan, Sends 1 and 2, Chain, REC Bus, and FX Control Bus. From (Bank and Number) 1. Select “Swap Insert Effect” to open the dialog box.
Program: Page Menu Commands Cut IFX Slot • Don’t use the Insert IFX Slot command. Instead, remove the unwanted IFX slot by changing the Chain to settings, or by using the Copy IFX or Swap IFX commands. Auto Chain: on: If the IFX you’ve inserted is located within a chain, the Chain setting will automatically be turned on for the inserted IFX so that it will be chained with the preceding and following IFX. If the IFX you’ve inserted is not inside a chain, Auto Chain does nothing. 5.
Program mode: HD-1 Drum Kits not supported by Auto Routing Drum Kits can store separate Bus Select settings for each key. Because these settings are stored in the Drum Kit, and not the Program, the Auto Routing option can’t correct them. Drum Kit Programs will use these separate Bus Select settings if the IFX Routing page’s Use DKit Setting parameter is turned On. In this case, you have two options.
Program: Page Menu Commands Copy MFX/TFX If the program uses a drum kit, and the Routing page “Use DKit Setting” is on, you may have to change the Bus Select setting for each key of the drum kit in order to reproduce the previous routing status. In such cases, don’t use the “Clean Up IFX Routings” command. Instead, rearrange the IFX slots by making the appropriate Chain to settings or by using the “Copy Insert Effect” or “Swap Insert Effect” commands.
Program mode: HD-1 Swap MFX/TFX Swap MFX/TFX is available on all of the MFX/TFX pages. This command swaps (exchanges) settings between MFX1, MFX2, TFX1, and TFX2. 1. Select “Swap MFX/TFX” to open the dialog box. 2. Use “Source 1” and “Source 2” to select the master effect(s) or total effect(s) that you want to swap. 3. To execute the Swap Master/Total Effect command, press the OK button. To cancel, press the Cancel button.
Program mode: EXi EXi Program P0: Play • Select Programs These standard parameters are available in the pages under the Common button, and are described in this chapter. • Jump directly to the main editing pages Auto Song Setup • Make basic edits to KARMA The Auto Song Setup feature copies the current Program or Combination into a Song, and then puts the OASYS in record-ready mode. This is the main page of Program mode for EXi Programs.
Program mode: EXi You can select Banks either via the on-screen menu, or by using the front-panel Bank buttons. Program Select [000…127, Name] This is name and number of the current Program. When this parameter is selected, you can select Programs using the Inc and Dec buttons, numeric buttons 0-9, or the Value dial. You can also use the pop-up Program and Category menus to select Programs from the LCD.
EXi Program P0: Play 0–7: Controller View/Effects 0–7: Controller View/Effects This page shows the functions assigned to the physical controllers, including the vector joystick, SW1 and 2, and knobs 5–8. It also includes an overview of all of the effects, and lets you adjust the Wet/Dry Balances separately for the IFX, MFX, and TFX. It works exactly like the similar page for HD-1 Programs; for more information, see “0–7: Controller View/Effect” on page 10.
Program mode: EXi EXi Program P4: Basic/Vector These pages control the basic elements of the Program, along with the Vector synthesis features.
EXi Program P4: Basic/Vector • Mono Legato • Mono mode (Normal or Use Legato Offset) • Unison (Voice Assign Mode) [Poly, Mono] 4–1: Program Basic On (checked): When you play with legato phrasing, the notes within a legato phrase will sound smoother, according to the setting of the Mode parameter, below. Off (unchecked): Legato phrasing will produce the same sound as detached playing. These radio buttons select the basic voice allocation mode.
Program mode: EXi Chord [Off, Bsc, Adv] case, intermediate settings of Stereo Spread may be the most effective, since they will still preserve some of the original stereo image. Bsc (Basic) re-creates the chord mode of the KORG Polysix. Each time you play a new chord, it will cut off the previous chord. This option ignores the Voice Assign settings. Unison detuning is spread as evenly as possible across the left and right channels.
EXi Program P4: Basic/Vector 01-09: Unison voices will be detuned in an asymmetric way, increasing the complexity of the detune, and changing the way in which the different pitches beat against one another. This creates an effect similar to vintage analog synthesizers, in which oscillators were frequently slightly out of tune. Higher numbers increase the effect. You can create keyboard splits by setting top and bottom keys for EXi 1 and 2.
Program mode: EXi The OASYS will automatically sense when a halfdamper is connected to the rear-panel DAMPER input. For proper operation, you will also need to calibrate the pedal, using the Calibrate Half-Damper command in the Global page menu. The off and full-on positions of the half-damper work just like a standard footswitch. In conjunction with the Enable Half-Damper parameter, below, intermediate positions allow a graduated control of sustain, similar to the damper pedal of an acoustic piano.
EXi Program P4: Basic/Vector 4–2a: EXi 1 Input Source [Off, Audio Input 1/2...3/4, S/P DIF Input L/R, L/R Output, Indiv. Output 1/2...7/8, REC 1/2, 3/4, FX Control 1, 2, IFX 1...12, MFX 1, 2, TFX 1, 2] This selects the input source for EXi1. You can use this to create a feedback loop, if desired. Off disables the input. Audio Input 1/2…3/4 and S/P DIF Input L/R use the live audio from the selected input. L/R Output and Indiv.
Program mode: EXi • 0: Write Program. For more information, see “Write Program” on page 138. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. 4–9: Set Up Pads This page lets you view and edit the note assignments for the 8 drum pads. It works exactly like the similar page for HD-1 Programs; for more information, see “1– 9: Set Up Pads” on page 46. ▼ 4–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
EXi Program P5: Modulation 5–1: Common Step Seq EXi Program P5: Modulation The entire Program shares several modulation sources, including: • A single Common LFO, shared by all the voices similar to the global LFO on some vintage analog synths • Two Common Key Tracking generators, which are set up for the entire Program, but then calculated individually for each voice These pages let you set up these Program-wide modulation sources.
Program mode: EXi For example, to play an ascending chromatic scale, set the step values to 0, +4, +8, +12, +16, and so on. One octave up is +48, and two octaves up is +96. may mean that the Step Sequencer doesn’t reset at all. If this happens, reduce the Threshold until the Step Sequencer triggers consistently. 5–1a: Step Sequencer 5–1c: Value AMS Input Mode [Loop, One Shot] [AMS Sources] Loop makes the Step Sequence loop continuously between the Start Step and the End Step.
EXi Program P5: Modulation 5–2: Common LFO Value Duration Reset x2 Resets the “Value” of each step to 000. This doubles the duration of the steps or the “x (Multiply Base Note by…)” value. For example, it would turn eighth notes into quarter notes, and quarter notes into half notes. Smooth Automatically adjusts the “Value” of each step so that they are smoothly connected. Exp/Comp When you press the Exp/Comp button, the Step Sequence Value dialog box will appear.
Program mode: EXi EXi Program P8: Insert Effect This pages let you control the Program’s twelve Insert Effects (IFX). They work exactly like the similar pages for HD-1 Programs; for more information, see “Program P8: Insert Effect” on page 123. EXi Program P9: Master/Total Effect This pages let you control the Program’s two Master Effects (MFX) and two Total Effects (TFX). They work exactly like the similar pages for HD-1 Programs; for more information, see “Program P9: Master/Total Effect” on page 134.
EXi Program: Page Menu Commands 5–3: Common Keyboard Track EXi Program: Page Menu Commands Copy EXi Oscillator This command copies the oscillator settings of a EXi program. 1. Select “Copy EXi Oscillator” to open the dialog box. step sequencer. Only EXi which actually contain per-voice step sequencers will appear in the EXi 1/2 selection. 3. Use the “Program” field to select the bank and number of the copy-source program. You can also use the BANK SELECT switches to select a bank.
Program mode: EXi 170
EXi: AL-1 Analog Synthesizer AL-1 Overview • Two key tracking generators and two modulation mixers The AL-1 is Korg’s most full-featured virtual analog synthesizer to date. It’s played from within EXi Programs, so you can layer it with any other EXi–or layer two AL-1s together.
EXi: AL-1 Analog Synthesizer EXi Program P0: Play 0–1: Main 0–1b This is the main page of Program mode. For a full description of this page and all of its functions, please see “EXi Program P0: Play” on page 155. This section describes only the overview display, which differs for each individual EXi. 0–1b: Overview and Page Jump This part of the page shows an overview of the most important settings for the Program’s two EXi instruments.
EXi Program P0: Play 0–1: Main EGs, LFOs, and Step Sequencer Step Sequencer Graphic This shows a graphic overview of the per-voice step sequencer. Press this area to jump to the Step Sequencer page. EG 1…4, Amp EG Graphics These show the shapes of the five EGs. Touch any of them to jump directly to the corresponding edit page. LFO 1, 2, 3, 4 Graphic These show the waveforms and shapes of the four LFOs. Touch any of them to jump directly to the corresponding edit page.
EXi: AL-1 Analog Synthesizer Program P4: OSC Pitch These pages control the most basic elements of AL-1’s sounds: the waveforms that the oscillators play, and the pitch at which it plays them. For instance, you can: • Select the waveforms for Oscillator 1, Oscillator 2, and the Sub-Oscillator. • Set the basic pitch of the sound, including the octave, fine tuning, and so on. • Control pitch modulation from a wide variety of sources, such as JSX, the ribbon, LFOs, and EGs.
Program P4: OSC Pitch Detuned Saw 1 produces two detuned sawtooth waveforms simultaneously. Detune controls the amount of detuning, and Wave Morph adjusts the volume of the second sawtooth. Detuned Saw 2 is similar to Detuned Saw 1, except that the second sawtooth is 180 degrees out of phase. This produces a timbre similar to pulse width modulation, with the Detune parameter controlling both detune and the speed of the PWM effect. Triangle produces a pure tone with relatively few overtones.
EXi: AL-1 Analog Synthesizer Frequency Note: The Sub-Oscillator’s frequency is always exactly one octave below that of Oscillator 1. This means that adjusting any of the controls in this section, including Octave, Transpose, Tune, and Frequency Offset, will affect the Sub-Oscillator as well as Oscillator 1.
Program P4: OSC Pitch 4–2: Sub/Noise/Ring Mod ▼ 4–1: Page Menu Commands • 0: Write Program. For more information, see “Write Program” on page 138. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138.
EXi: AL-1 Analog Synthesizer Carrier [OSC 2, Ext Input] Selects the carrier source for the ring modulator. Ext Input uses the audio input selected under Sub OSC/Audio Input, on the Mixer page. For more information, see “4–3c: Sub OSC/Audio Input” on page 179. 4–2c: Noise Generator The noise generator includes Saturation, for creating unique and chaotic noise effects, and a dedicated 1pole filter to control noise color. For standard white noise, set the Saturation to 0, and the Filter Frequency to 99.
Program P4: OSC Pitch AMS [List of AMS Sources] This selects an AMS source to control the Oscillator 1 Level. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. Intensity [–99…+99] This controls the depth and direction of the Oscillator 1 Level AMS modulation. Balance [0…99] This controls the filter routing for Oscillator 1. It applies only when the Filter Routing is set to either Serial or Parallel; otherwise, it is grayed out.
EXi: AL-1 Analog Synthesizer 4–4: Pitch Common 4–4PMC 4–4a 4–4b 4–4c This page lets you modulate the pitch of Oscillators 1, 2, and the Sub Oscillator simultaneously, so that the modulation applies equally to all three oscillators. For example, you can: • Set up pitch bend from both Joystick X (with separate settings for bending up and bending down) and the ribbon controller.
Program P4: OSC Pitch 4–4b: Portamento Portamento lets the pitch glide smoothly between notes, instead of changing abruptly. Enable [Off, On] On (checked): Turns on Portamento, so that pitch glides smoothly between notes. Off (unchecked): Turns off Portamento. This is the default state. Fingered Now, the selected switch will enable and disable Portamento. It will also send the MIDI Portamento controller, CC#65.
EXi: AL-1 Analog Synthesizer 4–5: Pitch EG/Mod 4–5PMC 4–5a 4–5b 4–5c 4–5d This page lets you modulate the pitches of Oscillators 1 and 2 separately–as opposed to the Pitch Common page, whose controls affect both Oscillators at once. All pitch modulation for Oscillator 1 also affects the Sub Oscillator. 4–5a: OSC 1 & Sub OSC Pitch EG EG Select [Filter EG 1, Pitch EG 2, EG 3, EG 4, Amp EG This selects an EG to modulate the pitch of Oscillator 1 and the Sub Oscillator.
Program P4: OSC Pitch Intensity Mod AMS 4–5: Pitch EG/Mod [List of AMS Sources] You can modulate AMS 1’s Intensity from another AMS source. This selects that source. Intensity [+/-48.00 semitones] This controls the depth and direction of the Intensity Mod AMS, in semitones. The result is summed with the main AMS 1 Intensity to produce the final pitch modulation amount.
EXi: AL-1 Analog Synthesizer Program P5: Filter 5–1: Filter Basic 5–1PMC 5–1a 5–1b 5–1c Interaction between the filters and the mixer When the Filter Routing is set to either Single or 24dB/oct, the routing from the Oscillator section into the Filter section is fairly simple. There’s only a single filter, and that filter processes all of the Oscillator elements. Things can get more interesting when the Filter Routing is set to Serial or Parallel.
Program P5: Filter 5–1a: Routing Filter Routing [Single, Serial, Parallel, 24dB/oct] There are two filters, Filter A and Filter B. This parameter controls whether one or both of the filters are used, and if both are used, it controls how they are connected to each other. Single. This uses only Filter A as a single 2-pole, 12dB/octave filter (6dB for Band Pass and Band Reject). When this option is selected, the controls for Filter B will be grayed out.
EXi: AL-1 Analog Synthesizer AMS [List of AMS Sources] This selects a modulation source to control the Output Level. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. Intensity [–99…+99] This controls the depth and direction of the Output Level modulation. Frequency [00…99] This controls the cutoff frequency of Filter A, in increments of 1/10 of an octave.
Program P5: Filter 5–2: Multi Filter 5–2: Multi Filter 5–2PMC 5–2a 5–2b 5–2c 5–2d This page is available only when the Filter A Type is set to Multi Filter. 5–2b: Mode Crossfade What’s a Multi Filter? Mode 1 Standard multimode filters generate lowpass, highpass, and bandpass filters simultaneously - but only allow you to use one of them at a time. This sets the filter type for Mode 1.
EXi: AL-1 Analog Synthesizer Intensity [–99…+99] Lowpass [–99…+99] This controls the depth and direction of the Mode 1-2 Crossfade modulation. This controls the volume of the Lowpass filter output. Negative values invert the phase. Intensity Mod AMS Highpass [List of AMS Sources] This selects an AMS source to modulate the intensity of the main Mode 1-2 Crossfade AMS. For instance, you can set AMS to use one of the LFOs, and then set the Intensity Mod AMS to JS -Y.
Program P5: Filter Bottom-Low 5–3a: Keyboard Track Most acoustic instruments get brighter as you play higher pitches. At its most basic, keyboard tracking recreates this effect by increasing the cutoff frequency of a lowpass filter as you play higher on the keyboard. Usually, some amount of key tracking is necessary in order to make the timbre consistent across the entire range.
EXi: AL-1 Analog Synthesizer Please take these names as suggestions, rather than restrictions. If you like, you’re free to use these EGs to control any EG or AMS destination, or to use other EGs to control Filter Frequency and Pitch. When Link is On, or when the Filter Routing is set to Single or 24dB/oct, all of these parameters are grayed out. Velocity Intensity ▼ 5–3: Page Menu Commands [–99…+99] This lets you use velocity to scale the amount of the EG applied to Filter A.
Program P5: Filter 5–4: Filter LFO Mod 5–4: Filter LFO Mod 5–4PMC 5–4a 5–4b For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. There are three LFO-to-Frequency controls for each filter: a basic amount (LFO Intensity), joystick -Y control of LFO amount (JS- Y Intensity), and AMS control of LFO amount (AMS Intensity). The three controls are summed together to determine the final LFO amount.
EXi: AL-1 Analog Synthesizer Program P6: Amp These pages let you control the sound’s volume (also called “amplitude,” or “amp” for short), pan, and Drive, as well as its dedicated amp envelopes and keyboard tracking generators. For instance, you can: • Set the pan position and pan modulation. • Control amp level and modulation, including keyboard tracking, the amp envelope, LFO modulation, and AMS control. • Set up the Driver circuit, which adds saturation and bass boost to the timbre.
Program P6: Amp Low Boost [0…99] This low-frequency EQ controls the body character of the sound. The specific EQ frequencies affected will change with the Drive setting. Higher amounts increase the bass boost, and will also intensify the effect of the Drive parameter. AMS [List of AMS Sources] 6–1: Amp/Driver You can also control pan via MIDI Pan (CC#10).
EXi: AL-1 Analog Synthesizer 6–2: Amp Modulation 6–2PMC 6–2a 6–2b This page contains the settings for Oscillator 1’s Amp level modulation. Among other things, you can: Center [C–1…G9] • Set up complex keyboard tracking shapes to control the Amp level. This sets the center of the keyboard tracking. At this key, the keyboard tracking has no effect on the volume, or on any AMS destinations. • Assign AMS modulation for the Amp level. High Break • Control the effect of the LFOs on the Amp level.
Program P6: Amp Center-High [-Inf, –99…+99, +Inf] Intensity Mod AMS 6–2: Amp Modulation [List of AMS Sources] This sets the slope between the Center and High Break keys. For normal key track, use positive values. This selects a secondary AMS modulation source to scale the intensity of AMS2. High-Top For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. [-Inf, –99…+99, +Inf] This sets the slope between the High Break key and the top of the MIDI note range.
EXi: AL-1 Analog Synthesizer 6–3: Amp EG 6–3PMC 6–3a 6–3b 6–3c 6–3d The AL-1’s Amp EG is identical to the HD-1’s. For more detailed explanations of the Amp EG features, please see “4–3: Amp1 EG,” on page 78. may mean that the EG doesn’t reset at all. If this happens, reduce the Threshold until the EG triggers consistently. Other envelopes can be used as additional controls via AMS, if desired. 6–3b: Amp EG 6–3a: EG Reset These parameters specify how the amp EG will change over time.
Program P6: Amp Time 6–3c: Level Modulation Higher values mean longer times. For a chart showing equivalents in milliseconds, please see “Time” on page 79. Attack [00…99] This sets how long the EG takes to move from the Start level to the Attack level. The minimum attack time is 2/3 of a millisecond–as fast as the most punchy of classic analog synths. For the fastest possible attack time, you can set the Start level to +99; in this case, the EG will start instantaneously at its maximum value.
EXi: AL-1 Analog Synthesizer Release [–99…+99] This controls the depth and direction of the AMS modulation for the Release time. AMS2 and AMS3 These select the second and third AMS sources, respectively, for controlling the EG’s Time parameters. Each has its own intensities for Attack, Decay, Slope, and Release. The parameters of both AMS2 and AMS 3 are identical to those of AMS1, above. ▼ 6–3: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Program P7: EG 1-4 7–1: EG 1 (Filter) Program P7: EG 1-4 There are four assignable EGs, in addition to the Amp EG. Each of these can be used as an AMS modulation source to control a wide variety of parameters. There are also four parameters with dedicated EG modulation inputs: Pitch for Oscillators 1 and 2, and Frequency for Filters A and B. Any of the four EGs can be used for these modulation routings. In the midst of all this flexibility, we thought it would also be good to provide a little structure.
EXi: AL-1 Analog Synthesizer to these values may cause inconsistent behavior, or may mean that the EG doesn’t reset at all. If this happens, reduce the Threshold until the EG triggers consistently. 7–1b: Envelope EG Attack Level Break Level Sustain Level Start Level Decay Time Note-on or reset Slope Time Release Time Note-off Envelopes create 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.
Program P7: EG 1-4 For instance, if the EG is in the middle of the Decay time, you can no longer modulate either the Decay time or the Break level. EG Curve Curve = 0 (Linear) Curve = 10 (Exp/Log) Curve = 0 (Linear) Curve = 10 (Exp/Log) As another example, let’s say that you’ve assigned the Common LFO to modulate Break Level. The LFO may be moving all the time, but the Break Level is only affected by the LFO’s value at the instant that the Decay segment starts. After that, the level is fixed.
EXi: AL-1 Analog Synthesizer Attack [–99…+99] This controls the depth and direction of the AMS modulation for the Attack time. When the AMS source is at its maximum value–for instance, when Velocity is at 127–a setting of +8 will make the segment time almost twice as long, and a setting of -8 will cut the segment time almost in half. For example, if you set the AMS source to Velocity and set Attack to +99, the Attack time will get much longer at higher velocities.
Program P8: Step Seq/LFO 8–1: Step Sequencer Program P8: Step Seq/LFO 8–1: Step Sequencer 8–1d 8–1PMC 8–1a 8–1a 8–1b 8–1c The Step Sequencer creates complex, rhythmic patterns, for use as an AMS modulation source. For instance, you can modulate a filter to create sampleand-hold effects, modulate pitch to create melodic patterns, or modulate amplitude to create pulsing, triggered-gate effects. (For more information, see “Creating melodic patterns with the Step Sequencer” on page 165.
EXi: AL-1 Analog Synthesizer When Key Sync is Off, the Step Sequencers for all notes are synchronized together (unless the Start Step is modulated by note-specific AMS sources). The first note in a legato phrase will start from the Start Step; subsequent notes will play in sync with that first note. x (Multiply Base Note by…) 1-32 8–1b: Sequencer Reset Command buttons [List of AMS Sources] Step This selects an AMS source to reset the sequence to the Start Step.
Program P8: Step Seq/LFO /2 This halves the duration of the steps or the “x (Multiply Base Note by…)” value. For example, it would turn quarter notes into eighth notes, and eighth notes into sixteenth notes. ▼ 8–1: Page Menu Commands 8–2: LFO 1 • 0: Write Program. For more information, see “Write Program” on page 138. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy Step Sequencer. For more information, see “Copy Step Sequencer” on page 169.
EXi: AL-1 Analog Synthesizer Most of the waveforms should be self-explanatory, but a few will benefit from more details: Guitar is intended for guitar vibrato, and its shape is specifically tuned for this purpose. The waveform is positive-only, so that when used for pitch, it will only bend up, and not down. Random1 (S/H) generates traditional sample and hold waveforms, in which the level changes randomly at fixed intervals of time. Random2 (S/H) randomizes both the levels and the timing.
Program P8: Step Seq/LFO Offset [–99…+99] By default, almost all of the LFO waveforms are centered around 0, and then swing all the way from -99 to +99. This parameter lets you shift the LFO up and down, so that–for instance–it’s centered on 50, and then swings from -49 to +149. For example, let’s say that you’re using an LFO for vibrato. If the Offset is 0, the vibrato will be centered on the note’s original pitch, bending it both up and down.
EXi: AL-1 Analog Synthesizer x (Multiply Base Note by…) 8–2c: Frequency MIDI/Tempo Sync MIDI/Tempo Sync [Off, On] On (checked): When MIDI/Tempo Sync is On, the LFO will synchronize to the system tempo, as set by either the Tempo knob or MIDI Clock. The LFO speed will be controlled by the Base Note and Multiply parameters, below. All settings for Frequency and Frequency Modulation will be ignored.
Program P9: AMS Mixer 9–1: AMS Mixer Program P9: AMS Mixer The AMS Mixers combine two AMS sources into one, or process an AMS source to make it into something new. For instance, they can add two AMS sources together, or use one AMS source to scale the amount of another. You can also use them to modify the response of realtime controllers. The AMS Mixer outputs appear in the list of AMS sources, just like other controllers.
EXi: AL-1 Analog Synthesizer Tone Adjust AL-1 Tone Adjust Default Settings Oscillators 1 & 2 Width/Phase/Detune AMS Intensity Filters A & B EG Intensity FM Amount Drive LFOs 1 & 2 Speed Switches 1–5: Mixer Mutes OSC 1, OSC 2, Sub OSC/Audio, Ring Mod, Noise Switches 7 & 8: LFOs 1 & 2 Stop Switch 6: Sync On/Off EG 1 (Filter) ADSR Amp EG ADSR Tone Adjust provides an elegant physical interface to the AL-1’s parameters. Most of the factory sounds use the default layout, as shown above.
Tone Adjust 9–1: AMS Mixer EGs In addition to supporting the standard Tone Adjust EG parameters, the AL-1 adds the following separate controls for both EG3 and EG4: • Attack time (relative) • Decay & Slope time (relative) • Sustain level (relative) • Release time (relative) LFOs In addition to supporting the standard Tone Adjust LFO parameters, the AL-1 adds the following separate controls: • LFO 3 Speed (relative) • LFO 3 Fade (relative) • LFO 3 Delay (relative) • LFO 3 Stop (absolute) • LFO 4 Speed (re
EXi: AL-1 Analog Synthesizer EXi AL-1: Page Menu Commands Copy Envelope This copies settings from one AL-1 envelope to another. 1. Select “Copy Envelope” to open the dialog box. 2. Use the “Source 1” and “Source 2” fields to select the two LFOs you want to swap. 3. Press the OK button to execute the Swap LFO operation. If you decide not to execute, press the Cancel button. 2. Use the “From” field to select the copy-source envelope. 3. Use the “To” field to select the copy-destination envelope. 4.
EXi: CX-3 Tonewheel Organ CX-3 Overview Because of this, you can use only four CX-3s simultaneously in a Combination or Song. If other EXis with fixed resources are in use, the maximum number of CX-3s will be reduced accordingly. Each EXi in each Program counts towards the maximum; for instance, a Program with two CX-3s counts as two, not as one. The CX-3 is a detailed model of a classic tone-wheel organ, based on Korg’s ground-breaking CX-3 keyboard.
EXi: CX-3 Tonewheel Organ EXi Program P0: Play 0–1: Main 0–1b This is the main page of Program mode. For a full description of this page and all of its functions, please see “EXi Program P0: Play” on page 155. This section describes only the overview display, which differs for each individual EXi. 0–1b: Overview and Page Jump This part of the page shows an overview of the most important settings for the Program’s two EXi instruments.
EXi Program P0: Play 0–1: Main Lower Drawbars Common Step Sequencer This shows the Lower drawbar settings. Press this area to jump to the Drawbars page. This shows a graphic overview of the Common Step Sequencer. V/C On/Off Press this area to jump to the Common Step Sequencer page. This shows whether the Vibrato/Chorus is turned on or off for the Lower drawbars. Common LFO Graphic Press this area to jump to the Amp/Vibrato/Chorus page. This shows the waveform of the Common LFO.
EXi: CX-3 Tonewheel Organ Program P4: Basic 4–1: Basic 4–1PMC 4–1a 4–1b 4–1c Drawbar Level Curve 4–1a: Drawbar Mode Drawbar Mode [Normal, EX] This is a basic control, which affects the parameters available in the Drawbars and Percussion sections. Normal mode models a standard tone-wheel organ, with 9 drawbars and single-pitch percussion. EX mode adds four additional drawbars, with pitches adjustable in half-step increments between 16’ and two octaves above 1’.
Program P4: Basic The noise includes both colored broad-band noise and tone wheel leakage. The amount of leakage within the noise is scaled by Leakage Level, described above. Gate Type [Clean, Dirty] This affects the sound character when notes are turned on or off. It is similar in concept to Key Click, below, but has a different timbral character. Clean does not add any additional gate noise. Dirty adds a small amount of noise at note-on and note-off, for a small amount of extra punch.
EXi: CX-3 Tonewheel Organ emphasized. The Amp section interacts with Expression; for more details, see “7–1a: Amp,” on page 226. To allow optimal modulation flexibility, the AMS works differently from most other parameters. See Mode, below, for more details. Expression Minimum [0…30] This specifies the minimum level when the Expression Level parameter or Expression AMS are at 0. Expression Level [0…99] This sets the default Expression level.
Program P5: Split & Drawbars 5–1: Keyboard Split Program P5: Split & Drawbars You can set up the organ to use a single sound across the entire keyboard, or to split the keyboard between two different sets of drawbars. 5–1: Keyboard Split 5–1PMC 5–1a ▼ 5–1: Page Menu Commands 5–1a: Split Split Enable [Off, On] This turns the split on and off. When Split is Off, only the Upper drawbars will be used. AMS [List of AMS Sources] This allows you to assign an AMS source to toggle the split on and off.
EXi: CX-3 Tonewheel Organ 5–2: Drawbars 5–2PMC 5–2a 5–2b The drawbars are the heart of the CX-3. These settings control the basic harmonic content of the sound, the perceived fundamental pitch, and the basic volume level. Use Tone Adjust for physical drawbars Using Tone Adjust, you can map the drawbars to the nine front-panel sliders, including both sliders 1-8 and the Master slider.
Program P5: Split & Drawbars 5–3: EX Drawbars ▼ 5–2: Page Menu Commands • 0: Write Program. For more information, see “Write Program” on page 138. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138.
EXi: CX-3 Tonewheel Organ 5–3c and 5–3d: Upper EX Drawbars These parameters control the individual EX drawbar pitches and volume levels for the Upper split. The controls are identical to those for the Lower EX Drawbars, as described above. ▼ 5–3: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Program.
Program P6: Percussion 6–1: Percussion Program P6: Percussion Percussion adds a pitched attack to the notes, for a more crisp, punchy timbre. When you play legato, percussion will only sound for the first note in the phrase. 6–1: Percussion 6–1c 6–1PMC 6–1a 6–1b 6–1d 6–1a: Percussion Percussion [Off, On] Note that the Percussion Level parameter can also affect the volume of the drawbars, as controlled by the Loud Drawbar Attenuation parameter. This toggles the Percussion section on and off.
EXi: CX-3 Tonewheel Organ This parameter controls the difference in drawbar volume between the Soft and Loud Percussion settings. [Slow, Fast] This toggles the Percussion Decay time between Slow and Fast. The actual decay times are determined by the Fast Decay Time and Slow Decay Time parameters, below. AMS [List of AMS Sources] This selects an AMS source to switch the Percussion Decay time between Slow and Fast. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967.
Program P6: Percussion 6–2: EX Percussion This section is grayed out when Drawbar Mode is set to Normal. 6–2a: EX Percussion Normal Percussion [0…8] This sets the volume of the 2nd or 3rd harmonic (2-2/3’ or 4’ drawbars), depending on the setting of the Percussion Harmonic parameter. 16’ [0…8] This sets the volume of the 16’ drawbar within the Percussion pulse. 5 1/3’ [0…8] This sets the volume of the 5-1/3’ drawbar within the Percussion pulse.
EXi: CX-3 Tonewheel Organ Program P7: Amp, V/C, Rotary Speaker 7–1: Amp & V/C 7–1PMC 7–1b 7–1a 7–1c 7–1d 7–1e 7–1f 7–1a: Amp Amp Type 7–1b: EQ [Type 1, Type 2, Pre Amp] This selects the type of amp model. [-10…+10] This adjusts the high frequency range of the amp, as selected by Amp Type. Type 1 is a standard powered amp for organ, producing a warm, fat tone. Mid [-10…+10] Type 2 emphasizes the high range more than Type 1, producing a less colored tone.
Program P7: Amp, V/C, Rotary Speaker AMS [List of AMS Sources] This selects an AMS source to turn Vibrato/Chorus on or off for the Upper Drawbars. AMS Mode [Toggle, Momentary] This determines the behavior of the Vibrato/Chorus AMS for the Upper drawbars. For details, see “AMS Mode” on page 218. Lower Drawbars V/C [Off, On] This routes the lower drawbars through the Vibrato/Chorus. AMS [List of AMS Sources] This selects an AMS source to turn Vibrato/Chorus on or off for the Upper Drawbars.
EXi: CX-3 Tonewheel Organ Pan [Random, L001…C064…R127] This controls the stereo pan of the organ. A setting of L001 places the sound at the far left, C064 in the center, and R127 to the far right. When this is set to Random, the Pan position will change at each note-on. Note that all notes of the CX-3 share the same Pan value, and will move together to the new position. You can also set the Pan directly from the Control Surface knobs. To do so: 1. Press the Control Surface Timbre/Track button. 2.
Program P7: Amp, V/C, Rotary Speaker AMS Mode [Momentary, Toggle] 7–2: Rotary Speaker This determines the behavior of the Rotary Speaker on/off AMS. For details, see “AMS Mode” on page 218. both the Fast and Slow settings, as well as the time that it takes them to speed up and slow down. For more information, see the Horn and Rotor sections below, on page 229. Rotary Speaker Off Output AMS [Pre-Crossover, Post-Crossover] This determines the sound when the Rotary Speaker is turned Off, above.
EXi: CX-3 Tonewheel Organ Horn Mic Distance [000…100] This adjusts the distance between the Horn and its microphones. Lower values bring the mics closer to the speaker. Horn Mic Spread [000…100] This adjusts the distance between the two Horn microphones, to widen the stereo field. Higher values increase the stereo effect. 7–2d: Rotor The rotor carries the low frequencies of the Rotary Speaker. Its parameters are identical to those of the Horn, above.
Program P9: AMS Mixer 9–1: AMS Mixer Program P9: AMS Mixer The AMS Mixers combine two AMS sources into one, or process an AMS source to make it into something new. For instance, they can add two AMS sources together, or use one AMS source to scale the amount of another. You can also use them to modify the response of realtime controllers. The AMS Mixer outputs appear in the list of AMS sources, just like other controllers.
EXi: CX-3 Tonewheel Organ Tone Adjust CX-3 Tone Adjust Default Settings V/C Type Amp Gain Expression Noise Level Leakage Level EQ Bass EQ Mid EQ Treble Switch 7: Wheel Brake Switches 1–4: Percussion On/Off, Fast/Slow, Loud/Soft, 2nd/3rd Switch 8: Split On/Off Switches 5–6: Vibrato/Chorus Lower On/Off, Upper On/Off Switches 14–16: Rotary Speaker On/Off, Rotate/Stop, Slow/Fast Upper Drawbars 1–9 Tone Adjust provides an elegant physical interface to the CX-3’s parameters.
Changes from the original CX-3 9–1: AMS Mixer Changes from the original CX-3 With the OASYS CX-3, Korg has taken the original, ground-breaking CX-3 model and made it even better. If you’d like to convert sounds from the original CX-3, the following notes describe these changes in detail. Noise Level range improved Rotary Speaker Horn speeds improved The maximum speed of the Horn has been increased to about twice that of the CX-3; the minimum speed is still the same.
EXi: CX-3 Tonewheel Organ EXi CX-3: Page Menu Commands Copy Drawbars This copies drawbar or EX drawbar settings within the CX-3 oscillator. 1. Select “Copy Drawbars” to access the dialog box. 2. Use the “From” field to specify the copy-source drawbars. 3. Use the “To” field to specify the copy-destination drawbars. 4. Press the OK button to execute the Copy Drawbars operation. If you decide to cancel, press the Cancel button.
EXi: STR-1 Plucked String STR-1 Overview The STR-1 Plucked String offers a comprehensive and sophisticated set of physical modeling synthesis tools, capable of creating both traditional sounds (acoustic and electric guitars and basses, clavinets and harpsichords, harps, bells, electric pianos, ethnic instruments, etc.) and unique, experimental timbres.
EXi: STR-1 Plucked String STR-1 Overview LFO1-4 LFO1 LFO1 LFO1 EG1-4 LFO1 LFO1 LFO1 String TrackLFO1 1-2 Fret Position AMS Mixer 1-4 LFO1 LFO1 LFO1 PCM Pickup 1 Pluck Pickup 2 Mixer + Noise Excitation Filter + String Feedback Damping & Disp.
EXi Program P0: Play 0–1: Main EXi Program P0: Play 0–1: Main 0–1b Excitation Pluck Excitation PCM Oscilltor Excitation (Mixer) Key Zone String (Main) String (Damping / Dispersion) This is the main page of Program mode. For a full description of this page and all of its functions, please see “EXi Program P0: Play” on page 155. This section describes only the overview display, which differs for each individual EXi.
EXi: STR-1 Plucked String Press this area to jump to the 5–1 Filter Basic page. Amp This shows the Amp section’s Pan and Amp Level values. Press this area to jump to the 6–1 Amp page. EGs and LFOs EG 1…4, Amp EG Graphics These show the shapes of the five EGs. Touch any of them to jump directly to the corresponding edit page. LFO 1, 2, 3, 4 Graphic These show the waveforms and shapes of the four LFOs. Touch any of them to jump directly to the corresponding edit page.
Program P4: String 4-1: Pluck and Noise Program P4: String 4-1: Pluck and Noise 4–1PMC 4–1a 4–1b Resonant Pulse. This is similar to Smooth Pulse, but brighter and more resonant. 4-1a: Pluck Type [Ac Guitar 1…Harpsichord] This selection models different types of plucking actions, including picks and finger-plucking. The pluck type sets the basic tone of the plucked string. You can also “pluck” the string using the Noise Generator, as well as PCM samples.
EXi: STR-1 Plucked String Delay (milliseconds) [0...250] You can delay the Pluck by up to 250ms after the initial note-on. This lets you create double-strike effects and complex attacks. For instance, try using an envelope with a slow attack time to control the volume or filter cutoff of the PCM Oscillator or Noise Generator, and then combining this with a delayed Pluck. AMS [List of AMS Sources] This selects a modulation source to control the Delay.
Program P4: String 4-2: PCM Oscillator 4-2: PCM Oscillator 4–2PMC 4–2a Using PCM in the STR-1 Using PCM samples to “pluck” the string Using the string as a comb filter for PCM You can use the string as a comb filter for the PCM Oscillator. To do so: In addition to the Pluck and the Noise Generator, you can also “pluck” the string with PCM samples.
EXi: STR-1 Plucked String These can change the character of the comb filter in interesting ways. Layering PCM with modeled string timbres Multisample Select You can also simply layer PCM samples with string timbres. To do so, set the Filter Routing to Parallel, and then use the Mixer page to route the PCM Oscillator to Filter A, and the String to Filter B (or viceversa). For more information, see “5-1a: Routing” on page 261, and “4-9: Mixer” on page 259.
Program P4: String 4-3: PCM Oscillator Pitch Similarly, RAM Multisamples can play either from the beginning of the waveform, or from the loop start point. MS2 (Mid Hi), MS3 (Mid Lo), and MS4 (Low) Start Offsets: ROM and EXs Multisamples These are the settings for the second, third, and fourth velocity zones. The parameters for MS2 and MS3 are exactly the same as those for MS1, as described above.
EXi: STR-1 Plucked String Frequency Offset [–10.0 Hz … +10Hz] This adjusts the pitch by increments of 0.1 Hz. Frequency Offset is different from Tune in that, when used to detune the two oscillators, it can create a constant beat frequency across the range of the keyboard. Pitch Slope [-1.00…+0.00…+2.00] [Off, On] This parameter allows you to control Portamento through your playing style. When it’s enabled, playing legato will turn on Portamento, and playing detached will turn it off again.
Program P4: String JS+Y Intensity [–48.00…+48.00] Moving the joystick “up” from the center detent position, away from yourself, produces the JS+Y controller. You can use this to scale the amount of the LFO applied to the pitch. This parameter sets the maximum amount of LFO modulation added by JS+Y, in semitones. As this value is increased, moving the joystick in the +Y direction will cause the LFO to produce deeper pitch modulation. 4-3: PCM Oscillator Pitch Intensity [-48.00…+48.
EXi: STR-1 Plucked String 4-4: Excitation Mixer 4–4PMC 4–4a 4–4b 4–4c 4–4d AMS 2 4-4a: PCM Oscillator Level [0…100] This controls the PCM Oscillator’s input level to the String. Phase Invert [Off, On] This inverts the phase of the PCM Oscillator’s input to the String. If you use two inputs, and one has an inverted phase, it’s as if they were pushing the string in opposite directions.
Program P4: String Low Pass. This cuts out the parts of the sound which are higher than the cutoff frequency. Low Pass is the most common type of filter, and is used to make bright timbres sound darker. High Pass. This cuts out the parts of the sound which are lower than the cutoff frequency. You can use this to make timbres sound thinner or more buzzy. Band Pass. This cuts out all parts of the sound, both highs and lows, except for the region around the cutoff frequency.
EXi: STR-1 Plucked String ▼ 4–4: Page Menu Commands • 0: Write Program. For more information, see “Write Program” on page 138. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138.
Program P4: String As a rule of thumb, harmonics which are multiples of the denominator will be silent. For instance, if the Position is set to 20.0, the ratio is 1/5, and so every fifth harmonic will be silent: 5, 10, 15, etc. This is like a comb filter, with successive, evenly-spaced notches. The graphic below shows the shape of this comb filter, and the resulting basic harmonic structure. (Comb filters are named because their shape looks a little like the teeth of a comb.
EXi: STR-1 Plucked String Use Excitation Position [Check-box] [0.0…100.0] This controls how hard the string is being pressed down. Non-zero settings can create interesting special effects–but for standard use, this should be left at 0.0, and then modulated via AMS. For instance: When this is checked, the rest of the Position parameters will be grayed out. 1. Follow the instructions under “Creating an initialized STR-1 Program” on page 242. Position 2.
Program P4: String AMS1 4-5c: Decay Decay [0…100] This controls the overall decay time of the string without affecting frequency content. This interacts with Damping, which controls the decay time for high frequencies. For more information, see “4-6a: Damping” on page 252. Note: the Amp EG still controls the output level of the STR-1 as a whole, so the final decay time will be a combination of the String Decay and the Amp EG.
EXi: STR-1 Plucked String 4-6: Damping and Dispersion 4–6PMC 4–6a 4–6b AMS 2 4-6a: Damping Damping [0…100.0] This controls the decay time for the string’s high frequencies. Higher settings mean a shorter high frequency decay time, for a bright attack and a more mellow sustained tone. Lower settings let the string ring brightly for a longer period of time. Intensity [-100.0…+100.0] This controls the depth and direction of AMS 2.
Program P4: String String Track 4-6b: Dispersion Dispersion [0…100.0] This models the rigidity of the string. Higher values correspond to thicker-gauge strings, and increase the inharmonicity of the string. (“Inharmonicity” means that the pitches of the overtones become out of tune with the fundamental.) At extreme values, it will create bell-like timbres, as if you were hitting a bar of metal. Dispersion can be modulated by three AMS sources, which are added to the Dispersion setting.
EXi: STR-1 Plucked String 4-7: String Pitch 4–7PMC 4–7a 4–7c 4–7b 4–7d 4–7e 4-7a: Main Octave [–2[32’], –1[16’], +0[8’], +1[4’]] This sets the basic pitch of the String, in octaves. The default is +0[8']. Transpose [–12…+12] JS+ X [-60…+60 semitones] This adjusts the pitch in semitones, over a range of ±1 octave. This sets the maximum amount of pitch bend, in semitones, when you move the joystick to the right. For normal pitch bend, set this to a positive value.
Program P4: String Fingered [Off, On] This parameter allows you to control Portamento through your playing style. When it’s enabled, playing legato will turn on Portamento, and playing detached will turn it off again. This option is only available when Portamento Enable is turned on. On (checked): Turns on Fingered Portamento. Off (unchecked): Turns off Fingered Portamento.
EXi: STR-1 Plucked String Intensity 4-7e: AMS AMS 1 [List of AMS Sources] This selects the first modulation source for controlling the String’s pitch. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. Intensity [+/-48.00 semitones] This controls the depth and direction of the AMS 1 pitch modulation, in semitones. Intensity Mod AMS [List of AMS Sources] You can modulate AMS 1’s Intensity from another AMS source. This selects that source. Intensity [+/-48.
Program P4: String The position is approximately symmetric around 50 for all of the notes when Tracking Mode is set to Keyboard; in other words, a value of 60 is roughly the same as 40. When Tracking Mode is set to String, however, the point of symmetry varies for each note. 4-8: Pickups and Feedback Pickup Position Position = 0.0 Position = 100.0 For more information, see “How Position affects the timbre” on page 248.
EXi: STR-1 Plucked String All three feedback parameters–Distance, Orientation, and Level–can be modulated in real-time. You can use this to model the classic effect of holding an electric guitar near an amp until it feeds back, and then varying the pitch of the feedback by changing the guitar’s orientation in relation to, and distance from, the amp.
Program P4: String 4-9: Mixer 4-9: Mixer 4–9PMC 4–9a 4–9b 4–9c 4–9d 4–9e The Mixer page controls the volume levels and filter routing for the main String output, as well as the direct outputs (bypassing the string) of the PCM oscillator and Noise Generator. For instance, you can: 0 is the default, and means that the String goes into Filter A. If the Filter Routing is set to Serial, it will also pass through Filter B.
EXi: STR-1 Plucked String 4-9d: Pickup 1 Pickup 1 has the same mixer parameters as described under “4-9a: String,” above. Try inverting the phase for one of the two pickups; this can produce an interesting effect. 4-9e: Pickup 2 Pickup 2 has the same mixer parameters as described under “4-9a: String,” above. ▼ 4–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Program P5: Filter 5-1: Filter Basic Program P5: Filter 5-1: Filter Basic 5–1PMC 5–1a 5–1b 5–1c Interaction between the filters and the mixer When the Filter Routing is set to either Single or 24dB/oct, the routing from the String section into the Filter section is fairly simple. There’s only a single filter, and that filter processes the entire sound. Things can get more interesting when the Filter Routing is set to Serial or Parallel.
EXi: STR-1 Plucked String Single. This uses only Filter A as a single 2-pole, 12dB/octave filter (6dB for Band Pass and Band Reject). When this option is selected, the controls for Filter B will be grayed out. Serial. This uses both filters. The output of Filter A is processed through Filter B. Filter Types and Cutoff Frequency Low Pass Parallel. This also uses both Filter A and Filter B.
Program P5: Filter Frequency [00…99] AMS 5-1: Filter Basic [AMS Sources] This controls the cutoff frequency of Filter A, in increments of 1/10 of an octave. The specific effect of the cutoff frequency will change depending on the selected Filter Type, as described above. This selects an AMS source to modulate Pan. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. Frequency Fine This controls the depth and direction of the Pan AMS modulation.
EXi: STR-1 Plucked String 5-2: Multi Filter 5–2PMC 5–2a 5–2b 5–2c 5–2c This page is available only when the Filter A Type is set to Multi Filter. 5-2b: Mode Crossfade What’s a Multi Filter? Mode 1 Standard multimode filters generate lowpass, highpass, and bandpass filters simultaneously - but only allow you to use one of them at a time. This sets the filter type for Mode 1.
Program P5: Filter Intensity [–99…+99] 5-3: Filter Modulation Lowpass [–99…+99] This controls the depth and direction of the Mode 1-2 Crossfade modulation. This controls the volume of the Lowpass filter output. Negative values invert the phase. Intensity Mod AMS Highpass [List of AMS Sources] This selects an AMS source to modulate the intensity of the main Mode 1-2 Crossfade AMS. For instance, you can set AMS to use one of the LFOs, and then set the Intensity Mod AMS to JS -Y.
EXi: STR-1 Plucked String Bottom-Low 5–3a: Keyboard Track Most acoustic instruments get brighter as you play higher pitches. At its most basic, keyboard tracking recreates this effect by increasing the cutoff frequency of a lowpass filter as you play higher on the keyboard. Usually, some amount of key tracking is necessary in order to make the timbre consistent across the entire range.
Program P5: Filter 5-3: Filter Modulation Please take these names as suggestions, rather than restrictions. If you like, you’re free to use these EGs to control any EG or AMS destination, or to use other EGs to control Filter Frequency and Pitch. When Link is On, or when the Filter Routing is set to Single or 24dB/oct, all of these parameters are grayed out. Velocity Intensity ▼ 5–3: Page Menu Commands [–99…+99] This lets you use velocity to scale the amount of the EG applied to Filter A.
EXi: STR-1 Plucked String 5-4: Filter LFO Mod 5–4PMC 5–4a 5–4b Intensity 5-4a: Filter A 5-4b: Filter B LFO Select [LFO 1, LFO 2, LFO 3, LFO 4, Common LFO] This selects an LFO to modulate Filter A’s cutoff frequency. The LFO Intensity, JS -Y Intensity, and AMS are all summed together to produce the final amount of LFO pitch modulation. LFO Intensity [–99…+99] This controls the initial effect of the LFO on Filter A’s cutoff frequency, before any JS+Y or AMS modulation.
Program P6: Amp 6-1: Amp Program P6: Amp These pages let you control the sound’s volume (also called “amplitude,” or “amp” for short), pan, and the dedicated amp envelopes and keyboard tracking generators. For instance, you can: • Set the pan position and pan modulation. • Control amp level and modulation, including keyboard tracking, the amp envelope, LFO modulation, and AMS control. 6-1: Amp 6–1PMC 6–1a 6–1b This page controls the basic settings for the Amp section.
EXi: STR-1 Plucked String AMS [AMS Sources] This selects an AMS source to modulate Pan. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. Intensity [–99…+99] This controls the depth and direction of the AMS modulation for Pan. For example, if Pan is set to C064 and AMS is set to Note Number, positive (+) intensities will cause the sound to move toward the right as you play higher than C4, and toward the left as you play lower than C4.
Program P6: Amp 6-2: Amp Modulation Ramp Intensity Mod AMS Bottom-Low This selects a secondary AMS modulation source to scale the intensity of AMS1. [-Inf, –99…+99, +Inf] This sets the slope between the bottom of the MIDI note range and the Low Break key. For normal key track, use negative values.
EXi: STR-1 Plucked String 6-3: Amp EG 6–3PMC 6–3a 6–3b 6–3c 6–3d The STR-1’s Amp EG is identical to the HD-1’s. For more detailed explanations of the Amp EG features, please see “4–3: Amp1 EG,” on page 78. may mean that the EG doesn’t reset at all. If this happens, reduce the Threshold until the EG triggers consistently. Other envelopes can be used as additional controls via AMS, if desired. 6–3b: Amp EG 6-3a: EG Reset These parameters specify how the amp EG will change over time.
Program P6: Amp Time 6-3c: Level Modulation Higher values mean longer times. For a chart showing equivalents in milliseconds, please see “Time” on page 79. Attack [00…99] This sets how long the EG takes to move from the Start level to the Attack level. The minimum attack time is 2/3 of a millisecond–as fast as the most punchy of classic analog synths. For the fastest possible attack time, you can set the Start level to +99; in this case, the EG will start instantaneously at its maximum value.
EXi: STR-1 Plucked String Release [–99…+99] This controls the depth and direction of the AMS modulation for the Release time. AMS2 and AMS3 These select the second and third AMS sources, respectively, for controlling the EG’s Time parameters. Each has its own intensities for Attack, Decay, Slope, and Release. The parameters of both AMS2 and AMS 3 are identical to those of AMS1, above. ▼ 6-3: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Program P7: EG 1-4 7-1: EG 1 (Filter) Program P7: EG 1-4 The STR-1 has four assignable EGs, in addition to the Amp EG. Each of these can be used as an AMS modulation source to control a wide variety of parameters. In the midst of all this flexibility, we thought it would also be good to provide a little structure. With this in mind, EG 1 is named EG 1 (Filter), and EG2 is named EG 2 (Pitch). There are also two parameters with dedicated EG modulation inputs: Frequency for Filters A and B.
EXi: STR-1 Plucked String Program P9: AMS Mixers and String Track AMS Mixers The AMS Mixers combine two AMS sources into one, or process an AMS source to make it into something new. For instance, they can add two AMS sources together, or use one AMS source to scale the amount of another. You can also use them to modify the response of realtime controllers. The AMS Mixer outputs appear in the list of AMS sources, just like other controllers.
Program P9: AMS Mixers and String Track This means that some strings may sound very distinct from others, quite aside from the differences in pitch. It’s almost as if each string was a sub-instrument of its own. In order to physically model these differences, it’s sometimes helpful to modulate certain parameters separately for each string, such as Damping, Decay, Dispersion, Inharmonicity, etc. String Track lets you do exactly this.
EXi: STR-1 Plucked String STR-1 Tone Adjust STR-1 Tone Adjust Default Settings Damping Dispersion Decay Nonlinearity Excitation Position Harmonic Pickup 1 Position Position Pickup 2 Position Switches 7, 8, 15, 16: LFOs 1, 2, 3, 4 Stop Switches 1 & 2: PCM Transpose +12, String Transpose +12 Pluck Type Pluck Width Pluck Randomization String Level PCM Osc Noise Level Level Harmonic Pressure AMS Intensity Tone Adjust provides an elegant physical interface to the STR-1’s parameters.
STR-1 Tone Adjust 9-9: String Track Excitation Filter • Attack time (relative) • Excitation Filter Type • Decay & Slope time (relative) • Excitation Filter Frequency • Sustain level (relative) • Excitation Filter Resonance • Release time (relative) String LFOs • Excitation Position In addition to supporting the standard Tone Adjust LFO parameters, the STR-1 adds the following separate controls: • Harmonic Position • Harmonic Pressure AMS1 Intensity • Decay • Nonlinearity • Damping • Dispersion
EXi: STR-1 Plucked String 280
EXi: MS-20EX MS-20EX Overview The MS-20EX is a flexible, semi-modular virtual analog synthesizer. At its heart is a faithful re-creation of the original KORG MS-20, including both its features and its distinctive, often aggressive timbral signature. • Original MS-20 MG and sample-and-hold, plus four additional LFOs To this core, we added features first introduced in the KORG Legacy MS-20 plug-in.
EXi: MS-20EX On-screen knobs and switches, and the Parameter Details area Parameter Details Assigning AMS modulation The LCD displays include graphic knobs for all of the main MS-20EX parameters. These let you view and edit parameters quickly and easily. Most parameters support modulation via AMS. Sources and intensities can be edited in the Parameter Details area: You can program any original MS-20 sound using only these knobs.
EXi Program P0: Play 0–1: Main EXi Program P0: Play 0–1: Main 0–1b This is the main page of Program mode. For a full description of this page and all of its functions, please see “EXi Program P0: Play” on page 155. This section describes only the overview display, which differs for each individual EXi. 0–1b: Overview and Page Jump This part of the page shows an overview of the most important settings for the Program’s two EXi instruments.
EXi: MS-20EX Common Voice Assign Mode This shows the voice assign mode of the Program– either POLY or MONO. Press this area to jump to the Program Basic page. Common Step Sequencer This shows a graphic overview of the Common Step Sequencer. Press this area to jump to the Common Step Sequencer page. Common LFO Graphic This shows the waveform of the Common LFO. Press this area to jump to the Common LFO page. 3 Band EQ Graphic This shows the mid-sweepable 3-band EQ. Press this area to jump to the EQ page.
Program P4: Oscillators & Filters 4-1: Oscillators & Filters Program P4: Oscillators & Filters 4-1: Oscillators & Filters 4–1b 4–1c 4–1d 4–1e 4–1PMC 4–1a 4–1f PW 4-1a: Oscillators VOLTAGE CONTROLLED OSCILLATOR 1 WAVE FORM [ , , , [0.00…10.00 (50%…0%)] This adjusts the pulse width when Oscillator 1’s Waveform is set to Square/Pulse. ] This sets the basic timbre of Oscillator 1. (Triangle Wave): This is a very basic waveform with few harmonics and a soft, rounded tone color.
EXi: MS-20EX SCALE [32’, 16’, 8’, 4’] Adjusts the pitch of Oscillator 1 in steps of an octave. With each halving of the “feet” value, the pitch goes up one octave. For example, 4’ is one octave higher than 8’, and 16' is one octave lower that 8'. VOLTAGE CONTROLLED OSCILLATOR 2 WAVE FORM [ , , , RING] This sets the basic timbre of Oscillator 2. (Sawtooth): This produces the traditional, buzzy analog synth sound. For more information, see “WAVE FORM” on page 285.
Program P4: Oscillators & Filters 4-1: Oscillators & Filters 4-1b: High Pass Filter If a cable is connected to the TOTAL input jack, this controls the depth of modulation from that signal. HPF For more information, see “TOTAL input jack” on page 295. This filter cuts out the parts of the sound which are lower than the cutoff frequency. You can use this to make timbres sound thinner or more buzzy, or to enhance bass sounds (see “Using the HPF as a suboscillator for bass sounds,” below). FREQUENCY [0.
EXi: MS-20EX TRANSPOSE [-24.00…+24.00] This controls the coarse tuning, in half-steps and cents, up or down two octaves. You can modulate this smoothly via AMS. [Random, L001…C064…R127] This controls the stereo pan of the MS-20EX, at the very end of the signal chain. A setting of L001 places the sound at the far left, C064 in the center, and R127 to the far right. When this is set to Random, the pan position will be different for each note-on.
Program P5: MG, EG, & Modulation 5-1: MG, EG, & Modulation Program P5: MG, EG, & Modulation 5-1: MG, EG, & Modulation 5–1d 5–1e 5–1f 5–1g 5–1PMC 5–1a 5–1b 5–1h 5–1c 5–1a: VOLTAGE CONTROLLED AMPLIFIER VOICE ALLOCATION [EG1…EG6] When the EG selected here completes its release stage, the voice will be silenced, and its processor resources freed. • Via AMS, EGs 3-6 may also control the levels of other modulation sources (such as EGs 1 & 2, the MG, LFOs, etc.
EXi: MS-20EX On (LED lit): When TEMPO SYNC is On, the MG synchronizes to the system tempo, as set by either the Tempo knob or MIDI Clock. The MG speed is controlled by the combination of the BASE NOTE and FREQUENCY/TIMES parameters, below. Off (LED dark): When TEMPO SYNC is Off, the FREQUENCY/TIMES knob determines the speed of the MG, and the BASE NOTE setting has no effect. Change to Parameter Value This parameter is not modulatable via AMS. KEY SYNC This parameter is not modulatable via AMS.
Program P5: MG, EG, & Modulation Using EGs 3–6 to control the amplitude EG 2 HOLD TIME Trigger Trigger On Off EG 2 is always connected to the VCA. It’s possible, however, to force the VCA to its maximum value at all times, and then use AMS modulation of the main VOLUME knob to control the amplitude from any of the multi-segment EGs 3–6. To do so: Hold Time Change to Parameter Value Time Attack Time 5-1: MG, EG, & Modulation Decay Time Sustain Level ATTACK TIME 2. Set the VOLUME knob to 0.
EXi: MS-20EX AMP [–10.00…+10.00] Specifies the depth and direction of the modulation applied to the amp (VCA). This scales the combined effect of the VOLUME knob and its AMS modulation. 5–1f: EXTERNAL MODULATION 2 Source [Off, MG Tri, MG Pulse, EG 1, EG 1 REV, EG 2, EG 2 REV, List of AMS Sources] This selects the modulation source to control the parameters below. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. HPF CUTOFF [–10.00…+10.
Program P6: Patch Panel 6-1: Patch Panel Program P6: Patch Panel 6-1: Patch Panel 6–1e 6–1b 6–1c 6–1a 6–1i 6–1d 6–1j 6–1f 6–1k 6–1l 6–1g Using the Patch Panel Basic patching rules Most of the main sections of the MS-20EX, including the VCOs, filters, MG, EGs, and so on, are connected by default, even without using any patch cables. The lines and arrows on the Patch Panel show these “normal” signal paths.
EXi: MS-20EX Clearing all connections from the Patch Panel Different jacks have different voltage scales To completely clear the Patch Panel, so that you can start from scratch: Pay attention to the voltage indications (0~+5, 5V~+5V, 5Vp-p, GND, etc.) on the Patch Panel, and their relationships to the block diagram and signal flow chart. 1. Open the menu, and select the Delete All Connections command. All connections will be deleted.
Program P6: Patch Panel Tip: Creating self-triggering patches Normally, new notes and EGs 1 and 2 are triggered by playing notes on the keyboard. They don’t have to be, however. You can use the MG Square/Pulse output, the Trig Out of the External Signal Processor, or AMS signals from the Wheel or Switch jacks to trigger one or both EGs. Note: EGs 1 and 2 trigger when the input is at 0 (“low”), such as when the MG Square/Pulse is in the bottom portion of the waveform.
EXi: MS-20EX (LPF) CUTOFF FREQ input jack SIGNAL OUT jack This input modulates the cutoff frequency of the Lowpass Filter. (LPF) IN jack On the original MS-20, this was the final output. With the MS-20EX, you may find it useful for routing the overall output signal back into the patch–such as for creating a feedback loop. This Patch Panel modification provides a direct input to the Lowpass Filter. Note that connecting to this jack does not mute the output signal.
Program P6: Patch Panel 6-1: Patch Panel When the CLOCK input is high, the OUT jack will carry a slightly filtered version of the signal from the IN jack. If the CLOCK input goes high for a very brief period of time, then the input from that instant will be “held” at the output. The output then stays “held” until the next time that the CLOCK input goes high. Of course, you can also route a real AMS source to the CLOCK input, and trigger it manually or via an LFO, Step Sequencer, etc.
EXi: MS-20EX Note that the MG’s LED is on when it is low. Initially, this seems like the opposite of what one might expect. When using the MG to trigger the EGs, however, this makes perfect sense: the EGs start when the LED goes on, and release when the LED goes off. Note that white noise is also available as a waveform in VCO 1. 6–1h: Mod Wheel and Mod Switch EG 1 TRIG IN jack This is similar to the TRIG IN jack, above, but it triggers Envelope Generator 1 only.
Program P6: Patch Panel 6–1j: MIXERS 1 and 2 6-1: Patch Panel It’s easy to make a patch in which only the incoming audio is heard, with the built-in VCOs completely silent–but you still need to press a key (or play a note via MIDI) in order to activate the MS-20EX. You can use the Program Hold parameter to keep the note “held down” indefinitely, if you like. For more information, see “Using the External Signal Processor (ESP)” on page 301, and “Tip: Creating selftriggering patches” on page 295.
EXi: MS-20EX SIGNAL IN jack This is the input to the External Signal Processor. To use this with live audio input, connect the EXi AUDIO IN jack to the SIGNAL IN jack. SIGNAL LEVEL knob [0.00…10.00] This adjusts the volume of the signal connected to the SIGNAL IN jack. This knob has over 50dB of gain at the maximum setting of 10.00. Unity gain (+0dB) is at 3.75; 5.00 is about +4dB, and 7.50 is about +12dB.
Program P6: Patch Panel 6-1: Patch Panel THRESHOLD, LOW CUT FREQ and HIGH CUT FREQ controls, or when using other controls to modify the input signal. 10.Play the highest note the ESP is to pick up, and slowly increase the HIGH CUT until the desired pitch is picked up. Using the External Signal Processor (ESP) 11.Play the lowest note and slowly decrease the LOW CUT until the note is picked up.
EXi: MS-20EX AMS [List of AMS Sources] This selects the modulation source to route into the patch panel. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967. Important: on the original MS-20, the Mod Wheel was a bipolar modulation source–meaning that the center position produced no modulation, moving down from the center made the value lower, and moving up from the center made the value higher.
Program P7: EG 3-6 7-1: EG 3 Program P7: EG 3-6 The MS-20EX has four assignable EGs, in addition to the original MS-20 EGs 1 and 2. Each of these can be used as an AMS modulation source to control a wide variety of parameters. 7-1: EG 3 7-2: EG 4 7-3: EG 5 7-4: EG 6 The MS-20EX’s EGs 3-6 are identical to the AL-1’s EG1. For detailed explanations, please see “7–1: EG 1 (Filter),” on page 199.
EXi: MS-20EX 9-1: AMS Mixers 1-2 9-2: AMS Mixers 3-4 The MS-20EX’s AMS Mixers are identical to those of the AL-1 (although the MS-20EX has four, to the AL-1’s two). For detailed explanations, please see “9–1: AMS Mixer,” on page 209. EXi MS-20EX: Page Menu Commands Delete All Connections This command removes all of the connections from the Patch Panel, so that you can start from a blank slate.
MS-20EX Tone Adjust Common Tone Adjust parameters MS-20EX Tone Adjust MS-20EX Tone Adjust Default Settings VCO1 VCO2 HPF Waveform Waveform Cutoff HPF Peak HPF EG2/Ext Mod LPF Cutoff LPF LPF Peak EG2/Ext Mod Switches 7, 8, 15, 16: LFOs 1, 2, 3, 4 Stop EG1 Delay EG1 Attack EG1 Release EG2 Attack EG2 Decay EG2 EG2 MG MG Sustain Release Waveform Frequency Tone Adjust provides an elegant physical interface to the MS-20EX’s parameters.
EXi: MS-20EX All of the additional parameters are listed below. Tone Adjust parameters may affect the internal parameters in one of two ways: they may be Relative, in which case they scale the existing parameter value, or Absolute, in which case they over-write the existing value. Unless otherwise noted, all of the MS-20EX parameters are Absolute.
EXi: PolysixEX PolysixEX Overview The PolysixEX is a rich-sounding, easy-to-use, highpolyphony virtual analog synth (up to 172 voices!). It combines the features and sonic character of the classic Korg Polysix (and the Legacy Polysix plug-in) with many additional capabilities unique to the OASYS.
EXi: PolysixEX On-screen knobs and switches, and the Parameter Details area Parameter Details The LCD displays include graphic knobs and switches for all of the main PolysixEX parameters. These let you view and edit parameters quickly and easily. Almost all of the original Polysix parameters fit onto a single OASYS page. You can program any original Polysix sound using only these knobs and switches.
EXi Program P0: Play 0–1: Main EXi Program P0: Play 0–1: Main 0–1b This is the main page of Program mode. For a full description of this page and all of its functions, please see “EXi Program P0: Play” on page 155. This section describes only the overview display, which differs for each individual EXi. 0–1b: Overview and Page Jump EGs and LFOs EG 2,3 Graphics These show the shapes of the two multi-stage EGs. Touch either of them to jump directly to the corresponding edit page.
EXi: PolysixEX Common Step Sequencer This shows a graphic overview of the Common Step Sequencer. Press this area to jump to the Common Step Sequencer page. Common LFO Graphic This shows the waveform of the Common LFO. Press this area to jump to the Common LFO page. 3 Band EQ Graphic This shows the mid-sweepable 3-band EQ. Press this area to jump to the EQ page. IFX, MFX/TFX Press the IFX area to jump to the IFX Routing page. Press the MFX/TFX area to jump to the MFX Routing page.
Program P4: Main 4-1: Main Program P4: Main 4-1: Main 4–1PMC 4–1a 4–1g 4–1b 4–1h 4–1c 4–1i 4–1d 4–1e 4–1f 4-1a: VCO VIBRATO INT [0.00...10.00] Moving the joystick “up” from the center detent position, away from yourself, produces the JS+Y controller (MIDI CC#1). On the PolysixEX, JS+Y normally controls VIBRATO–the amount of the MG applied to VCO pitch. VIBRATO INT controls the intensity of this modulation, up to +/- 2 semitones. To disable JS+Y’s control of VIBRATO, set this to 0.00.
EXi: PolysixEX BASE NOTE Pulse waveform at different widths Pulse Width = 0.00 Pulse Width = 5.00 Pulse Width = 9.00 [1/1...1/32] When TEMPO SYNC is ON, this sets the basic speed of the MG, relative to the system tempo. The values range from a 32nd note to a whole note, including triplets. This value is then multiplied by the FREQUENCY/TIMES knob, below. When TEMPO SYNC is OFF, this parameter has no effect. PWM SPEED [0.00...10.
Program P4: Main KBD TRACK [0.0…150.0] Adjusts the depth to which the cutoff frequency will change according to the note number, centered at C3. With a setting of 100, the change in cutoff frequency will be proportionate to the change in pitch (1 octave in pitch = 1 octave in filter frequency). 4-1: Main 4-1e: VCA VCA stands for Voltage Controlled Amplifier, which is the circuit that controls the volume of an analog synthesizer.
EXi: PolysixEX VOLUME [0.00...10.00] (Parameter name) [range depends on parameter] This controls the main output level. It affects all voices at once, and so it cannot be modulated by per-voice AMS sources such as EGs or LFOs 1 and 2. This shows the name and exact value of the parameter. You can edit the parameter value with any of the standard data-entry controls. For per-voice modulation, use the ATTENUATOR parameter instead. For more information, see “ATTENUATOR” on page 313.
Program P4: Main 4-1: Main ▼ 4–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Program. For more information, see “Write Program” on page 138. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138.
EXi: PolysixEX Program P5: Modulation & Arpeggiator 5-1: Modulation & Arpeggiator 5–1PMC 5–1a 5–1b 5–1d 5–1c 5-1a: EXTERNAL MODULATION The External Modulation section offers an easy way to assign modulation to multiple destinations at once, using any AMS source. Note that most parameters also include dedicated AMS modulation, via the Parameter Details area. Source 1 SOURCE 1 Source 2 This allows you to route a second AMS source to the same list of mod destinations.
Program P5: Modulation & Arpeggiator BASE NOTE [1/1...1/32] When TEMPO SYNC is ON, this sets the basic speed of the arpeggiator, relative to the system tempo. The values range from a 32nd note to a whole note, including triplets. This value is then multiplied by the SPEED/TIMES knob, below. When TEMPO SYNC is OFF, this parameter has no effect. This parameter is not modulatable via AMS. SPEED/TIMES [0.00...10.00/16...1] If TEMPO SYNC is OFF, this controls the speed of the arpeggiator.
EXi: PolysixEX AMS lets you switch to the opposite of the programmed setting. For instance, if LATCH is set to On, and the AMS Mode is set to Momentary, then pressing down on the footswitch would cause the latch to turn off. So, if you’re using SW1 or SW2 as the AMS source, it’s best to set the AMS Mode to Momentary, and then just let the switch itself determine the momentary/toggle behavior.
PolysixEX Tone Adjust Common Tone Adjust parameters PolysixEX Tone Adjust PolysixEX Tone Adjust Default Settings Filter Cutoff Filter Filter EG Resonance Intensity Filter Kbd Track VCO Octave VCO Waveform PW/ PWM VCA Mode Switches 7 & 8: LFOs 1 & 2 Stop Switches 9 & 10: Arp Tempo & Key Sync EG1 Attack PWM Speed Switches 15 & 16: MG Tempo & Key Sync EG1 Decay EG1 Sustain EG1 Release Effect Mode Effect Int/Speed MG Freq/Times MG Level MG Mode Tone Adjust provides an elegant physical int
EXi: PolysixEX VCO PITCH Vibrato Int Transpose Vibrato Int AMS Int Transpose AMS Int VCO Octave Tune VCO Waveform Tune AMS Int PW/PWM EFFECTS PW/PWM AMS Int Effect Mode PWM Speed Effect Spread PWM Speed AMS Int Effect Spread AMS Int Sub Osc Effect Speed/Intensity Sub Osc AMS Int Effect Speed AMS Int VCF ARPEGGIATOR Filter Cutoff Arpeg On/off Filter Cutoff AMS Int Arpeg Key Sync Filter Resonance Arpeg Tempo Sync Filter Resonance AMS Int Arpeg Base Note Filter EG Intensity Ar
Combination mode Combination P0: Play This is the main page of Combination mode. Among other things, you can: • Select combinations • Edit the KARMA function in simple ways • Make audio input and resampling settings for use in Combination mode • Use the control surface Auto Song Setup The Auto Song Setup feature copies the current Program or Combination into a Song, and then puts the OASYS in record-ready mode.
Combination mode Bank Category Popup Combination Select Popup Combination Select Each bank contains rewritable combination program areas for 128 combinations (a total of 1,792). Bank No. Description INT–A…C 000…127 Preloaded combinations INT–D…G, USER–A…G 000…127 User combinations Note: Pressing one of the BANK SELECT INT A–USER G switches while the Program Select parameter is selected in this page will change the timbre program bank (rather than the combination bank).
Combination P0: Play 0–1: Program Select/Mixer Category/Combination Select menu Category tab Sub-category tab Scroll bar Category/Combination Select Favorite You can select combinations by category and subcategory. All combinations are organized into up to eighteen categories, and each category is further organized into eight sub-categories. You can use these categories and sub-categories to select combinations. On (checked): Turns on the Favorite setting for combinations.
Combination mode All: All programs in the category will be shown. Choose this if you don’t need to see sub-categories. 0–1b: Timbre Program Select Selected Timbre Info This area shows information on the timbre selected for editing. T: Timbre number/program bank/number/name, Ch: MIDI channel/number. Select Timbre Info Timbre No. 0…7: The programs will be shown by sub-category. You can’t select the tab for a sub-category if no programs are assigned to that sub-category.
Combination P0: Play If bank select and program change messages are received on a MIDI channel that matches the MIDI channel of a timbre whose Status is INT, the program of that timbre will change. However if the MIDI channel of the incoming message matches the global MIDI channel “MIDI Channel,” then the combination will change.
Combination mode L001…C064…R127: A setting of L001 is far left and R127 is far right. A setting of C064 will reproduce the pan setting of the Program mode.
Combination P0: Play 0–6: KARMA GE Gray Timbre/Track number, and [Inactive] shown after Program name These same steps will work with Tracks in Sequencer mode. If you’ve already loaded Programs which use the maximum amount of EXi fixed resources, and then load additional Programs which require fixed resources, the newly added Programs will not sound.
Combination mode The settings of the KARMA ON/OFF and LATCH switches, KARMA SCENES 1–8 switches, KARMA SLIDERS 1–8, and KARMA SWITCHES 1–8 are saved independently for each Combination. GE Category Select GE Select 0–6a: Combination Select, Load GE Options, KARMA T.Sig, Tempo Bank [INT–A…INT–G, USER–A…USER–G] Combination [0…127] These are the bank, number, and name of the current Combination. For more information, see “0–1a: Combination Select” on page 321.
Combination P0: Play Module ID [A, B, C, D, P] Indicates which parameters you are controlling from the KARMA SLIDERS or KARMA SWITCHES. A, B, C, D: Indicates the KARMA Module that is being controlled. In this case, you are controlling a GE RealTime Parameter. P: Indicates that the slider or switch is controlling a Performance Real-Time Parameter. Parameter No.
Combination mode • 4: Initialize KARMA Module. For more information, see “Initialize KARMA Module” on page 409. • 5: Copy Scene. For more information, see “Copy Scene” on page 409. • 7: Capture Random Seed. For more information, see “Capture Random Seed” on page 409. • 8: Auto Assign KARMA RTC Name. For more information, see “Auto Assign KARMA RTC Name” on page 409. • 6: Swap Scene. For more information, see “Swap Scene” on page 409.
Combination P0: Play FX Balance IFX: This controls the “Wet/Dry” balance of all insert effects. A setting of +10 is Wet or –Wet, a setting of +0 leaves the settings of the combination unmodified, and a setting of –10 is Dry. MFX: This controls the MFX1 and 2 “Return.” A setting of +10 is 127, a setting of +0 leaves the settings of the combination unmodified, and a setting of –10 is 000. TFX: This controls the “Wet/Dry” balance of TFX1 and 2.
Combination mode 0–8a: Audio Input Use Global setting [Off, On] On (checked): The Audio Input settings (Input1, Input2, Input3, Input4, S/P DIF L, S/P DIF R) you specify in Global P0– Audio page will be used. Normally you will leave this setting On (checked). The Audio Input setting you make in Global mode will always be used; i.e., the Audio Input setting will not change even if you switch combinations.
Combination P0: Play 0–9: Control Surface ▼ 0–8: Page Menu Commands • 3: Optimize RAM. For more information, see “Optimize RAM” on page 139. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 4: Select Sample No. This applies only when Save to is set to RAM. For more information, see “Select Sample No.” on page 139. • 0: Write Combination.
Combination mode Control Assign Switches and Tabs You can switch the Control Surface between its different functions using either the tabs on the left side of the LCD display, or the front-panel Control Assign switches. The tabs and the front-panel switches mirror one another; when you change one of them, the other changes as well. In Combi mode, you can select one of five different functions: TIMBRE/TRACK lets you adjust the volume, pan, EQ, and send levels for each of the 16 Timbres, eight at a time.
Combination P0: Play Resetting the Vector Joystick 0–9: Control Surface Mixer Knobs switch To reset the Vector Joystick to the center position, hold down RESET CONTROLS and then move the Vector Joystick. Resetting KARMA Module parameters You can also reset all of the sliders and switches in the KARMA Module, by holding RESET CONTROLS and then pressing the KARMA MODULE CONTROL button. Similarly, to reset a single KARMA Scene, hold RESET CONTROLS and press any of the SCENE buttons.
Combination mode Send 1 [000…127] This controls the send level into FX Send 1. If the Timbre’s Output Bus parameter is set to L/R or OFF, it scales the Oscillator send levels. If the Output Bus is set to IFX 1–12, it directly controls the post-IFX send levels. Send 2 [000…127] This controls the send level into FX Send 2. For more details, see Send 1, above. Knobs 1–8, Individual Pan When the Mixer Knobs switch is set to Individual Pan, the knobs will control the Pan for the current group of Timbres.
Combination P0: Play 0–9: Control Surface 0–9c Knobs 1–8, Channel Strip 0–9c: Audio Inputs This Control Assign setting lets you adjust the volume, pan, and FX send settings for each of the six audio inputs: Analog 1–4, and S/P DIF left and right. You can use this page to mix sounds from other sources into the OASYS outputs - as an on-stage submixer, for instance. In Sequencer mode, two additional Audio Control Assign settings are available: HDR 1–8 and HDR 9–16.
Combination mode Play/Mute (1–6) [Play, Mute] When this switch is on (LED = on), the input will be enabled. When the switch is off (LED = off), the input will be muted. Solo switch and Select switches 1–6 Solo [Off, On] Solo lets you isolate one or more Timbres or Audio Inputs, so that you hear them by themselves. It does this by temporarily muting all non-soloed Timbres and Audio Inputs. The Select switches can show and control either which Input is currently selected, or which Inputs are soloed.
Combination P0: Play 0–9: Control Surface 0–9d 0–9d: External This Control Assign setting lets you send MIDI messages to external devices. Each slider, knob, and switch can be assigned to a separate MIDI controller and MIDI channel. The eight drum pads also have separate settings which apply only when Control Assign is set to External. In Global mode, you can create up to 128 different External Setups.
Combination mode CC# Assign (1–8) [Off, 000…119] This read-only parameter shows the MIDI CC sent by the slider. Value (1–8) [000…127] This is the current value of the slider’s MIDI CC. Selected Parameter information 0–9e 0–9e: RT/KARMA (Real Time Knobs/KARMA) This Control Assign setting lets you modulate Program, Combi and Effects parameters with the eight knobs, and control KARMA with the switches and sliders.
Combination P0: Play Knobs 1–8 KARMA SCENES 1-8 Knobs 1–4 all have dedicated functions which correspond to MIDI CCs. Knobs 5–8 can be assigned to a wide variety of functions, many of which also have corresponding MIDI CCs. KARMA Scenes When you move the knob, it will send the corresponding MIDI CC to all Timbres on the Global Channel. (To edit individual Programs, use Tone Adjust instead.) 0–9: Control Surface [1…8] A KARMA SCENE includes the settings for all of the KARMA SLIDERS and SWITCHES.
Combination mode 0–9f 0–9f: Tone Adjust Tone Adjust provides two important features simultaneously: • It lets you use all of the sliders, knobs, and switches to control Program parameters - like the knobs on an analog synth, or the drawbars on an organ. Timbre [1…16] This selects the Timbre whose Tone Adjust parameters appear on the screen and the Control Surface. You can switch back and forth between the different Timbres as much as you like, without losing your edits.
Combination P0: Play Once the Program has been loaded, you can change any or all of the Tone Adjust settings as desired, including both assignments and values. All such edits are stored in the Combi, without affecting the original Program. If Auto Load PRG is On, Tone Adjust settings will be automatically loaded along with the Program.
Combination mode Switch Status [Off, On] This simply shows whether the switch is On or Off. The status is also shown by the LEDs in the physical buttons. Sliders 1–8 and Master Slider Filter/Amp EG Release Time. This scales the release times of the Filter and Amp EGs. It interacts with CC# 72. These work identically to Knobs 1–8, as described above. Filter EG Attack Time. This scales the attack times of the Filter EGs. Common Tone Adjust Parameters Filter EG Decay Time.
Combination P0: Play 0–9: Control Surface LFO2 Speed. This scales LFO2’s frequency. When the LFO is in MIDI/Tempo mode, this adjusts the Base Note. For more information, please see “Frequency” on page 84. LFO2 Fade. This scales LFO2’s fade-in time. For more information, please see “Fade” on page 85. LFO2 Delay. This scales LFO2’s delay time - the time between note-on and the onset of the LFO. For more information, please see “Delay” on page 85. LFO2 Stop.
Combination mode Combination P1: EQ/Vector/Controller 1–1: Timbre EQ 1–1PMC 1–1a 1–1b Each Timbre has a dedicated three-band EQ, with sweepable mid band. This page lets you view and adjust the settings for all 16 Timbres at once. Timbre EQ and the control surface You can use the Control Surface to adjust almost all of the Timbre EQ parameters (except for Bypass). To do so: 1. Press the CONTROL ASSIGN MIXER TIMBRE/TRACK switch to select either timbres 1– 8 or 9–16. 2.
Combination P1: EQ/Vector/Controller Timbre 01 (Timbre Number) Auto Load Prog EQ [Off, On] When you first load a Program into a Timbre, this parameter determines whether or not the Program’s EQ settings will be loaded as well. Once the Program has been loaded, you can change any or all of the EQ settings as desired. All such edits are stored in the Combination, without affecting the original Program. 1–1: Timbre EQ • 0: Write Combination. For more information, see “Write Combination” on page 405.
Combination mode 1–5: Vector Volume Control 1–5PMC 1–5a 1–5c 1–5b Vector Synthesis lets you control Timbre volumes and Program & Effects parameters by moving the Vector Joystick, by using the programmable Vector Envelope, or by the combination of the two. 1–5a: Combination Name For more background information on Vector Synthesis, please see “What does Vector mean?” on page 38, and “Vector Joystick and Vector Envelope” on page 38.
Combination P1: EQ/Vector/Controller 1–5: Vector Volume Control Vector Synthesis system, Combi mode Combination Combi Vector Volume Control Timbres 1-16 Center Volume and Equal Power settings Combi Vector EG Combi switch: Enable Volume control Vector Modulation of Timbre Volume + Combi Vector CC Control Combi switch: Enable CC control Vector Joystick MIDI In (Global Chan.
Combination mode Equal Amount [Off, On] This applies only when Enable Volume Control is On. When Equal Amount is On, the Vector will fade between all four Vector axes while maintaining a total amount of 100%. This provides a smooth fade between the different sounds, and is the type of volume control used by classic Vector synths. Note that this will work best when the Programs assigned to each of the four axes have equivalent volumes.
Combination P1: EQ/Vector/Controller 1–6: Vector CC Control will be controlled by the combination of the Program’s Vector EG and the Vector Joystick, and is not affected by the Combi’s Vector EG. Timbre Center Volume, VJS Assign = –X When this is turned Off, the Program’s Vector Volume control will be disabled. 100% Timbres 02–16 Volume 50% The parameters for Timbres 2–16 are identical to those for Timbre 01, as described above.
Combination mode Finally, you can optionally send these CCs out to external MIDI instruments. A global parameter allows you to enable or disable this MIDI output; by default, it is disabled. Program and Combi Vectors work together In Combi mode, each Timbre’s Program still has its own Vector EG, which controls volume and CCs as it did in Program mode. You can disable the Program’s Vector Volume and CC control separately for each Timbre, if desired.
Combination P1: EQ/Vector/Controller –X [Off…MIDI CC#119] 1–6: Vector CC Control Timbres 02–16 This assigns the controller sent by the –X vector. It will be grayed out if the VJS X Mode, above, is set to Positive. The settings for Timbres 2–16 are identical to those for Timbre 01, as described above. The selections are the same as for +X, above. ▼ 1–6: Page Menu Commands VJS Y Mode [Positive, Negative, Xfade, Split] This controls the Vector CC pattern for the Y axis.
Combination mode 1–7: Vector Envelope 1–7PMC 1–1a 1–7a 1–7b 1–7c The Vector Envelope works together with the Vector Joystick to control the Vector position. It’s particularly convenient for modulating effects, since it’s the only Combi-wide programmable modulation source outside of KARMA. The Vector Envelope is different from the other envelopes in several ways: • Each point has two “levels” - one for the X axis, and one for the Y axis.
Combination P1: EQ/Vector/Controller seconds and milliseconds, you can specify the EG times as rhythmic values, using the Base Note and Multiplier parameters. 1–7: Vector Envelope Vector EG times, Loop Type = 1->3 Note-on or reset Note-off Loop 1–7b: Vector Envelope Loop The Vector EG can loop between two points, and can continue to loop either for as long as you hold the note, or for a specified number of repeats. You can also turn the loop off completely, if you like.
Combination mode Time [0ms…60sec] This parameter lets you set the Hold Time in seconds and milliseconds. It applies only when the Mode is set to Time. (Base Note) [Off, … ] Loop This sets the length of time that it takes to move from Point 3 to the first Point in the loop. You can set this in either seconds/milliseconds or rhythmic values, depending on whether the Mode is set to Time or Tempo. This menu sets a basic rhythmic value for the Hold Time, relative to the system tempo.
Combination P1: EQ/Vector/Controller 1–8: Set Up Controllers ▼ 1–7: Page Menu Commands • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 2: Copy From Program. For more information, see “Copy From Program” on page 405. • 0: Write Combination. For more information, see “Write Combination” on page 405.
Combination mode Knob 5 [Off, …, MIDI CC#119] Knob 6 [Off, …, MIDI CC#119] Knob 7 [Off, …, MIDI CC#119] Knob 8 [Off, …, MIDI CC#119] • 0: Write Combination. For more information, see “Write Combination” on page 405. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy From Program. For more information, see “Copy From Program” on page 405. ▼ 1–8: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Combination P1: EQ/Vector/Controller Gch: Use the global MIDI Channel setting. This is the default. For more information, see “MIDI Channel (Global MIDI Channel)” on page 650. 1–9: Set Up Pads Press CHORD ASSIGN, and then play notes Pads and MIDI Channel This method lets you create a chord out of widelyspaced notes, even if you can’t play all of the notes simultaneously. Gch 1. Press the CHORD ASSIGN button.
Combination mode Combination P2: Timbre Parameters 2–1: MIDI 2–1PMC 1–1a 1–1b 2–1a Here you can make MIDI settings for each timbre. Bank Select LSB (When Status = EX2) [000…127] 2–1a: MIDI Specifies the bank number that will be transmitted when Status is set to EX2. This setting has no effect if Status is other than EX2. Timbre 01 Status [Off, INT, EXT, EX2] This specifies the MIDI and internal tone generator status. You can also set Status from the P0– Program Select page.
Combination P2: Timbre Parameters 2–2: OSC ▼ 2–1: Page Menu Commands • 0: Write Combination. For more information, see “Write Combination” on page 405. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy From Program. For more information, see “Copy From Program” on page 405.
Combination mode PRG: Portamento will be applied as specified by the program settings. For more information, see “Using Chord mode” on page 49 of the Operation Guide. Off: Portamento will be off, even if the original program settings specified for it to be on. Source Pad 001…127: Portamento will be applied with the portamento time you specify here, even if it is turned off by the program settings. EXi programs will ignore this setting if the Instrument Type does not have portamento capability.
Combination P2: Timbre Parameters 2–3: Pitch 2–3: Pitch 2–3PMC 1–1a 1–1b 2–3a Here you can make pitch-related settings for each timbre. 2–3a: Pitch Timbre 01 Transpose [–60…+00…+60] Adjusts the pitch of each timbre in semitone steps. 12 units equal one octave. When Status (0–1b, 2–1a) is INT, this parameter will affect the pitches sounded by the OASYS. When Status is EXT, this parameter will affect the note numbers of the MIDI note messages that are transmitted.
Combination mode Off (unchecked): The scale specified by Scale (2–3b) will be used. Timbres 02…16 These are the pitch-related settings for timbres 2 through 16. The settings are the same as for timbre 1. For more information, see “Timbre 01”. Random [0…7] As this value is increased, an increasingly random deviation will be added to the pitch at each note-on. If Status (0–1b, 2–1a) is INT, this setting will affect the pitch produced by the OASYS.
Combination P2: Timbre Parameters Time [ms] [0000…6000ms, KeyOff] Specifies the time (delay time) from note-on until the timbre begins to produce sound, in units of ms (1/1000th of a second). This setting is available if “Mode” is set to Time. KeyOff: The note will begin sounding at note-off. In this case, the sound will not die away if the sustain level of the program’s amp EG is other than 0. This setting is used when creating harpsichord sounds. Normally you will set this to 0000.
Combination mode PRG: The setting of the program is used. Off: Key Sync is forced off. The wave sequence of each note will synchronize to the same step. On: Key Sync is forced on. The wave sequence will start each time you press a key. If the wave sequences have differing steps or rates, they will proceed independently. Wave Sequence Swing[%] [PRG, –300…+300] Specifies the wave sequence “Swing%” setting (Program 1–1e) of the program selected for the timbre.
Combination P2: Timbre Parameters 2–6: EXi Audio Input 2–6: EXi Audio Input 2–6PMC 1–1a 1–1b 2–6a 2–6b These parameters let you route audio into EXi instruments which support audio input, such as the STR-1. You can use this to create feedback loops, or to process live or recorded audio through the EXi’s synthesis engine. EXi which do not support audio input will ignore these settings. For more information on using audio inputs with the STR-1, see “4-8c: Feedback” on page 257.
Combination mode Combination P3: MIDI Filter/Zones 3–1: MIDI Filter1 3–1PMC 1–1a 1–1b 3–1a These settings allow you to apply filters to the MIDI data that will be transmitted and received by each timbre 1–16. For example even if two timbres are being played by the same MIDI channel, you can make settings so that the damper pedal will apply to one but not the other. On (checked): Transmission and reception of MIDI data is enabled.
Combination P3: MIDI Filter/Zones Enable JS+Y [Off, On] Specifies whether MIDI CC#1 (the +Y axis of the OASYS’s joystick, or a realtime modulation knob assign setting) will be transmitted and received. Enable JS–Y [Off, On] Specifies whether MIDI CC#2 (the –Y axis of the OASYS’s joystick, or a realtime modulation knob assign setting) will be transmitted and received.
Combination mode Enable Realtime Control Knob 5 [Off, On] Enable Realtime Control Knob 6 [Off, On] Enable Realtime Control Knob 7 [Off, On] Enable Realtime Control Knob 8 [Off, On] ▼ 3–2: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. These specify whether MIDI message will be received for Realtime Control knobs 5 through 8. • 0: Write Combination.
Combination P3: MIDI Filter/Zones Timbres 02…16 These are the MIDI Filter3 settings for timbres 2 through 16. They are the same as for timbre 1. See “Timbre 01”. ▼ 3–3: Page Menu Commands 3–5: Keyboard Zones • 0: Write Combination. For more information, see “Write Combination” on page 405. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy From Program. For more information, see “Copy From Program” on page 405.
Combination mode Zone Map Key zone display Bottom Slope Velocity zone display Top Slope Bottom Key Top Key Timbre 1 Top Velocity Top Slope Bottom Slope Timbre 16 Bottom Velocity C–1 E1 G9 1 16 Timbre 72: The volume will increase gradually as you play downward, and will reach the original volume six octaves below the top key.
Combination P3: MIDI Filter/Zones 3–6: Velocity Zones 3–6: Velocity Zones 3–6PMC 1–1a 3–6a 1–1b 3–6b Sets the Top/Bottom Velocity parameters to specify the range of velocities that will sound for each timbre 1–16, and set the Top/Bottom Slope parameters to specify the range over which the volume will change. Top Slope Velocity Switch: By setting two or more timbres to velocity zones that do not overlap, you can use variations in playing dynamics to play different sounds.
Combination mode “Top Velocity” and “Bottom Velocity” settings can also be input by holding down the ENTER switch and playing a note on the keyboard. Timbres 02…16 These are the velocity zone settings for timbres 2 through 16. They are the same as for timbre 1. See “Timbre 01”. ▼ 3–6: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Combination.
Combination P7: KARMA 7–1: GE Setup/Key Zones Combination P7: KARMA Here you can make KARMA function settings for the combination. In Combination mode, you can use all four KARMA Modules (A, B, C, and D). This allows you to create a wide variety of setups, including assigning different phrases or patterns to different Programs. Turning KARMA on and off KARMA can be enabled or disabled for the current Combination by using the front-panel KARMA ON/OFF switch.
Combination mode Load GE Options [Dialogue] These options let you specify whether the values and assignments for controllers such as the KARMA SLIDERS 1–8 and KARMA SWITCHES 1–8 will be set automatically, be initialized, or be preserved when you select a GE. For more information, see “Load GE Options” on page 7. GE Select [0000: Arp Model 01 Up/Dn… 2047: Tempo Env Repeats] This selects the Module’s GE, from among the 2048 presets. For more information, see “GE Select” on page 328.
Combination P7: KARMA Off (unchecked): The selected Module will receive data from the specified “Input Channel,” and will not receive data from the Global Input Channel. On (checked): The selected Module will receive data from the specified Input Channel and the Global Input Channel. This is useful when using a pad on a specific MIDI Channel to send data into a Module. Turning “Gch Also” On (checked) allows a keyboard (sending on the Global Channel) to also control the same Module.
Combination mode When you play the keyboard, you will hear the bass of timbre 1, whose MIDI channel is set to Gch. Since timbre 2 is set to MIDI channel 2, it will not sound in response to the keyboard. (See “KARMA ON/OFF=OFF (1)” in the diagram above.) Example setting 2 1. Follow steps 1–3 from Example setting 1, above. 2. Set KARMA Module [A] as follows. GE Select: Any riff from the Bass GE category Input Channel: Gch Output Channel: Gch Timbre Thru: Off 3. Set KARMA Module [B] as follows.
Combination P7: KARMA 7–2: MIDI Filter/CC Offset 7–2: MIDI Filter/CC Offset 7–2PMC 1–1a 7–2a 7–2b 7–2a: MIDI Filter Receive MIDI Filter For each KARMA Module, specify whether to filter the MIDI control data received by the Module. After Touch [Off, On] Pitch Bend [Off, On] Damper (CC#64) [Off, On] JS+Y (CC#01) [Off, On] JS–Y (CC#02) [Off, On] Ribbon (CC#16) [Off, On] Other CC [Off, On] this bend range.
Combination mode CC Number [Off, MIDI CC#00…CC#95] Value [000…127] ▼ 7–2: Page Menu Commands • 2: Copy KARMA Module. For more information, see “Copy KARMA Module” on page 408. • 3: Initialize KARMA Module. For more information, see “Initialize KARMA Module” on page 409. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 4: Copy Scene.
Combination P7: KARMA Clock Advance Mode ▼ 7–3: Page Menu Commands [Auto, Dyn, Auto+Dyn, Auto+Dyn2] [ 3, 3, , 3, , , 3, , , 3, , Event] Size Chord Trigger Mode [Off, 1st, Chord1, Chord2, Chord3] Velocity Sense Bottom [001…127] Please see “Clock Advance” on page 105.
Combination mode Delay Delay Start [Off, Fixed, 64T …4x1] Delay Start Fixed [0000ms…5000ms] Please see “Delay” on page 108. Note Note Trigger [Any, AKR, 1st, Dyn] Please see “Note Trigger” on page 109. Note Latch [Off, On] Please see “Note Latch” on page 109. Note: In Combination mode, this can be turned on/off for each KARMA Module. A KARMA Module for which this is On (checked) will be in a Latch On condition when the LATCH switch is on (LED lit).
Combination P7: KARMA 7–5: GE Real-Time Parameters 7–5: GE Real-Time Parameters 7–5PMC 7–5a 7–5b 7–5c Here you can edit the Real-Time Parameters of the GE for each KARMA Module [A]–[D]. In addition, you can assign GE Real-Time Parameters to the KARMA RealTime Controls so that you can control the phrase or pattern in real-time while you play. GE Real-Time Parameters 01…32 Here you can edit GE parameters and assign GE parameters to KARMA Real-Time Controls etc. for use with Module Control = Master.
Combination mode 7–5c: GE Real-Time Parameters for Module Control = A, B, C, D for each linked Module, or completely different Scenes. This allows complete flexibility as to which Modules have which Scenes in which combinations. Module Control = A, B, C and D let you control GE Real-Time Parameters independently for the corresponding KARMA Module.
Combination P7: KARMA duration setting. If you disconnect the Master Layer, the duration value indicated by the Module Layer will be sent out. You can adjust the Module Layer’s Duration % (Gate) control to sound the same at that point, if desired. Turning “Enable RTC By Master” back on will resend the Master Layer’s duration setting, if it was the last moved control connected to the duration in that Master Scene. 7–6: Perf Real-Time Parameters • 1: Exclusive Solo.
Combination mode A/B/C/D [Off, On] Specifies whether the Perf Real-Time Parameter settings will be valid for each Module. On (checked): The Perf Real-Time Parameter settings will be valid. Off (unchecked): The Perf Real-Time Parameter settings will be ignored. Assign [---, Slider1…8, Slider1…8(SW), SW1…8, DynaMIDI1…8] For more information, see “Assign” on page 113. Polarity [+, –] • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy KARMA Module.
Combination P7: KARMA 7–7: Dynamic MIDI 7–7: Dynamic MIDI 7–7PMC 1–1a 7–7b Dynamic MIDI is a function that lets you use this instrument’s controllers and MIDI control messages to control specific KARMA functions. For more information, please see Please see “7–7: Dynamic MIDI” on page 116. [Off, RT Params Control… Buffer Latch] For more information, see “Destination” on page 117, and “Dynamic MIDI Sources & Destinations” on page 984.
Combination mode • 2: Copy KARMA Module. For more information, see “Copy KARMA Module” on page 408. • 5: Swap Scene. For more information, see “Swap Scene” on page 409. • 3: Initialize KARMA Module. For more information, see “Initialize KARMA Module” on page 409. • 6: Capture Random Seed. For more information, see “Capture Random Seed” on page 409. • 4: Copy Scene. For more information, see “Copy Scene” on page 409. • 7: Copy From Program. For more information, see “Copy From Program” on page 405.
Combination P7: KARMA Duration (Duration Seed) Controls the randomizable characteristics for the Duration Group, similar to those explained under “Rhythm (Rhythm Seed)” above. For more information, see “Duration Group” on page 914. Index (Index Seed) Controls the randomizable characteristics for the Index Group, similar to those explained under “Rhythm (Rhythm Seed)” above. For more information, see “Index Group” on page 917.
Combination mode 7–9: Name/Note Map 7–9PMC 1–1a 7–9a 7–9b Here you can assign the names for KARMA SLIDERS 1–8 and KARMA SWITCHES 1-8, view Global Note Map Tables, and edit the Custom Note Map Table stored with the Combi. 7–9a: Name Each Module Control layer has its own set of names for the 8 KARMA SLIDERS and 8 KARMA SWITCHES. For more information, see “7–9b: Module A” on page 121.
Combination P7: KARMA 7–9: Name/Note Map 7–9PMC 7–9b ▼ 7–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Combination. For more information, see “Write Combination” on page 405. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy KARMA Module. For more information, see “Copy KARMA Module” on page 408.
Combination mode Combination P8: Insert Effect You can also specify the bus routing for the program used by each timbre 1–16. For instance, you can: • Make detailed settings for insert effects • Send the output of a timbre to an insert effect For more details on the Insert Effects, see the “Effect Guide” on page 727.
Combination P8: Insert Effect 8–1: Routing1 8–1b: Routing1 Timbre 01 (Timbre Number) Bus Select (IFX/Indiv. Out Assign) Dkit [Off, On] You can select this only if the Timbre’s Program is a drum program (Oscillator Mode Drums). This parameter can also be edited from the P8– Routing 2 page. On (checked): The Bus Select, FX Control Bus, Send1, and Send2 settings for each key of the selected drum kit will be used.
Combination mode Example: Inserting a single IFX into multiple timbre Example: Inserting a separate IFX into each timbre, and then inserting an IFX at the final stage Example: Sharing a portion of a timbre’s IFX chain with another timbre Send1 (MFX1) [000…127] Send2 (MFX2) [000…127] For each timbre, these parameters set the send level to master effects 1 and 2. These settings are valid when Bus Select is set to L/R or Off.
Combination P8: Insert Effect 8–2: Routing2 • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 3: Swap Insert Effect. For more information, see “Swap Insert Effect” on page 150. • 2: Copy Insert Effect. For more information, see “Copy Insert Effect” on page 149. • 4: Drum Kit IFX Patch. For more information, see “Drum Kit IFX Patch” on page 410.
Combination mode Off: The signal will not be sent to a REC bus. Normally you will leave this off. ▼ 8–2: Page Menu Commands 1…4: The output of the timbre will be sent to the corresponding REC bus. The Pan setting (0–1b) of each timbre will be ignored, and the signal will be sent in monaural. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Combination P8: Insert Effect IFX1 [000…185] IFX1 On/Off [Off, On] Chain to [IFX2…IFX12] Chain [Off, On] Pan(CC#8) (Post IFX Pan) Bus Sel. (Bus Select) [L000…C064…R127] [L/R, 1…8, 1/2…7/8, Off] Ctrl Bus (FX Control Bus) [Off, 1, 2] 8–5: Insert FX ▼ 8–5: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Write Combination.
Combination mode 8–6: Track View 8–6PMC 8–6a 8–6b 8–6a: Track View When you move from this page to the P8– IFX1-12 page, the IFX you selected here will be selected. Here you can view the timbre output and insert effect routing. For example if you select Timbre 03, only the insert effects used by timbre 3 will be shown. Used in Tracks The upper and lower rows of boxes with eight boxes in each row indicate the timbre that is being sent to the corresponding insert effect.
Combination P8: Insert Effect • 4: Insert IFX Slot. For more information, see “Insert IFX Slot” on page 150. 8–7: IFX 1–12 • 6: Clean Up IFX Routings. For more information, see “Clean Up IFX Routings” on page 152. • 5: Cut IFX Slot. For more information, see “Cut IFX Slot” on page 151. 8–7: IFX 1–12 8–7PMC 8–7a 8–7b This page lets you edit the detailed parameters of the twelve insert effect s. Use the tabs at left to select IFX1 through IFX12.
Combination mode P (Effect Preset) [P00, P01…15, U00…15, --------] Effect Presets let you easily store and recall all of the settings for an individual effect. You can store up to 16 user presets for each effect type, in addition to 15 rewritable factory presets. The same presets appear in all of the modes (Program, Combi, Sequence, and Sampling), and sets of presets can be saved to and loaded from disk.
Combination P8: Insert Effect 8–9: Common FX LFO 8–9: Common FX LFO 8–9PMC 8–9a 8–9b The two Common FX LFOs allow you to synchronize LFO-based modulation for multiple effects, such as phasers, flangers, filters, and so on. Sync (Reset) The Common LFOs control only the frequency, MIDI synchronization, and reset options; each individual effect still has its own settings for the LFO waveform and phase.
Combination mode Combination P9: Master/Total Effect Here you can make settings for the master effects and total effects. For instance, you can: • Make detailed settings for master effects and total effects • Route a sound to an master effects and total effects For more information, please see “Effect Guide” on page 727. 9–1: Routing 8–5b 9–1PMC 1–1a 9–1a 9–1b 9–1c Here you can specify the type of master effects and total effects, and turn them on/off. The master effects are sent to the L/R bus.
Combination P9: Master/Total Effect 9–2: MFX1 • 0: Write Combination. For more information, see “Write Combination” on page 405. 9–1c: Master Volume Master Volume [000…127] • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. ▼ 9–1: Page Menu Commands • 2: Copy MFX/TFX. For more information, see “Copy MFX/TFX” on page 153. The number before each command shows its ENTER + number-key shortcut.
Combination mode For instance, you can save an Effect Preset while working on a particular Combination, and then later use the same Effect Preset in a different Program, Combination, or Song. P00: Initial Set: These are the default settings that are recalled when you select an effect type in the Insert FX page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Combination: Page Menu Commands ENTER + 0–9: shortcuts for menu commands Combination: Page Menu Commands ENTER + 0–9: shortcuts for menu commands Each page has a set of menu commands, which provide access to different utilities, commands, and options, depending on the page you’re currently on. You can use the menu commands entirely from the touch-screen, by pressing the menu button in the upper right-hand corner of the screen and then selecting an option from the menu that appears.
Combination mode IFX-All: The settings of all insert effect settings (the contents of the Insert FX page and the IFX1–12 effect parameters) of the copy-source program will be copied. IFX-All used: Only the insert effects used by the copy-source program will be copied. The copied settings will be packed into vacant slots (i.e., slots with 000: No Effect, unless such slots are located inside the chain). Note: Copy-source insert effects set to 000: No Effect will not be copied.
Combination: Page Menu Commands • Initialize: Sets sampling-related parameters to their default state. Copy Tone Adjust Assignments Only: This copies only the Tone Adjust parameter assignments, without the values. Resample Combination Play: Makes settings so you can play a combination and resample your performance. 6. To execute the Copy Tone Adjust command, press the OK button. To exit without copying the controls, press the Cancel button.
Combination mode The window will cover the parameters for some of the Timbres on either the right or left sides of the display. If you select one of these Timbres, the window will automatically move to the other side of the display. Copy KARMA Module Copy Vector Envelope 1. Select “Copy KARMA Module” to open the dialog box. This command copies the settings of the KARMA Module used by a specified program, combination, or song.
Combination: Page Menu Commands In addition to the content copied when “GE RTP Control Setting & Scenes” is Off (unchecked), the following content is copied. Initialize KARMA Module The “Input Channel” and “Output Channel” (Combination/Sequencer P7–1) settings of a combination or song are not copied. • 7–5: GE RTP page “ASSIGN” and Polarity settings. • The scene selected in the master buffer (A), the KARMA CONTROLS slider and KARMA SWITCH settings of each scene (0–6d: Realtime Controls and 0–9f: R.
Combination mode Copy Insert Effect This command copies effects settings from Program, Combination, Song, or Sampling modes. For more information, please see “Copy Insert Effect” on page 149. Note: the slot’s MIDI control channel, as specified by the Ch parameter on the IFX1–12 pages, will not be copied. Swap Insert Effect This command swaps (exchanges) insert effect settings. For more information, please see “Swap Insert Effect” on page 150.
Sequencer mode Sequencer Overview The OASYS contains a sophisticated sequencer that integrates a 16-track MIDI sequencer with a 16-track hard disk recorder. The sixteen MIDI tracks and the master track (which contains tempo data, etc.) allow you to record and play back MIDI data for the internal tone generator or for external sound modules, and the sixteen audio tracks allow you to record and play back audio signals on the internal hard disk recorder in synchronization with the MIDI tracks.
Sequencer mode to return to Program mode and edit the program itself. • OASYS’s AMS (Alternate Modulation) capability lets you use control changes for realtime control of the parameters of the programs used in a program. Its MIDI Sync abilities let you synchronize the LFO speed to changes in the tempo. • Dmod (Dynamic Modulation) functionality lets you control effect parameters in realtime. You can also use MIDI Sync to synchronize the LFO speed or delay time to changes in the tempo.
Sequencer Overview Disk mode to create an audio CD from these WAVE files. Setup parameters & Musical data • You can use the LOCATE switch to move immediately to the desired location. • In addition to the song name, you can assign names to each pattern, track, and region.
Sequencer mode recommend that you delete unused WAVE files so that space on the internal hard disk is not occupied unnecessarily. Tip: Auto Song Setup The Auto Song Setup function copies the settings of a program or combination to a song, and puts you in record-ready mode. Then you can simply press the SEQUENCER START/STOP switch to begin recording immediately. This lets you seamlessly move from playing a program or combination to producing a song.
Sequencer P0: Play/REC 0–1: MIDI Track Prog Select/Mixer Sequencer P0: Play/REC 0–1: MIDI Track Prog Select/Mixer 0–1PMC 0–1a Select Track Info 0–1b Here you can make basic settings for MIDI track recording and playing back in the song, and can select the program that will be used by each track. 0–1a: Location, Song/Track Select Location [001:01.000…999:16.191] This display shows the current position in the song.
Sequencer mode Changing the time signature in the middle of a song If you know beforehand the location at which you wish to change time signatures in the middle of a song, use the “Insert Measure” menu command to specify and insert the time signature for each measure of the same time signature, and then record your musical data.
Sequencer P0: Play/REC 0–1: MIDI Track Prog Select/Mixer Tempo changes can also be created using the “MIDI Event Edit” or “Create Control Data” menu commands. If other tracks are set to the same MIDI channel as the selected track, and their Status is set to INT or BTH, they’ll be controlled by the keyboard as well.
Sequencer mode Multi REC [Off, On] Normally, the numbers for un-selected Tracks use a dark blue background, and a light blue background hilights the selected Track. Use MIDI multi-track recording if you want to simultaneously record multiple MIDI tracks of different channels, such as when recording the output of the KARMA or RPPR functions, or when recording from an external multi-track sequencer.
Sequencer P0: Play/REC • If you’ve chosen “Program Select,” the front-panel BANK buttons will change the program bank for the selected track. (If “Program Bank” is selected, the BANK switch LED of the program bank selected for the track will light.) • Use the Bank/Track Program Select menu to view and select programs by bank. • Use the Category/Track Program Select menu to view and select programs by category.
Sequencer mode OSC1/EXi1 Left OSC2/EXi2 Center Right OSC1/EXi1: Amp1 Pan=L001 OSC2/EXi2: Amp2 Pan=R127 OSC1/EXi1 Left OSC2/EXi2 Center Right Pan (CC#10) Pan (CC#10) C064 C064 L032 L032 L001 L001 R096 R096 R127 R127 Left Center OSC1/EXi1 Left Left Right OSC2/EXi2 Center OSC1/EXi1: Amp1 Pan=L032 OSC2/EXi2: Amp2 Pan=R096 Right Center Right OSC1/EXi1: Amp1 Pan=C064 OSC2/EXi2: Amp2 Pan=C064 Pan (CC#10) 1.
Sequencer P0: Play/REC 0–2: Audio Track Mixer 0–2: Audio Track Mixer 0–2PMC 0–1a 0–1b 0–2a Here you can make settings for recording and playback of audio tracks in the song. You can specify the audio source for recording, and change the Play/Mute status, Solo status, pan, and volume for playback. 0–2a: Audio Track Select Selected Track Info This displays information about the currently selected MIDI or audio track. For more information, see “0–1b: Track Program Select” on page 418.
Sequencer mode Audio Input 1…4, Audio Input 1/2 and 3/4: Choose these to record directly from analog inputs 1-4. The input signal will be recorded directly, without passing through any buses or effects, and without being REC Source = Audio Input 1 (Single Track REC) L/R Bus affected by the audio input mixer settings. For more information, see the diagram “REC Source = Audio Input 1, 2,” below. REC Indiv. 1,2,3,4 1,2,3,4,5,6,7,8 ...
Sequencer P0: Play/REC S/P DIF L, R, S/P DIF L/R: Choose these if you want to record the input from the S/P DIF jack. The input from the S/P DIF jack will be recorded directly without passing through the L/R bus, REC buses, or Individual buses. The S/P DIF L,R input will be connected REC Source = S/P DIF L, R L/R Bus 0–2: Audio Track Mixer directly, regardless of the Audio Input (0–8a) settings for Pan, “Level,” “Solo,” and “Play/Mute.” See the diagram “REC = S/P DIF L, R,” below.
Sequencer mode REC 1, 2, 1/2, REC 3, 4, 3/4: The REC 1/2 or REC 3/4 buses will be recorded. Choose this if you want to record only the audio input while hearing the sequencer playback and your keyboard playing from the L/R outputs. You can also mix several audio inputs to the REC buses, or use the REC buses to mix the direct sound from the audio inputs with the sound REC Source = REC Bus 1 (2) L/R Bus processed by insert effects, and record the result.
Sequencer P0: Play/REC Note: You can use the control surface to control Play/Rec/Mute. You can also make this setting from the front panel mixer section or from the P0– Control Surface page of the LCD. The procedure given below describes how to make these settings from the front panel. 1. Press the CONTROL ASSIGN MIXER AUDIO switch to select tracks 1–8 or 9–16. 2. Use the MIX PLAY/MUTE 1/9 – 8/16 switches to switch the Play/Rec/Mute status of each track. (You can’t select REC for single-track recording.
Sequencer mode • 0: Memory Status. For more information, see “Memory Status” on page 524. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Rename Song. For more information, see “Rename Song” on page 524. • 8: Set Location (for Locate Key.) For more information, see “Set Location (for Locate Key)” on page 525. • 9: GM Initialize. For more information, see “GM Initialize” on page 526. • 3: Delete Song. For more information, see “Delete Song” on page 524.
Sequencer P0: Play/REC 0–3: MIDI Track Loop For example, you can use this on a drum track to make it play a fill-in and then begin looping. • 6: Save Template Song. For more information, see “Save Template Song” on page 525. Off (unchecked): Playback will begin from the “Loop Start Measure,” and will begin looping immediately. • 7: FF/REW Speed. For more information, see “FF/REW Speed” on page 525 This will be valid if “Track Play Loop” is checked and “Loop Start Measure” is set to other than 001.
Sequencer mode 0–5: Preferences 0–5PMC 0–1a 0–1b 0–5a 0–5c 0–5b 0–5d Here you can specify the realtime recording method, adjust levels and make other settings for audio recording, and adjust the metronome settings. Overdub Selected Track Info To begin recording, press the SEQUENCER REC/WRITE switch and then the SEQUENCER START/STOP switch. To stop recording, press the SEQUENCER START/STOP switch once again. This displays information about the currently selected MIDI or audio track.
Sequencer P0: Play/REC If you select Auto Punch In, the display will indicate “M***–M*** (Auto Punch In Start Measure–Auto Punch In End Measure)” at the right, allowing you to specify the range of measures that will be rewritten. Press the SEQUENCER REC/WRITE switch and then the START/STOP switch, and playback will occur until the specified measure is reached. Then, recording will occur only over the specified area (Start Measure–End Measure), rewriting it with the newly recorded data.
Sequencer mode Audio Input/Output Stereo Pair (0-2c) = On Audio Input (0–2a) ADC OVERLOAD ! AUDIO INPUT 1,2 BUS(IFX/Indiv.) = L/R or IFX1-12 REC Source (0-2c) = L/R Insert Effects ADC LEVEL (MIC/LINE) (MIN...MAX) Analog to Digital Converter ADC Analog to Digital Converter L-Mono R-Mono Stereo Level Pan [127=0dB] Insert Effects ADC OVERLOAD ! AUDIO INPUT 3,4 CLIP ! Total Effects REC Sample Setup Mode (0–1d) Master Effects Level Pan [127=0dB] Recording Level (0–1c) [–inf ... 0.0dB ... +18.
Sequencer P0: Play/REC Name 1…4 Here you can specify the names of the regions and WAVE files that will be created when you record audio tracks. You can use up to eight characters. If you check Take at the right, the take number will automatically be input as the last two characters of the name. For more information, see Take (below). Take [Off, On] On (checked): The take number specified by Take No.
Sequencer mode 0–6: KARMA GE 0–6PMC 0–6a 0–6b Select KARMA Module Info 0–6c 0–6d This page gives you an overview of the four KARMA Modules (A-D), and lets you make basic adjustments. For more detailed editing of KARMA parameters, see “Sequencer P7: KARMA” on page 495. 0–6b: GE Select The settings of the KARMA ON/OFF and LATCH switches, KARMA SCENES 1–8 switches, KARMA SLIDERS 1–8, and KARMA SWITCHES 1–8 are saved independently for each Song.
Sequencer P0: Play/REC 0–6: KARMA GE 0–6d: Real-Time Controls • 15: Swap Scene. For more information, see “Swap Scene” on page 409. 1…8 • 16: Capture Random Seed. For more information, see “Capture Random Seed” on page 409. KARMA SWITCH • 17: Auto Assign KARMA RTC Name. For more information, see “Auto Assign KARMA RTC Name” on page 409.
Sequencer mode 0–7: Controller View/Effect 0–7PMC 0–7a 0–7b 0–7c Here you can view the function that is assigned to the vector joystick, SW1 and 2, and knobs 5–8, and view information about the effects. You can also adjust the FX Balance. 0–7c: Effects 0–7a: Location, Song/Track Select Location [001:01.000…999:16.191] Song Select [000…199] Track Select [MIDI Track01…MIDI Track16, Master Track, Audio Track01…Audio Track16] RPPR (Tempo) [Off, On] [040.00…240.
Sequencer P0: Play/REC 0–8: Audio In/Sampling • 0: Memory Status. For more information, see “Memory Status” on page 524. • 6: Save Template Song. For more information, see “Save Template Song” on page 525. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 7: FF/REW Speed. For more information, see “FF/REW Speed” on page 525 • 2: Rename Song. For more information, see “Rename Song” on page 524. • 8: Set Location (for Locate Key.
Sequencer mode If you want to have separate Audio Input settings for each song, uncheck this box and make the desired Audio Input settings here. The Recording Level setting is not saved per song; it is a single setting for Sequencer mode. Input1…4 0–8c: Sampling Setup These are settings for analog inputs 1/4. Inputs 1/2 are mic/line; inputs 3–4 are line-level only. Here you can select the source to be sampled, and the method by which to initiate sampling.
Sequencer P0: Play/REC Sample Time [min sec] For more information, please see “Sample Time” on page 16. ▼ 0–8: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Memory Status. For more information, see “Memory Status” on page 524. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Rename Song.
Sequencer mode • Control each Track’s EQ settings and Master Effects Send levels • Modulate sounds and effects using the Real Time Knobs • Control KARMA, and select KARMA scenes, using the sliders and switches • Edit sounds using Tone Adjust • Assign sliders, knobs, and switches to different Tone Adjust parameters • Select the Keyboard Track and the HDR Audio record track Local Control On/Off and the Control Surface The Control Surface generates and receives MIDI CCs and System Exclusive messages, so that
Sequencer P0: Play/REC When it is set to Catch, you need to move the slider or knob so that it “catches” the parameter, by passing through its current value. Until the value is caught, moving the slider or knob has no effect on the parameter. Use this when you’d like parameter edits to be smooth, and always move from the current value. Reset Controls The front-panel RESET CONTROLS button lets you recall the stored settings for any slider, knob, or button on the control surface.
Sequencer mode Note: With some EXi instruments, such as the CX-3, notes cannot be panned individually. For these EXi, Random pan will move all sounding notes to a different pan position at each note-on. EQ Trim [00…99] This controls the volume level going into the EQ. High settings of the Low, Mid, and High Gain controls can cause substantial increases in the overall level. You can compensate for this by turning down the input trim.
Sequencer P0: Play/REC 0–9: Control Surface On most pages, you can also toggle Exclusive Solo by holding ENTER and pressing 1 on the numeric keypad. Select 1/9–8/16 [Off, On] These buttons either select or solo the Track, depending on the state of the Solo switch. For more details, see Solo, above. You can link these Select buttons to the Keyboard Track selection, so that you can switch between playing the different tracks simply by pressing their front-panel buttons.
Sequencer mode 0–9c Pan 0–9c: Audio Inputs This Control Assign setting lets you adjust the volume, pan, and FX send settings for each of the six audio inputs: Analog 1–4, and S/P DIF left and right. You can use this page to mix sounds from other sources into the OASYS outputs - as an on-stage submixer, for instance. Use/Edit Global Setup [Off, On] Songs can use the single, Global audio input mixer setup, or can instead have their own custom settings.
Sequencer P0: Play/REC Solo switch and Select switches 1–6 Solo [Off, On] Solo lets you isolate one or more MIDI Tracks, HDR Audio Tracks, or Audio Inputs, so that you hear them by themselves. It does this by temporarily muting all non-soloed Tracks and Inputs. The Select switches can show and control either which Input is currently selected, or which Inputs are soloed. The main Solo button lets you switch back and forth between the two views.
Sequencer mode 0–9e 0–9e: External This Control Assign setting lets you send MIDI messages to external devices. Each slider, knob, and switch can be assigned to a separate MIDI controller and MIDI channel. The eight drum pads also have separate settings which apply only when Control Assign is set to External. In Global mode, you can create up to 128 different External Setups.
Sequencer P0: Play/REC CC# Assign (1–8) [Off, 000…119] This read-only parameter shows the MIDI CC sent by the slider. Value (1–8) 0–9: Control Surface [000…127] This is the current value of the slider’s MIDI CC. 0–9f 0–9f: RT (Real Time Knobs)/KARMA This Control Assign setting lets you modulate Program and Effects parameters with the eight knobs, and control KARMA with the switches and sliders. You can assign many parameters to a single slider or switch, if desired.
Sequencer mode Knobs 1–8 KARMA SCENES 1-8 Knobs 1–4 all have dedicated functions which correspond to MIDI CCs. Knobs 5–8 can be assigned to a wide variety of functions, many of which also have corresponding MIDI CCs. A KARMA Scene includes the settings for all of the KARMA Sliders and Switches. Each Song can contain up to eight Scenes. When you move the knob, it will send the corresponding MIDI CC to the current Keyboard Track, and also to all Tracks on the same MIDI Channel as the Keyboard Track.
Sequencer P0: Play/REC 0–9: Control Surface Selected parameter information 0–9g 0–9g: Tone Adjust Tone Adjust provides two important features simultaneously: • It lets you use all of the sliders, knobs, and switches to control Program parameters - like the knobs on an analog synth, or the drawbars on an organ. Track select Track [1…16] This selects the Track whose Tone Adjust parameters appear on the screen and the Control Surface.
Sequencer mode Once the Program has been loaded, you can change any or all of the Tone Adjust settings as desired, including both assignments and values. All such edits are stored in the Song, without affecting the original Program. [Original Parameter Value] This shows the original value of the parameter, before the effects of Tone Adjust. It applies only to Tone Adjust parameters which control a single Program parameter.
Sequencer P0: Play/REC On Value [Depends on parameter] The parameter is set to this value when the switch is On. 0–9: Control Surface • 13: Swap Scene. This is available only when Control Assign is set to RT KNOBS/KARMA. For more information, see “Swap Scene” on page 147. When the switch is assigned to a two-state Absolute parameter, such as Hold, this will always be the same as the Switch Status (see below). Switch Status [Off, On] This simply shows whether the switch is On or Off.
Sequencer mode Sequencer P1: EQ/Vector/Controller 1–1: MIDI Track EQ 1–1PMC 1–1a 1–1b Each Track has a dedicated three-band EQ, with sweepable mid band. This page lets you view and adjust the settings for all 16 MIDI Tracks at once. 1–1a: Location, Song/Track Select Location [001:01.000…999:16.191] Song Select [000…199] Track Select [MIDI Track01…MIDI Track16, Master Track, Audio Track01…Audio Track16] RPPR (Tempo) [Off, On] [040.00…240.
Sequencer P1: EQ/Vector/Controller Regardless of this setting, subsequent edits to the Program’s EQ in Program mode will not affect the Combination. On: the Program’s EQ settings will be loaded automatically along with the Program. This is the default setting. 1–1: MIDI Track EQ ▼ 1–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138.
Sequencer mode 1–2: Audio Track EQ 1–2PMC 1–1a 1–1b 1–2a Audio Track EQ and the control surface Here you can adjust the three-band EQ (with sweepable mid range) for audio track. EQ parameters other than “Bypass” can be edited not only from within the screen, but also using the control surface. You can also make this setting from the front panel mixer section or from the P0– Control Surface page of the LCD. The procedure given below describes how to make these settings from the front panel.
Sequencer P1: EQ/Vector/Controller 1–5: Vector Volume Control • 3: Delete Song. For more information, see “Delete Song” on page 524. • 9: GM Initialize. For more information, see “GM Initialize” on page 526. • 4: Copy From Song. For more information, see “Copy From Song” on page 524. • 10: Copy From Combination. For more information, see “Copy from Combination” on page 526. • 5: Load Template Song. For more information, see “Load Template Song” on page 524. • 6: Save Template Song.
Sequencer mode Vector Synthesis system, Sequencer mode Song Song Vector Volume Control Track 1-16 Center Volume and Equal Power settings Song Vector EG + Song switch: Enable Volume control Vector Modulation of Track Volume Song Vector CC Control Song switch: Enable CC control Vector Joystick MIDI In (Global Chan.
Sequencer P1: EQ/Vector/Controller Equal Amount [Off, On] This applies only when Enable Volume Control is On. When Equal Amount is On, the Vector will fade between all four Vector axes while maintaining a total amount of 100%. This provides a smooth fade between the different sounds, and is the type of volume control used by classic vector synths. Note that this will work best when the Programs assigned to each of the four axes have equivalent volumes.
Sequencer mode Enable Program Vector Volume [Off, On] When this is turned On, the Program’s Vector Volume control will function as it does in Program mode, crossfading between Oscillators 1 and 2. The crossfade will be controlled by the combination of the Program’s Vector EG and the Vector Joystick, and is not affected by the Song’s Vector EG. When this is turned Off, the Program’s Vector Volume control will be disabled. • 2: Rename Song. For more information, see “Rename Song” on page 524.
Sequencer P1: EQ/Vector/Controller 1–6: Vector CC Control The Vector CCs are also sent to all Global Channel Tracks. These may modulate Program parameters, like any other MIDI CCs, depending on the settings within each individual Program. Note that this setting affects only CC Control; it has no effect on Volume Control. Also, it applies only to the Song’s Vector CCs, and has no effect on the individual Program Vector CCs. Finally, you can optionally send these CCs out to external MIDI instruments.
Sequencer mode Vector CC Modes Positive Negative Generates only +X, increasing from left to right. Generates only –X, increasing from right to left. 0 +X CC 127 127 –X CC 0 Note that. in some cases, the Vector CCs may have been used for modulating the Program’s effects via Dmod. This functionality is not carried into the Song; for modulating the Song’s effects, use the Song’s Vector CCs instead. If Enable Program Vector CC is Off, then the Program’s Vector CCs will have no effect.
Sequencer P1: EQ/Vector/Controller 1–7: Vector Envelope 1–7: Vector Envelope 1–7PMC 1–1a 1–7a 1–7b 1–7c The Vector Envelope works together with the Vector Joystick to control the Vector position. It’s particularly convenient for modulating effects, since it’s the only programmable modulation source stored with the Song, outside of KARMA. The Vector Envelope is different from the other envelopes in several ways: • Each point has two “levels” - one for the X axis, and one for the Y axis.
Sequencer mode seconds and milliseconds, you can specify the EG times as rhythmic values, using the Base Note and x (Multiply Base Note by…) parameters. Vector EG times, Loop Type = 1->3 Note-on or reset Note-off Loop 1–7b: Vector Envelope Loop The Vector EG can loop between two points, and can continue to loop either for as long as you hold the note, or for a specified number of repeats. You can also turn the loop off completely, if you like.
Sequencer P1: EQ/Vector/Controller Time [0ms…60sec] This parameter lets you set the Hold Time in seconds and milliseconds. It applies only when the Mode is set to Time. (Base Note) [ … ] 1–7: Vector Envelope Loop This sets the length of time that it takes to move from Point 3 to the first Point in the loop. You can set this in either seconds/milliseconds or rhythmic values, depending on whether the Mode is set to Time or Tempo.
Sequencer mode ▼ 1–7: Page Menu Commands • 6: Save Template Song. For more information, see “Save Template Song” on page 525. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 7: FF/REW Speed. For more information, see “FF/REW Speed” on page 525 • 0: Memory Status. For more information, see “Memory Status” on page 524. • 1: Exclusive Solo.
Sequencer P1: EQ/Vector/Controller 1–8: Set Up Controllers Momentary: The function will be on only while you continue holding down the SW1 switch. SW2 Mode [Off, …, After Touch Lock] [Toggle, Momentary] Assigns a function to the SW2 switch. The functions you can assign to the SW2 switch are the same as for the SW1 switch with the exception than SW1 Mod.:CC#80 is replaced by SW2 Mod.:CC#81. 1–8b: Modulation Knob Assign Here you can assign the function of the realtime modulation knobs 5 through 8.
Sequencer mode 1–9: Set Up Pads 1–9PMC 0–1a 1–9a There are eight velocity-sensitive trigger pads below the LCD screen. These look like drum machine pads, and playing drum sounds is certainly one use for them. However, they can also play up to eight-note chords on any sound–not just drums. The pads even remember the velocities of the individual notes within the chord, as well as the notes themselves. Finally, each Pad can be assigned to a different MIDI channel, if desired.
Sequencer P1: EQ/Vector/Controller Off: Select this to disable the note. C–1…G9: This sets the note number. 001…127: This sets the note’s velocity value. For more information on pads and velocity, please see “Pad Mode: Fixed Velocity vs. Velocity Sensitive” on page 465. Pad Mode: Fixed Velocity vs. Velocity Sensitive Each pad stores a velocity level for each of its 8 notes. The PAD MODE button, to the right of the pads, controls whether or not the pads respond to how hard you play.
Sequencer mode Sequencer P2: Track Parameters 2–1: MIDI 2–1PMC 0–1a 1–1b 2–1a Here you can make MIDI-related settings for each MIDI track. 2–1a: MIDI Track 01 (Track Number) Status [Off, INT, BTH, EXT, EX2] This sets whether the Track controls the internal sounds, external MIDI devices, or both.
Sequencer P2: Track Parameters EX2 No Yes (using the Bank Select message specified on the MIDI tab of the Track Param page) BTH Yes Yes MIDI Channel [01…16] Specifies the MIDI channel that the MIDI track will use to transmit and receive musical data. The MIDI channel you specify here will be the receive channel when Status is INT, the transmit channel when it is EXT or EX2, and the receive/transmit channel when it is BTH.
Sequencer mode 2–2: OSC 2–2PMC 0–1a 1–1a 2–2a These parameters specify how each MIDI track will be sounded. come to any Portamento On/Off data or Portamento Time data that was recorded, the settings will change accordingly. 2–2a: OSC When the track whose Status (2–1a) is INT or BTH, MIDI control change CC#5 (Portamento Time) and CC#65 (Portamento Switch) can be received to control this and change the setting. (If the setting is PRG, CC#05 Portamento Time will not be received.
Sequencer P2: Track Parameters 2–2: OSC This setting does not limit the Unison Number of Voices parameter. For instance, if Max # of Notes is set to 6, and Unison Number of Voices is set to 3, you can play up to 6 notes, each with 3 Unison voices. • 3: Delete Song. For more information, see “Delete Song” on page 524. If the Program is set to Double, the Max # of Notes applies equally to both Oscillators. For instance, if Max # of Notes is set to 4, you can play up to 4 notes on each OSC.
Sequencer mode 2–3: Pitch 2–3PMC 0–1a 1–1a 2–3a Here you can make pitch-related settings for each MIDI track. 2–3a: Pitch Bend Range Track 01 (Track Number) Transpose [–60…+00…+60] Adjusts the pitch of each MIDI track in semitone steps. 12 units equal one octave. Detune (BPM Adj. in Page Menu) [–1200…+0000… +1200] Adjusts the pitch of each MIDI track in one-cent units. +0000: Normal pitch.
Sequencer P2: Track Parameters 2–4: Delay 2–3b: Scale • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. Scale • 2: Rename Song. For more information, see “Rename Song” on page 524. Specifies the scale that the song will use. For more information, please see “1–1g: Scale” on page 36. Type (Song’s Scale) [Equal Temperament…User Octave Scale15] Selects the scale. Key [C…B] Selects the tonic key of the selected scale.
Sequencer mode 2–4a: Delay • 3: Delete Song. For more information, see “Delete Song” on page 524. Track 01 (Track Number) • 4: Copy From Song. For more information, see “Copy From Song” on page 524. Mode [Time, Tempo] This selects whether the Track delay will be set in milliseconds, or in rhythmic units. Time: Specify the delay time in units of milliseconds (ms = 1/1000th of a second). Tempo: Specify the delay time in terms of a Base Note and Times relative to the system tempo.
Sequencer P2: Track Parameters 2–5: Wave Sequence/KARMA 2–5: Wave Sequence/KARMA 2–5PMC 0–1a 1–1a 2–5a Here you can make settings related to wave sequence and KARMA functionality for each MIDI track. 2–5a: Wave Sequence/KARMA Track 01 (Track Number) Wave Sequence Key Sync [PRG, Off, On] Specifies the wave sequence Key Sync setting (Program 1–1e) of the program selected for the MIDI track. This setting is valid if the program uses a wave sequence. PRG: The setting of the program is used.
Sequencer mode by On (OSC Off by KARMA On): The track will not sound when the KARMA ON/OFF switch is on. The track will sound as usual when the KARMA ON/OFF switch is off. Use this when you are using a KARMA Module to control multiple tracks that are set to the same MIDI channel, and want a specific track to be silent only when the KARMA function is on. For example you can use this to play a two-track layer from the keyboard when KARMA is off, and use one track to sound the phrase when KARMA is on.
Sequencer P2: Track Parameters 2-6: EXi Audio Input 2-6: EXi Audio Input 2–6PMC 1–1a 1–1b 2–6a 2–6b These parameters let you route audio into EXi instruments which support audio input, such as the STR-1. You can use this to create feedback loops, or to process live or recorded audio through the EXi’s synthesis engine. IFX 1…12, MFX 1, 2, and TFX 1, 2 use the output of the selected effect. Channel Select [Stereo/L+R, Left, Right] EXi which do not support audio input will ignore these settings.
Sequencer mode 2–7: Audio Track Delay 2–7PMC 0–1a 1–1a 2–7a Here you can specify a delay time by which the audio events of each audio track will be delayed relative to their “Location.” 2–7a: Delay • 7: FF/REW Speed. For more information, see “FF/REW Speed” on page 525 STEREO This is shown if “Stereo Pair” is on. Mode [Time, Tempo] Time [ms] [0000…6000] , , , , , Times , , ] [01…32] For more information, please see “2–4a: Delay” on page 472.
Sequencer P3: MIDI Filter/Zones 3–1: MIDI Filter1 Sequencer P3: MIDI Filter/Zones 3–1: MIDI Filter1 3–1PMC 1–1a 1–1b 3–1a Here you can select whether or not to apply filtering to the MIDI data received by MIDI tracks 1–16. For example even if two tracks are receiving the same MIDI channel, one can be set to respond to damper pedal activity while the other does not. These MIDI filter settings have no effect on the MIDI messages that have already been recorded.
Sequencer mode Enable JS+Y [Off, On] Specifies whether or not MIDI CC#1 (the +Y axis of the OASYS’s joystick, or a Modulation Knob Assign setting) will be received. Enable JS–Y [Off, On] Specifies whether or not MIDI CC#2 (the –Y axis of the OASYS’s joystick, or a Modulation Knob Assign setting) will be received. Enable Ribbon [Off, On] Specifies whether or not MIDI CC#16 (the OASYS’s ribbon controller, or specified as the assignment of a realtime modulation knob) will be received.
Sequencer P3: MIDI Filter/Zones 3–2: MIDI Filter2 3–2: MIDI Filter2 3–2PMC 1–1a 1–1b 3–2a Here you can enable transmission for the REALTIME CONTROLS 1–8 knobs. The MIDI control messages of knobs 1–4 are fixed. The function of knobs 5–8 can be assigned in the Set Up Controllers page. 3–2a: MIDI Filter 2 [Off, On] Specifies whether Realtime Control knob 1 MIDI CC#74 (the OASYS’s filter cutoff frequency) will be received.
Sequencer mode • 10: Copy From Combination. For more information, see “Copy from Combination” on page 526. • 11: Copy From Program. For more information, see “Copy From Program” on page 526. 3–3: MIDI Filter3 3–3PMC 1–1a 1–1b 3–3a Enable Other Control Change Messages [Off, On] 3–3a: MIDI Filter 3 Specifies whether or not MIDI control messages not covered in the preceding items MIDI Filter will be received.
Sequencer P3: MIDI Filter/Zones • 4: Copy From Song. For more information, see “Copy From Song” on page 524. • 5: Load Template Song. For more information, see “Load Template Song” on page 524. • 6: Save Template Song. For more information, see “Save Template Song” on page 525. • 7: FF/REW Speed. For more information, see “FF/REW Speed” on page 525 3–5: Keyboard Zones • 8: Set Location (for Locate Key.) For more information, see “Set Location (for Locate Key)” on page 525. • 9: GM Initialize.
Sequencer mode Bottom Slope [00, 01, 02, 03, 04, 06, 08, 10, 12, 18, 24, 30, 36, 48, 60, 72] Specifies the range of keys (12 is one octave) over which the volume will be reached starting from the bottom key. 0: The volume will be at the original level from the bottom key. 12: The volume will increase gradually as you play upward, and will reach the original volume one octave above the bottom key.
Sequencer P3: MIDI Filter/Zones 3–6: Velocity Zones 3–6: Velocity Zones 3–6PMC 1–1a 3–6a 1–1b 3–6b Here you can set the Top/Bottom Velocity parameters to specify the range of velocities that will be sounded by MIDI tracks 1–16, and Top/Bottom Slope specify the range over which the volume will be adjusted. 120: The volume will decrease as the velocity approaches the top velocity. Bottom Slope [0…120] These settings do not affect MIDI transmission/ reception.
Sequencer mode ▼ 3–6: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Memory Status. For more information, see “Memory Status” on page 524. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Rename Song. For more information, see “Rename Song” on page 524. • 3: Delete Song. For more information, see “Delete Song” on page 524.
Sequencer P4: Track Edit 4–1: Track Edit Sequencer P4: Track Edit 4–1: Track Edit 4–1PMC 0–1a 4–1b 4–1a 4–1b Note: To perform track editing (or step editing), use Track Select to select the track you want to edit, and use From Measure and To End of Measure parameters to specify the region that you want to edit. Then choose a command from the page menu, and execute the edit. For details on the specific commands, see “Sequencer: Page Menu Commands” on page 524.
Sequencer mode 4–1b: Track Select, From Measure, To End of Measure Track Select [MIDI Track01…MIDI Track16, Master Track, Audio Track01…Audio Track16] Here you can select the track you want to edit (or use as the copy-source) or record. If you want to perform an operation on all tracks, you don’t need to specify a track here. Simply turn on All Tracks in the page menu command dialog box. • 9: Delete Measure. For more information, see “Delete Measure” on page 543. • 10: Insert Measure.
Sequencer P4: Track Edit • 14: Region Edit. For more information, see “Region Edit” on page 550. • 15: Volume Ramp. For more information, see “Volume Ramp” on page 552. • 16: Copy Song’s Tempo to Region. For more information, see “Copy Song’s Tempo to Region” on page 553. • 17: Adjust Song’s Tempo to Region. For more information, see “Adjust Song’s Tempo to Region” on page 553. 4–2: MIDI Track Name • 18: Adjust Region to Song’s Tempo (Time Stretch).
Sequencer mode 4–3: AUDIO Track Name 4–3PMC 0–1a 1–1a 4–3a Here you can assign a name to each audio track. 4–3a: Audio Track Names T01…T16 [Audio Track Name] Here you can rename the audio tracks. Press the text edit button to open the dialog box, and input the desired characters. You can input up to 24 characters. For more information, see “Editing names” on page 166 of the Operation Guide.
Sequencer P5: Pattern/RPPR 5–1: Pattern Edit Sequencer P5: Pattern/RPPR On the OASYS you can use preset patterns P00–155, and user patterns U00–99. Preset patterns provide patterns that are suitable for drum tracks, and can be selected from any song. One hundred user patterns are provided for each song; you can create and store your own patterns in these.
Sequencer mode 5–1b: Pattern, Pattern Select, Metronome, Remove Data 5–1c: USED IN SONG TRACK, USED IN RPPR How to record a user pattern USED IN SONG TRACK 1. Use “Song Select” to select the song in which you want to create a user pattern. This area indicates the pattern usage status for the patterns selected for the track. 2. Use Track Select to select the sound that you will record. USED IN RPPR The pattern you record will sound according to your choice in Track Select. 3.
Sequencer P5: Pattern/RPPR 5–2: Pattern Name 5–2: Pattern Name 5–2PMC 5–1a 5–1b 5–2a • 8: Put To MIDI Track. For more information, see “Put To MIDI Track” on page 555. 5–2a: User Pattern Names Pattern name [U00…U99] Here you can rename the pattern. Press the text edit button to open the dialog box, and input the name. You can enter up to 24 characters. For more information, see “Editing names” on page 166 of the Operation Guide. • 9: Copy To MIDI Track.
Sequencer mode 5–3: RPPR Setup 5–3PMC 5–3a 5–3b 5–3c Here you can make settings for the RPPR (Realtime Pattern Play/Recording) function. RPPR lets you assign patterns to individual keys, and then playback patterns simply by pressing individual notes on the keyboard. This performance can be recorded in realtime. For each song, you can assign either a preset pattern or a user pattern to each of the 72 keys in the range C#2– C8.
Sequencer P5: Pattern/RPPR The following parameters will apply to the key that you select here. 5–3b: KEY, Keyboard & Assigned graphics KEY (Key Select) [C#2…C8] Specifies the key to which you want to assign an RPPR pattern. Non-assignable keys Assigned keys and tracks Key range Assign [C#2…C8] [Off, On] Off (unchecked): That key will sound the currently selected track at the corresponding pitch, just as in normal Sequencer mode.
Sequencer mode Paste Sync settings Key 1 on Key 2 on Key 1 off Song Patterns 1 and 2 are set to Mode=Manual, and have identical Sync settings Sync: Off Pattern 1 Pattern 2 This pastes the settings from the copy buffer (obtained by “Copy”) into the “KEY” of the selected parameter. Example): Assigning preset patterns P00, P01, and P02 to “KEY” Before you begin, assign a drum program such as MIDI track 1. 1. Check C#2 “Assign.
Sequencer P7: KARMA 5–3: RPPR Setup Sequencer P7: KARMA Here you can make settings for the KARMA functions used in Sequencer mode. A Sequencer mode song can use four KARMA Modules (Modules [A], [B], [C], and [D]). messages stop. For more information, see “Synchronizing the KARMA function” on page 213 of the Operation Guide. In Sequencer mode, you can use the KARMA function on song tracks or for pattern real-time recording.
Sequencer mode 7–1: GE Setup/Key Zones 7–1PMC 7–1a 7–1b 7–1c Here you can select the GE that will be used by each KARMA Module, and specify the Key Zone and MIDI Setup for the four KARMA Modules used by the Sequencer mode song. Selected KARMA Module Info 7–1a: Location, Track Select, Load GE Options, KARMA T.Sig, Tempo This displays information for the KARMA Module specified by the Module Control Setting. Location [001:01.000…999:16.
Sequencer P7: KARMA Btm (Key Zone Bottom) [C–1…G9] Top (Key Zone Top) [C–1…G9] Please see “Key Zones” on page 376. Note: In Sequencer mode, MIDI data for each KARMA Module is transmitted and received on the “Input Channel” and “Output Channel” (7–1c) that you specify for each Module. Transpose Thru In Z (Thru In Zone) [Off, On] Trans (Transpose In Zone) [–36…+36] Thru Out Z (Thru Out Zone) [Off, On] Trans (Transpose Out Zone) [–36…+36] Please see “Key Zones” on page 376.
Sequencer mode Example 1 KARMA ON/OFF = ON Track Select = MIDI Track 01 01ch In : 01ch KARMA Module [A] Out : 01ch In : 02ch KARMA Module [B] Out : 02ch In : Tch KARMA Module [A] Out : Tch Guitar Riff In : 01ch MIDI Track 01: Guitar In : 02ch MIDI Track 02: Bass In : 01ch MIDI Track 01: Guitar In : 02ch MIDI Track 02: Bass In : 01ch MIDI Track 01: Guitar In : 02ch MIDI Track 02: Bass In : 03ch MIDI Track 03: Drums Track Select = MIDI Track 02 02ch Bass Riff Example 2 KARMA ON/OFF
Sequencer P7: KARMA “Input Channel”: 01 7–1: GE Setup/Key Zones ▼ 7–1: Page Menu Commands “Output Channel” 01 The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. 5. Set KARMA Module [B] as follows. “GE Select”: a riff of GE category Bass “Input Channel”: 02 “Output Channel” 02 • 0: Memory Status. For more information, see “Memory Status” on page 524. 6.
Sequencer mode 7–2: MIDI Filter/CC Offset 7–2PMC 1–1a 7–2a 7–2b 7–2a: MIDI Filter 7–2b: CC Offset Receive MIDI Filter These settings specify the MIDI control change messages and values that are transmitted from each KARMA Module to the tone generator when you press the KARMA ON/OFF switch to turn on the KARMA function or when you select a song for which the KARMA function is turned on.
Sequencer P7: KARMA • 3: Initialize KARMA Module. For more information, see “Initialize KARMA Module” on page 409. 7–3: Module Parameters-Control • 7: FF/REW Speed. For more information, see “FF/REW Speed” on page 525. • 4: Copy Scene. For more information, see “Copy Scene” on page 409. • 8: Set Location (for Locate Key). For more information, see “Set Location (for Locate Key)” on page 525. • 5: Swap Scene. For more information, see “Swap Scene” on page 409. • 9: Copy From Program.
Sequencer mode (Note Map Keyboard Track) [Off, On] Note Map Table Display • 3: Initialize KARMA Module. For more information, see “Initialize KARMA Module” on page 409. For more information, see “Note Map” on page 106. • 4: Copy Scene. For more information, see “Copy Scene” on page 409. ▼ 7–3: Page Menu Commands • 5: Swap Scene. For more information, see “Swap Scene” on page 409. The number before each command shows its ENTER + number-key shortcut.
Sequencer P7: KARMA Envelope1, Envelope2, Envelope3 Envelope Trigger Envelope Latch [Any, AKR, 1st, Dyn] [Off, Sus1, Rel1, Sus2, Rel2] Please see “Envelope1, Envelope2, Envelope3” on page 109. Module Trigger Trigger By Module GE Phrase Length [Off, A, B, C, D] [000…100%] Cutoff Module A, B, C, D [Off, On] Please see “Module Trigger” on page 382. ▼ 7–4: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Sequencer mode (Tempo) [040.00…240.00, EXT] For more information, see “Tempo” on page 5. • 4: Copy Scene. For more information, see “Copy Scene” on page 409. 7–5b: GE Real-Time Parameters for Module Control = Master [Parameter Name] • 5: Swap Scene. For more information, see “Swap Scene” on page 409. MIN (Minimum Value) [–5000…+5000] • 6: Capture Random Seed. For more information, see “Capture Random Seed” on page 409.
Sequencer P7: KARMA 7–6: Perf Real-Time Parameters 7–6: Perf Real-Time Parameters 7–6PMC 1–1a 7–6a Here you can assign controllers to KARMA Performance Real-Time Parameters (Perf. RTP) outside of the GE Real-Time Parameters that control the internal settings of the GE. Examples include the KARMA Key Zone parameters (Combination 7–1b) and KARMA Control and Trigger parameters (Combination 7–3, 7–4). For more information, please see “7–6a: Perf Real-Time Parameters (1…8)” on page 385.
Sequencer mode 7–7: Dynamic MIDI 7–7PMC 1–1a 7–7a Dynamic MIDI is a function that lets you use this instrument’s controllers and MIDI control messages to control specific KARMA functions. For more information, please see “7–7b: Dynamic MIDI” on page 116 and p.387. 7–7a: Dynamic MIDI • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy KARMA Module. For more information, see “Copy KARMA Module” on page 408. [A…D] • 3: Initialize KARMA Module.
Sequencer P7: KARMA 7–8: Random Seeds 7–8: Random Seeds 7–8PMC 1–1a 7–8a 7–8b The Random Seeds page allows you to control some of the randomizable characteristics of a Module’s GE. Different Modules using the same GE can have various randomizable characteristics “linked” so that they share the same start seeds, generating phrases with the same characteristics. ▼ 7–8: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Sequencer mode 7–9: Name/Note Map 7–9PMC 1–1a 7–9a 7–9b Here you can assign the names for KARMA SLIDERS 1-8 and KARMA SWITCHES 1-8, view Global Note Map Tables, and edit the Custom Note Map Table stored with the Sequence. 7–9a: Name Each Module Control layer has its own set of names for each of the KARMA SLIDERS and SWITCHES. For more information, see “7–9b: Module A” on page 121.
Sequencer P8: Insert Effect 8–1: MIDI Routing1 Sequencer P8: Insert Effect You can also specify the bus routing for the program used by each MIDI track 1–16 and audio track 1–16. For instance, you can: • Send the output of a track to an insert effect • Make detailed settings for insert effects • Make common LFO settings for effects For details on Insert Effects, see “Effect Guide” on page 727.
Sequencer mode On (checked): The Bus Select, FX Control Bus, Send1, and Send2 settings for each key of the selected drum kit will be used. Check this setting if you want to apply an individual insert effect to each drum instrument, or to send individual drum instruments to AUDIO OUTPUT (INDIVIDUAL). Tip: In most preloaded drumkits, the drum instruments have the same Bus Select settings according to their type, as follows. Note: You can use the control surface to control Send1 and Send2.
Sequencer P8: Insert Effect • 5: Put Effect Setting To Track. For more information, see “Put Effect Setting to Track” on page 557. 8–2: MIDI Routing2 • 7: Set Location (for Locate Key.) For more information, see “Set Location (for Locate Key)” on page 525. • 6: FF/REW Speed. For more information, see “FF/REW Speed” on page 525. 8–2: MIDI Routing2 8–2PMC 8–1a 1–1a 1–1b 8–2a Here you can specify the program oscillator output bus, effect control bus, and REC bus for each MIDI track 1 through 16.
Sequencer mode inputs to the REC buses for sampling or resampling, and set Source Bus (P0– Audio Input/Sampling 0–8c) to REC1/2 or 3/4 so that these signals can be sampled. Off: The signal will not be sent to a REC bus. Normally you will leave this off. 1, 2, 3, 4: The output of the track will be sent to the corresponding REC bus. The Pan setting (0–1b) of each track will be ignored, and the signal will be sent in monaural.
Sequencer P8: Insert Effect 8–3: Audio Routing1 Bus Select (IFX/Indiv. Out Assign) [L/R, IFX1…12, 1…8, 1/2…7/8, Off] • 0: Memory Status. For more information, see “Memory Status” on page 524. This specifies the bus for the audio track. The current settings can also be viewed in the Routing Map. This parameter can also be edited from the P8– Audio Routing 2 page. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. For more information, please see “Bus Select (IFX/Indiv.
Sequencer mode 8–4: Audio Routing2 8–4PMC 8–1a 1–1a 1–1b 8–4a Here you can specify the buses, effect control bus, and REC bus for the outputs of audio tracks 1–16. ▼ 8–4: Page Menu Commands 8–4a: Audio Routing2 The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. Track 01 (Tack Number) • 0: Memory Status. For more information, see “Memory Status” on page 524.
Sequencer P8: Insert Effect 8–5: Insert FX 8–5: Insert FX 8–5b 8–5PMC 1–1b 8–5a 8–5a: IFX Here you can choose the type of each insert effect 1 through 12, its on/off status, chaining, and adjust the post-IFX mixer settings. For insert effects, the direct sound (Dry) is always stereo-in and out. The input/output configuration of the effect sound (Wet) depends on the effect type. For descriptions of the individual effects, please see “Effect Guide,” beginning on page 727.
Sequencer mode IFX2: Chain to [IFX3…IFX12] IFX3: Chain to [IFX4…IFX12] IFX4: Chain to [IFX5…IFX12] IFX5: Chain to [IFX6…IFX12] IFX6: Chain to [IFX7…IFX12] IFX7: Chain to [IFX8…IFX12] IFX8: Chain to [IFX9…IFX12] IFX9: Chain to [IFX10…IFX12] IFX10: Chain to [IFX11…IFX12] IFX11: Chain to [(IFX12)] 8–5b: Effect/EXi Fixed Resource Meter FX EXi FIXED FREE FOR VOICES The number of voices you can play is affected by how effects and EXi are being used.
Sequencer P8: Insert Effect 8–6: Track View 8–6: Track View 8–5b 8–6PMC 1–1b 8–6a 8–6a: Track View When you move from this page to the P8– IFX1-12 page, the IFX you selected here will be selected. Here you can view the track output and insert effect routing. For example, if you select Track 03, only the insert effects used by track 3 will be shown. Used in Tracks The upper and lower rows of boxes with eight boxes in each row indicate the timbre that is being sent to the corresponding insert effect.
Sequencer mode • 4: Insert IFX Slot. For more information, see “Insert IFX Slot” on page 556. • 5: Cut IFX Slot. For more information, see “Cut IFX Slot” on page 556. • 6: Clean Up IFX Routings. For more information, see “Clean Up IFX Routings” on page 556. • 7: Put Effect Setting To Track. For more information, see “Put Effect Setting to Track” on page 557. • 8: FF/REW Speed. For more information, see “FF/REW Speed” on page 525. • 9: Set Location (for Locate Key.
Sequencer P8: Insert Effect 8–7: IFX 1–12 All Routed: The channel of any MIDI track routed through this effect can be used to control the effect. (Channels of each routed track will be indicated by “*”.) The parameters for IFX2 through IFX12 are the same as for IFX1. For more information, please see “8–7a: IFX1” on page 518. Drum Kits and the MIDI Control Channel ▼ 8–7: Page Menu Commands If a Timbre is using a Drum Kit, and the Timbre’s Bus Select (IFX/Indiv.
Sequencer mode 8–9: Common FX LFO 8–9PMC 1–1b 8–9a 8–9b The two Common FX LFOs allow you to synchronize LFO-based modulation for multiple effects, such as phasers, flangers, filters, and so on. The Common LFOs control only the frequency, MIDI synchronization, and reset options; each individual effect still has its own settings for the LFO waveform and phase.
Sequencer P9: Master/Total Effect 9–1: Routing Sequencer P9: Master/Total Effect Here you can make settings for the master effects and total effects. For more information, please see “Effect Guide” on page 727. 9–1: Routing 8–5b 9–1PMC 1–1b 9–1a 9–1c 9–1b Here you can specify the type of master effects and total effects, and turn them on/off. The master effects are sent to the L/R bus. The total effects are inserted into the L/R bus. These parameters are the same as in Program mode.
Sequencer mode • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 2: Copy MFX/TFX. For more information, see “Copy MFX/TFX” on page 153. • 3: Swap MFX/TFX. For more information, see “Swap MFX/TFX” on page 154. • 4: Put Effect Setting To Track. For more information, see “Put Effect Setting to Track” on page 557. • 5: FF/REW Speed. For more information, see “FF/REW Speed” on page 525. • 6: Set Location (for Locate Key.
Sequencer P9: Master/Total Effect 9–3: MFX2 • 0: Memory Status. For more information, see “Memory Status” on page 524. • 4: Write FX Preset. For more information, see “Write FX Preset” on page 154. • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 138. • 5: Put Effect Setting To Track. For more information, see “Put Effect Setting to Track” on page 557. • 2: Copy MFX/TFX. For more information, see “Copy MFX/TFX” on page 153. • 3: Swap MFX/TFX.
Sequencer mode Sequencer: Page Menu Commands Memory Status If you select “Memory Status,” the remaining amount of sequencer memory will be displayed. 2. In “From,” specify the copy source song number. 3. Select the data that you wish to copy. All: will copy all setting data and musical data (track events and audio events, etc.). Exclusive Solo This specifies how the Solo function will operate. Each time you select “Exclusive Solo,” the setting will alternate between multiple solo and exclusive solo.
Sequencer: Page Menu Commands Save Template Song FF/REW Speed This allows you to set the speed at which fast-forward or rewind will occur when you press the FF switch or REW switch. Audio tracks will not produce sound during fastforward or rewind. 1. Select “FF/REW Speed” to open the dialog box. This dialog box is the same as in the page menu command “Copy To MIDI Track”. 5. In Pattern, select the pattern that you wish to copy. In To Track, select the copy destination track.
Sequencer mode Note: When this dialog box is not open, you can hold down the ENTER switch and press the LOCATE switch to set the current location as the “Set Location” value. IFX-All: All insert effect settings of the copy-source combination (the contents of the Insert FX page and the IFX1–12 effect parameters) will be copied. GM Initialize IFX-All used: Only the insert effects that are used by the copy-source combination will be copied.
Sequencer: Page Menu Commands Copy From Program GM Initialize List Page P0 P1 MIDI Prog/Mixer MIDI Track EQ MIDI OSC P2 Pitch Parameter Program Select Play/Mute, Solo Pan WSEQ/KARMA P3 MIDI Filter Keyboard Zones Vel Zone P7 KARMA MIDI Routing2 Insert FX Common LFO 100 On On Bypass On On Input Trim 99 99 High Gain +00.0 +00.0 Mid Frequency 3.20k 3.20k Mid Gain +00.0 +00.0 High Gain +00.0 +00.
Sequencer mode Stereo Pair Select Sample No. This lets you assign adjacent audio tracks as a stereo pair. The following parameters of paired channels will be linked with the same values. This command specifies the sample number into which samples will be written. You can also specify whether the sample will be automatically converted into a program after sampling.
Sequencer: Page Menu Commands The Auto +12 dB On setting is made independently for Program, Combination, Sequencer, and Sampling modes. 4. “Convert to” lets you specify whether the sample will automatically be converted to a program after sampling. You can also specify whether a note event will be created at the time of sampling. If the “Program” check box is checked, the sample will automatically be converted to a program.
Sequencer mode 3. The settings for the rest of the procedure will depend on what you selected in step 2. (For details, refer to the explanations below.) If you selected Initialize: 1. Refer to Auto HDR/Sampling Setup steps 1 and 2, and select Initialize. 2. Press the OK button to execute the command. If you decide not to execute, press the Cancel button. For more information, see “Auto HDR/Sampling Setup: Automatically-set parameters and their values” on page 533.
Sequencer: Page Menu Commands Auto HDR/Sampling Setup If you don’t change the settings after executing the command, the effect settings will be ignored, and the audio from the audio track will be bounced directly. Even if IFX1 is being applied to the output of Audio Track 1 and 2 as shown below, IFX1 will not be applied to the sound that is recorded on the bounce-destination audio tracks.
Sequencer mode Note: Use the page menu command “Select Directory” to specify the location in which the new WAVE file will be created. If you selected Resample SEQ Play: 1. Refer to Auto HDR/Sampling Setup steps 1 and 2, and select Resample SEQ Play. multisample will be created when you execute “Resample SEQ Play” once again and sample.
Sequencer: Page Menu Commands S/P DIF IN jack will be input to the OASYS. (0–8a “Audio Input”) 3. Use “Mono-L/Mono-R/Stereo” to select the input source and the number of channels you will sample. The Mono-L setting will sample from Audio Input1, 3 and S/P DIF L to sample to L-MONO, Mono-R will use Audio Input2, 4, and S/P DIF R to sample to R-MONO, and Stereo will use Audio Input 1/2, 3/4, and S/P DIF L/R to sample in stereo. 5. Play the instrument etc.
Sequencer mode Initialize HDR (Audio Track Recording) 2ch Mix to Disk Resample SEQ Play In-Track Sampling Play/Rec/Mut Play e [Recording Track]: REC *8 [To][Mode]: REC *8 – – – Solo – – [From]: Solo On – – – REC Source In1 [Source Audio][IFX]*6 REC 1/2 *8 – – – Stereo Pair Off [Source Audio]*6 [Mode] *8 – – – Source Bus L/R – – L/R L/R REC1/2 Source Direct Solo (N/A) – – (N/A) (N/A) Off Trigger Note On – – Sequencer START SW Note On Sampling START SW Metr
Sequencer: Page Menu Commands Copy Tone Adjust Detune BPM Adjust If you’ve created a phrase or rhythm loop multisample or sample at a specific BPM in Sampling mode (or that you loaded in Disk mode), and want to use it with a program in a track, you can use this command to change the BPM of that multisample or sample. The “Detune BPM Adjust” command modifies the BPM of the phrase or rhythm by changing its pitch. This command is available when the “Detune” setting of that track is selected.
Sequencer mode You can even enter notes as shown in the following diagram. If you want the selected note value to be a dotted note or a triplet, use the popup menu at the right to select a dot “. (Dot)” or triplet “3 (Triplet).” To use the unmodified value of the selected note, choose “– (Normal).” The following table shows the number of clocks represented by each “Step Time” selection.
Sequencer: Page Menu Commands “Control Change” lets you specify the control change number. Normally you will leave this set at ALL. You can also check various other events (“Pitch Bend,” “Program Change,” “After Touch,” “Poly After Touch,” and “Exclusive”). 2. Press the OK button to open the Event Edit dialog box. Audio Event Edit 6. When you are finished event editing, press the Done button.
Sequencer mode Note: As long as there is data in the master track, you can open the audio event editing dialog box even if the audio track is empty. 1. Use Track Select to select the audio track you want to edit, and use From Measure (4–1b) to select the measure at which you want to begin editing. 2. Choose the “Audio Event Edit” command to open the dialog box. Measure 001 002 003 Anchor=Off Trim Region Start=Off M=002, BT=01.000 Anchor Point Edit: Anchor=On Trim Region Start=Off M=002, BT=02.
Sequencer: Page Menu Commands Audio Event Edit The procedure is the same as for “Region Edit.” The region will be changed when you press the OK button. If you press the Cancel button, the region will not be changed. If stereo pairing is enabled and you’re editing a stereo audio event, the dialog box will appear twice. In the second dialog box, select the region for the other paired track. 6. Use the buttons located at the bottom of the dialog box to edit the event.
Sequencer mode Linear: The volume will change linearly. Power: The volume will change in a non-linear power curve. Sometimes, using the Linear setting will produce the impression that the volume is less during the middle of the curve. If so, use the Power curve. Press the OK button to execute the crossfade, or press the Cancel button if you decide to cancel. WAVE file waveform display, ZOOM This area displays the waveform of the WAV file assigned to the region.
Sequencer: Page Menu Commands 3. Measure and Index located in the top line of the dialog box show the measure for editing and the index number of an event within that measure; this event is shown at the top of the list of events. EQ Input Trim 0…99 EQ High Gain –18.0…+18.0 You can use the scroll bar at right to move to the event you want to edit. EQ Mid Cutoff 100…10.00k EQ Mid Gain –18.0…+18.0 EQ Low Gain –18.0…+18.0 4.
Sequencer mode If you do not check All Tracks, All MIDI Tracks, or All Audio Tracks, only the playback data of the track you selected in Track Select will be erased. If you check All Tracks, the playback data of all tracks (MIDI tracks, master track, and audio tracks) will be erased. WAVE files and regions will not be erased. If you check All MIDI Tracks (when Track Select is set to a MIDI Track 01–16), the playback data of all MIDI tracks (MIDI Track 01–16) will be erased.
Sequencer: Page Menu Commands Delete Measure Audio tracks Example: If measures 2–3 are erased, measures 2–3 will be blank. Before Erase 1 2 3 4 5 After Erase 1 2 3 4 5 No data 3. In From Measure select the first measure to be erased, and in To End of Measure select the last measure to be erased. (By default, From Measure and To End of Measure will be set to the range that you specified in the Track Edit page.) 4. Use “Kind” to select the type of data you want to erase.
Sequencer mode 3. In From Measure select the first measure that you wish to delete, and in To End of Measure select the last measure that you wish to delete. By default, the range of measures will be set as specified on the Track Edit page. 4. Specify the track(s) on which you want to execute the command. If you execute with All Tracks, All MIDI Tracks, and All Audio Tracks unchecked, the specified measures of data will be deleted only from the track that’s selected in Track Select.
Sequencer: Page Menu Commands The playback data in subsequent measures will play just as it did before this command was executed. Repeat Measure MIDI tracks If you check All MIDI Tracks (when a MIDI track is selected), the measures will be inserted into all MIDI tracks. If you check All Audio Tracks (when an Audio track is selected), the measures will be inserted into all audio tracks. 7. To execute the Insert Measure command, press the OK button. To cancel, press the Cancel button.
Sequencer mode If you execute Repeat Measure at a location in the middle of an audio event that spans several measures, a new region will be automatically created and named. Note: The WAVE file itself will not be modified. Copy Measure This command copies the measures of musical data specified as the “From” source to the beginning of the measure specified as the “To” location. When you execute the Copy Measure command, the existing track data at the copy destination will be rewritten. 1.
Sequencer: Page Menu Commands If All Tracks, All MIDI Tracks, and All Audio Tracks are unchecked, only data from the selected track will be moved. If you check All Tracks, the playback data of all tracks including the Master Track will be moved. If you check All MIDI Tracks (when a MIDI Track is selected), all MIDI tracks will be moved. If you check All Audio Tracks (when an Audio Track is selected), all Audio tracks will be moved. 3.
Sequencer mode Control change: Control change data will be erased. Use “#” to specify the control change number. 1. In Track Select, specify the track. After Touch: Aftertouch data will be erased. 3. Specify the range that will be quantized. Pitch Bend: Pitch bend data will be erased. Tempo: Tempo data will be erased. (If you’ve selected the master track) 2. Select “Quantize” to open the dialog box. In From Measure and To End of Measure, specify the measures. In Beat.Tick specify the beat and clock.
Sequencer: Page Menu Commands Shift/Erase Note Original 100% 100% Quantize Resolution = Offset = 0, Intensity = 100% 50% 50% Quantize Resolution = Offset = 0, Intensity = 50% 100% Quantize Resolution = Offset = +48, Intensity = 100% 100% +48 75% Quantize Resolution = Offset = +48, Intensity = 75% Quantize Resolution = Offset = –24, Intensity = 100% 100% +48 +48 75% +48 75% +48 +48 100% 100% –24 100% –24 –24 8. Use “Swing” to add a sense of swing to the rhythm.
Sequencer mode will be modified. 2. Select “Modify Velocity” to open the dialog box. Region Edit Here’s how to edit the regions used in an audio track. In addition to Importing or Pasting a region, you can use the Trim dialog box to specify the range in which a WAVE file will play back. Editing a region will affect all audio tracks of the song. Use caution when editing a region that is already used by an audio track. 1. Use Track Select to select an Audio Track. 2.
Sequencer: Page Menu Commands Select the region that you want to import, and press the Import button. The Import dialog box will appear. Region Edit Select the region that you want to play back, and press the Play button to play the region from its “Start” to “End” (Trim step 6). During playback, the Play button indication will change to Stop. You can press the Stop button to stop playback. 7. Use the trim dialog box to specify the portion of the region that will play back.
Sequencer mode On: If you edit the “Start” or “End” address, the “End” or “Start” address will automatically be adjusted to preserve the existing length between “Start” and “End.” Fade In Allow Tempo [Off, On] This specifies whether the Region’s Tempo (see “Tempo [40.00…240.00],” below) will be used when executing the menu commands “Adjust Region to Song’s Tempo (Time Stretch)” or “Adjust Song’s Tempo to Region.
Sequencer: Page Menu Commands Copy Song’s Tempo to Region This command changes the tempo used by the specified regions of audio events so that the audio event tempo will match the tempo of the location in which those regions play back. If the tempo of an audio track matches the tempo of the MIDI tracks, executing this command to match the region tempo will ensure that the “Adjust Region to Song’s Tempo (Time Stretch)” or “Adjust Song’s Tempo to Region” commands can be executed correctly.
Sequencer mode 6. Press the OK button to execute the Time Stretch command, or press the Cancel button to cancel. Note: When you execute this command, new regions and WAVE files will be created, and file names and region names will be assigned automatically. The audio events will also be modified. Automation data will not be affected. 3. In Length, specify the number of measures in the pattern. 4. In Meter, specify the time signature of the pattern.
Sequencer: Page Menu Commands Bounce Pattern (By default, this will be the song and pattern that was selected in the Pattern Edit page.) 3. In To: Song and Pattern, specify the copy destination song and pattern. For Pattern, only user patterns U00–U99 can be specified. 4. To execute the Copy Pattern command, press the OK button. To cancel, press the Cancel button.
Sequencer mode Initialize KARMA Module For more information, please see “Initialize KARMA Module” on page 409. Copy Scene For more information, please see “Copy Scene” on page 147. Note: If you press the SEQUENCER START/STOP switch while the dialog box is open, the selected pattern will play back. 2. In Pattern and Pattern Select, select the “put” source pattern. (By default, this will be the pattern selected in the Pattern Edit page) • In To: Track, select the “put” destination MIDI track. 3.
Sequencer: Page Menu Commands Copy MFX/TFX For more information, please see “Copy MFX/TFX” on page 153. Copy MFX/TFX 2. Select Put Effect Setting to Track to open the dialog box. (The values shown in the dialog box are the settings for example (1).) Note: the slot’s MIDI control channel, as specified by the Ch parameter on the MFX1–2 pages, will not be copied. Swap MFX/TFX For more information, please see “Swap MFX/TFX” on page 154.
Sequencer mode You can only insert events to specify the type of effect and the effect parameters. Settings for effect on/off and bus selection must be recorded in realtime.
Sequencer: Page Menu Commands Put Effect Setting to Track To: Song: 000 Track: 03 Measure: 009 Beat.Tick: 01.000 8. Press the OK button to execute the command. After execution, select song 000 and play it back. The effect for track 3 will change to 048: Stereo Flanger at measure 9. 9. In song 000, you can press the COMPARE switch (it will light) and play back to hear the song as it was before you executed “Put Effect Setting to Track.
Sequencer mode System Exclusive events supported in Sequencer mode You can record and play back System Exclusive events, and edit tracks that contain System Exclusive events.
System Exclusive events supported in Sequencer mode Put Effect Setting to Track data. These recorded events may not be reproduced correctly if you rewind or fast-forward during playback. If you want to record such events, check only one of these two “Enable” settings in Global mode MIDI Filter.
Sequencer mode 562
Sampling mode Sampling Overview 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. You can also digitally resample the complete sound of a Program, Combi, or Song, played live or sequenced, including any effects and KARMA-generated events. Finally, you can also sample (or “rip”) directly from an audio CD, in the digital domain.
Sampling mode default, but you may switch it on/off as necessary. For more information, see “Auto Optimize RAM” on page 646, and “Optimize RAM” on page 620. either internal or external sources. For instance, you can use compression, EQ, lo-fi, etc. You can also use tempo-based LFO or delay effects, which can be very useful when sampling rhythmic loops. Editing in Sampling mode • Sampling can be initiated by the SAMPLING START/STOP switch, note-on, threshold, or the SEQUENCER START/STOP switch.
Sampling Overview loop sample (a looped pattern of drums etc.), and divides it into separate rhythm instrument sounds. A pattern corresponding to the divided samples is created automatically, so that you can immediately use the Sequencer mode RPPR function to play the pattern and adjust the tempo without changing the pitch.
Sampling mode infinite resolution into a digital signal with finite resolution. With 16 bit resolution, each level is indicated in 65,536 steps (the sixteenth power of two). The greater the bit resolution is, the closer to the original analog signal the waveform in memory will be. 48 kHz 16 bit sampling is the same quality as in audio devices such as DAT. CDs use 44.1 kHz 16 bit sampling, which is a slightly lower sampling frequency.
Sampling P0: Recording 0–1: Recording Sampling P0: Recording This page is where you make basic settings for recording (sampling), including: • Specifying the sampling time, loop settings, and +12 dB boost • Creating and editing multisamples and indexes • Specifying the output destinations for the external audio inputs • Specifying the writing-destination for the samples you record, and selecting either mono or stereo samples • Selecting the source to sample • Setting the recording level 0–1: Recordi
Sampling mode Keyboard & Pads Keyboard: This indicates the index zone of multisample, the original key, and the root key. The red triangles indicate the keyboard range, and the white triangle indicates the C4 key. Keyboard & Pads Index zone (currently selected Index is reversed) Original Key (currently selected Original Key is displayed in red) Index01 Pads 1...8 correspond to C2...G2. If you hold down the ENTER switch and press a pad, that index will be selected and displayed in blue. Index02 Index03..
Sampling P0: Recording Original Key [C-1…G9] Specifies the key that will play the sample at its original pitch (i.e., the pitch at which it was recorded). The pitch will change in semitone steps relative to the original key. For example, suppose that you recorded a sample with Original Key of F2. When the zone of the index is C2– B2, pressing the F2 key would playback the sample at its original pitch. Pressing F#2 would playback the sample a semitone higher.
Sampling mode Convert” to convert the -L and -R samples to differing sampling rates, they will no longer be handled as a stereo sample. 0–1d: REC Sample Setup Save to ADC OVERLOAD ! If the signal level from AUDIO INPUT 1–4 jacks is too high, the “ADC OVERLOAD !” indication will appear. You’ll need to adjust the MIC/LINE gain select switch, the LEVEL knob (AUDIO INPUT 1 and 2 only), or the output level of your external audio source. RAM: The sound will be sampled into RAM memory.
Sampling P0: Recording R-Mono: The R channel of the Source Bus will be sampled in mono. Stereo: The L and R channels of the Source Bus will be sampled in stereo, creating a stereo multisample.
Sampling mode • Whether sampling in stereo or in mono. If “Mode” (0–1d) is set to Stereo, the maximum “Sample Time” will be halved. 1 Key: Each individual note of the keyboard will be an index. The sample of an index will sound at its original key when you play that note. • The time specified for “Pre Trigger REC” (0–8c: a function that automatically samples the sound even before you begin sampling) will be subtracted from the amount of memory that actually remains.
Sampling P0: Recording • 4: Sample Mono To Stereo. For more information, see “Sample Mono To Stereo (Change Sample Type)” on page 617. • 5: Delete MS. For more information, see “Delete MS (Delete Multisample)” on page 617. • 6: Copy MS. For more information, see “Copy MS (Copy Multisample)” on page 618. • 7: Rename MS. For more information, see “Rename MS (Rename Multisample)” on page 618. • 8: Move MS. For more information, see “Move MS (Move Multisample)” on page 619. • 9: Convert MS To Program.
Sampling mode When using the S/P DIF input, make sure that the word clocks on all connected digital audio devices are configured correctly. For more information, see “System Clock” on page 644. Note: Audio input settings for CD audio from the internal CD-R/RW drive or a USB-connected CDR/RW drive are made in “P5: Audio CD.” Bus Select (IFX/Indiv.) [L/R, IFX1…12, 1…8, 1/2…7/8, Off] This specifies the main bus routing for the input signal. L/R: The input signal will be sent to the L/R bus.
Sampling P0: Recording 0–8: Audio Input Tip: You can use the control surface to control this parameter. (See “Using the control surface to adjust Audio Input” on page 11.) processed by an insert effect and mix them to the REC buses for sampling. See the diagram “Source Bus = REC Bus 1/2” on page 576. ADC OVERLOAD ! If you choose REC1/2, REC bus 1 is input to the L channel and REC bus 2 is input to the R channel.
Sampling mode Source Bus = REC Bus 1/2 Source Bus = REC Bus 1/2 L/R Bus REC REC 1/2 3/4 Indiv. 1/2 3/4 5/6 7/8 ... REC Bus = 1/2 CLIP !! Insert Effects CD-R/RW Drive Audio Input Level Sampling L-Mono R-Mono Stereo Master Effects Pan Monitor Total Effects [x] Source Direct Solo L/MONO AUDIO OUTPUT HEADPHONES R Insert Effects OSC Bus = L/R or IFX1-12 Source Bus = Audio Input 1/2 Source Bus = Audio Input 1/2 L/R Bus REC REC 1/2 3/4 Indiv. 1/2 3/4 5/6 7/8 ...
Sampling P0: Recording 0–8: Audio Input Off (unchecked): The L/R (post-TFX) signals and the signals of the bus selected by Source Bus will be output from the L/R jacks and the headphone jack according to the Audio Input Bus Select (8–1b) and post-IFX Bus Select (8–5a) settings. This is the normal state. Note On: Press the SAMPLING REC switch and then press the SAMPLING START/STOP switch to enter sampling-standby mode. Sampling will begin when you play the keyboard.
Sampling mode You can apply effects to a sample and then resample it, or resample a performance of samples that you play. Manual: This is the normal method. Use this when you want to sample an external input sound. If a sample is already assigned, the sample assigned for playing from the keyboard will be resampled together with the external input sound. Auto: The sample assigned to the index will be resampled automatically. Use this when you want to apply an effect to a sample and resample it. 1.
Sampling P0: Recording • 10: MS Stereo To Mono. This will appear only if the current MS is Stereo. For more information, see “MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type)” on page 619. • 11: Optimize RAM. For more information, see “Optimize RAM” on page 139. 0–9: Control Surface • 12: Select Directory. This applies only when Save to is set to Disk. For more information, see “Select Directory” on page 140. • 13: Auto Sampling Setup.
Sampling mode Front-panel LEDs for sliders and knobs There’s a vertical column of LEDs next to each slider, and a ring of LEDs around each knob. Similarly, each of the switches has an LED to show whether it’s on or off. As you switch between the different Control Assign settings, you’ll notice that the LEDs change to show the current values for all of the controllers.
Sampling P0: Recording Knobs 1–8, Channel Strip When the Mixer Knobs switch is set to Channel Strip, the knobs provide quick access to the Pan, EQ, and FX Send parameters. The Pan and EQ parameters duplicate the similarly-named parameters found on the Program editing pageS. PAN [Random, L001…C064…R127] This controls the stereo pan of the selected Oscillator. A setting of L001 places the sound at the far left, C064 in the center, and R127 to the far right. Random is available only via the LCD.
Sampling mode Master Volume Slider Master Volume Master Volume [000…127] This controls the volume of the main stereo outputs, after the Total Effects. It does not affect Individual Outputs 1–8.
Sampling P0: Recording Play/Mute switches 1–6 The top row of switches allow you to mute any or all of the audio inputs. Play/Mute (1–6) [Off, On] When this switch is on (LED = on), the input will be enabled. When the switch is off (LED = off), the input will be muted. Solo switch and Select switches 1–6 Solo [Off, On] Solo lets you isolate one or more Oscillators or Audio Inputs, so that you hear them by themselves. It does this by temporarily muting all non-soloed Oscillators and Audio Inputs.
Sampling mode When you select an External Setup, it stays selected even when you change Programs, or switch to Combi or Sequencer modes. This makes it easy to select different OASYS sounds without disrupting any external MIDI control, and vice-versa. Setup [000…127] This selects the Global setup for the knobs, sliders, switches, and drum pads. Note: this selection is not stored with the Program. [(01…16, Gch)] This read-only parameter shows the MIDI Channel assigned to the knob.
Sampling P0: Recording When you move a knob, it sends out the corresponding MIDI CC. Also, when the CC is received via MIDI or generated by KARMA, the knob value changes to match the CC value. Unless otherwise noted, “scaling” means that the parameters are at their programmed values when the controller is at 64, at their minimum when the controller is at 0, and at their maximum when the controller is at 127. For another look at this, see the diagram below. 0–9: Control Surface • 3: Move Sample.
Sampling mode Sampling P1: Sample Edit In this page you can edit sample data (waveform data). You can make detailed edits while watching the sample waveform display. Here are the main operations you will perform in this page.
Sampling P1: Sample Edit 1–1: Sample Edit If you have selected a stereo multisample or sample, the L channel and R channel of the sample data will be shown above and below. Sample waveform display b a c Resolution 1–1d: Edit Range [ , 3, , 3, , 3, , 3, ] Start [000000000…] This specifies the resolution of the grid. The grid is defined by this setting and “Tempo.” End [000000000…] Tempo [040.00…480.
Sampling mode If the zoom ratio is low (1X or less), the “Sample waveform display” may differ slightly from the displayed waveform before and after waveform editing, but this does not affect the playback sound. If this occurs, raising the zoom ratio will make the display accurate. • 19: Mix. For more information, see “Mix” on page 624. • 20: Paste. For more information, see “Paste” on page 625. ▼ 1–1: Page Menu Commands • 21: Insert Zero. For more information, see “Insert Zero” on page 625.
Sampling P2: Loop Edit 2–1: Loop Edit Sampling P2: Loop Edit In this page you can specify the region of the sample that will play and the portion that will loop. You can edit the waveform down to the level of individual samples while watching the sample waveform display. Here are the main operations you will perform in this page.
Sampling mode Changing this on/off setting will not affect the sample data that appears in the sample waveform display. 2–1d: Sample Setup Start (Start Address) [000000000…] Specifies the starting address for sample playback (This value is in units of a sample address). Loop Start (Loop Start Address) [000000000…] Specifies the loop start address for sample playback. This is valid when Loop is On. This value is in units of a sample address. You can’t set “Loop start” before “Start” or beyond “End.
Sampling P2: Loop Edit 2–1: Loop Edit 2–1f: ZOOM ZOOM This allows you to zoom-in/out in horizontal and vertical directions of the “Sample waveform display” (1–1f). ▼ 2–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Delete Sample. For more information, see “Delete Sample” on page 615. • 1: Copy Sample. For more information, see “Copy Sample” on page 616.
Sampling mode Sampling P3: Multisample Edit In this page you can edit multisamples. You can create, delete, copy, and paste indexes, and assign samples to indexes. You can also edit detailed settings such as level and pitch for each index. Here are the main operations you will perform in this page.
Sampling P3: Multisample Edit Since in Sampling mode the playback unity level will normally be the maximum level, adjustments in the + direction will have no effect. If Volume (CC#07) or Expression (CC#11) has been assigned to the ASSIGNABLE PEDAL or as the Realtime Modulation knob 5–8 and these controllers have been operated, or if these MIDI messages have been received to lower the playback unity level, then adjustments in the + direction will be valid.
Sampling mode “MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type)” on page 619. • 10: MS Stereo To Mono. This will appear only if the current MS is Stereo. For more information, see “MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type)” on page 619. • 11: Optimize RAM. For more information, see “Optimize RAM” on page 139. • 12: Select Directory. This applies only when Save to is set to Disk. For more information, see “Select Directory” on page 140. • 13: Auto Sampling Setup.
Sampling P4: EQ/Controller 4–1: EQ Sampling P4: EQ/Controller In this page you can edit a mid-sweepable three-band EQ that is applied to the output of the multisample. You can also assign the functions of the SW1 and SW2 switches and Modulation 5–8 knobs, and the note number and velocity that are produced by pads 1–8. 4–1: EQ 4–1PMC 4–1a Here you can edit the mid-sweepable three-band EQ that is applied to the output of the multisample.
Sampling mode ▼ 4–1: Page Menu Commands • 7: Rename MS. For more information, see “Rename MS (Rename Multisample)” on page 618. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 8: Move MS. For more information, see “Move MS (Move Multisample)” on page 619. • 0: Delete Sample. For more information, see “Delete Sample” on page 615. • 1: Copy Sample.
Sampling P4: EQ/Controller Mode [Toggle, Momentary] Specifies how on/off operation will occur when you press the SW1 switch. Toggle: On/off will alternate each time you press the SW1 switch. Momentary: The assigned function will be on only while you hold down the SW1 switch. SW2 Mode [Off, …, After Touch Lock] [Toggle, Momentary] Assigns the function of the SW2 switch. The functions that can be assigned to SW2 are the same as for SW1 except that SW2 Mod.:CC#81 replaces SW1 Mod.:CC#80.
Sampling mode 4–9: Set Up Pads 4–9PMC 4–9a Here you can specify the note numbers (and their velocities) that will be produced by pads 1–8 in Sampling mode. You can assign up to eight note numbers (and their velocities) to each pad. 4–9a: Pads 1 The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. 1 [Off, C-1…G9 / 001…127] • 0: Delete Sample.
Sampling P4: EQ/Controller 4–9: Set Up Pads • 10: MS Stereo To Mono. This will appear only if the current MS is Stereo. For more information, see “MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type)” on page 619. • 11: Optimize RAM. For more information, see “Optimize RAM” on page 139. • 12: Select Directory. This applies only when Save to is set to Disk. For more information, see “Select Directory” on page 140. • 13: Auto Sampling Setup.
Sampling mode Sampling P5: Audio CD You can use the internal CD-R/RW drive, or a USBconnected CD-R/RW drive, to sample directly from an audio CD. You can even send the live audio from the CD through Insert or Master Effects, to the REC and FX Control Buses, and control pan and level separately for the left and right channels, just as you can with the audio inputs. For more information, see the diagram “Audio input/output” on page 570.
Sampling P5: Audio CD Drives other than a CD-R/RW drive cannot be selected here. Track [01…] Selects the track of the audio CD that you want to play or sampling. Index [01…] Selects the index of the audio CD that you want to play or sampling. This can be selected only if you have selected a track that contains index data. In the case of some CD-R/RW drives, index information cannot be obtained. Volume [0…127] Adjusts the volume of the audio signal that is output from the CD-R/RW drive.
Sampling mode specify the Range End. If you press the ENTER switch three or more times, the Range Start and Range End will be set to the locations of the last press and the lastbut-one press. Range End [00:00.0…] Specifies the ending location of the data that will be ripped. When you re-select Track or Index, this will be reset to the ending time of the selected track or index. Duration [00:00.0…] Displays the length of time between Range Start and Range End.
Sampling P8: Insert Effect 8–1: Routing Sampling P8: Insert Effect Here you can make insert effect settings for use in Sampling mode. • Make detailed settings for insert effects If you want to apply an insert effect IFX1–12 to the external audio signal while you sample it, choose IFX1–12 as the Bus Select (IFX/Indiv.) (0–8a) parameter for Input1–4 or S/P DIF L,R, and adjust the parameters of the insert effect. For details on insertion effects, see “Effect Guide” on page 727.
Sampling mode (In the same way, the on/off settings for MFX1, 2 and TFX1, 2 will also be turned off.) Be aware of this if you want to sample once again. 8–1c: FX Control Bus FX Control Bus [Off, 1, 2] This sends the output of the oscillator (multisample) to a FX Control bus (stereo 2-channel; FX Ctrl1, 2) Use the FX Control buses when you want to use a separate sound to control the input of an effect. You can use the two (stereo 2-channel) buses to control effects freely.
Sampling P8: Insert Effect 8–5: Insert FX 8–5: Insert FX 8–5b 8–5PMC 8–5a In this page you can select the effect types for the insert effects, turn them on/off, and make chaining settings. 8–5a: IFX Here you can select the type of effect for each insert effect 1–12, turn it on/off, make chaining settings, and make post-IFX mixer settings. For insert effects, the direct (Dry) sound is always stereo-in/out. The configuration of the effect sound (Wet) will depend on the type of effect.
Sampling mode Pan (CC#8) (Post IFX PanCC#8) IFX2: Chain to [IFX3…IFX12] IFX3: Chain to [IFX4…IFX12] IFX4: Chain to [IFX5…IFX12] IFX5: Chain to [IFX6…IFX12] IFX6: Chain to [IFX7…IFX12] Specifies the bus to which the signal will be sent immediately after the insert effect. IFX7: Chain to [IFX8…IFX12] L/R: The signal will be output to the L/R bus. Then after passing through TFX1 and TFX2, it will be output to AUDIO OUTPUT L/R. This is the normal setting.
Sampling P8: Insert Effect 8–6: Track View 8–6: Track View 8–5b 8–6PMC 8–6a 8–6b • 4: Clean Up IFX Routings. For more information, see “Clean Up IFX Routings” on page 152. 8–6a: Track View This shows the oscillator output and insert effect routing. The selected slot is shown in dark blue. In the “Selected” area below, you can specify the “Effect Type” and “On/Off” status. The “Insert IFX Slot” and “Cut IFX Slot” page menu commands will apply to the slot you select here.
Sampling mode 8–7: IFX 1–12 8–7PMC 8–7a 8–7b This page lets you edit the detailed parameters of the twelve insert effect s. Use the tabs at left to select IFX1 through IFX12. To select different effects types, use the Insert FX or Track View pages. For more information, see “8–5: Insert FX” on page 605 and “8–6: Track View” on page 607. For instance, you can save an Effect Preset while working on a particular Program, and then later use the same Effect Preset in a different Program, Combi, or Song.
Sampling P8: Insert Effect 8–9: Common FX LFO 8–7b: IFX2…12 ▼ 8–7: Page Menu Commands Here you can edit the parameters of the insert effects selected in the P8– Insert FX page. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. The parameters for IFX2–IFX12 are the same as for IFX1. See “8–7b: IFX2…12,” above. • 0: Copy Insert Effect.
Sampling mode ▼ 8–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Copy Insert Effect. For more information, see “Copy Insert Effect” on page 149. • 1: Swap Insert Effect. For more information, see “Swap Insert Effect” on page 150.
Sampling P9: Master/Total Effect 9–1: Routing Sampling P9: Master/Total Effect Here you can select the effect types for the master effects and total effects, and turn them on/off. The master effects are output to the L/R bus. The total effects are inserted in the L/R bus. If you want to use these while sampling, set Source Bus to L/R. For more information, please see the “Effect Guide,” beginning on page 727.
Sampling mode MFX2 MFX2 [000…185] MFX2 On/Off [Off, On] Return 2 [000…127] These parameters specify the effect type for master effect 2, its on/off status, and the return level from master effect 2 to the L/R bus. See “MFX1” on page 611. Chain Chain On/Off [Off, On] TFX2 TFX2 TFX2 On/Off 9–1c: Master Volume Chain Direction Master Volume [MFX1→MFX2, MFX2→MFX1] MFX1→MFX2: Connect from MFX1 to MFX2. MFX2→MFX1: Connect from MFX2 to MFX1.
Sampling P9: Master/Total Effect 9–2: MFX1 9–2: MFX1 9–2PMC 9–2a MFX1 Parameters 9–2a: MFX1 Here you can edit the parameters of the effect you choose for MFX1 in the P9– Routing page. Effect dynamic modulation (Dmod) is controlled on the global MIDI Channel (Global 1–1a). MFX1 On/Off [Off, On] This turns master effect 1 on/off. It is linked with the on/off setting in the P9: Master/Total Effect - Routing page.
Sampling mode The parameters for MFX2, TFX1, and TFX2 are the same as for MFX1. For more information, see “9–2: MFX1” on page 613.
Sampling: Page Menu Commands Delete Sample Sampling: Page Menu Commands ENTER + 0-9: shortcuts for menu commands Each page has a set of menu commands, which provide access to different utilities, commands, and options, depending on the page you’re currently on. You can use the menu commands entirely from the touch-screen, by pressing the menu button in the upper right-hand corner of the screen and then selecting an option from the menu that appears.
Sampling mode Unmapped Samples: All samples that are not mapped (used) in a multisample or drum kit will be deleted. All Samples: All samples in memory will be deleted. The sample assignments of all multisamples will change to ---No Assign---. Sample Memory 0000: NewSample_0000 Sample Data 0001: NewSample_0001 Sample Data "Copy Sample" with Sample Data 3. To execute the Delete Sample command, press the OK button. To cancel, press the Cancel button.
Sampling: Page Menu Commands Sample Mono To Stereo (Change Sample Type) Sample Mono To Stereo (Change Sample Type) This command converts a mono sample to stereo. This can be executed when a mono sample is selected. 1. Use “Sample Select” (0–1b) to select the sample that you want to change to stereo. 1. Use “Sample Select” (0–1b) to select the copy source sample. 2. Select “Sample Mono To Stereo” to open the dialog box. 2. Select “Move Sample” to open the dialog box. 3.
Sampling mode 5. To execute the Delete Multisample command, press the OK button. To cancel, press the Cancel button. Even if you also choose to delete the samples that are included in the deleted multisample(s), any sample data (waveform data) used by these samples that is shared with other samples will not be deleted. Only the sample itself will be deleted. Copy MS (Copy Multisample) This command copies the selected multisample to another multisample.
Sampling: Page Menu Commands MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type) The multisample will be converted into a program whose Oscillator Mode (Program 1–1b) is Single. If “Use Destination Program Parameters” is checked: Executing this command will replace the multisample of the convert destination program with the multisample selected here, and will not initialize the remaining program parameters.
Sampling mode used in programs, the multisample numbers of the programs will also be reassigned automatically. Normally you will leave this checked. 5. To execute the Move Multisample command, click the OK button. If you decide not to execute, click the Cancel button. The “Select Directory” command is available when “Save to” is set to DISK. Specifying the save-destination for a WAVE file 1. Select “Select Directory” to open the dialog box.
Sampling: Page Menu Commands When you execute this command, the applicable parameters will be set automatically. You cannot use the COMPARE switch to recall the previous settings. The settings are automatically made for the most typical applications. After executing the auto setup operation, you can further adjust any of the settings to suit your needs as described in the “Note:” paragraphs of each section. 1. Select Auto Sampling Setup to open the dialog box.
Sampling mode 2) Press the OK button to execute Auto Sampling Setup (Auto Resample through IFX), or press the Cancel button if you decide not to execute. For more information, please see “Auto Sampling Setup: Automatically-set parameters and their values” on page 622. Note: When you are ready to resample (after executing Auto Resample through IFX), perform the following steps. 3) To begin resampling, press the SAMPLING REC key and then the SAMPLING START/STOP switch.
Sampling: Page Menu Commands Truncate (for Sample Edit) Truncate (for Sample Edit) This command deletes unwanted data that lies beyond the “Start” and “End.” Use this command when you wish to delete silence at the beginning or end of the waveform data. Note: If you wish to delete unneeded (unplayed) sample data after setting the Start Address “Start,” Loop Start Address “Loop Start” and End Address “End” (2–1d), use the “Truncate (for Loop Edit)” page menu command found in P2: Loop Edit. 1.
Sampling mode 3. The range to be edited is shown by Range “Start” and “End.” 4. In “Save to No.,” specify the save destination sample number. By default, an unused sample number will be selected. that you wish to edit, and set “Start” to specify the starting address. The “End” setting is ignored. 2. Select “Insert” to open the dialog box. The sample number cannot be specified if “Overwrite” is checked (page 615). For stereo samples, use “Save to No.
Sampling: Page Menu Commands For stereo samples, use “Save to No.(L)” and “(R)” to specify the save-destination of the L and R channels. 5. To execute the Mix command, press the OK button. To cancel, press the Cancel button. Paste The “Start” and “End” settings will be ignored, and will have no effect. The beginning of the sample will be placed at address 0. 2. Select “Paste” to open the dialog box.
Sampling mode 6. To execute the Insert Zero command, press the OK button. To cancel, press the Cancel button. Normalize/Level Adjust This command uniformly modifies the data values (volume) of the data between the “Start”–“End.” “Normalize” will amplify the level of the sample data as far as possible without allowing it to clip (distort). If the level of the sampled data is too low, you can execute this command to increase the dynamic range. Level allows you to raise or lower the level as desired.
Sampling: Page Menu Commands 5. In “Curve,” specify the way in which the volume will change. Linear: The volume will change linearly. For normal fade-in or fade-out, select Linear. Power: The volume will change non-linearly. When you use the “Mix” menu command to combine a faded-in waveform with a different faded-out waveform (i.e., crossfade), using a Linear fadein/out may produce an impression that the volume has dropped in the middle of the curve. In such cases, use Power to perform the fade-in/out. 6.
Sampling mode The volume of the two samples can be changed gradually at the transition to gradually mix the samples with each other. This is called crossfade, and can be used to produce a natural-sounding transition between the two sounds. SOUND A SOUND B 5. In “Crossfade Length,” specify the length over which the crossfade will occur. If you specify a % value, the proportion in relation to the entire “Front” Sample will be calculated automatically.
Sampling: Page Menu Commands setting the start address, loop start address, and end address of the sample, use this command to delete unwanted sample data. Time Slice • Change the pattern of the loop by swapping or deleting individual hits, or otherwise editing the sequencer or sample data In detail, Time Slice does the following: • Detects the individual beats in the original loop • Splits each beat into a separate sample 1.
Sampling mode Edit the performance data For example in the case of a 120 BPM sample of one measure of 4/4 time, set Beat to 4. The Source BPM will be calculated automatically. If the Source BPM is not set to 120.00, due to inaccuracies in the start address (or loop start address) and end address, change the Source BPM to 120.00. Source BPM: Specifies the tempo at the original key of the source waveform. 4. To execute Time Slice, press the OK button. To cancel without executing, press the Cancel button.
Sampling: Page Menu Commands Time Slice Time Slice step 4 Index [Source, xxx(001…090)/yyy(001…090)] Selects the sample index. If this is set to Source, the original waveform before time slicing will be selected. By selecting xxx/yyy you can specify individual samples that were sliced. xxx indicates the selected sample, and yyy indicates the total number of samples that were sliced. A maximum of 90 samples can be assigned to the keyboard. If more than 90 samples were sliced, this will display 90.
Sampling mode 8. Save the sliced samples to the multisample to which they have been assigned. When you press the Save button, the “Save Samples & MS” dialog box will appear. When you use Time Slice on a rhythm loop sample, the quality of the playback in Sequencer mode will depend largely on the “cutoff” of each percussion instrument sound that was sliced.
Sampling: Page Menu Commands Use New BPM to specify the BPM value of the sample you wish to create. The Ratio will automatically be calculated from the Source BPM and the New BPM values. Time Slice back to hear the result immediately. Normally you will check both of these boxes. It is not possible to make settings that would cause Source BPM or New BPM to exceed the range of 40.00–480.00. It is not possible to make settings that would cause Ratio to exceed the range of 50.00–200.00.
Sampling mode If you exit Time Slice without using the Save button to save the samples and multisamples, be aware that the samples and multisamples you create will be lost. Before executing Time Slice on a long sample, you should first divide the sample into measures. In some cases, it may not be possible to assign the sample to the keyboard or create sequence data. Time Slices requires vacant samples, multisamples, and relative parameters in order to execute.
Sampling: Page Menu Commands Set Beat as the number of quarter-note beats. When you change Beat, the Source BPM value will be changed automatically. Source BPM will indicate the playback BPM value at the original key. This BPM value is automatically calculated according to the length from the start address to the end address (if loop is off) or from the loop start address to the end address (if loop is on).
Sampling mode number will be selected. If “Overwrite” is checked, this cannot be selected. The sample number cannot be specified if “Overwrite” is checked (page 615). For stereo samples, use “Save to No.(L)” and “(R)” to specify the save-destination of the L and R channels. To execute the Save operation, press the OK button. To cancel without saving press the Cancel button. 11.By repeating steps 9–10 you can create more samples as desired. 12.Press the Exit button to exit the Time Stretch operation.
Sampling: Page Menu Commands Time Stretch ZOOM: Here you can zoom in/out vertically and horizontally on the waveform displayed in the “Sample waveform display.” (1–1f) 9. If the slice locations are not appropriate, use “Sensitivity” to modify the sensitivity at which the attacks are detected, thus changing the slice locations. Sensitivity [00…30] Start: End: 8. Audition the results that were created by Time Stretch. The sample before being time-stretched is assigned to the C2 note of the keyboard.
Sampling mode that multisample for the “2–1c: OSC1 Multisample/ Wave Sequence” or “2–5: OSC2 Basic” parameters “MS1”–“M4” (if “Type” = Multisample) and create a program. Loop Start Loop End Loop Start Loop End Be aware that if you exit Time Stretch without using the Save button then press the OK button to save the sample, the sample(s) you created will be lost. Before executing the Slice on a long sample, you should first divide the sample into measures.
Sampling: Page Menu Commands Destination (Audio CD Ripping) Lowering the pitch will slow down the playback speed. This can be used to match the loop length etc. of the sample to a tempo of the desired BPM value. 1. Select “Pitch BPM Adjust” to open the dialog box. 2. Specify Beat. This is specified in quarter-note beats. 3. “Current BPM” will show the BPM value at the base key (displayed in blue).
Sampling mode Cut IFX Slot For more information, please see “Cut IFX Slot” on page 151. Clean Up IFX Routings For more information, please see “Clean Up IFX Routings” on page 152. Copy Master/Total Effect This copies the effect settings from a desired program, combination, song, or Sampling mode. For more information, please see “Copy MFX/TFX” on page 153. Swap Master/Total Effect For more information, please see “Swap MFX/TFX” on page 154.
Global mode Global P0: Basic Setup In Global mode you can make settings that affect the entire instrument, such as master tuning, MIDI, and memory protect. settings, use the page menu commands Write Global Setting, Write Drum Kit, or Write Wave Sequence. You can also edit user scales, drum kit setups, and wave sequence patterns. The SEQUENCER REC/WRITE switch can also be used to access Update Global Setting, Update Drum Kit, and Update Wave Sequence. Simultaneously, the edited content will be written.
Global mode Key Transpose can be controlled by the MIDI universal system exclusive message Master Coarse Tuning (F0, 7F, nn, 04, 04, vv, mm, F7: nn=MIDI channel, vv/mm=value). These messages are received on the global MIDI channel specified by MIDI Channel (1–1a). In Program, Combination, and Sequencer modes, MIDI RPN messages can be received to control the tuning and transposition of the program or timbre (Combination mode) or track (Sequencer mode).
Global P0: Basic Setup When you use the OASYS’s keyboard to play the internal sounds, the Convert Position setting has no effect. 0–1b: Effect Global SW IFX1–12 Off [Off, On] On (checked): All insert effects IFX1–12 will be off. Off (unchecked): The P8: Insert Effect settings for IFX1 On/Off–IFX12 On/Off in Program, Combination, Sequencer, and Sampling modes will be valid.
Global mode System Clock [Internal, Word Clock, S/P DIF] This sets the system clock, or word clock, of the OASYS. When connecting multiple digital audio devices–such as the OASYS, an ADAT-compatible system, and a S/P DIF device–it is important that the word clocks of the devices be locked together. If the clocks are not locked, the audio may be marred by pops and clicks. The OASYS can lock to incoming clocks from any of its digital inputs, or it can generate its own clock.
Global P0: Basic Setup Conceptual frequency response of the audio data transmitted with each setting Gain These diagrams indicate the conceptual frequency response, and do not accurately portray the actual frequency response. S/P DIF Sample Rate = 48kHz Gain 24kHz Frequency 24kHz 48kHz Frequency Emphasis of the high-frequency component is controlled dynamically according to the output audio signal.
Global mode Auto Optimize RAM [Off, On] If RAM is specified as the data writing destination for sampling, this parameter specifies whether the sample memory (RAM) will be optimized after data is written. Optimization rearranges any unused memory areas so that all of the remaining memory can be used. • Loading song data from disk • Receiving song data via MIDI data dump Off (unchecked): Data can be written to internal song memory. On (checked): RAM will automatically be optimized when sampling ends.
Global P0: Basic Setup 0–2: Audio Input • 0: Write Global Setting. For more information, see “Write Global Setting” on page 682. • 5: Pad Calibration. For more information, see “Pad Calibration” on page 683. • 1: Set Program User-Bank Type. For more information, see “Set Program User-Bank Type” on page 682. • 6: LCD Setup. For more information, see “LCD Setup” on page 683. • 7: Update System Software. For more information, see “Update System Software” on page 684. • 2: Change all bank references.
Global mode L/R: The input signal will be sent to the L/R bus. IFX1…12: The input signal will be sent to the IFX1–12 bus. Choose one of these settings if you want to apply an insert effect while sampling. 1…8: The input signal will be sent to the specified INDIVIDUAL OUTPUT in monaural. The Pan setting will be ignored. 1/2…7/8: The input signal will be sent in stereo (including the effect of the Pan control) to the specified INDIVIDUAL OUTPUT pair.
Global P0: Basic Setup The analog audio signals from the AUDIO INPUT 1–4 jacks are converted by a AD converter from analog to digital signals. This parameter sets the level of the signal immediately after it has been converted into digital form. If the sound is distorted even though this level setting is very low, it is possible that the sound is distorting earlier than the AD converter. Try adjusting the MIC/LINE gain switch, LEVEL knob (AUDIO INPUT1, 2) or the output level of the external audio source.
Global mode Global P1: MIDI 1–1: MIDI 1–1c 1–1PMC 1–1a 1–1b Here you can make MIDI-related settings that affect the entire OASYS. You can also transmit MIDI System Exclusive data dumps using the page menu commands in this page. Here you can also specify the function of the sliders, knobs, and switches when the control surface CONTROL ASSIGN EXTERNAL switch is on. 1–1a: MIDI Setup Basic MIDI Channel (Global MIDI Channel) [1…16] Sets the global MIDI channel.
Global P1: MIDI The MIDI CC# (control change) messages are transmitted on the MIDI channel specified in the Global P1– External 1 and External 2 pages. Local Control On [Off, On] Local Control On (Checked): The OASYS’s internal tone generator will be controlled by its own keyboard, joystick, SW1 and SW2, and connected foot pedal. If you are playing the OASYS by itself, leave this setting checked. Local Control Off (Unchecked): The OASYS’s keyboard and joystick etc.
Global mode Controller MIDI CC Assign (Global P2: 2–1c setting) Pad1: Pad2: Pad3: Pad4: Pad5: Pad6: Pad7: Pad8: MIDI MIDI MIDI MIDI MIDI MIDI MIDI Off CC#110 CC#111 CC#112 CC#113 CC#114 CC#115 Note#60 CC#110 Pads MIDI Out Pads Chord (Settings for each Program, Combination, Song) Pad1 Pad CC/Note PAD1 1: 2: 3: 4: 5: 6: 7: 8: Pads MIDI Output C3 / 127 C4 / 100 E4 / 102 G4 / 105 B4 / 064 Off Off Off C3, C4, E4, G4, B4 Note On & Off RESET CONTROLS button: Local Control does not change the way that
Global P1: MIDI Select the Internal setting when using the OASYS by itself, or when you want the OASYS to be the master (controlling device) so that another connected external MIDI device will synchronize to the MIDI Clock messages transmitted from the OASYS. External MIDI: The KARMA function and internal sequencer will operate in synchronization with MIDI Clock messages from an external MIDI device connected to the MIDI IN connector. Auto: Normally the operation will be the same as the Internal setting.
Global mode Chord Notes: When you strike a pad, the (up to eight) MIDI note-on/off messages (and velocities) specified by the Pad “Pad1”–“Pad8” (1–9) setting of each program, combination, or song will be transmitted. If all notes are turned off, no MIDI messages will be transmitted. KARMA External Routing Enable KARMA Module to MIDI Out [Off, On] This setting specifies whether the KARMA Module will transmit MIDI messages. On (checked): The KARMA Module will transmit MIDI messages.
Global P1: MIDI 1–1: MIDI Off (unchecked): Bank Select messages will not be transmitted or received. When recording on the internal sequencer, bank select messages will be recorded regardless of this setting. However for playback, this setting will apply.
Global mode Off (unchecked): System exclusive data will not be transmitted. Normally you will leave this unchecked. • 2: Dump Combination. For more information, see “Dump Combination” on page 685. However, system exclusive data will be transmitted and received while the page menu commands (“Dump Program”–“Dump All”) of this page are displayed. • 3: Dump Drum Kit. For more information, see “Dump Drum Kit” on page 685.
Global P1: MIDI • 7: Setup KARMA External MIDI Routing. For more information, see “Set Up KARMA External MIDI Routing” on page 686. 1–2b: Knobs/Switches/Sliders Knobs 1–8 MIDI Channel (1–8) 1–2: External 1 [1…16, Gch] • 8: Reset External Setup. For more information, see “Reset External Setup” on page 687. This sets the MIDI Channel for the knob. Each can send on a different channel, if desired. Gch means that the knob will transmit on the Global MIDI Channel, as set in Global mode.
Global mode 1–3: External 2 1–3PMC 1–3a 1–3b This page lets you set up the drum pad assignments for the Control Surface’s EXTERNAL mode. Each pad can play a note, or send a Control Change (CC) message, on any of the MIDI channels. For more information, see “1–2: External 1” on page 656. 1–3a: Setup select Setup [000…127] This selects the Global setup to edit. The number before each command shows its ENTER + number-key shortcut.
Global P2: Controller/Scale 2–1: Controller Global P2: Controller/Scale 2–1: Controller 2–1PMC 2–1a 2–1b 2–1c 2–1a: Foot Switch & Pedal/Damper Foot Switch Assign [Off…SW 2] This selects the function that will be controlled by a pedal switch (such as the optional Korg PS-1) connected to the ASSIGNABLE SWITCH jack. For a complete list of possible assignments, please see “Foot Switch Assignments” on page 981.
Global mode KARMA SCENE [Off, MIDI CC#00…119] This assigns a control change message to the KARMA SCENE switch. Note that if you set these to Off, the vector joystick will truly be off; it will neither send MIDI, nor affect the internal sounds. KARMA LATCH Pads 1-8 [Off, MIDI CC#00…119] This assigns a control change message to the KARMA LATCH switch. KARMA Sliders 1-8 [Off, MIDI CC#00…119] These assign control change messages to each of the KARMA CONTROL sliders.
Global P2: Controller/Scale 2–2: User Scale 2–2a: User Octave Scale User Octave Scale [User Octave Scale 00…15] Selects the User Octave Scale that you want to edit. Tune [–99…+99] Makes pitch settings for each note in the octave. When you adjust the pitch of each note in the octave (C–B) in one-cent steps, your settings will be applied to all octaves. This adjustment is relative to equal temperament. A setting of –99 lowers the pitch approximately a semitone below normal pitch.
Global mode Global P3: Category Name Programs, Combinations, and KARMA GEs are organized into categories and sub-categories. Categories make it easy to find a particular type of sound, such as keyboards, bass, or drums, or a specific type of KARMA GE, such as arpeggios or gated patterns. Each main category also has up to 8 sub-categories, for finer degrees of organization.
Global P3: Category Name Use “Main Category Select” to select the main category that includes the sub-category name you want to edit. Then press the “Sub Category Select” text edit button to open the text edit dialog box, and enter a name. You can enter up to 24 characters. (See OG p.57) You can name each of the eight categories. 3–2: Combi Category ▼ 3–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Global mode Global P4: Wave Sequence Wave Sequences play back a series of different Multisamples over time. You can use this to create a variety of unique timbral and rhythmic effects, as described below. Like Drum Kits, Wave Sequences are edited in Global mode, and then used within HD-1 Programs. For more information on using Wave Sequences in Programs, see “2–1c: OSC1 Multisample/Wave Sequence” on page 49.
Global P4: Wave Sequence 4–1: Sequence Parameters In Time mode, step durations are specified in milliseconds, and are not affected by the system tempo. Use Swing to add a sense of swing to the rhythm. For example, Swing provides an easy way to turn a “square” rhythm into a shuffle groove. In Tempo mode, step durations are specified in rhythmic values, and are synchronized to the system tempo. Swing adjusts the position of the up-beats, relative to the Wave Sequence’s Resolution setting.
Global mode The Quantize Triggers parameter on this page affects the way that the Wave Sequence plays back during editing, but is not stored with the Wave Sequence itself. Instead, each Program, each Combi Timbre, and each Track in a Song has its own Quantize Triggers setting. How Quantize Triggers works Solo [Off, On] This button solos the current step, so that you can hear it quickly and easily. When Solo is On, the Wave Sequence will play only the current step, including the fade-in and fade-out.
Global P4: Wave Sequence Loop End Step [1…64] 9th note: 5, 6 This is the step on which the loop ends. It must be after the Loop Start. 10th note: 6 Direction etc… [Forwards, Backwards/Forwards, Backwards] This sets the direction in which the loop is played. 4–1: Sequence Parameters 11th note: 2, 3, 4, 5, 6 If Repeat Times is 1, Note-On Advance will make the Wave Sequence play as follows: Forwards plays from the Start Step to the Loop End, and then skips back to the Loop Start.
Global mode 4–1d: Modulation Position AMS [List of AMS Sources] This selects a modulation source to offset the Wave Sequence from its current position. The Wave Sequence will continue to progress through its steps during position modulation. To sweep through a sequence manually, set “Run,” above, to Off. If Position AMS changes by a large value over a small amount of time, it will skip intermediate steps if necessary. For a list of AMS sources, see “AMS (Alternate Modulation Source) List” on page 967.
Global P4: Wave Sequence 4–2: Per-Step Parameters 4–2: Per-Step Parameters 4–2PMC 4–1a 4–2a 4–2b For more information, please see “Swing,” on page 665. 4–2a: Basic Wave Sequence [I–000…149, U–A00…U-G31] This is the bank, number, and name of the current Wave Sequence. For more information, please see “Wave Sequence,” on page 664. Mode [Time, Tempo] This switches between Time mode (for evolving, crossfaded Wave Sequences) and Tempo mode (for rhythmic Wave Sequences).
Global mode 4–2c: Step parameters This list shows the parameters for eight steps at a time. Use the scroll bar at the right of the screen to change which steps are in view. Type [Multisample, Rest, Tie] This sets the step to one of three basic types. Multisample means that the step will sound a new Multisample, as set by the Multisample Select parameter, below. Rest means that the step will be silent.
Global P4: Wave Sequence Xfade [0ms…10 sec] This determines the time it takes to fade into the next step. For example, Step 1’s Crossfade determines the time to fade between Step 1 and Step 2. Crossfades use millisecond units for both Time and Tempo modes. Note: In Time mode, the Xfade time cannot exceed the total duration of the two steps being crossfaded; in Tempo mode, it cannot exceed twice the duration of the shorter of the two steps.
Global mode Exp/Comp (Mode = Time) This command appears only when the Mode is set to Time. It brings up a dialog box, which allows you to expand or compress all of the duration and crossfade times by a specified percentage. Duration Time dialog box Expand/Compress [%] [0…100,000] 100% means the current duration and crossfade times. Values 99 and below make the times shorter, and values 101 and above make them longer. /2 (Mode = Tempo) This command appears only when the Mode is set to Tempo.
Global P5: Drum Kit 5–1: Sample Setup Global P5: Drum Kit Here you can create drum kits by assigning a drum instrument (drum sample) to each key. A drum kit you edit here can be sent through the filter, amp, and effects and played in the same way as oscillators for multisamples or wave sequences (if Oscillator Mode is Single or Double). To do so, go to the Program mode (HD-1) P1– Program Basic page and set Oscillator Mode to Drums, and select it as an oscillator in the P1– OSC1 Basic page.
Global mode Drum Kit, Key Select, Assign Keys to which drum samples are assigned are shown in red. C4 key Keyboard range “KEY”: The selected key is shown in blue. You can select a key by holding down the ENTER switch and playing the desired note. If you check “Assign” for the key you select here, the DS1–4, Voice Assign Mode, and Mixer parameters (see below) will be used. Assign [Off, On] On (checked): The drum samples you assigned for DS1–4 will sound. Normally you will check this parameter.
Global P5: Drum Kit RAM mono, RAM stereo Select menu Use the tabs to select a group of one thousand, and then choose a RAM sample within that group. Press the OK button to execute, or press the Cancel button to cancel. If you choose “Bank” RAM mono: Mono drum samples will be displayed. The L-channel or R-channel of stereo drum samples can also be selected as mono drum samples. In these cases, -L or -R is shown following the drum sample of the same name.
Global mode Linear means that the two samples will each be at 50% of their full volume in the middle of the crossfade. Sometimes, this may create a dip in the volume level; if so, try using Power instead. • 0: Write Drum Kit. For more information, see “Write Drum Kit” on page 689. Power, short for Equal Power, means that the two samples will each be at around 70% of their full volume in the middle of the crossfade.
Global P5: Drum Kit 5–2: Sample Parameters 5–2: Sample Parameters 5–2PMC 5–1a 5–2a Here you can edit the filter cutoff, resonance, and three-band EQ gain for each drum sample. These settings are offsets that are applied to the settings of the program. Low Boost (Driver Low Boost) [–99…+99] This adjusts the low boost level of the driver. This low boost setting for each key and drum sample is applied to the driver “Low Boost” (Program 4–1a) setting of the programs that use this drum kit.
Global mode • 0: Write Drum Kit. For more information, see “Write Drum Kit” on page 689. • 2: Swap Key Setup. For more information, see “Swap Key Setup” on page 689. • 1: Copy Key Setup. For more information, see “Copy Key Setup” on page 689. 5–3: Voice Assign/Mixer 5–3PMC 5–1a 5–3a 5–3b Specify the voice assign, pan, and effect routing etc. for each key of the drum kit.
Global P5: Drum Kit Tip: In most of the preloaded drum kits, the following types of drum instrument have the same Bus Select settings. 5–3: Voice Assign/Mixer Compressor and gate-type effects: • 002: Stereo Compressor • 003: Stereo Expander Tip: Most of the preloaded drum kits use the same basic Bus Select settings, as shown below: • 005: Stereo Limiter • 009: Stereo Gate Snares → IFX1 Kicks → IFX2 Toms → IFX3 Cymbals → IFX4 Percussion etc.
Global mode Global P6: Plug-in Info 6–1a 6–1b This page lets you manage your installed EXi, EXf, and EXs plug-ins. Here, you can: • View information on all installed plug-ins and plug-in bundles • Authorize plug-ins with codes purchased from www.korguser.net/oasys/exi, or from your Korg distributor 6–1a: Public ID Public ID [nn nn nn nn nn nn nn nn] This is a unique identifier, like a very specific name; it is different for each and every OASYS.
Global P6: Plug-in Info 5–3: Voice Assign/Mixer 2. Log in under your registered member name. If you aren’t already registered, follow the online instructions for registering as a member of korguser.net. After registering as a member, register your OASYS. 3. Purchase the authorization code for the desired plug-in. After purchasing, you’ll receive an email from KORG with your authorization code. Note that this code is tied to your Public ID, and will not work on other OASYS systems.
Global mode Global: Page Menu Commands Write Global Setting This command writes Global mode settings (except for Drum Kits and Wave Sequences). 1. Select Write Global Setting to open the dialog box. even if you have specified the same bank type as before. If you want to keep your data, you must first use “Save All” or “Save PCG” to save it. 3. Press the OK button to execute, or press the Cancel button to cancel. A dialog box will ask you to confirm the operation. 4. Verify the settings.
Global: Page Menu Commands Half Damper Calibration Pad Calibration This adjusts the velocity sensitivity of the pads. 1. Select “Pad Calibration” to open the dialog box. 2. Press the center of each pad as lightly as possible. 3. Press the Done button. 2. If you are unable to select this command from the page menu, go to the main Global page as normal, and then hold down the ENTER button and press 3 on the numeric keypad. This will call up the calibration dialog. 3.
Global mode Update System Software Before you begin updating the system, back up important data on external USB storage media. 1. Insert the CD-R/RW disc containing the system file into the CD-R/RW drive. 2. Access the Global P0– Basic Setup page. Press the MODE GLOBAL switch to enter Global mode, and press the EXIT switch up to four times. 3. Choose the page menu command “Update System Software” to open the dialog box.
Global: Page Menu Commands Dump Program This command lets you send the internal memory’s Program data as a System Exclusive data dump. You can choose to send all of the Programs from all of the banks, all of the Programs from a single bank, or a single Program. For more information, see “System Exclusive Data Dumps”. Dump Combination This command lets you send the internal memory’s Combination data as a System Exclusive data dump.
Global mode Type of data to be dumped Data size (Bytes) Time required (Sec.) Combination Single 8887 3.0 Drum Kit All 1962624 675.8 Drum Kit Bank (INT) 516480 175.7 Drum Kit Bank (U-A…U-G) 206592 70.3 Drum Kit Single 12912 4.4 • When receiving an All Programs data dump, only bank data whose bank type matches will be received. If banks of a different bank type are received, a message of “Program Bank Type Conflicts” will be displayed. Wave Sequence All 513876 172.
Global: Page Menu Commands Reset External Setup Be aware that in some cases, the phrases generated by the KARMA Module will pass through the external MIDI device (MIDI sequencer) and retrigger the KARMA Module – producing a MIDI feedback loop that may cause undesired operation. You will need to manage the MIDI signal routing to ensure that MIDI feedback does not occur, for example by disabling MIDI IN→OUT echo-back in your MIDI sequencer.
Global mode CC Default: The parameters will be reset to the typical settings, including the standard settings for the pads and the KARMA sliders and switches. The default values are shown in the table below. If you want to record KARMA controllers in Sequencer mode, or use the controllers to control an external MIDI device, we recommend using this setting. (You are also free to assign different MIDI control change messages to the controllers, if you wish.) 3.
Global: Page Menu Commands Write Drum Kit This command writes an edited drum kit into internal memory. You must write an edited drum kit if you want to keep it. An edited drum kit cannot be recovered if you turn off the power or select a different drum kit before writing it. 1. Choose “Write Drum Kit” to open the dialog box. Write Drum Kit 3. In “To Key,” select the copy destination key.
Global mode 690
Disk mode To prevent data errors, you must be careful not to subject the OASYS to physical impact or vibration while writing data to the internal CD-R/RW drive (or while formatting a disc). Disk mode is where you can save data from internal memory or sample RAM to the internal hard disk, internal CD-R/RW drive, or an external USBconnected device, or load data from media into internal memory or sample RAM. You can also copy or delete files, or format media.
Disk mode Files that can be loaded DOS file (Grey) .PCG file All programs 1 program bank I-A...F, U-A...G 1 program All combinations 1 combination bank I-A...G, U-A...G 1 combination All drum kits (User) 1 drum kit bank INT, U-A...G 1 drum kit DOS directory (Red) DOS directory (created by Save SEQ on the OASYS) (Purple) DOS directory (created by Save Sampling Data on the OASYS) (Grey) All wave sequences 1 wave sequence bank INT, U-A...G Global settings .
Disk P0: File 0–1: Load Disk P0: File 0–1: Load 0–1PMC 0–1b 0–1c 0–1a This page lets you load a selected file or directory into internal memory. Use the Open button and Up buttons to select the desired file or directory, and press the Load button to load it. You can also load data by using the Load selected page menu command. Mounting USB devices Before you can load from or save to a USB device, such as hard drives or flash media, you need to mount the device. To do so: 1. Go to the Media Info page.
Disk mode Drive types HDD: INTERNAL HD: Internal hard disk drive CDD: Internal CD-R/RW drive, or a USB-connected CD-ROM or CD-R/RW drive HDD: USB-connected hard disk drive RDD: Removable media such as flash media readers or MO (Magneto-Optical) drives Volume label No Label: Media that has no volume label Unformatted: Media that has not been formatted No Disc: Media is not inserted in the CD-ROM or CDR/RW drive No Media: Media is not inserted in the removable media drive (other than a CD-ROM or CD-R/RW dri
Disk P0: File Type This icon indicates the type of file. For details on how the icons correspond to the different file types, refer to the diagram “Files that can be loaded” on page 692. Lock [Off, On] Files and directories with this symbol are locked, and cannot be overwritten, copied, or deleted. Use the “Lock/Unlock” page menu command to lock or unlock a file or directory. 0–2: Save To set the current date and time for the OASYS system, use the Utility page menu command Set Date/Time.
Disk mode The USB device will now appear in the Drive Select menu. • 3: Save All. For more information, see “Save All (PCG, SNG and KSC)” on page 717. File date and time • 4: Save PCG & SEQ. For more information, see “Save PCG & SEQ” on page 718. The OASYS contains an internal calendar and clock. When you save a file, the date and time will be assigned automatically. To set the current date and time for the OASYS system, use the Utility page menu command Set Date/Time.
Disk P0: File 0–9: Media Information • 1: Translation. For more information, see “Translation” on page 703. • 7: Create Directory. For more information, see “Create Directory” on page 723. • 2: Lock/Unlock selected. For more information, see “Lock/Unlock selected” on page 703. • 8: Set Date/Time. For more information, see “Set Date/Time” on page 723. • 3: Rename. For more information, see “Rename” on page 721. • 9: Format. For more information, see “Format” on page 723. • 4: Copy.
Disk mode Disk P1: Audio CD 1–1: Make Audio CD 1–1PMC 1–1a 1–1b 1–1c Here you can use the internal CD-R/RW drive or a USB-connected CD-R/RW drive to create an audio CD. 1–1a: Track, Total, Free To create an audio CD, you will use WAVE files that you resampled from the OASYS’s sequencer playback etc. Use the Insert button and Cut button to arrange the files in the audio CD track list, and use the “Write to CD” page menu command to write them as an audio CD.
Disk P1: Audio CD 1–1b: Audio CD Track List Track [(01…99)] Displays the track numbers of the WAVE files arranged in the audio CD track list. (1–1a “Track (Track Select)”) 1–1: Make Audio CD Use “Drive Select” to select the drive containing the file you want to add, use the Open button and Up button to navigate to the appropriate directory, and select the Wave file. Insert: Adds the selected (highlighted) WAVE file.
Disk mode 1–2: Play Audio CD 1–2b 1–2PMC 1–2a Here you can use the internal CD-R/RW drive or a USB-connected CD-R/RW drive to play an audio CD. 1–2a: Audio CD Play It is convenient to use this method to verify a CD that you created in the Make Audio CD page. Location It is not possible to play back an audio CD that has not been finalized. You can use the SEQUENCER switches to play or stop the internal CD-R/RW drive or a USB-connected CDR/RW drive.
Disk P1: Audio CD 1–2: Play Audio CD Note: The CD-R/RW Drive Audio Input settings are linked with the Sampling mode “5–1b: CD-R/RW Drive Audio Input” settings. Level LEFT To summarize, the normal settings are as follows. RIGHT LEFT: Bus Select (IFX/Indiv.) L/R, REC Bus Off, FX Ctrl Bus Off, Send1 000, Send2 000, Level 127, Pan L000 Bus Select (IFX/Indiv.) [L/R, IFX1…12, 1…8, 1/2…7/8, Off] L/R: The audio signal from the CD-R/RW drive will be sent to the L/R bus. Normally you will use the L/R setting.
Disk mode 1–9: Media Information 1–9PMC 1–9a 1–9b This screen shows information about the media in the CD-R/RW drive. Use “Drive Select” (1–9b) to select the drive/media. For more information, please see “0–9: Media Information” on page 697. ▼ 1–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 138. • 0: Scan device.
Disk: Page Menu Commands Hide unknown files Disk: Page Menu Commands Hide unknown files If you select “Hide unknown files,” a check mark will appear at the left of “Hide unknown files.” In this state, undefined files will not be shown in the directory window. However, this is valid only if there are DOS files in the current directory. Translation When Translation is on (checked), you'll see the full names of the Multisamples and Samples on the disk, instead of the abbreviated DOS names.
Disk mode being loaded will be packed into the available locations. (See diagram below) Select this method when you wish to load song data from disk without erasing the song data that is already in memory. 1. Use the “Load ****** .SNG too” and “Load ****** .KSC too” check boxes to select the .SNG file and .KSC file. If this file does not exist in the current directory, load it as described in the above procedure “If a file to be loaded cannot be found,…” on page 703. 2. In “.
Disk: Page Menu Commands If the power has just been turned on, or you want to reproduce the state that was saved, select Clear. .KSC Allocation .
Disk mode 1. In “To,” specify the loading destination bank. 2. To load the data, press the OK button. To cancel without loading, press the Cancel button. Note: If “Multiple Select” (0–1a) is checked and you’ve selected more than one bank, the data will be loaded starting with the bank you specified in the “To” field. 1. Use the “To” field to select the load-destination bank. Load a Combination This loads the selected Combination into a specified Bank and number in internal memory. 2.
Disk: Page Menu Commands Load selected Load Wave Sequence Bank [INT, USER-A…USER-G] All wave sequence data of the selected bank will be loaded into the bank you select as the load-destination. This includes Global mode parameters other than drum kits and user wave sequences. Memory protect settings will not be loaded. 1. To load the data, press the OK button. To cancel without loading, press the Cancel button. 1. Use the “To” field to select the load-destination bank. 2.
Disk mode • If you check “Load ********.KSC too,” use “Select .KSC Allocation” to specify how the multisamples and samples within the .KSC file will be loaded. See “1) Load .PCG: 4.” 3. Press the OK button to load the data, or press the Cancel button to cancel without loading. Load a Song 3. To load the data, press the OK button. To cancel without loading, press the Cancel button. Load Pattern Data The selected user pattern will be loaded into a user pattern of the selected loading destination song.
Disk: Page Menu Commands Load a Region This loads the selected region data into the region number you select as the load-destination. Load selected 1. To load the data, press the OK button. To cancel without loading, press the Cancel button. Load Presets (P01–15) Preset (preset) data (P01–15) for the selected effect will be loaded. Load Presets (P01-P15) in “Stereo Dyna Compressor” 1.
Disk mode 27) Load a Preset (U) item of exclusive data. The selected effect preset data (U00–15) will be loaded into the load-destination effect preset number (P01–15, U00–U15) you specify. If you are transmitting the data to another OASYS, the required time interval will depend on the type of data. After transmitting all program data, you must allow an interval of approximately 2 seconds. For details refer to the Global mode section on Dump. For other MIDI devices, refer to their owner’s manual.
Disk: Page Menu Commands Load selected KMP files Files with a filename extension of KMP (Korg Multisample Parameter) contain the parameters which make up a single multisample. These parameters also include the filename of the .KSF files that are used by that multisample, so when a .KMP file is loaded, the necessary .KSF files will also be loaded at the same time. When saving, a .KMP file and a directory with the same name will be created, and the .
Disk mode 4. If you specify * and execute loading, all of the WAVE files will be loaded as follows. PIANO.WAV SFX_A_00.WAV SFX_A_01.WAV SFX_B_00.WAV SFX_B_01.WAV SFX_C_00.WAV Load .KSC The .KMP files and .KSF files listed in the .KSC file will be loaded as multisamples and samples respectively. 2. If the current directory contains a .PCG file, and .SNG file of the same filename, you can select the “Load ********.PCG too” check box, and the “Load ********.SNG too” check box. (See “Load: .
Disk: Page Menu Commands Load selected without loading, press the Cancel button. The sample will be loaded after the last sample that currently exists in the sample RAM (Append load). Note: You can load multiple files within the directory. (See “Multiple Select” on page 694, “Loading multiple files at once” on page 711) 1. To load the data, press the OK button. To cancel without loading, press the Cancel button.
Disk mode Akai S1000/S3000 Loop Conversion In rare cases, loops from Akai samples may need to be changed when loaded into the OASYS: • Some Akai samples may contain multiple loops. If this is the case, OASYS will use the first HOLD loop, if present. If there is no HOLD loop, OASYS will use the longest loop. • Some Akai samples may have loop lengths with a resolution of less than a single sample. In this case, OASYS will round the loop to the nearest sample.
Disk: Page Menu Commands be converted into a OASYS program, or into programs and a combination. (Multisamples will also be convert-loaded.) If you don’t check this, all Sample files included in the selected volume will be loaded as samples, and the Program file will be loaded as a multisample. Only the keymap-related parameters from the Program file will be loaded to create a multisample. 5.
Disk mode When you execute, only the applicable drum kits will be loaded into consecutive numbers starting at the number you specify here. 8. Use the Append to “Wave Sequence” field to specify the load-destination number for the wave sequences in the .PCG file. When you execute the command, only the valid wave sequences will be loaded starting at the number you specify, and occupying each consecutive number.
Disk: Page Menu Commands If you decide that you don’t want to save a divided file, press the Cancel button, and save your data to media that has more available space. 2. When a volume of media fills up during the save, the following dialog box will appear. Insert the next volume of media and press the LCD screen to make the OASYS detect the media, or use “Drive Select” (0–1a) to specify the save-destination media. Save All (PCG, SNG and KSC) below each Selection button.
Disk mode 1. Select “Save PCG” to open the dialog box. Save PCG Data 2. Use the text edit button to move to the text input dialog box, and specify the filename. Save PCG & SEQ This command saves all internal memory programs, combinations, drum kits, wave sequences, and global settings as a .PCG file, and saves songs and regions data to a .SNG file on the specified media. This command is valid only when the current directory is a DOS directory. 1. Select “Save PCG & SEQ” to open the dialog box.
Disk: Page Menu Commands Save to Standard MIDI File • Multisample and sample data recorded or edited Examples) • Multisample and sample data loaded in Disk mode 0000: NewSample_0000 → NEWS0000.KSF • Multisample and sample data in internal sample RAM 0001: C#3-EGuitar → C#3-0001.KSF 1. Select “Save Sampling Data” to open the dialog box. Save Multisamples and Samples Data Note: If you wish to export the data in AIFF (.AIF) or WAVE (.WAV) format, select the Utility “Export Samples as AIF/WAV.” 4.
Disk mode “Save SEQ” to save the data, since this will allow a higher degree of reproducibility. Save Exclusive Accumulates the received exclusive data in internal memory, and then save the data to media as an .EXL file. This command is valid only when the current directory is a DOS directory. 1. When you select “Save Exclusive,” the OASYS will wait for exclusive data to be received. The following dialog box will appear. Receive and Save MIDI System Exclusive Data 3.
Disk: Page Menu Commands Export Samples as AIFF/WAVE Save Audio CD Track List When exporting One Sample, it is not possible to export sample data that will not fit on one volume of media. 5. To export the data, press the OK button. To cancel without exporting, press the Cancel button. Save Audio CD Track List This command saves an audio CD track list that you created in the Make Audio CD page. The drive and directory locations that contain each WAVE file, and the names of the WAVE files will be saved.
Disk mode Delete This command deletes the selected file or directory. This command is valid only if a DOS file or directory is selected. 1. Select the file or directory that you want to delete. 2. Select “Delete” to open the dialog box. 3. “Copy” will show the name of the selected file or directory. 3. “Delete” will indicate the name of the selected file or directory.
Disk: Page Menu Commands Create Directory Create Directory 3. Select “Format” to open the dialog box. This command creates a new directory within the current directory. 1. Select “Create Directory” to open the dialog box. 2. Use the text edit button to access the text input dialog box, and specify the name of the new directory. 3. To create the directory, press the OK button. To cancel without creating the directory, press the Cancel button.
Disk mode This conversion temporarily uses memory space on the hard disk. Check Medium 1. Select “Convert to ISO9660 Format” to open the dialog box. This command checks the selected MS-DOS format media for errors, and corrects them. Execute this command if you frequently experience messages such as “Error in writing to medium” while writing to media, or “Buffer overrun error occurred” while sampling to media. 2.
Disk: Page Menu Commands Write to CD Write to CD If “Execute finalize too” is checked, the disc will be finalized. When this command is executed, the WAVE files specified in the audio CD track list will be written as audio CD tracks. If desired, you can also finalize the disc at this time. If this is not checked, the disc will not be finalized. When writing data to CD-R/RW media, the media containing the Wave files must have free space equal in size to the Wave files you are writing.
Disk mode When you execute Quick Erase, the files and data will appear to be gone, but the data itself will remain on the disc until it is overwritten. If you want to erase data that should not be seen by someone else, execute Full Erase to erase the data completely. 4. Press the OK button to execute the Erase operation, or press the Cancel button to cancel without executing.
Effect Guide Overview The OASYS provides 12 insert effects, two master effects, and two total effects, together with a mixer section that controls the routing of these effects.
Effect Guide When FREE FOR VOICES is at 100%, you can achieve the maximum polyphony–for instance, 172 voices of the HD-1, 96 voices of the AL-1, or 172 voices of the CX-3. When more effects or EXi fixed resources are being used, polyphony will be reduced accordingly. 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 × 0.98 (approximately 168).
Overview Dynamic modulation (Dmod) and Tempo Synchronization Audio Input (set to Program mode) Oscillator1 Filter1 Driver1 Amplifier1 Oscillator2 Filter2 Driver2 Amplifier2 Send EQ Master Effect 1, 2 Insert Effect 1–12 Return Total Effect 1–12 OUTPUT L/MONO, R AUDIO INPUT (1, 2, 3, 4) S/P DIF IN (L, R) the P0: Recording– Audio Input page to make audio input settings for Sampling mode. These settings apply only to Sampling mode.
Effect Guide Dry BPM/MIDI Sync: Delay Time Wet To set the delays to a specific tempo, separate from the system clock, set BPM to the desired tempo (between 40 and 240 BPM). Lch Dry Wet Rch 3. Set the BPM as desired. To synchronize to the system clock, set BPM to MIDI. If the combination of the tempo, Base Note, and Times (x) settings in conjunction would exceed the maximum delay time, a warning such as “Time Over? >OVER!” will appear in the display. If this happens, just reduce the delay time.
Overview FX Control Buses Gated Reverb (Program) IFX1 101: Reverb Hall Bus Select OSC1&2 : IFX1 IFX2 Bus Select 009: Stereo Gate : L/R Chain to : IFX2 Envelope Source : FX Control 1 FX Control Bus : FX Ctrl1 (FX Control Bus1) Compressor (Combination) IFX1 002: Stereo Compressor Bus Select Timbre1 : IFX1 : Pad Program A Envelope Source : FX Control 1 Program B split Timbre2 : Guitar Bus Select : L/R Bus Select : IFX2 IFX2 027: OD/ Hi-Gain Wah Example: Compressor (Combination) Compressor-
Effect Guide Rhythmic Vocoder (Combination) Bus Select Timbre1 : IFX1 : Pad (Carrier) IFX1 026: Vocoder Bus Select : L/R Modulator Source : FX Control 1 (Modulator) KARMA Drum pattern Timbre2 : Drums FX Control Bus : FX Ctrl1 (FX Control Bus1) Example: Rhythmic Vocoder (Combination) In the example shown in the diagram, a drum pattern generated by KARMA is sent to the FX Control bus and used as the modulator for the vocoder.
Overview Effect I/O Sampling mode AUDIO INPUT LEVEL on the rear panel Input Audio Input Level (P0, P5) Effect Trim parameter *1 (P8, P9) Send1/2 (P0, P5, P8) Output Effect Wet/Dry parameter (P8, P9) Return1, 2 (P9) Audio Input *2 AUDIO INPUT LEVEL on the rear panel Input Level (P0) Send1/2 (P0) *1Some effects may not have these parameters. *2These settings are made separately for programs, combinations, and songs (Sequencer).
Effect Guide Insert Effects (IFX1…IFX12) In/Out Insert Effects (IFX 1–12) have a stereo input and a stereo output. If you set the Wet/Dry parameter (P8– IFX1–12 page) to Dry (no effect), the input signal will be passed through, in stereo, without being processed by the effect.
Insert Effects (IFX1…IFX12) If Bus Select is set to IFX1–12, use Send1 and Send2 (Program 8–5a) to specify the send level of the post-IFX signal. Send1 responds to CC#93, and Send2 responds to CC#91. At this time, the actual send level uses the value of the Send 1 and 2 settings for Oscillators 1 and 2, multiplied by the Send 1 and 2 values received via MIDI. In the example shown in the diagram (Fig. 2–1a), Oscillators 1 and 2 outputs being sent to IFX1.
Effect Guide Fig. 2–1b Fig. 2–1c Combination and Sequencer modes Use Bus Select (P8: “Routing” 1 and 2 page in each mode) for timbres (Combination) and tracks (Sequencer) to select an Insert Effect to apply to the corresponding timbres and tracks. You can route multiple timbres and tracks to a single Insert Effect. Tip: You can use each timbre/track’s Bus Select, postIFX Chain to and Chain parameters (P8 - Insert FX page of each mode) to create a variety of routings.
Insert Effects (IFX1…IFX12) Routing Example: Inserting one IFX into two or more timbres Example: Inserting a separate IFX into each timbre, and inserting another IFX later Example: Sharing part of a timbre’s IFX chain with another timbre As with Program mode, select L/R, IFX1–12, 1–8, 1/2– 7/8, or Off for each timbre and track. Send1 (to MFX1) and Send2 (to MFX2) become available if Bus Select has been set to L/R or Off.
Effect Guide Fig. 2–2a In the diagram (Fig. 2–2b), IFX1’s Chain check box is checked and Chain to set to IFX2, sending the output of IFX1 to IFX2. Timbre 1 is being processed by IFX1: 001: Stereo Dyna Compressor and IFX2: 048: Stereo Flanger effects. Timbre 2 is being processed by the IFX2: 048: Stereo Flanger effect. The Routing Map area of the diagram (Fig. 2–1a) shows these settings. (With these settings, IFX3–12 are not being used.) Fig. 2–2b Drum Programs in Combination and Sequencer modes sent.
Insert Effects (IFX1…IFX12) Routing Fig. 2–2c Drum Kit IFX Patch Fig. 2–2d: DrumKit IFX Patch dialog If “Bus Select DKit” is checked, you can select the Drum Kit IFX Patch page menu command by selecting a timbre parameter or by pressing Timbre Number (the blue area in the display for each timbre). This option allows you to change the routing of the Insert Effects temporarily by changing Bus Select for each key.
Effect Guide Fig. 2–2e Sampling mode The external input sounds from the AUDIO INPUT 1, 2, 3, 4, and S/P DIF IN jacks can be processed by the insert effects, master effects, or total effects then sampled. You can also apply insert effects to the samples assigned to a multisample, and resample the result. The Bus Select settings in the P0– Audio Input page specify the buses to which the external inputs will be sent. You can choose from L/R, IFX1–12, 1–8, 1/2–7/8, or Off.
Insert Effects (IFX1…IFX12) Routing Fig. 2–3a Fig.
Effect Guide Audio Input, S/P DIF IN In Program, Combination, Sequencer, and Disk modes, external audio sources from the AUDIO INPUT 1, 2, 3, 4, and S/P DIF IN jacks can be processed by insert effects, master effects, and total effects just as they can in Sampling mode. You can sample while applying the OASYS’s effects to the external audio sources from these jacks, or use the OASYS as a 6-in (AUDIO INPUT 1, 2, 3, 4, S/P DIF IN L, R) 10-out effect processor.
Insert Effects (IFX1…IFX12) Audio CD In Sampling mode, the sound from an audio CD in the internal CD-R/RW drive or a USB external CD drive can be processed by the insert effects, master effects, and total effects. Use the Bus Select setting in the P5: Audio CD Ripping page to specify the bus to which the CD audio will be sent. You can choose from L/R, IFX1–12, 1–8, 1/2–7/8, or Off. If you want to apply an insert effect, choose IFX1–12.
Effect Guide Mixer ignored, and they are set to Center. Use the “Pan (CC#8)” parameter (P8: “Insert FX” page) to set the pan. “L000” is hard left, and “R127” is hard right. In Program, Combination, and Sequencer modes, the P8 - Insert FX page lets you set “Pan (CC#8)” (post-IFX panning), “Bus Sel. (Bus Select),” “Ctrl Bus” (FX control bus), REC Bus, and Send1 and Send2 levels to the master effects. For more about effect types such as stereo-in/stereoout, see “In/Out” on page 734.
Insert Effects (IFX1…IFX12) you want to use the Send1 or Send2 levels to route the signal through a master effect in series (i.e., not as a send effect). Controlling the Insert Effects via MIDI REC Bus OASYS provides two stereo recording (REC) buses: REC 1/2 and REC 3/4. Ctrl Bus (FX Control Bus) Using the REC busses, you can isolate one or more sounds for recording or sampling–even if the sounds are also being mixed into the main outputs.
Effect Guide Gch: Select this option if you wish to control the parameters on the global MIDI channel. This is a common setting. All Routed: Select this option to control the parameters on all the channels (channels 1–16 that have a “*” mark) that are routed to the corresponding Insert Effects.
Master Effects (MFX1, 2) In/Out Master Effects (MFX1, 2) In/Out The I/Os of Master Effects MFX1 and MFX2 are stereoin/stereo-out. Send1 and Send2 determine the send level to the Master Effects. (For Send1 and 2, see “Routing” and “Mixer.”) Master effects will not output the Dry (unprocessed) signal specified in Wet/Dry (P9 - MFX1, 2 page). Only the Wet (processed) signal will be output.
Effect Guide the Send1 (to MFX1) and Send2 (to MFX2) parameters specified independently for the oscillators (Program/Sampling mode), timbres (Combination mode), tracks (Sequencer mode), and audio inputs (in all modes). For example, since you can adjust the master effect send levels for each timbre/track, you can make settings so that reverb is applied deeply to the piano, lightly to the strings, and not at all to the bass.
Master Effects (MFX1, 2) Routing Fig. 2–1b Fig. 2–1c OSC1/EXi1 Send1=127 (100%) *064 (50%)=064 (50%) OSC1/EXi1 Send2=064 (50%) *127 (100%)=064 (50%) OSC2/EXi2 Send1=064 (50%) *064 (50%)=032 (25%) OSC2/EXi2 Send2=127 (100%) *127 (100%)=127 (100%) If IFX1–12 is selected for Bus Select, use the Send1 and Send2 parameters for the post-IFX signals. If 1–8, or 1/2–7/8 is selected instead, these Send1 and 2 settings are ignored and the Master Effect is not applied.
Effect Guide post-IFX2, 3, and 4 signals to set the send levels of Timbres 2, 3, and 4, and use the Send1 and Send2 parameters for the post-IFX5 signal to set the send levels of Timbres 5 and 6. For Timbres 7 and 16, the settings of Send1 (to MFX1) and Send2 (to MFX2) will be effective. (At this time, the actual send levels use these Send 1 and 2 values multiplied by the Send1 and 2 settings for Program oscillators 1 and 2.
Master Effects (MFX1, 2) Audio CD In Sampling mode you can apply the insert effects, master effects, and total effects to the sound of an audio CD from the internal CD-R/W or a USBconnected external CD drive. In the P5: Audio CD page, use “Drive Select” to select the drive from which you want to input CD audio, and use Bus Select to select the bus to which you want to send the CD audio. You can choose from L/R, IFX1–12, 1–8, 1/2–7/8, and Off.
Effect Guide Chain Direction Chain Level If you have checked the Chain box, you can set the direction of the connection here. You can also visually confirm the direction on the LCD. This parameter determines the level of signals routed from one MFX to the other MFX in a chain connection.
Total Effects (TFX1, 2) In/Out Total Effects (TFX1, 2) In/Out The total effects TFX1 and TFX2 are stereo-in and stereo-out. The Dry (unprocessed) side of the Wet/Dry parameter sends the stereo input sound directly to the stereo output. The way in which the Wet (processed) side is output depends on the type of effect, as follows.
Effect Guide Mixer Master Volume This sets the level of the final output after passing through the total effects. Using MIDI to control the Total Effects In the same way as for Insert and Master Effects, the Total Effects can be controlled in realtime via Dynamic Modulation (Dmod). You can use either the built-in OASYS’s controllers or an external MIDI device, during live performance or from a sequencer. Program and Sampling modes Effect parameters are controlled on the global MIDI channel.
Outputs Main Outputs Outputs Main Outputs The main L/MONO and R outputs of the OASYS are output from the AUDIO OUTPUT (MAIN) L/MONO and R jacks, the S/P DIF OUT (MAIN) jack, and the headphone jack. Individual Outputs The OASYS is equipped with eight individual audio outputs, which can be used as individual mono outputs, stereo pairs, or any combination of the two. Signals sent to these outputs are also mirrored on the ADAT outputs of the optional EXB-DI, if installed.
756 Pan Bus Select = IFX1 Bus Select Sampling Source Bus S/P DIF IN R S/P DIF IN L Analog Input 4 Analog Input 3 Analog Input 2 Analog Input 1 REC Bus Select from: 1 L/R 2 IFX1 3 IFX2 4 IFX3 5 IFX4 6 IFX5 7 IFX6 8 IFX7 1/2 IFX8 3/4 IFX9 5/6 IFX10 7/8 IFX11 Off IFX12 Bus Select = IFX10 Bus Select = IFX10 Bus Select = L/R Bus Select = L/R Bus Select = L/R Bus Select = IFX5 Program P0: Audio Input/Sampling Oscillator/EXi 2 Oscillator/EXi 1 stereo x 2 mono x 4 (stereo x 2) mono x 8 (stereo
Bus Select Bus Select = L/R Bus Select = IFX7 /Audio Trk 1 /Audio Trk 16 Sampling Source Bus Audio Track REC Source S/P DIF IN R S/P DIF IN L Analog Input 4 Analog Input 3 Analog Input 2 Analog Input 1 REC Bus Select from: 1 L/R 2 IFX1 3 IFX2 4 IFX3 5 IFX4 6 IFX5 7 IFX6 8 IFX7 1/2 IFX8 3/4 IFX9 5/6 IFX10 7/8 IFX11 Off IFX12 Bus Select = IFX10 Bus Select = IFX10 Bus Select = L/R Bus Select = L/R Bus Select = L/R Bus Select = IFX5 Combi/Seq P0: Audio Input/Sampling Bus Select = 1/2 Timbre/
758 Bus Select = IFX1 Bus Select = IFX1 Bus Select Bus Select = IFX10 Bus Select = IFX10 Bus Select = L/R Bus Select = L/R Bus Select = L/R Bus Select = IFX5 Audio CD L Sampling Source Bus Audio CD R REC Bus Select from: 1 L/R 2 IFX1 3 IFX2 4 IFX3 5 IFX4 6 IFX5 7 IFX6 8 IFX7 1/2 IFX8 3/4 IFX9 5/6 IFX10 7/8 IFX11 Off IFX12 Bus Select = L/R Bus Select = L/R Sampling P5: Audio CD S/P DIF IN R S/P DIF IN L Analog Input 4 Analog Input 3 Analog Input 2 Analog Input 1 Sampling P0: Audio Input/S
Examples of the effect graphics Individual Outputs Examples of the effect graphics Here are some examples of the effects that display graphics. Purple area: This shows the frequency response after passing through all of the bands. 012: Stereo Graphic EQ Red lines show the center frequencies of each band. The selected band is indicated by a thick red line. Green line: Shows the frequency response of the selected band alone, without the results of the other bands.
Effect Guide Xover Filters Xover Filters is used in 004: St.Multiband Compressor, 015: Stereo Isolator, and 086: Multiband Mod. Delay. Crossover point between band 3 and band 4 Crossover point between band 2 and band 3 Crossover point between band 1 and band 1 The red line indicates the specified crossover point. This is a conceptual diagram of each band’s frequency response. (It is not the actual response.
Examples of the effect graphics Individual Outputs 002: Stereo Compressor Other items are the same as for Limiter. Refer to Limiter. Indicates the range specified by Soft Knee Width. Indicates the output response relative to the input. This will change according to the Ratio, Threshold, and Soft Knee Width. This is a realtime indication of whether the control input signal level is Under (below the Soft Knee range), Knee (within the Soft Knee range), or Over (above the Soft Knee range).
Effect Guide Multiband Limiter The Multiband Limiter is used in 006: Multiband Limiter and 007: Stereo Multiband Limiter. Indicates the output response relative to the input. This will change according to the Ratio and Threshold settings. (This is the same as the Stereo Limiter.) Threshold level indication. This is a realtime indication of the control input signal level (Input) for each band. The level will change according to the Offset setting.
Examples of the effect graphics Individual Outputs Gate Gate is used in 009: Stereo Gate and in 140: Reverb Gate. This is a realtime indication of the control input signal level following the Side Chain EQ (Input) and the output signal level (Output). With the Gate effect, there will be no output when the control input signal is below the Threshold level. If the control input signal is above the Threshold level, the input signal will be output. (The Polarity setting can be used to reverse this operation.
Effect Guide Dynamics 000: No Effect Choose this option when you are not using the selected effects slot. This frees up processing resources for other effects and/or synth voices. When a slot is set to No Effect: • Insert Effects and Total Effects pass through the dry, unprocessed signal • Master Effects mute their outputs 001: Stereo Dyna Compressor This effect compresses the input signal to regulate the level and give a “punchy” effect. It is useful for guitar, piano, and drum sounds.
Dynamics 002: Stereo Compressor 002: Stereo Compressor This is a sophisticated stereo compressor that allows you to make detailed settings, such as the level detection method and the compression curve.
Effect Guide compressor becomes a brick-wall limiter; once the signal hits the Threshold, the output level will no longer increase, regardless of the input level. Compressor/Limiter - Threshold and Ratio Release [msec] [5…5000] This controls how quickly the compressor will stop reducing volume level after the signal falls below the threshold. Ratio=1.0 : 1 Compressor/Limiter - Attack & Release Output Level Threshold Ratio=2.0 : 1 Threshold Ratio=4.
Dynamics 004: St.Multiband Compressor Release [msec] SIDE CHAIN EQ This multimode filter applies only to the control signal, and not to the main audio path. Use it to alter the response of the expander so that it reacts (or does not react) only to specific frequencies. The parameters are the same as for the Stereo Compressor; for more information, see “SIDE CHAIN EQ” on page 765. Lookahead [Check-box] Switches level detection look-ahead (expander input delay) on/off.
Effect Guide Range [dB] [–24.0…+18.0] Range / Knee The combination of Threshold and Range controls the band’s basic functionality (traditional compressor, lowlevel expander, etc.), and the combination of Range and Knee creates the band’s compression/expansion. Output Level [dB] To create a traditional compressor action, set the Threshold around 0.0, and the Range to a negative value.
Dynamics 006: Multiband Limiter Threshold [dB] SIDE CHAIN EQ This EQ applies only to the control signal, and not to the main audio path. Use it to alter the response of the limiter so that it reacts (or does not react) only to specific frequencies. [–40…0] Sets the level above which the compressor is applied. For more information, see “Threshold [dB]” on page 766.
Effect Guide Amount [–63…+63] Sets the modulation amount of the output gain. HIGH Offset [dB] LOW [–40…0] This adjusts the Threshold level for the high range. Offset [dB] [–40…0] This adjusts the Threshold level for the low range. OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. MID Offset [dB] [–40…0] This adjusts the Threshold level for the mid range.
Dynamics LIMITER Threshold [dB] [–30.0…0.0] This affects both the limiting threshold and the output gain. Signals above the Threshold will be limited; signals below this level will not be limited, but will still benefit from any increase in output gain (see below). The output gain is automatically increased by the difference between the Threshold and the Out Ceiling. For instance, if the Threshold is -9.0dB and the Out Ceiling is -3.0dB, gain will be increased by 6dB. Out Ceiling [dB] [–30.0…0.
Effect Guide GATE Gate - Attack / Release Threshold Threshold [0…100] Dry Sets the level at which gating is applied. Note that this does not apply when the ENVELOPE Source is set to Dmod. Wet Attack=1 Release=1 Wet Attack=100 Release=100 Gate - Threshold Output Level Louder Threshold Attack Louder Delay Time [msec] Input Level Attack [1…100] Sets the attack time. Release [1…100] Sets the release time. Release [0…100] This sets the delay time for the input to the gate.
EQ and Filters 011: Stereo Parametric 4EQ EQ and Filters 011: Stereo Parametric 4EQ This is a stereo 4-band parametric equalizer. You can select peaking type or shelving type for Band 1 and 4. The gain of Band 2 can be controlled by dynamic modulation. Band3 Fc [Hz] [300…10.00k] Sets the center frequency of Band 3. Q [0.5…10.0] Sets the bandwidth of Band 3. p.773. Stereo In - Stereo Out Left PEQ Gain [dB] HEQ Sets the gain of Band 3.
Effect Guide 012: Stereo Graphic 7EQ This is a stereo 7-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear, visual idea of frequency responses. You can select a center frequency setting for each band from twelve types, according to the sound. Stereo In - Stereo Out Left Wet / Dry Trim Band1 Band2 Band3 Band4 Band5 Band6 Band7 7:Low, 8:Wide Low, 9:Mid, 10:Wide Mid, 11:High, 12:Wide High] This parameter selects a combination of center frequencies for each band.
EQ and Filters 014: Stereo Exciter/Enhncr 014: Stereo Exciter/Enhncr This effect is a combination of the Exciter, which adds a punch to the sound and the Enhancer, which adds spread and presence. Amount [–70…+70] Sets the amount of modulation of the frequency to be emphasized Blend Stereo In - Stereo Out Left Wet / Dry LEQ HEQ Exciter EQ Trim Delay EQ Trim Delay Depth This parameter sets the depth (intensity) of the Exciter effect.
Effect Guide Mid Gain [dB] XOVER FILTER [–Inf, –59…+12] Sets the mid-frequency gain. Trim [0…100] Sets the input level. Source [Off…Tempo] Selects the modulation source for mid-frequency gain. Frequency Low-Mid [Hz] [100…500] Sets the frequency at which the low and mid bands are divided. Frequency Mid-High [Hz] [2000…6000] Sets the frequency at which the mid and high bands are divided. Amount [–72…+72] Sets the amount by which the mid-frequency gain will be modulated.
EQ and Filters On (checked): When MIDI/Tempo Sync is On, the LFO will synchronize to tempo as set by BPM, below. The LFO speed will be controlled by the Base Note and Times parameters, below. All settings for Frequency and Frequency Source and Amount will be ignored. Off (unchecked): When MIDI/Tempo Sync is Off, the Frequency settings will determine the speed of the LFO, and the BPM, Base Note, and Times settings will have no effect.
Effect Guide Common LFO Phase Offset [degrees] CONTROL Sweep Mode [Auto, Dmod, LFO] Selects the control from auto-wah, modulation source, and LFO. For more information, see “Sweep Mode” on page 776. Source [Off…Tempo] Selects the modulation source for the wah when Sweep Mode is set to Dmod. Manual Sets the center frequency when Sweep Mode is set to Dmod and Source is set to Off. Response [0…100] Sets the speed of response when Sweep Mode is set to Auto or Dmod.
EQ and Filters FILTER 018: Stereo Random Filter LFO Phase 0 Manual +90 +180 [degree] [0…100] Sets the filter’s center frequency, before LFO modulation. Depth —180 —90 0 [degree] [0…100] The LFO modulates the filter’s frequency; this sets the intensity of the LFO modulation. Source [Off…Tempo] Selects a source to modulate the LFO Depth. Amount [+/–100] Sets the intensity of the Depth modulation. Resonance [0…100] Frequency These parameters apply when MIDI/Tempo Sync is Off (un-checked).
Effect Guide Common 1 or 2: the steps use the frequency or tempo sync of the selected Common LFO, so that you can synchronize multiple LFO-based effects together. Common LFO Phase Offset [degrees] OUTPUT Wet/Dry [–Wet, –99:1…–1:99, Dry, 1:99…99:1, Wet] [+/–180] This sets the balance between the effect and the dry input. From –Wet to –1:99, the effect sound’s phase will be reversed. Sets the phase offset when Type = Common 1 or Common 2. p.777.
EQ and Filters Amount [–20.00…+20.00] This sets the Frequency modulation amount, in Hz. MIDI/Tempo Sync [Check-box] BPM [MIDI, 40.00…240.00] Base Note [ … ] Times [x1…x32] When MIDI/Tempo Sync is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency. For more information, see “MIDI/Tempo Sync” on page 777. Type 020: Stereo Sub Oscillator [Individual, Common1, Common2] This controls whether the effect uses its individual LFO, or one of the Common FX LFOs.
Effect Guide 021: Talking Modulator This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via dynamic modulation, you can create an interesting effect that sounds as if the guitar or synthesizer is talking. Voice Center [A, I, U, E, O] Selects a vowel sound at the center modulation value. Voice Bottom [A, I, U, E, O] Selects a vowel sound at the minimum modulation value.
EQ and Filters 022: Stereo Decimator 022: Stereo Decimator This effect creates a rough sound like a cheap sampler by lowering the sampling frequency, reducing the bit depth, and creating aliasing. Output Level [0…100] Sets the output level. Source Stereo In - Stereo Out Selects the modulation source for the output level. Left Wet / Dry High Damp Output Level Pre LPF Resolution Amount Decimator D-mod [Off…Tempo] [+/–100] Sets the modulation amount of the output level.
Effect Guide 023: Stereo Analog Record This effect simulates the noise caused by scratches and dust on analog records. It also reproduces some of the modulation caused by a warped turntable. NOISE Density [0…100] Sets the noise density. Stereo In - Stereo Out Left Wet / Dry EQ Trim Pre EQ Analog Record Simulation Tone Level EQ Trim [0…100] Sets the noise tone. [0…100] Sets the noise level. Pre EQ Right Wet / Dry Source [Off…Tempo] Selects the modulation source for the noise level.
EQ and Filters 024: Stereo Wave Shaper Wave Shape Tables Source 00:Sine Selects the source that will modulate the amount of high range damping. 01:2 Cycle 02:Frequency3 03:Frequency7 04:10 Cycle [Off…Tempo] Amount 05:Cocoon 06:Double Sine 07:Phase 08:20 Cycle 09:Attack Up [+/–100] Sets the depth by which the amount of high range damping will be modulated.
Effect Guide 025: Piano Body/Damper This effect simulates the resonance of the piano sound board caused by the string vibration, and also simulates the resonance of other strings that are not being played when you press the damper pedal. It will create a very realistic sound when applied to acoustic piano sounds. Source [Off…Tempo] Selects the modulation source of damper effect.
EQ and Filters 2. Go to the Global P0: Basic Setup-Audio page. 3. For the Audio Input to which you connected the mic, temporarily set Bus Select to L/R. This lets you listen to the mic input while adjusting the LEVEL control. Select 026: Vocoder [L/R Mix, L Only, R Only] Selects whether to use the left/right mix, only the left channel, or only the right channel of the Modulator input. 4. While talking into the mic, use the LEVEL knob to adjust the level as high as possible without distortion.
Effect Guide Overdrive, Amp models, and Mic models 027: OD/Hi-Gain Wah This versatile effect offers two different-sounding distortion modes (Overdrive and Hi-Gain), a modulatable wah-wah filter, a speaker simulation, and 3-band EQ. It’s suitable for guitars, organs, and general sonic mayhem.
Overdrive, Amp models, and Mic models 028: OD/HyperGain Wah OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. 028: OD/HyperGain Wah This distortion effect has two modes: overdrive and hyper-gain that produces a strong distortion. A higher high-gain setting is required for this effect relative to a normal-size effect. Source [Off…Tempo] Selects the modulation source for the output level.
Effect Guide 029: Stereo Guitar Cabinet This simulates the acoustical character of a guitar amp’s speaker cabinet. Stereo In - Stereo Out Type [TWEED 1x12, TWEED 4x10, BLACK 2x10, BLACK 2x12, AC15, AC30, AD412, UK H30, UK T75, US V30] Selects the type of the cabinet. p.791. Left Wet / Dry Air Cabinet Simulator Trim [0…100] Sets the mic position. Trim Cabinet Simulator Right Wet / Dry OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance.
Overdrive, Amp models, and Mic models Q [0.5…10.0] Sets Band 4’s bandwidth. Gain [dB] [–18…+18] Sets the gain of Band 4. 031: Guitar Amp Model +Cabinet OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. 031: Guitar Amp Model +Cabinet This simulates a guitar amp and speaker cabinet. Source [Off…Tempo] Selects the modulation source for the output level.
Effect Guide OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764.
Overdrive, Amp models, and Mic models Amount [+/–100] 034: Bass Amp Model +Cabinet Treble Sets the modulation amount of the output level. Sets the treble (high range) level. Bass Presence [0…100] Sets the bass (low range) level. [0…100] [0…100] Sets the presence (high-frequency tone). Middle [0…100] Sets the middle (mid range) level. Mid Range [0…4] Sets the mid-frequency range. OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance.
Effect Guide Recommended Combinations of Bass Amp Models and Cabinets AMP MODEL CABINET LA STUDIO LA 4X10 or LA 1X18 JAZZ JAZ 1X15 GOLD PANEL MDN 4X10 SCOOPED MTL 4X10 VALVE2 CLS 8X10 VALVE CLS 8X10 CLASSIC COMBI 035: Bass Amp TubeDrive +Cab This simulates a bass amp (with gain and drive) and speaker cabinet.
Overdrive, Amp models, and Mic models 036: Tube PreAmp Modeling 036: Tube PreAmp Modeling This effect simulates a two-stage vacuum tube preamp. You can make individual settings for two vacuum tubes connected in series. This lets you create the warm sound typical of vacuum tubes. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry + Tube Pre Amp1 Invert + With the Wet Invert setting, the phase of the signal will be inverted between stage 1 and stage 2.
Effect Guide Mic/Pre Amp - Saturation MIC SIMULATOR Type Out Saturation = 0 [Vnt.Dy/55SH, Mlt.Cn/C414, Pc.Cn/C451, Whale/MD421, Vo.Dy/SM58, Mlt.Dy/SM57, Vo.Cn/U87, Vo.Tube/U47, BDr.Dy/RE20] Saturation = 50 Saturation = 100 In Selects the type of mic. Position [Close, On, Off, Far] This expresses the effect that the mic position has on the sound. The Close setting is the closest mic position, and the Far setting is the farthest. TUBE PREAMP Low Cut [Hz] [Thru, 21…8.
Chorus, Flanger, and Phaser 040: Stereo Chorus Chorus, Flanger, and Phaser 040: Stereo Chorus This effect adds thickness and warmth to the sound by modulating the delay time of the input signal. You can add spread to the sound by offsetting the phase of the left and right LFOs from each other. MIDI/Tempo Sync BPM [Check-box] [MIDI, 40.00…240.
Effect Guide 041: Stereo Harmonic Chorus This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without making the sound thinner. You can also use feedback to turn the chorus into a flanger. Stereo In - Stereo Out Left Low Level Chorus/Flanger High Damp Feedback High Damp High/Low Split Point Chorus/Flanger Wet / Dry High Level Wet / Dry [–180…+180] Sets the LFO phase difference between the left and right. See “Phase [degrees]” on page 779.
Chorus, Flanger, and Phaser 043: Multitap Cho/Delay 4Taps LFO2 Waveform [Triangle, Sine] MODULATION Selects the waveform for LFO2. L Pre Delay [msec] [0.0…50.0] Sets the delay time for the left channel. p.797. R Pre Delay [msec] [0.0…50.0] Phase Sw [0 degree, 180 degree] This lets you invert the LFO phase between the left and right channels. Sets the delay time for the right channel. p.797. LFO1 Frequency [Hz] Depth1 This sets the speed of LFO1, in Hz.
Effect Guide Source MOD DELAY [Off…Tempo] Selects the modulation source of Tap1 feedback amount and effect balance. Taps 1-4 There are four delay taps, each with separate settings for delay time, chorus depth, level, and pan. The chorus LFO phases are different for each tap: Amount [+/–100] Sets the Tap1 feedback amount and modulation amount. Tap 1 = 0 degrees Tap 2 = 180 degrees LFO Tap 3 = 90 degrees Frequency [Hz] Tap 4 = 270 degrees [0.02…13.00] This sets the LFO speed, in Hz.
Chorus, Flanger, and Phaser Source [Off…Tempo] This selects a modulation source to modulate the tap output levels (as set by Status, above) and the Tap 1 Feedback amount. Amount 045: Bi Chorus LFO Frequency [Hz] [0.02…13.00] This sets the LFO speed, in Hz. [+/–100] Sets the modulation amount for the Tap 1 Feedback. OUTPUT Panning Preset This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764.
Effect Guide LFO2 Amount [–20.00…+20.00] This sets the LFO2 Frequency modulation amount, in Hz. MIDI/Tempo Sync [Check-box] BPM [MIDI, 40.00…240.00] LFO1 Note [ … ] Times [x1…x32] LFO2 Note [ … ] Times [x1…x32] When MIDI/Tempo Sync is on, the LFO speeds are set by BPM, Note, and Times, instead of Frequency. The two LFOs each have their own settings for Note and Times. For more information, see “MIDI/Tempo Sync” on page 777.
Chorus, Flanger, and Phaser 047: Polysix Ensemble 047: Polysix Ensemble This models the ensemble effect built into the classic Korg PolySix programmable polyphonic synthesizer. Source [Off…Tempo] Selects the modulation source that will control the effect depth. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry [+/–100] Sets the amount by which the effect depth will be modulated.
Effect Guide Source OUTPUT [Off…Tempo] Selects a modulation source for Wet/Dry. Wet/Dry [–Wet…–1:99, Dry, 1: 99…Wet] Sets the balance between the “wet” processed sound and the dry input. Negative values invert the phase of the wet signal. This interacts with Feedback; for more information, see “Feedback” on page 803. Amount [+/–100] Sets the modulation amount for Wet/Dry.
Chorus, Flanger, and Phaser Decay [1…100] Sets the EG decay time. 051: Stereo Phaser High Damp [%] [0…100] This parameter sets the amount of damping of the feedback in the high range. Increasing the value will cut high-range harmonics. FLANGER L Delay Bottom [msec] [0.0…50.0] Sets the lower limit of the left-channel delay time. For more information on the Bottom and Top settings, see the graphic under “Frequency Bottom” on page 777.
Effect Guide MIDI/Tempo Sync [Check-box] BPM [MIDI, 40.00…240.00] Base Note [+/–180] When Type is set to Common FX LFO 1 or 2, this lets you offset the phase from the master LFO. [ … ] Times [x1…x32] When MIDI/Tempo Sync is on, the LFO speed is set by BPM, Base Note, and Times, instead of Frequency. For more information, see “MIDI/Tempo Sync” on page 777.
Chorus, Flanger, and Phaser Amount 053: Stereo Envelope Phaser [+/–100] Sets the modulation amount for Wet/Dry. 053: Stereo Envelope Phaser Source Stereo In - Stereo Out Left Wet / Dry Phaser Resonance High Damp [Off…Tempo] Selects the modulation source that triggers the EG (when EG is selected for Sweep Mode), or modulation source that causes the phaser to sweep (when Dmod is selected for Sweep Mode). p.804.
Effect Guide Amount [+/–100] Sets the amount by which the phaser 1 LFO modulation depth will be controlled. Resonance [0…100] PHASER2 [0…100] Sets the frequency of phaser 2. LFO2 Depth [0…100] Sets the LFO modulation depth of phaser 2. Amount [+/–100] Sets the amount by which the phaser 2 LFO modulation depth will be controlled. Resonance [0…100] This controls the intensity of Phaser 1. For more information, see “Resonance” on page 805.
Modulation and Pitch Shift 055: Stereo Vibrato Modulation and Pitch Shift 055: Stereo Vibrato This effect modulates the pitch of the input signal to create a shimmering timbre. AutoFade allows you to increase or decrease the shimmering speed. LFO Frequency Mod [Dmod, AUTOFADE] This selects whether the LFO will be modulated by the normal Frequency Dmod source, or by the Autofade envelope.
Effect Guide OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. 056: Stereo Auto Fade Mod. This stereo chorus/flanger effect enables you to control the LFO speed and effect balance using auto fade, and you can spread the sound by offsetting the phase of the left and right LFOs from each other. LFO Waveform [Triangle, Sine] Selects the LFO Waveform.
Modulation and Pitch Shift 057: 2-Voice Resonator 057: 2-Voice Resonator This effect resonates the input signal at a specified pitch. You can set the pitch, output level, and pan settings for two resonators individually. You can control the resonance intensity via an LFO. Wet / Dry High Damp + Resonator Level Pan Resonator High Damp Level Pan [C0…B8] Sets the tuning of voice1, by note name. [–50…+50] This adjusts the fine-tuning of voice 1, in cents.
Effect Guide 058: Doppler This effect simulates the “Doppler effect” of a moving sound with a changing pitch, like the siren of a passing ambulance. Mixing the effect sound with the dry sound will create a unique chorus effect. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left + Wet / Dry Doppler Pan Depth When Mode is set to Loop, and Dmod Sync is set to On, you can reset the LFO via Dmod (as specified by the Source parameter, below).
Modulation and Pitch Shift 059: Scratch 059: Scratch This effect is applied by recording the input signal and moving the modulation source. It simulates the sound of scratches you can make using a turntable. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764.
Effect Guide Sample Cycle [Hz] [0.02…20.00] Sets the frequency at which the grain will be switched. For more information, see “Duration,” above. GRAIN SHIFTER Duration [0…100] Duration sets the length of the sampled grain, and the LFO Sample Cycle controls how often a new grain is sampled. In between Sample Cycles, the current grain is repeated continuously. Sample Cycle / Duration Source [Off…Tempo] Selects a modulation source for LFO speed. Amount [–20.00…+20.
Modulation and Pitch Shift Frequency [Hz] [0.02…20.00] This sets the LFO speed, in Hz. It applies only when MIDI/Tempo Sync, below, is Off. Source [Off…Tempo] Type 062: Stereo Envelope Tremolo [Individual, Common1, Common2] This controls whether the effect uses its individual LFO, or one of the Common FX LFOs. For more information, see “LFO Type” on page 777. This selects a modulation source for the Frequency.
Effect Guide OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. 063: Stereo Auto Pan Stereo Auto Pan - LFO Phase Stereo In - Stereo Out LFO Phase = 0 degrees Left LFO Phase = 90 degrees LFO Phase = 180 degrees Wet / Dry L-In L-In Pan Wet / Dry LFO: Tri / Sin R-In L-In L-In L-In R-In R-In R-In Left L-In L-In R-In R-In This is a stereo-in, stereo-out auto-panner.
Modulation and Pitch Shift 064: Stereo Phaser+Tremolo 064: Stereo Phaser+Tremolo This effect combines a stereo phaser and tremolo, with linked LFOs. Swelling phaser modulation and tremolo effects synchronize with each other, creating a soothing modulation effect particularly suitable for electric piano. Phaser - Tremolo, Phaser - Tremolo Spin, Phaser Tremolo LR, Phaser LR - Tremolo, Phaser LR - Tremolo Spin, Phaser LR - Tremolo LR.
Effect Guide 065: Stereo Ring Modulator This effect creates a metallic sound by applying the oscillators to the input signal. Use the LFO or Dynamic Modulation to modulate the oscillator to create a radical modulation. Matching the oscillator frequency with a note number will produce a ring modulation effect in specific key ranges. This adjusts the frequency in cents (1/100 of a semitone). It applies only when OSC Mode is set to Note (Key Follow).
Modulation and Pitch Shift 066: Stereo Frequency Shifter 066: Stereo Frequency Shifter This is a stereo effect that shifts the frequency of the input signal. You can use LFO modulation and delay to produce a wide range of pitch-change effects. MIDI/Tempo Sync BPM [Check-box] [MIDI, 40.00…240.
Effect Guide 067: Detune This effect offsets the pitch slightly from the input signal. Compared to a chorus, this can be used to create a more subtle thickening effect, Left Wet / Dry [+/–100] Source [Off…Tempo] Selects a modulation source for pitch shift. Input Level High Damp Detune Pitch Shift [cents] Sets the pitch difference from the input signal.
Modulation and Pitch Shift High Damp [%] [0…100] Sets the damping amount in the high range. OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. PITCH SHIFTER: Mode This parameter switches the pitch shifter operating mode. With Slow, tonal quality will not be changed too much. With Fast, the effect becomes a Pitch Shifter that has a quick response, but may change the tone. Medium is in-between these two.
Effect Guide OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. 070: Pitch Shifter BPM This pitch shifter enables you to set the delay time to match the song tempo. DELAY BPM [MIDI, 40.00…240.00] Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry MIDI syncs to the system tempo; 40-240 sets the tempo manually for this individual effect. p.
Modulation and Pitch Shift 072: Pitch Shift Mod. Time Over? L > INPUT Input Level Dmod [%] [+/–100] [---, OVER!] Display the error message if the left channel delay time exceeds the upper limit. p.822. Sets the modulation amount of the input level. p.820. Time Over? R > Source Display the error message if the right channel delay time exceeds the upper limit. p.822. [Off…Tempo] Selects the modulation source for the input level. p.820.
Effect Guide Source [Off…Tempo] Selects the modulation source of the depth of modulation. Amount BPM [+/–100] [L, 1:99…99:1, R] This simultaneously controls the panning and stereo width for the pitch-shifted and dry sounds. The value is shown for the pitch-shifted signal, and the dry signal is always at the opposite side of the stereo field. For instance, when Pan is set to L, the effected sound is panned all the way to the left, and the dry sound is panned all the way to the right.
Modulation and Pitch Shift Amount [+/–100] Sets the modulation amount for controlling the mix level of the direct sound. Depth [0…100] Sets the vibrato depth. Source [Off…Tempo] Selects the modulation source that will control vibrato depth. Amount [+/–100] Sets the modulation amount for controlling the vibrato depth. Speed [Hz] 074: Rotary Speaker [0.02…20.00] Sets the vibrato speed. Source [Off…Tempo] Selects the modulation source for controlling the vibrato speed. Amount [–20.00…+20.
Effect Guide Horn/Rotor Balance [Rotor, 1…99, Horn] Distance [0…100] Sets the level balance between the high-frequency horn and low-frequency rotor. p.825. This adjusts the distance between the rotary speaker and the microphones. Lower values bring the mics closer to the speaker. MIC Spread These settings model a pair of stereo microphones, recording the rotary speaker. Sets the angle between the left and right microphones. Higher settings create a wider stereo effect.
Modulation and Pitch Shift 076: Rotary Speaker Pro CX MIC OUTPUT These settings model a pair of stereo microphones recording the rotary speaker. They are identical to those of the Rotary Speaker effect; for more information, see “MIC” on page 826. This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764.
Effect Guide Stop Deceleration [0…100] This sets how long it takes the horn to come to rest after the Mode Switch has changed from Rotate to Stop. ROTOR The rotor carries the low frequencies of the Rotary Speaker. Its parameters are identical to those of the Horn, above.
Delay 077: L/C/R Delay Delay 077: L/C/R Delay This multitap delay outputs three Tap signals to the left, right, and center respectively. You can also adjust the left and right spread of the delay sound. Level [0…50] Sets the output level of the Right Delay.
Effect Guide R Delay Time [msec] [0…5460] Sets the delay time of the Right Delay. High Damp [%] [0…100] Sets the damping amount in the high range. p.829. Level [0…50] Sets the output level of the Right Delay. [0…100] Sets the damping amount in the low range. p.829. Feedback (C Delay) [+/–100] Sets the feedback amount of the Center Delay. Source Low Damp [%] [Off…Tempo] Spread [0…50] Sets the width of the stereo image of the effect sound. p.829.
Delay 080: Stereo/Cross Long Delay 080: Stereo/Cross Long Delay This is a stereo delay, and can by used as a crossfeedback delay effect in which the delay sounds cross over between left and right by changing the feedback routing. You can set a maximum of 2,730msec for the delay time. Left Wet / Dry High Damp Low Damp Stereo/Cross [+/–100] Sets the feedback amount for the left channel. R Feedback [+/–100] Sets the feedback amount for the right channel.
Effect Guide Tap2 Time [msec] [0.0…1360.0] Sets the Tap2 delay time. Low Damp [%] [0…100] Sets the damping amount in the low range. p.829. Feedback (Tap2) [+/–100] Sets the Tap2 feedback amount. Source [Off…Tempo] Selects the modulation source of the Tap2 feedback amount. Amount [+/–100] Sets the modulation amount of the Tap2 feedback amount. Tap1 Level [0…100] This lets you adjust the relative volume of Tap1, compared to Tap2 (which is always at the maximum volume).
Delay MOD DELAY L Delay Time [msec] [0.0…1000.0] Sets the delay time for the left channel. R Delay Time [msec] [0.0…1000.0] Sets the delay time for the right channel. L Depth [0…200] Sets the depth of the left LFO modulation. R Depth [0…200] Sets the depth of the right LFO modulation. L Feedback [+/–100] Sets the feedback amount of left delay. R Feedback [+/–100] Sets the feedback amount of right delay.
Effect Guide When Polarity is positive, the “Target” value is obtained by multiplying the parameter value by the “Offset” value (if the input level is below the threshold), or equals the parameter value if the input level exceeds the threshold. When Polarity is negative, Control Target value equals the parameter value if the input level is below the threshold, or is obtained by multiplying the parameter value by the “Offset” value if the level exceeds the threshold.
Delay 085: Tape Echo 085: Tape Echo This effect simulates a tape echo unit with three playback heads. The distortion and tonal change typical of magnetic tape are also reproduced. Level and Pan 1…3 Each tap has its own controls for level and pan. Tap1…3 Level Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry Sets the tap’s output level. Pan (3) Feedback [0…100] [L, 1…99, R] (2) Feedback Amt (1) Tape Saturation + Trim Pre Tone Sets the tap’s stereo position.
Effect Guide 086: Multiband Mod. Delay This effect divides the input signal into low, mid, and high-frequency bands, and applies a modulation delay to each band. Left + 4-way Crossover Delay Wet / Dry Feedback Source Input Source High Damp Low Damp Level Pan Feedback Source LFO [0…100] Sets the amount of low-frequency attenuation for band 1. [0…100] Sets the amount of high-frequency attenuation for band 1.
Delay 087: Reverse Delay BAND4 LFO OUTPUT Band 4’s LFO has the same parameters as the “BAND1 LFO,” above. This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. 087: Reverse Delay This is a delay that plays back the input signal in reverse. You can also continue feedback while alternating playing the signal in reverse and forward directions.
Effect Guide If you set Sync Source to Gate1, this will be reset at each note-on, meaning that you will always hear the reverse playback of the sound that occurs between the note-on and the specified Reverse Time. If you don’t specify Sync Source, the location at which reverse playback starts will be indeterminate.
Delay The effect is off when a value for the modulation source specified for the Reset Source parameter is 63 or smaller, and the effect is on when the value is 64 or higher. HOLD DELAY: MIDI/Tempo Sync, BPM, Base Note, and Times If MIDI/Tempo Sync is on, the Loop Time setting is ignored; the loop time is determined by BPM, Base Note, and Times. Even in this case, the delay time cannot exceed 5,400 msec. “Hold” procedure (when Loop Time = Auto) 1.
Effect Guide Reverse Time [msec] [20…2640] This specifies the maximum time of the reverse playback. For short, single-note slapback effects, set the Reverse Time to a low value. Direct Mix [Always On, Always Off, Cross Fade] OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. Selects how the dry sound is mixed. For more information, see “PLAYBACK: Direct Mix” on page 813.
Delay 091: L/C/R BPM Delay 091: L/C/R BPM Delay The L/C/R delay enables you to match the delay time with the song tempo. You can also synchronize the delay time with the arpeggiator or sequencer. If you program the tempo before performance, you can achieve a delay effect that synchronizes with the song in real-time. Delay time is set by notes.
Effect Guide 092: L/C/R BPM Long Delay The L/C/R delay enables you to match the delay time with the song tempo. You can set the delay time up to 5,460msec Left Wet / Dry + High Damp Low Damp Input Level D-mod L Delay Level C Delay Spread R Delay [x1…x32] Sets the number of notes to specify the delay time for the Center Tap. p.822. [0…50] Sets the output level of the Center Tap. Level Wet / Dry Tempo BPM Selects the type of notes to specify the delay time for the Center Tap. p.822.
Delay 094: Stereo BPM Long Delay Times INPUT Input Level Dmod [%] [+/–100] [x1…x32] Sets the number of notes to specify the right channel delay time. p.822. Sets the modulation amount of the input level. p.820. Adjust [%] Source Fine-adjust the right channel delay time. [Off…Tempo] Selects the modulation source for the input level. p.820. L Feedback [–2.50…+2.50] [+/–100] Sets the feedback amount for the left channel. DELAY R Feedback BPM [MIDI, 40.00…240.
Effect Guide Adjust [%] [–2.50…+2.50] Fine-adjust the left channel delay time. R Delay Base Note [ … ] Selects the type of notes to specify the right channel delay time. p.822. Times [x1…x32] Sets the number of notes to specify the right channel delay time. p.822. Adjust [%] [–2.50…+2.50] Fine-adjust the right channel delay time. [+/–100] Sets the modulation amount of the left channel feedback. R Amount [+/–100] Sets the modulation amount of the right channel feedback.
Delay Source [Off…Tempo] Selects the modulation source of the effect sound’s stereo image width. Amount [+/–100] 096: Stereo BPM Mod. Delay OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. Sets the modulation amount of the effect sound’s stereo image width. 096: Stereo BPM Mod. Delay This is a stereo modulation delay that lets you synchronize the delay time to the tempo of the song.
Effect Guide Times [x1…x32] Sets the number of notes to specify the right channel delay time. p.822. L Depth [0…200] L Feedback [+/–100] Sets the feedback amount of left delay. R Feedback [+/–100] Sets the feedback amount of right delay. Sets the depth of the left LFO modulation. R Depth [0…200] Sets the depth of the right LFO modulation. OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764.
Delay Source [Off…Tempo] Selects the modulation source for the panning width. Amount [+/–100] Set the modulation amount of the panning width. 098: Tape BPM Echo OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. 098: Tape BPM Echo This models a tape echo unit with three playback heads–but with the ability to sync to tempo. The distortion and tonal changes typical of magnetic tape are also reproduced.
Effect Guide Source [Off…Tempo] Selects the modulation source for the Feedback Level. Amount [+/–100] Sets the modulation amount for the Feedback Level. Low Damp [%] [0…100] This cuts the low frequencies in both the main output and the feedback. Higher settings mean less low-end. Saturation [0…100] This models the distortion of an analog tape delay. Tone High Damp [%] [0…100] This cuts the high frequencies in both the main output and the feedback. Higher settings create a darker tone.
Reverb and Early Reflections 100: Overb Reverb and Early Reflections 100: Overb The O-Verb features a high-quality, diffusion-based reverb core. In addition to setting the size of the room, you can model its shape and materials by adjusting the diffusion characteristics of both the initial reflections and the main reverberant wash, and via separate controls for the high, mid, and low decay times. The OVerb also includes randomization, for richer and smoother reverb timbres.
Effect Guide In real acoustic spaces, high frequencies generally delay somewhat faster than low frequencies, so moderate amounts of damping will create a more realistic sound. Bass Crossover [Hz] [20…24.00k] Sets the crossover frequency for the Bass Gain. Gain [dB] [–12.0…+6.0] This lets you tailor the decay time of the reverb’s low frequencies, using the frequency set by the Bass Xover.
Reverb and Early Reflections [0…100] Reverb - Hall / Plate Type Level Sets the mix ratio of non-delay sound. p.851. OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. Dry Louder Pre Delay Thru [%] 105: Reverb Room Reverb Pre Delay Thru Time Pre Delay Reverb Time Pre Delay [msec] and Pre Delay Thru [%] The Pre Delay sets the delay time to the reverb input, allowing you to control spaciousness.
Effect Guide 107: Early Reflections This effect is only the early reflection part of a reverberation sound, and adds presence to the sound. You can select one of the four decay curves. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry LEQ Pre Delay [msec] HEQ Early Reflections Pre Delay [Sharp, Loose, Modulated, Reverse] This parameter selects the decay curve for the early reflections.
Reverb and Early Reflections Type 108: Early Reflections Hi Dens [Sharp, Loose, Modulated, Reverse] Selects the decay curve for the early reflections. For more information, see “Type” on page 852. ER Time [msec] [10…1600] Sets the time length of early reflection. OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764.
Effect Guide Mono-Mono Serial 109: P4EQ - Exciter This effect combines a mono four-band parametric equalizer and an exciter. Band3 Fc [Hz] Sets the center frequency of Band 3. Q Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Parametric 4Band EQ Exciter + [0.5…10.0] Sets the bandwidth of Band 3. p.773. Gain [dB] Exciter [300…10.00k] [–18…+18] Sets the gain of Band 3. Trim Band4 Fc [Hz] Right [500…20.00k] Wet / Dry Sets the center frequency of Band 4.
Mono-Mono Serial Gain [dB] [–18…+18] Sets the gain of Band 2. 111: P4EQ - Chorus/Flanger LFO Frequency [Hz] Band3 Fc [Hz] [300…10.00k] Sets the center frequency of Band 3. Q [0.5…10.0] Sets the bandwidth of Band 3. p.773. Gain [dB] [–18…+18] Sets the gain of Band 3. Band4 Fc [Hz] [500…20.00k] Sets the center frequency of Band 4. Q [0.5…10.0] Sets the bandwidth of Band 4. p.773. Gain [dB] [–18…+18] Sets the gain of Band 4. [0.02…20.00] Sets the LFO speed.
Effect Guide Wet Invert flips the phase of the chorus/flanger’s right channel. This creates a pseudo-stereo effect, adding depth to the sound. CHORUS/FLANGER LFO Waveform [Triangle, Sine] Selects the LFO Waveform. Frequency [Hz] [0.02…20.00] However, if a mono-input type effect is connected after this effect, the left and right sounds may cancel each other, eliminating the chorus/flanger effect. Wet/Dry [Dry, 1:99…99:1, Wet] Sets the effect balance of the chorus/flanger. p.780, p.804.
Mono-Mono Serial Resonance [+/–100] 113: P4EQ - Multitap Delay Source [Off…Tempo] Sets the resonance amount. p.805. Selects the Wet/Dry modulation source for the phaser. Output Mode Amount [Normal, Wet Invert] Selects whether the phaser output is mono or pseudostereo. For more information, see “Output Mode” on page 857. Wet/Dry [Dry, 1:99…99:1, Wet] Sets the phaser effect balance. p.780, p.806. [+/–100] Sets the Wet/Dry modulation amount for the phaser.
Effect Guide 114: Comp - Wah This effect combines a mono compressor and a wah. You can change the order of the connection. CONTROL Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Routing Compressor Wah/Auto Wah Comp Wah Wet / Dry Output Level Sweep Mode [Auto, Dmod, LFO] Selects the control from auto-wah, modulation source, and LFO (see “Sweep Mode” on page 776).
Mono-Mono Serial 116: Comp - OD/HiGain Attack COMPRESSOR [1…100] Sets the attack level. p.764. Pre EQ Output Level Trim [0…100] [0…100] Sets the compressor output level. p.4. Sets the EQ input level. LEQ Gain [dB] [–15…+15] AMP SIM Sets the gain of the Low EQ. Amplifier Type HEQ Gain [dB] Selects the type of guitar amplifier. [–15…+15] Sets the gain of the High EQ. [SS, EL84, 6L6] OUTPUT COMPRESSOR Sensitivity [1…100] Sets the sensitivity. p.764.
Effect Guide Gain [dB] [–18…+18] Sets the gain of Mid/High EQ 2. OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. 117: Comp - P4EQ This effect combines a mono compressor and a fourband parametric equalizer. You can change the order of the effects. Q [0.5…10.0] Sets the bandwidth of Band 1. p.773. Gain [dB] Left Wet / Dry Routing Parametric 4Band EQ Compressor + [–18…+18] Sets the gain of Band 1.
Mono-Mono Serial LEQ Gain [dB] [–15…+15] Sets the gain of the Low EQ. 119: Comp - Phaser Depth [0…100] Sets the depth of LFO modulation. HEQ Gain [dB] [–15…+15] Feedback [+/–100] Sets the gain of the High EQ. Sets the feedback amount. p.803. COMPRESSOR Output Mode Sensitivity [1…100] Selects whether the chorus/flanger output is mono or pseudo-stereo. For more information, see “Output Mode” on page 857.
Effect Guide Resonance [+/–100] Sets the resonance amount. p.805. Wet/Dry [Dry, 1:99…99:1, Wet] Sets the phaser effect balance. p.780, p.805. Source [Off…Tempo] Selects the Wet/Dry modulation source for the phaser. Amount [+/–100] Sets the Wet/Dry modulation amount for the phaser. Output Mode [Normal, Wet Invert] Selects whether the phaser output is mono or pseudostereo. For more information, see “Output Mode” on page 857.
Mono-Mono Serial 121: Limiter - P4EQ 121: Limiter - P4EQ This effect combines a mono limiter and a four-band parametric equalizer. You can change the order of the effects. Band1 Fc [Hz] [20…1.00k] Sets the center frequency of Band 1. Q Left Wet / Dry Routing Limiter + [0.5…10.0] Sets the bandwidth of Band 1. p.773. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Parametric 4Band EQ Gain [dB] [–18…+18] Sets the gain of Band 1.
Effect Guide Attack [1…100] Sets the attack time. p.766. Depth [0…100] Sets the depth of LFO modulation. Release [1…100] Sets the release time. p.766. Feedback [+/–100] Sets the feedback amount. p.803. Gain Adjust [dB] [–Inf, –38…+24] Sets the limiter output gain. p.766. Output Mode [Normal, Wet Invert] Selects whether the chorus/flanger output is mono or pseudo-stereo. For more information, see “Output Mode” on page 857.
Mono-Mono Serial Resonance [+/–100] 124: Limiter - Multitap Delay Source [Off…Tempo] Sets the resonance amount. p.805. Selects the phaser’s Wet/Dry modulation source. Output Mode Amount [Normal, Wet Invert] Selects whether the phaser output is mono or pseudostereo. For more information, see “Output Mode” on page 857. →Comp, Output Mode When Routing is set to Phaser→ will automatically be set to Normal. Wet/Dry [Dry, 1:99…99:1, Wet] [+/–100] Sets the phaser’s Wet/Dry modulation amount.
Effect Guide Exciter Blend Routing [+/–100] Sets the intensity (depth) of the Exciter effect. p.775. [Exciter ➝ Comp, Comp ➝ Exciter] Routing Switches the order of the exciter and compressor. COMPRESSOR Sensitivity EXCITER [1…100] Sets the sensitivity. p.764. Pre EQ Attack Trim [0…100] Sets the EQ input level. [1…100] Sets the attack level. p.764. Output Level LEQ Gain [dB] [–15…+15] [0…100] Sets the compressor output level. p.764. Sets the gain of the Low EQ.
Mono-Mono Serial 127: Exciter - Chorus/Flanger 127: Exciter - Chorus/Flanger Frequency [Hz] This effect combines a mono limiter and a chorus/flanger. [0.02…20.00] Sets the LFO speed. FLANGER Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry Delay Time [msec] Chorus/Flanger Exciter EQ Trim LEQ + Exciter Chorus/Flanger Feedback [0.0…1350.0] Sets the delay time.
Effect Guide Output Mode PHASER [Normal, Wet Invert] Selects whether the phaser output is mono or pseudostereo. For more information, see “Output Mode” on page 857. LFO Waveform [Triangle, Sine] Selects the LFO Waveform. Wet/Dry [Dry, 1:99…99:1, Wet] Sets the phaser effect balance. p.780, p.806. Frequency [Hz] [0.02…20.00] Sets the LFO speed. Source [Off…Tempo] Selects the Wet/Dry modulation source for the phaser.
Mono-Mono Serial 130: OD/Hi Gain - Amp Sim 130: OD/Hi Gain - Amp Sim This effect combines a mono overdrive/high-gain distortion and an amp simulation. You can change the order of the effects. EQ Low Fc [Hz] [20…1.00k] Sets the center frequency for Low EQ (shelving type). Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Routing Overdrive / Hi-Gain Amp Simulation Gain [dB] [–18…+18] Sets the gain of the Low EQ.
Effect Guide Drive [1…100] Sets the degree of distortion. Output Level [0…50] CHORUS/FLANGER LFO Waveform Sets the overdrive output level. Source [Off…Tempo] Selects the modulation source for the overdrive output level. Amount [–50…+50] Sets the modulation amount of the overdrive output level. [Triangle, Sine] Selects the LFO Waveform. Frequency [Hz] [0.02…20.00] Sets the LFO speed. FLANGER Delay Time [msec] [0.0…1350.0] Sets the delay time. EQ Low Fc [Hz] [20…1.
Mono-Mono Serial Drive [1…100] Sets the degree of distortion. Output Level [0…50] 133: OD/Hi Gain - Multitap Dly PHASER LFO Waveform Sets the overdrive output level. Source [Off…Tempo] Selects the modulation source for the overdrive output level. Amount [–50…+50] Sets the modulation amount of the overdrive output level. [Triangle, Sine] Selects the LFO Waveform. Frequency [Hz] [0.02…20.00] Sets the LFO speed. PHASER Manual [0…100] Sets the frequency to which the effect is applied.
Effect Guide EQ Tap2 Time [msec] Low Fc [Hz] [20…1.00k] Sets the center frequency for Low EQ (shelving type). Gain [dB] [–18…+18] [0.0…1360.0] Sets the Tap2 delay time. Tap1 Level [0…100] Sets the Tap1 output level. p.832. Feedback Sets the gain of the Low EQ. Mid1 Fc [Hz] [300…10.00k] Sets the Tap2 feedback amount. Sets the center frequency for Mid/High EQ 1 (peaking type). High Damp [%] Q Wet/Dry [0.5…10.0] [+/–100] [0…100] Sets the damping amount in the high range. p.829.
Mono-Mono Serial Amount [+/–100] Sets the Wet/Dry modulation amount for the wah. 135: Decimator - Amp Sim OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. AMP SIM Amplifier Type [SS, EL84, 6L6] Selects the type of guitar amplifier. 135: Decimator - Amp Sim This effect combines a mono decimator and an amp simulation. You can change the order of the effects.
Effect Guide Output Level [0…100] Sets the compressor output level. p.764. OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 764. 137: Amp Sim - Tremolo This effect combines a mono amp simulation and a tremolo. LFO Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Amp Simulation TREMOLO Tremolo Waveform [Triangle, Sine, Vintage, Up, Down] Selects the LFO Waveform. p.814.
Mono-Mono Serial Tap2 Time [msec] [0.0…1360.0] Sets the Tap2 delay time. Tap1 Level [0…100] 139: Phaser - Chorus/Flanger Source [Off…Tempo] Selects the Wet/Dry modulation source for the multitap delay. Sets the Tap1 output level. p.832. Amount Feedback [+/–100] Sets the Wet/Dry modulation amount for the multitap delay. [+/–100] [0…100] OUTPUT Sets the Tap2 feedback amount. High Damp [%] Sets the damping amount in the high range. p.829.
Effect Guide 140: Reverb - Gate Source This effect combines a mono reverb and a gate. [Off…Tempo] Selects the modulation source that controls the gate when Envelope Select is set to Dmod. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Reverb Input Reverb Mix [Dry, 1:99…99:1, Wet] EQ Trim + Pre Delay Reverb This mixes the dry input and reverb output signals, for controlling the gate.
Mono/Mono Parallel 140: Reverb - Gate Mono/Mono Parallel 141: P4EQ // P4EQ through 185: Mt.BPM Dly//Mt.BPM Dly are parallel effects, with the left input going through one effect, and the right going through the other. These provide various combinations of 4-band EQ, Compressor, Limiter, Exciter, Overdrive, Wah, Chorus/Flanger, Phaser, and Multitap Delay., as described below. Amount Compressor Pre EQ Trim 4 band EQ [0…100] Sets the EQ input level.
Effect Guide OUTPUT Pan Source [L000…C064…R127] Amount Sets the stereo image. Wet/Dry [Dry, 1:99…99:1, Wet] EQ Source Low Fc [Hz] [Off…Tempo] Amount [–50…+50] Sets the modulation amount of the output level. Sets the balance between the effect and the dry input. Selects a modulation source for Wet/Dry. [20…1.00k] Sets the center frequency for Low EQ (shelving type). [+/–100] Sets the modulation amount for Wet/Dry. Gain [dB] [–18…+18] Sets the gain of the Low EQ.
Mono/Mono Parallel WAH Wet/Dry Frequency Bottom [0…100] Sets the lower limit of the wah center frequency. p.777. Frequency Top [0…100] Sets the upper limit of the wah center frequency. p.777. Resonance [+0…+100] Sets the resonance amount. Low Pass Filter [Check-box] Switches the wah low pass filter on and off. [L000…C064…R127] Sets the stereo image. Wet/Dry [Dry, 1:99…99:1, Wet] Sets the balance between the effect and the dry input.
Effect Guide Tap2 Base Note [ … ] Selects the type of notes to specify the delay time for Tap2. p.822. Times [x1…x32] Sets the number of notes to specify the delay time for Tap2. p.822. Tap1 Level [0…100] [+/–100] [L000…C064…R127] Sets the stereo image. Wet/Dry [Dry, 1:99…99:1, Wet] Sets the balance between the effect and the dry input. Source [Off…Tempo] Amount [+/–100] Sets the modulation amount for Wet/Dry. Sets the Tap2 feedback amount.
Mono/Mono Parallel 144: P4EQ // Exciter 144: P4EQ // Exciter This effect connects a four-band EQ and an exciter in parallel. The pan and effect balance can be adjusted independently for each. Stereo In - Stereo Out Parametric 4Band EQ Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Left For detailed information on the effects parameters, see “4 band EQ” on page 877 and “Exciter” on page 878.
Effect Guide 148: P4EQ // Phaser This effect connects a four-band EQ and a phaser in parallel. The pan and effect balance can be adjusted independently for each. Stereo In - Stereo Out Parametric 4Band EQ Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Left For detailed information on the effects parameters, see “4 band EQ” on page 877 and “Phaser” on page 879.
Mono/Mono Parallel 152: Comp // Exciter 152: Comp // Exciter This effect connects a compressor and an exciter in parallel. The pan and effect balance can be adjusted independently for each. Stereo In - Stereo Out Compressor Wet / Dry Pan Left Envelope - Control For detailed information on the effects parameters, see “Compressor” on page 877 and “Exciter” on page 878.
Effect Guide 156: Comp // Phaser This effect connects a compressor and a phaser in parallel. The pan and effect balance can be adjusted independently for each. Stereo In - Stereo Out Compressor Wet / Dry Pan Left Envelope - Control For detailed information on the effects parameters, see “Compressor” on page 877 and “Phaser” on page 879.
Mono/Mono Parallel 160: Limiter // OD/Hi Gain 160: Limiter // OD/Hi Gain This effect connects a limiter and an overdrive in parallel. The pan and effect balance can be adjusted independently for each. Stereo In - Stereo Out Limiter Wet / Dry Pan Left Envelope - Control For detailed information on the effects parameters, see “Limiter” on page 877 and “OD/HI-GAIN” on page 878.
Effect Guide 164: Limiter // Mtap BPM Dly This effect connects a limiter and a multitap BPM delay in parallel. The pan and effect balance can be adjusted independently for each. Stereo In - Stereo Out Limiter Wet / Dry Pan Left Envelope - Control For detailed information on the effects parameters, see “Limiter” on page 877 and “Multi-tap BPM Delay” on page 879.
Mono/Mono Parallel 168: Exciter // Chorus/Flanger 168: Exciter // Chorus/Flanger This effect connects an exciter and a chorus/flanger in parallel. The pan and effect balance can be adjusted independently for each. Stereo In - Stereo Out Exciter Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Left For detailed information on the effects parameters, see “Exciter” on page 878 and “Chorus/Flanger” on page 879.
Effect Guide 172: OD/Hi Gain // Wah This effect connects an overdrive and a wah in parallel. The pan and effect balance can be adjusted independently for each. Stereo In - Stereo Out Overdrive / Hi-Gain Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Left For detailed information on the effects parameters, see “OD/HI-GAIN” on page 878 and “WAH” on page 878.
Mono/Mono Parallel 176: Wah // Wah 176: Wah // Wah This effect connects two wahs in parallel. The pan and effect balance can be adjusted independently for each. For detailed information on the effects parameters, see “WAH” on page 878.
Effect Guide 180: Cho/Flange // Cho/Flanger This effect connects two chorus/flangers in parallel. The pan and effect balance can be adjusted independently for each. Stereo In - Stereo Out Chorus / Flanger Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Left LFO: Tri / Sine For detailed information on the effects parameters, see “Chorus/Flanger” on page 879.
Mono/Mono Parallel 183: Phaser // Phaser 183: Phaser // Phaser This effect connects two phasers in parallel. The pan and effect balance can be adjusted independently for each. Stereo In - Stereo Out Phaser Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Wet / Dry Pan Left LFO: Tri / Sine For detailed information on the effects parameters, see “Phaser” on page 879.
Effect Guide 892
KARMA GE guide About the KARMA GE guide This section of the manual explains the GE parameters of the KARMA function built into the OASYS, organized according to the groups that make up the Generated Effects. Furthermore, the KARMA-related parameters in pages 7–0 – 7–9 of each mode may also function differently, or not at all, depending on the settings of these GE parameters. The OASYS provides more than two thousand preset GEs (Generated Effects).
KARMA GE guide Display example [Phase] #No. #No. 000…125: CC#000…CC#125 PB: Pitch Bend Env: parameter name [Env] #No. #No. #No. Parameters of the Env (Envelope) Group also indicate the being controlled by that GE parameter, and indicate the parameter or MIDI message that is controlled by the Envelope. Display example [Env] #No.
About KARMA Overview About KARMA Overview KARMA stands for Kay Algorithmic Realtime Music Architecture, named after its inventor, Stephen Kay. The KARMA function generates MIDI data, using many different complex algorithms seamlessly integrated to provide a powerful “music generation engine”. Based on the notes and chords you play, KARMA generates phrases and patterns in real-time, generating not just notes but MIDI control data as well.
896 KARMA REALTIME CONTROLS Real-Time Parameters KARMA Module D Dynamic MIDI KARMA Module Parameters GE Parameters KARMA Module B KARMA Module C GE Number KARMA Module A KARMA Module Program : KARMA Module A Combination/Sequencer: KARMA Module A/B/C/D GE Parameters GE (Generated Effect) Phase 2 Phase 2 Phase 1 Phase 1 CCs/Pitch WaveSeq Drum Direct Index Bend Repeat Env 3 Env 2 Env 1 Phase 2 Phase 1 Velocity Envelope Phase 2 Phase 1 Phase 2 Phase 1 Index Cluster Phase 2
GE (Generated Effect) Group Overview GE (Generated Effect) Group Overview The phrases and patterns produced by a KARMA module are generated by a GE (Generated Effect). Based on note data from the keyboard or external MIDI device, the GE uses various internal parameters to control how the note data will be developed, and how rhythm, chord structure, and velocity etc. will be controlled to generate a phrase or pattern.
KARMA GE guide which of up to ten notes you may have played are to be generated. If a step of the Cluster Pattern has rows 0, 2 and 4 selected, then the first, third, and fifth notes in the Note Series will be generated at that step. What these notes actually are will be influenced by the Note Series and Input Sort settings. This can be used to simulate the operation of the Korg Triton Arpeggiator, for example. Note that filling all ten rows of each column is essentially the same as using 0: Vel above.
GE (Generated Effect) Group GE Global Parameters because it can simplify a dense GE in an interesting sounding way. For example, you can turn a comping keyboard part into a single note bass line. Note: “Force Mono” and Rhythm Group: “Humanize” When “Force Mono” is 1: On, the effects of Rhythm: “Humanize” are removed if Melodic Repeat is being used at the same time.
KARMA GE guide Note Series Group Overview The Note Series Group controls the creation of a “Note Series” in memory, which is the foundation of a large percentage of Generated Effects. The Note Series is a collection of pitches and corresponding velocities, created from initial notes coming from input source material (i.e. a keyboard, or sequence data which is being used as input).
Note Series Group 3: Chromatic The 12 steps of a chromatic scale will be used as input source material. The first note of the Note Series is based on the lowest note received as input source material. 4: Whole Tone The 6 steps of a whole tone scale will be used as input source material. The first note of the Note Series is based on the lowest note received as input source material. 5: Diminished The 4 steps of a diminished chord will be used as input source material.
KARMA GE guide Changes or cycling. Doubled notes caused by the use of the “Double” parameter in the Index Group will also be wrapped around at the top of the Note Series when this is off. 0: Off The notes determined by the Repetitions setting (described above) are used as the range within which to generate notes. 1: On Extra notes may be extrapolated at the end of the range depending on the cluster size at that point. The result will be a widening of the apparent range of the riff.
Note Series Group key of E. In the above example, playing a C would result in a E diatonic scale, playing a D results in an F# minor scale (F# Dorian mode) and so on. Not available if “GE Type” = 1: Generated-Gated. For more information, see “GE Type” on page 897. Filter Template [0…77] Allows the entire Filter Steps grid (☞ About Filter Steps) to be changed to one of 78 different settings.
KARMA GE guide Phase Group Overview A Generated Effect has two different “Phases.” Each of them is a separate collection of certain parameters including Rhythm, Velocity, Cluster, Pan and Index Patterns, among others. As the effect is generated, a Phase Pattern controls switching between the two Phases, so that completely different collections of parameters can be used for a period of time.
Phase Group in the middle of the Note Series from which the indexes can be chosen in either direction according to the Index Pattern. Not available when “GE Type” (☞p.897) = 1: Generated-Gated. If 2: Generated-Drum, the Note Series can be applied as pitch bend, discussed elsewhere. Length Mode 0: AC-Actual [0…2] 1: TS-Time Signature 2: EV-Events Selects one of several modes for determining when a Phase Change from the current step to the next step of the Phase Pattern will occur.
KARMA GE guide Phase Change occurs. This can be used to simulate the Triton Arpeggiator setting “Arpeggio Type”: Up&Down. 4: B-cycle back from beginning of Phase Allows “cycling” to occur at the beginning of the playback portion of the Phase. For example, if the movement specified by the Index Pattern causes the index to go backwards beyond the beginning of the playback portion, “cycling” will occur (the index will automatically be jumped back into the playback portion by a calculated amount).
Phase Group number of events is then performed in each Phase, regardless of any other circumstances which might trigger a Phase Change. When the Phase “Length Mode” is 0: AC-Actual, then these parameters are not available. The Phases will then change according to the movement through the Note Series. 0: AC-Actual not available when GE Type (☞p.897) = 1: Generated-Gated.
KARMA GE guide Template Steps 13…16 Step Transpose On/Off Same as above, except for steps 13–16. 0: Off 1: On Note that if the number of steps in the Phase Pattern (Pattern Items) is less than the steps for which Templates are being changed, these will produce no audible results. Allows the effect of the Step Transpose Values in each Phase Pattern Step to be turned on or off for the entire Phase Pattern. Step Transpose Value Step Transp.
Rhythm Group Overview Rhythm Group Overview The Rhythm Group controls the rhythmic characteristics of the Generated Effect. It can also have an influence on when “Auto Bend” pitch bending effects (set up on the Bend Group) are generated. About Rhythm Patterns Rhythm Patterns control the timing with which notes will be generated. A value derived from a Rhythm Pattern is the size of the step between each generated note. Choices can be made from “Random Pools” (☞p.
KARMA GE guide Swing Use Multiplier [0…3] 0: Off 2: P1-Phase1 1: Ind-Independently 3: P2-Phase2 The “Rhythm Multiplier” (explained later on in this chapter) causes the values in the Rhythm Pattern to be increased or decreased by a percentage. The “Swing Use Multiplier” specifies several options for selectively applying (or not applying) the Rhythm Multiplier(s) to the “Swing Note Value” also, thereby affecting the resulting swing feel.
Rhythm Group Random Weighting Parameters - Pools Random Weighting Parameters - Pools The Random Weighting Parameters - Pools are made available when at least one step (column) in the Rhythm Pattern has multiple rhythmic values selected (constituting a “random pool” of values). Whenever a random pool is encountered in playing through the pattern, a random choice is made from the values in that step. Certain areas of the random pool can be favored by the use of a weighting table, with various shaped curves.
KARMA GE guide value is +99, the choices are “locked” to no ties whatsoever; when the value is -99, the choices are “locked” to ties always (and the effect is the same as if absolute ties were selected). For more information, see “Random Weighting Curves” on page 961. 1: Logarithmic With a positive Factor (+), choices will be logarithmically weighted towards the rhythm values more often. With a negative Factor (-), choices will be logarithmically weighted towards the ties more often.
Rhythm Group Template + Restore Associated Parameters [0: [As Stored]…63] Similar to the above setting; however, the internal settings of the GE can be restored and used as part of the real-time Template operation. In this case, the Min setting of the Template Range actually does not select that Template; rather, it causes the internal settings of the GE to be restored for that Template’s set of parameters. In other words, you can have a complex pattern already set up.
KARMA GE guide Duration Group Overview The Duration Group contains the parameters that control the duration of the notes in a Generated Effect. About Duration Patterns Duration Patterns control the duration of notes for each “rhythm event” that is generated according to the settings in the Rhythm Group. Choices can be made from “Random Pools” of values as described in detail later on. Furthermore, values can be tied to each other; such ties can be absolute or random.
Duration Group notes, any step in the Duration Pattern (as modified by the Duration Value) that is shorter than a quarter note will cause the notes (and all sustaining notes at that time) to have the specified duration. This is useful for simulating the technique of strumming and damping certain chords within the progression.
KARMA GE guide Random Weighting Parameters - Pools The Random Weighting Parameters - Pools are made available when at least one step (column) in the Duration Pattern has multiple rhythmic values selected (constituting a “random pool” of values). ☞p.911 “Rhythm Group”: “Random Weighting Parameters - Pools” Pools-Random Factor [–99…+99] ☞p.911 “Rhythm Group”: “Pools-Random Factor”.
Index Group Overview Index Group Overview The Index Group controls the order of the pitches as they are generated from the Note Series, and some other characteristics that can affect the number of notes generated at a time. About Index Patterns Index Patterns describe a way of moving through the Note Series in memory and consequently control the order of the pitches as they are generated.
KARMA GE guide 2: Random Walk (“Random Walk Max Step”: 1…9) Makes available the “Random Walk Max Step” parameter. Causes the pitches to meander from the start pitch in a random fashion, with the largest step that can be taken in any direction controlled by the “Random Walk Max Step” parameter. For example, if “Random Walk Max Step” is set to 2, then the “pool” of possible choices for movement from the current Index is {-2, -1, 1, 2}. Note that {0} is not allowed as a possible choice.
Index Group voicings, or randomizing Drum Patterns in a manner different than above. Another effect of this is that after each cluster, the next cluster starts where the previous cluster left off, in effect advancing through the Phase and the Note Series (or Drum Pattern) much more quickly.
KARMA GE guide An Index Pattern Template consists of: • the configuration of the Index Pattern Grid • Random Weighting Parameters Template [1…63] ☞p.912 “Rhythm Group”: “Template”. Template + Restore [0: [As Stored]…63] ☞p.913 “Rhythm Group”: “Template + Restore”.
Cluster Group Overview Cluster Group Overview thereby creating chords and polyphonic phrases). Also controlled from here is the degree of strumming on a cluster, and the direction in which a cluster is strummed.
KARMA GE guide Random Weighting Parameters The Random Weighting Parameters are made available when at least one step (column) in the Cluster Pattern has multiple values selected (constituting a “random pool” of values). Pools-Weighting Curve For more information, see “Rhythm Group” on page 909, and “Random Weighting Parameters Pools” on page 911. For more information, see “Rhythm Group” on page 909, and “Pools-Weighting Curve” on page 911, and “Random Weighting Curves” on page 961.
Velocity Group Overview Velocity Group Overview The Velocity Group controls most of the aspects that affect the velocities of the notes in the Generated Effect. About Velocity Patterns A Velocity Pattern represents amounts to be subtracted from the initial velocities of notes as they are about to be generated. This can therefore be used to provide patterns of accents in the generated notes, while retaining some of the original velocity information if desired.
KARMA GE guide 1/64, an input velocity of 64 would enter KARMA as 32 (velocities in the range 1–127 are scaled into the range 1–64, or 50% softer). Randomize Bottom [–12…+12] Randomize Top [–12…+12] Note: Setting the two values to the same value creates a constant value, and would be the same as using “Velocity Mode” = 2: Constant. For example, setting the Mode to Average with a range of 64/64 is the same as Constant with “Velocity Value” = 64.
Velocity Group Associated Parameters indicated by the pattern, with a net advance of six steps. This means that each note in a cluster or each note of a drum pattern that is generated simultaneously can be given its own velocity. This is useful for more subtly shifting accents within clusters of notes, and adding more human-like velocity randomness to drum patterns. When the “GE Type” (☞p.
KARMA GE guide CCs/Pitch Group Overview The CCs/Pitch Group allows the editing of parameters that control generation of CC (Control Change) messages. For example, this can control the panning (CC #10) of the notes in the Generated Effect (stereo placement left to right). Any other CC data may also be generated to control any MIDI controllable characteristic of your synthesizer, such as resonance, filter frequency, vibrato, etc.
CCs/Pitch Group Not available in Phase 2 when Pitch Offsets are being used. CC Mode [0…5] 0: Pattern 3: Index to 32…96 1: Index to 0…127 4: Index to 0…64 2: Index to 24…108 5: Index to 64…127 Random Weighting Parameters simply tracking the movement of the indexes with any other CC data. The Pattern Grid described above will not be available. 1: Index to 0…127 Scales generated notes into CC or Pitch Bend values 0– 127. Not available in Phase 2 when Pitch Offsets are being used.
KARMA GE guide Octaves-Random Factor [–99…+99] Controls the shape of the weighting curve being applied to the bottom part of the CC Pattern Grid (Octaves). For more information, see “Rhythm Group” on page 909 and “Pools-Random Factor” on page 911. This is valid only if the GE settings make the Phase 2 CC pattern specify Pitch Offset values.
CCs/Pitch Group Associated Parameters Pitch Offset Patterns and ensuring that the results stay in a certain key or chord. The note tables used to shift the notes are the same as the ones used in Note Series Group “Note Type”: 1: Scalic. For more information, see “Note Type” on page 900. 2: Scalic2 Same as 1: Scalic (above), except that the note tables used to shift the notes are the same as the ones used in “Note Series Group “Note Type”: 2: Scalic2.
KARMA GE guide WaveSeq Group Overview The WaveSeq Group controls a set of parameters that allow the waveforms of the OASYS’s programs to be varied in real-time, creating popular “wave-sequence” style effects. About WaveSeq Patterns WaveSeq Patterns control the waveforms of the synth programs that are being used to generate notes. Here you can sequence a pattern of up to 32 different waveforms (16 in each phase). A value derived from a WaveSeq Pattern is the ID of a specific waveform.
WaveSeq Group 1: Osc2 In Both Phases The specified waveforms will be selected according to the switching of the Phase Pattern, but only for Oscillator 2. During steps utilizing Phase 1, the Phase 1 Pattern will be used to change the waveforms, and during steps utilizing Phase 2, the Phase 2 Pattern will likewise be used. Oscillator 1 will not be affected. This setting will have no effect on a single-oscillator or drum program.
KARMA GE guide Waveform Type [0, 1] 0: MultiSound 0: Off 1: WaveSequence Specifies whether the messages sent will change the program's oscillator(s) to different Multisamples, or different Wave Sequences. 0: MultiSound The choices indicated by the pattern values will cause various Multisamples to be selected for the specified oscillators. 1: WaveSequence The choices indicated by the pattern values will cause various Wave Sequences to be selected for the specified oscillators.
WaveSeq Group Template + Restore Associated Parameters [0: [As Stored]…63] For more information, see “Rhythm Group” on page 909, and “Template + Restore” on page 913.
KARMA GE guide Envelope Group Overview Each Generated Effect has 3 envelopes which can be applied to various options such as Velocity, Tempo, Pitch Bend, Duration, Repeat Time, and any CC (Control Change). About Envelopes For those of you familiar with synthesizer envelopes, these are standard ADSR Envelopes, with the addition of a Start Level. For those who are not, ADSR stands for “Attack, Decay, Sustain, Release”.
Envelope Group velocities of the notes being generated, to impart an overall velocity shape while maintaining the accents within the individual notes. 1: [TA] Tempo-Absolute Controls the speed of the Riff, for accelerando and ritard effects. When active, the effect does not sync to the Internal Master Clock or External Sync, but runs on its own clock, controlled by the Tempo Envelope. This means that the envelope is in absolute control of the tempo, and changing the KARMA Tempo has no effect.
KARMA GE guide Decay Time [0…99] The time it will take to reach the “Sustain Lev (Sustain Level)” from the Attack Level. This is a portion of the overall time setting specified in the “Time Scale” parameter described below. Sustain Level [0…99] Attack Smooth 0: Off [0, 1] 1: On The second level which the envelope reaches in the amount of time specified by “Decay Time.
Envelope Group Tempo Relative 0: Off [0, 1] 1: On When 1: On, makes the selected envelope’s time scale relative to tempo. This means that the envelope can Track the notes being generated, or a particular length of time. If you have it set to make a particular shape over 1 bar of 4/4, then changing the tempo will maintain this relationship by scaling the tempo range of the envelope accordingly. For example, assume you have an envelope timed to produce a sweep over 1 bar of 4/4 at 120 BPM.
KARMA GE guide Dec/Rel Time (Decay/Release Time) [0…99] Controls an Envelope’s Decay and Release Times at the same time - both will be set to the same value. All Times [0…99] Controls an Envelope’s Attack, Decay and Release Times at the same time - all will be set to the same value.
Repeat (Melodic Repeat) Group Overview Repeat (Melodic Repeat) Group Overview Melodic Repeat allows any note to be repeated in a delay-like fashion, with many additional features and enhancements. When the GE Type is one of the “Generated” types (i.e. 0: Generated - Riff), the notes as they are generated may each start sequences of repeating notes. When the GE Type is 3: Real-Time, the actual input notes may each start sequences of repeating notes.
KARMA GE guide Dotted Rhythms [0…8] 0: None (Instant) 3: 16th Dotted 6: Half Dotted 1: 64th Dotted 4: 8th Dotted 7: Whole Dotted 2: 32nd Dotted 5: Quarter Dotted 8: Rhythm Pattern Selects a value for the “Rhythm Value” parameter from a subset of the entire range. The subset consists of the dotted values along with 0: None and 8: Rhythm Pattern. This is used to provide real-time control of the “Rhythm Value” parameter while excluding certain of the in-between values.
Repeat (Melodic Repeat) Group algorithms to shift the notes to musically correct ones, even in pending repeated notes that haven’t yet sounded. Even when the Transpose setting is 0, this can be used to make the pending repeated notes conform to the new chord, which is impossible with outboard analog/digital delays.
KARMA GE guide Range Parameters These parameters affect the pitch range of the repeating notes as they transpose, and what happens when they go outside of the range. They also control a range for triggering by velocity. Range Mode [0…3] 0: Absolute 1: Lowest Note Relative 2: Highest Note Relative 3: Lowest/Highest Note Relative Selects one of several options for how the “Wrap Bottom” and “Wrap Top” values are used, which specify a range within which repeated notes will be maintained.
Repeat (Melodic Repeat) Group GE Mode = Real-Time Parameters GE Mode = Real-Time Parameters If the “GE Type” is 3: Real-Time, these additional parameters are also available. Duration Mode (RT) [0…4] 0: As Played 1: Fixed 2: As Played-No Overlap 3: Fixed-No Overlap 4: As Played-Delay No Overlap 4: As Played-Delay No Overlap The original note will have the duration as played, and so will the delays, as long as they are shorter than the repeat time.
KARMA GE guide “Chord Quantize (RT)” setting of 0: Off. This may or may not be desirable; sometimes you may want it, other times you may not. When “Chord Quantize (RT)” is set to 1: On, the notes in the first repeat of the chord will be hard quantized so that they generate simultaneously. All subsequent repeats will be based on those quantized notes, and therefore will also be quantized.
Bend Group Overview Bend Group Overview The Bend Group allows various shapes of automatic pitch bending to be applied to individual notes as they are generated. It also allows a special “arpeggiated bending” option to be applied to Drum Patterns. However, no bending will actually occur unless the Phase Pattern has been configured to allow it. This allows effects to be set up where bending only occurs in one or more steps of the Phase Pattern, while other steps have no bending.
KARMA GE guide 13, 14, 15, 17 & 18 not available when “GE Type” (“GE Type” on page 897) is 3: Real-Time. Force Bend If Zero 0: Off [0, 1] 1: On When using next or previous note bending, if the two pitches to be bent between are adjacent, a bend of zero can result (no bend). When Force Bend If Zero is 1: On, a bend will be created anyway, with an appropriate automatically calculated amount.
Bend Group the length and twice as fast as an 8th note duration. If the duration is varied in real-time, the length of the bends will also be varied. Not available when “GE Type” (☞p.897) is 3: RealTime, since the duration of the note is determined by actually playing the keyboard. If selected, this setting will act the same as 7: 16th note. Fixed-ms [10…5000 (ms)] A fixed length of absolute time may be specified in milliseconds for each bend window. Note that this is independent of any tempo settings.
KARMA GE guide 0: Bend, it would be the same as starting a note with the Joystick all the way in the pitch down position, and then moving it to the center. 1: To The bend starts at the current pitch (i.e. Joystick center), and ends at a pitch offset equal to the Amount setting. For example, if “Amount” = -12 and “Shape” = 0: Bend, it would be the same as starting a note with the Joystick in the center position, and then moving it all the way to the pitch down position.
Drum Group Overview Drum Group Overview The Drum Group allows up to three different Drum or Melodic Patterns (of equal or different lengths) to be created, edited, and simultaneously looped, while being separately modified by various other parameters. Many of these modifications are controlled by settings in the Phase Group.
KARMA GE guide Also shown above is a 65th column, known as the “Always Column” and indicated by the abbreviation “a” underneath it. When a row is selected in this column, it will cause any values in that row of the Drum Pattern to always be played, regardless of any randomization that is going on, or regardless of the “Poly/Pools” setting (discussed later on). Pattern grids cannot be viewed or edited on the OASYS.
Drum Group Pattern Vel. Offset [–127…+127] Subtracts or adds a constant amount to the velocities for each Drum Pattern. Allows a Pattern’s relative volume to be raised or lowered with regard to the other Patterns. Note that this is subtractive/additive: 0 leaves velocities at the Initial Velocity they would normally be generated based on the Velocity Group settings. Setting positive amounts may interfere with the Velocity control that you have specified elsewhere.
KARMA GE guide The following table summarizes the effect of the various Weighting Curves and the Factor field on Drum Sound choices: Exp/Log higher in grid lower in grid Exp-S/Log-S middle higher/lower Drum Pool values that receive priority: Weighting Curve Factor + (positive) – (negative) Random Weighting Parameters– Rests The Random Weighting Parameters - Rests are made available when at least one column in the grid has a rest and at least one other Drum Sound turned on.
Drum Group Link To Next snare hi-hat rest 0: Off Keyboard Track 0: Off [0, 1] 1: On Allows the Drum Pattern to track the input notes if desired, thereby changing keys depending on the chord. 0: Off is normal for Drum Patterns while 1: On is normal for Melodic Patterns. 0: Off The Drum or Melodic Pattern is “fixed” - it doesn’t matter what notes you play on the keyboard. The pattern will always produce the same pitches, according to the settings of the Drum Sound/Note settings.
KARMA GE guide Time Controls Editor) to control all three Patterns at the same time. The values 0~8 select one of 9 different combinations, shown in the following table: Off Melodic Repeat will be turned off in each step of the Phase Pattern, for the specified Drum Patterns. On Melodic Repeat will be turned on in each step of the Phase Pattern, for the specified Drum Patterns. As Stored Melodic Repeat will be set to the internally stored settings of the GE, for each Phase Pattern Step.
Drum Group Associated Parameters Template Parameters The two Template Parameters select from one of three banks of Drum Pattern Templates within the current selected Template Bank (shared by all three Drum Patterns), and load the parameters into the selected Drum Pattern Editing Grid and associated parameters. Each Drum Template Bank contains 63 or 64 different Drum Pattern Templates.
KARMA GE guide Direct Index Group Overview Direct Index means to take a controller and map it into the Note Series directly, so that notes can be directly indexed and generated in real-time. One use is to take an area of a keyboard and map it into the Note Series, so that when you play the keys you are not generating the true note, but are selecting notes from within the Note Series.
Direct Index Group Held Note Trig Mode [0…3] 0: Off 2: Retrigger 1: Bend/Retrigger 3: Mute Selects one of several options for deciding what happens when Direct Index notes are being sustained, and the chord is changed so that the sustained note(s) no longer “fit” with that chord (i.e. are no longer are part of the Note Series). Part of the concept with this parameter is to allow soloing only within a “correct” key or Note Series. 0: Off Nothing is done.
KARMA GE guide 0: Poly Extend Each note will sustain until the next generation of the same note, or until that note is no longer a part of the Note Series (caused by playing a new chord, for example). For example, if the notes to a CMaj chord are sustaining and the chord is changed to a CMinor, only the Es will be shut off. 3: Timed (1…5000 ms) Makes available the “Duration ms” parameter, where you specify in milliseconds the duration of the generated notes. All notes will therefore have the same length.
Direct Index Group 14: Next Index+1 Bends each note to the index in the Note Series that is 2 indexes forward (note that this may be an up or down bend depending on how the Note Series is constructed and sorted). For example, if the Note Series contains {C, E, G, B, C…}, then when the E is Direct Indexed it will bend to the B.
KARMA GE guide Appendices Using Auto-Bend Auto-Bend refers to a feature of KARMA that can generate a bend along with every generated note. It can be used to create gliding effects between notes (simulating portamento), to automatically bend each note to a preset step size, to produce guitar “hammeron” effects (where a fret is pressed with a finger to a new note after the note has already been picked, without restriking the note), ethnic bending, and other unique effects.
Appendices “GE Type” 3: Real-Time Since the duration of the note is determined by actually playing the keyboard, Bend Group “Length” 25: Note Duration is not available for this GE Type, and will act the same as 7: 16th if selected. The other Bend Length settings operate as described above.
KARMA GE guide Exponential Curves with Positive/Negative Factors Exp (+Factor) - choose from upper values more often Exp-S (+Factor) - choose from center values more often upper Any table, factor 0 -equal chance of any choice in pool Y Axis = The Pool Exp-S (-Factor) - choose from upper and lower values more often Exp (-Factor) - choose from lower values more often lower min max X Axis = Random choice with equal probability between min and max Exponential S (Exp-S) With a positive Factor (+), choice
Appendices Random Weighting Curves Comparison of Exponential and Logarithmic Curves Exponential Curves and Logarithmic Curves have similar shapes.
KARMA GE guide Log (Factor +40) Exp (Factor +40) Upper Y Axis = The Pool Log (Factor –40) Exp (Factor –40) Lower min max X Axis = Random choice with equal probability between min and max. With a Positive Factor (+40): Exponential Cur ve (Exp) 75% chance of a choice from the upper 10% of the pool; 25% chance of a choice from the lower 90% of the pool. Logarithmic Curve (Log) 90% chance of a choice from the upper 25% of the pool; 10% chance of a choice from the lower 75% of the pool.
Appendices Alternate Modulation Sources (AMS) Alternate Modulation Overview Frequently used assignments such as using Joystick X to control pitch are provided as special parameters, so it is not necessary to use Alternate Modulation to accomplish this. Alternate Modulation lets you use controllers, envelopes, LFOs, etc. to modulate Program parameters. You can use one controller to modulate multiple parameters simultaneously.
Appendices Alternate Modulation - EXi AL-1 Analog Synthesizer Type Shape Intensity Mod Frequency Mod 1 Frequency Mod 2 Shape Intensity Mod Frequency Mod 1 Frequency Mod 2 LFO1 LFO2 Shape Intensity Mod Frequency Mod 1 Frequency Mod 2 LFO3 Common LFO Shape Intensity Mod Frequency Mod 1 Frequency Mod 2 Intensity Mod LFO4 Common Step Seq Start Mod Reset Mod AMS Input Shape Reset Frequency Mod Filter LFO Mod Pitch LFO Mod Intensity Mod Pitch Mod 1 Pitch Mod 2 Portamento (Sub OSC) Step Seq
Alternate Modulation Sources (AMS) AMS (Alternate Modulation Source) List AMS (Alternate Modulation Source) List Physical and MIDI controllers Off Assign parameter is set to Foot Pedal (CC#04). For more information, see “Foot Pedal Assignments” on page 982. This means that no modulation source is selected. Ribbon (CC#16) Note Number This is the side-to-side movement of the ribbon controller, which corresponds to MIDI CC#16. This is the note’s MIDI note number, from 0 (C-2) to 127 (G9).
Appendices Knob Mod.8 (CC#21) 1. Go to the Set Up Controllers page. This AMS source always responds to MIDI CC#21, and will usually also correspond to Knob 8(USER 4). For more information, see “Knob Mod.5 (CC#17)” on page 967. 2. Under Panel Switch Assign, assign SW1 to SW1 Mod. (CC#80) and SW2 to SW2 Mod. (CC#81). Knob Mod5 [+] (CC#17) For more information, see “SW1/2 Assignments” on page 979. These assignments are stored separately for each Program, Combination, and Song. SW2 Mod.
Alternate Modulation Sources (AMS) AMS (Alternate Modulation Source) List Tempo Filter EG This lets you use the system tempo as a modulation source. 120 is the center, for a value of 0; 60BPM is -99, and 240BPM is +99. This is the output of the oscillator’s Filter EG. For more information, see “3–4: Filter1 EG” on page 68. Note that this is different from actually syncing to tempo; for that purpose, use the dedicated synchronization functions for the LFOs, effects, etc.
Appendices Step Sequencer String Track1 &2 This is the output of the per-voice Step Sequencer. For more information, see “8–1: Step Sequencer” on page 203. These are the assignable String Track generators 1 and 2. For more information, see “9-9: String Track” on page 276. EG1 (Filter), EG2 (Pitch), and EGs 3 & 4 Fret Position These are the outputs of the four assignable EGs. For more information, see “7–1: EG 1 (Filter)” on page 199.
Alternate Modulation Sources (AMS) Alternate Modulation settings LFO1 …2 These are the outputs of the two assignable LFOs. For more information, see “8–2: LFO 1” on page 205. Alternate Modulation settings • Panning can be controlled in realtime from a controller, EG, or LFO etc. When you operate an AMS (Alternate Modulation Source), the modulation destination will be affected as shown in the table below.
Appendices Wave Sequence Position (+63) 0…+63 Wave Sequence Step Duration (400%) 1x…4x –63…0…+63 – 1/100x…1x…4x Notes for the table *1 EXT(+–): JS X, Ribbon (CC#16), KnobMod.5 (CC#17), KnobMod.6 (CC#19), KnobMod.7 (CC#20), KnobMod.8 (CC#21) *2 When Tempo is selected as an AMS source, the base value is =120. For example if the Pitch AMS is set to Tempo, and Intensity is set to 12.
Alternate Modulation Sources (AMS) • You can select Common LFO, LFO1 or 2 as the AMS, and use the LFO to control the resonance level. Output Level (Program 3–1b) You can use the wave sequence’s AMS Out, EG, LFO, keyboard tracking, controllers, or tempo etc. to control the output level of Filter A/B. • Set the Filter Routing to Parallel, and specify the desired Type and other settings for Filter A and Filter B. Set the AMS to LFO for Filter A and Filter B, and set the LFO to +99 and –99 respectively.
Appendices Pan (Program 4–1c) The oscillator pan can be controlled by the wave sequence’s AMS Out, EG, LFO, keyboard tracking, controllers, or tempo etc. • If you select Note Number as the AMS and set “Intensity” to +50, panning will be controlled by the keyboard position: center at the C4 note, far right at C6 or above, and far left at C2 or below. • If EG is selected as the AMS, the oscillator pan will be controlled in synchronization with the changes in EG level.
Alternate Modulation Sources (AMS) Alternate Modulation settings • By setting AMS to Gate 1, you can make the Common LFO reset when a note is played from a state in which all notes are off. For example, this will ensure that a filter sweep always starts from the same place. • You can set AMS to a controller such as JS+Y, and operate the controller when you want to reset the LFO.
Appendices Dynamic Modulation Sources (Dmod) You can control certain effect parameters using the joystick, vector joystick, ribbon controller, etc. “on the fly.” These parameters can also be controlled by KARMA, the Vector joystick and EG, or the sequencer. Controlling effects in this way is referred to as Dynamic Modulation. For example, you can use After Touch to speed up the LFO of the chorus and flanger, or you can use the ribbon controller to sweep a wah effect.
Dynamic Modulation Sources (Dmod) Gate1, Gate1+Damper The effect is at maximum during note-on, and will stop when all keys are released. With Gate1 + Damper, the effect will remain at maximum even after the keys are released, as long as the damper (sustain) pedal is pressed. Gate1,Gate1+Dmpr Note 1 2 1 3 2 3 Dmpr Damper Pedal On Off Gate1 Gate1+Dmpr Time Gate2, Gate2+Damper This is essentially the same as for Gate 1 or Gate 1 + Damper.
Appendices Tempo The resulting modulation will be zero at 120 BPM, the maximum positive value at 240 BPM, and the maximum negative value at 60 BPM. Many effects LFOs and delays can also be synchronized to tempo.
Controller Assignments SW1/2 Assignments Controller Assignments SW1/2 Assignments Switch assignments are saved separately with each Program, Combination, and Song. In Sampling mode, assignments apply to the entire mode.
Appendices Chord SW This enables and disables Chord mode. For more information, see “Using Chord mode” on page 49 of the Operation Guide. Realtime Knobs 5–8 Assignments Knob assignments are saved separately with each Program, Combination, and Song. In Sampling mode, assignments apply to the entire mode.
Controller Assignments F/A Release (CC#72) Foot Switch Assignments Pitch LFO1 Spd (CC#76) CC#s 93 and 91 actually control send levels in two different places: the sends directly from the Program OSC or EXi, and the send levels of the last Insert Effect in the chain which matches the CC’s MIDI channel. This scales LFO1’s frequency. MIDI CC#00–95 and 102-119 Pitch LFO1 Dep (CC#77) These settings let you transmit any MIDI CC, except for registered and non-registered parameters (CCs 96101).
Appendices Program Down Value Slider (CC#18) This decrements the current Program or Combination number, for hands-free patch changes. For more information, see “Program Up,” above. The switch will control the effect of the VALUE slider. RT Knob1–8 The switch can be used to start/stop the sequencer. Simultaneously, a MIDI Start or Stop message will be transmitted. The switch duplicates the function of the selected REALTIME KNOB.
Controller Assignments Foot Pedal Assignments Foot Pedal (CC#04) KARMA RTC Slider1–8 You can use this general-purpose controller as an AMS or Dmod source. Note that you’ll also need to assign Foot Pedal (CC#04) to control the desired parameter within the Program or Effect. This duplicates the function of the selected KARMA SLIDER. Whatever the slider is assigned to control, the pedal will control as well. Portamento Time (CC#05) Controls the speed at which portamento will change the pitch.
Appendices Dynamic MIDI Sources & Destinations Dynamic MIDI Sources The sources (Dynamic MIDI Sources) are organized into the following groups JS +Y #01…JS X: Controller group Short Note…Black Note: Note group Velocity…Vel Out Z: Velocity Group Depending on the combination of source and destination (Dynamic MIDI Destinations), the selected destination may not function as you intend.
Dynamic MIDI Sources & Destinations Note: If you want to use the ±X axis of the vector joystick as a source, set the Global P2–1c: MIDI CC# Assign-Vector Joystick/Pads parameter “VJS X” to CC#119. VJS +X Mod. (CC#85) The +X direction (the left direction) of the vector joystick (CC#85) will be the source. Note: If you want to use the +X axis of the vector joystick as a source, set the P1–5b: Vector CC Control parameter “+X” to CC#85 for the desired program, combination, or song.
Appendices Use “Input” to specify the applicable KARMA module. Velocity Inside Zone White Note Velocity values of notes within the key zone of the KARMA module (Program 7–1b, Combination 7–1c, Sequencer 7–1c) will be the source. Use Bottom and Top (7–7b) to specify the range of note numbers. Only the white notes (C, D, E, F, G, A, B) within the specified range will be the source. Black Note Use Bottom and Top (7–7b) to specify the range of note numbers.
Dynamic MIDI Sources & Destinations etc. to turn latch on so that the currently-operating Envelope1, 2, or 3 will continue to be held even after you release the keyboard or the Pad 1–8.
Appendices Dynamic MIDI 1 Source (7–7b): KARMA On/Off Dynamic MIDI 1 Bottom (7–7b): 000 Dynamic MIDI 1 Top (7–7b): 127 Dynamic MIDI 1 Action (7–7b): Momentary Dynamic MIDI 1 Destination (7–7b): Repeat Stop Dynamic MIDI 1 Polarity (7–7b): – Module Stop & Repeat Stop [Momentary] Combines the effects of Module Stop and Melodic Repeat Stop (above), so that all note generation from the assigned module(s) will be immediately terminated.
Dynamic MIDI Sources & Destinations Note input in the key zone specified for each module will not be used for normal chord detection on KARMA modules for which Smart Scan is operating. If Smart Scan and Chord Scan are specified simultaneously, the Chord Scan note range will also be handled as the Smart Scan note range. Note: Select a source from the Note, Note Inside Zone, or Note Outside Zone note group. The Polarity (7–7b) settings will be ignored.
Appendices Use this when you wish to stop the phrase or pattern played by the KARMA module and simultaneously switch to realtime note generation by Direct Index. Direct Index 1 Way [Continuous] The same as Direct Index (above), but only functions in one direction of the selected controller.
MIDI transmission when the OASYS’s controllers are operated Dynamic MIDI Destinations MIDI transmission when the OASYS’s controllers are operated When one of the OASYS’s controllers is operated, the corresponding or the assigned control change will be transmitted. The following tables show the relation between the MIDI messages that are transmitted when the OASYS’s controllers are operated, and the AMS (alternate modulation source) or DMS (dynamic modulation source) that correspond to each MIDI message.
Appendices VJS KARMA VJS-CC Realtime On/ SW Control Knob 5–8 Latch Scene Off 1–8 Pads Sliders 1–8 1–8 – * * * * * * * * * Damper Portamento On/Off Sostenuto Soft pedal * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * – * * * * * * * * * Sustain level Filter resonance level Release time Attack time Filter cutoff frequency Decay time LFO1 speed LFO1 depth (pitch) LFO1 delay Filter EG intensity SW1 modulation On/Off SW2 modulation On/Off Foot switch On/O
MIDI transmission when the OASYS’s controllers are operated CC# MIDI messages 110 PAD1 trigger velocity 111 PAD2 trigger velocity 112 PAD3 trigger velocity 113 PAD4 trigger velocity 114 PAD5 trigger velocity 115 PAD6 trigger velocity 116 PAD7 trigger velocity 117 PAD8 trigger velocity 118 Vector joystick X 119 Vector joystick Y Universal exclusive Master Master Master Master KARMA VJS-CC Realtime On/ Control Knob 5–8 Latch Off * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *
Appendices If the Status is INT or BTH, operating one of the OASYS’s controllers will affect only that MIDI track. Simultaneously, the same effect will also apply to any MIDI track with the same MIDI Channel setting. In the case of Master Volume, the universal exclusive message Master Volume will be transmitted. You can make settings for MIDI Filter (Sequencer P3) to enable or disable control changes and controllers for each track.
OASYS and MIDI CCs Responses to standard MIDI controllers OASYS and MIDI CCs Responses to standard MIDI controllers The following table shows how the OASYS responds to MIDI control change messages, and the relation between settings and controller movements on the OASYS.
Appendices 996 31 KARMA LATCH On/Off control 0…63(Off), 64…127(On) Equivalent to on/off when CC#14 is assigned to the KARMA LATCH switch *7 32 Bank select (LSB) *1 0…127 LSB of bank select message 33…37 – – – 38 0…127 LSB of RPN or NRPN data 39…63 – Data entry (LSB) – – 64 Damper 0…127 damper effect 65 Portamento On/Off 0…63(Off), 64…127(On) turn the portamento effect on/off 66 Sostenuto On/Off 0…63(Off), 64…127(On) turn the sostenuto effect on/off 67 Soft 0…127 soft ped
OASYS and MIDI CCs Responses to standard MIDI controllers 102 KARMA realtime control SW1 On/Off 0…63(Off), 64…127(On) Equivalent to on/off when CC#102 is assigned to KARMA realtime control SW1 *7 103 KARMA realtime control SW2 On/Off 0…63(Off), 64…127(On) Equivalent to on/off when CC#103 is assigned to KARMA realtime control SW2 *7 104 KARMA realtime control SW3 On/Off 0…63(Off), 64…127(On) Equivalent to on/off when CC#104 is assigned to KARMA realtime control SW3 *7 105 KARMA realtime con
Appendices *3 The volume of the OASYS is determined by multiplying the Volume (CC#07) with the Expression (CC#11). In Sequencer mode when you stop the song playback and return the location to the beginning of the track, the Volume will be set to the starting value, and the Expression will be set to the maximum value (127). *4 A value of 64 will correspond to the value specified by the program parameter. 0 is the minimum, and 127 is the maximum.
OASYS and MIDI CCs Parameters controlled by MIDI CCs #70-79 73 (Attack time) EG Times: Filter EG 1/2 Attack (see page 69) Amp EG 1/2 Attack (see page 79) Amp EG 1/2 Time Modulation: Attack (see page 80) EG Levels: Amp EG 1/2 Level Start (see page 78) Amp EG 1/2 Level Attack (see page 78) Amp EG 1/2 Level Modulation: Start (see page 80) 74 (Filter cutoff frequency) Filter A/B, 1/2 Frequency (see page 61) 75 (Decay time) Filter EG 1/2 Decay (see page 69) Filter EG 1/2 Slope (see page 69) Amp EG 1/2 Dec
Appendices 78 (LFO1 delay) LFO1 Delay (see page 207) 79 (Filter EG intensity) LPF EG2/EXT (see page 287) PolysixEX 1000 70 (Sustain level) PolysixEX EG SUSTAIN (see page 313) 71 (Filter resonance) VCF RESONANCE (see page 312) 72 (Release time) PolysixEX EG RELEASE (see page 313) 73 (Attack time) PolysixEX EG ATTACK (see page 313) 74 (Filter cutoff frequency) VCF CUTOFF (see page 312) 75 (Decay time) PolysixEX EG DECAY (see page 313) 76 (LFO1 speed) LFO1 Frequency (see page 206) 77 (LFO1
MIDI applications About MIDI 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.
Appendices Outgoing MIDI data will be handled with settings equivalent to Key Transpose 0, Velocity Curve 4, and After Touch Curve 3. Connecting an external MIDI sequencer or computer You can play the OASYS’s keyboard and record your performance on an external MIDI sequencer/computer (connected via a MIDI interface), and then play back the recorded performance to sound the OASYS’s tone generator (i.e., using the OASYS as an input keyboard and MIDI tone generator).
MIDI applications total effects, the pan following the insert effect, and send 1 and 2. • When you operate the keyboard or controllers of the OASYS, messages will be transmitted on the global MIDI channel, and will also be transmitted on the MIDI channel of any timbre whose Status (Combination 2–1a) is set to EXT or EX2. • Channel messages will be received if they match the MIDI channel of a timbre whose Status is set to INT (Combination 2–1a).
Appendices For more information, see “Bank Map” on page 643. • In Combination P0: Play, program change and bank select messages are transmitted/received on the global MIDI channel. They are not received in P1– P9. Note: All program changes can be turned off in MIDI Filter (Global 1–1c) As needed, you can independently turn all program changes on/off, specify whether or not incoming messages will be able to change combinations, and turn reception/transmission of bank select messages on/off.
MIDI applications • In Combination and Sequencer modes, transmission/reception can be switched on/off for each timbre/track (“Enable JS+Y” Combination/ Sequencer 3–1a). Modulation 2 depth (CC#02) [Bn, 02, vv] When you move the OASYS’s joystick in the –Y direction (Vertical downward), Modulation 2 Depth messages will be transmitted. When these messages are received, the same effect will be applied as when the OASYS’s joystick is operated. Normally this will apply a wah effect (filter LFO).
Appendices transmitted by each track whose Status is BTH, EXT, or EX2. For more information, see “Pan” on page 419. Note: If you’ve used the CONTROL ASSIGN TIMBRE/TRACK switch to select 1–8/9–16, operating the knobs will transmit panpot data to control the panning.
MIDI applications Controller (CC#18) [Bn, 12, vv] This message will be transmitted when the OASYS’s VALUE slider is operated. This is valid in “Program Select” (Program P0: 0–1a) and “Combination Select” (Combination P0: 0–1a) when the program or combination number/name is selected (highlighted).
Appendices Note: In Program mode, the corresponding program parameters will be temporarily edited by these messages. You can Write the program to save the modified state (except for certain parameters). The Write operation can also be performed by a MIDI System Exclusive Program Write Request message, in addition to the usual method of using the OASYS’s switches. When you write the data, the values of the corresponding program parameters will be rewritten.
MIDI applications The CC# settings for the pads are made in the Global P2– Controller page. Normally you will leave these Off. However, you can edit these settings if you need to assign MIDI control change messages to the pads, such as when you want to record pad operations on the internal sequencer or an external MIDI sequencer, or to control the pads from an external MIDI device. These messages are transmitted and received if the Global P1– MIDI page parameter “Pads MIDI Out” is set to Pad CC/Note.
Appendices 2. [Bn, 06, mm, 26, vv]: Use data entry to set the value. Normally only the upper byte is used. A value of 0 [mm, vv=00, 00] is +00, and a value of 1536 [mm, vv=0C, 00] is +12 (one octave). Although it is possible to set a negative value for a timbre/track, only positive values can be set using RPN messages.
MIDI applications Exclusive Program Write Request or Combination Write Request message, in addition to the usual method of using the OASYS’s switches. For more information, see “Loading & saving data, and creating CDs” on page 163 of the Operation Guide. • It is not necessary to write a song, but it will not be backed up when the power is turned off. If you want to keep the song data, you must save it to the internal hard disk or other media before powering off.
Appendices Status is BTH, EXT, or EX2. An external tone generator connected to MIDI OUT will sound, and the tempo of an external sequencer can be controlled. Using the external MIDI device as master and the OASYS as slave Connect the OASYS’s MIDI IN connector to the MIDI OUT connector of the external MIDI device. • When you set “MIDI Clock” to External MIDI, the OASYS will be the slave device. KARMA function: The tempo will follow the MIDI timing clock.
MIDI applications Local Control Off: Notes from the KARMA function or RPPR will not be transmitted from MIDI OUT. The OASYS will sound only in response to MIDI messages received at MIDI IN, or generated by the KARMA function or RPPR. Setting example 1 Record the note messages generated by the KARMA or RPPR function on the external MIDI sequencer/computer. Turn on this instrument’s KARMA or RPPR function. Set this instrument to Local Control On.
1014 8n 9n An Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bg Bn Bg Bg Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Status [Hex] kk kk kk 00 01 02 04 05 07 08 0A 0B 0C 0D 0E 10 11 12 13 14 15 16 17 18 19 1A 1B 1C 1D 1E 1F 20 40 41 42 43 46 47 48 49 4A 4B 4C 4D 4E 4F 50 51 52 53 55 56 57 58 5B 5C 5D 5E 5F 66 67 68 69 6A 6B 6C 6D 6E 6F 70 71 (kk) (kk) (kk) (00) (01) (02) (04) (05) (07) (08) (10) (11) (12)
:CC#29 :CC#30 :CC#31 :CC#102 :CC#103 :CC#104 :CC#105 :CC#106 :CC#107 :CC#108 :CC#109 :CC#110 :CC#111 :CC#112 :CC#113 :CC#114 :CC#115 :CC#116 :CC#117 :CC#118 :CC#119 ss F3 (ss) (ss) tt (tt) Third [H] [D] Song ss tt Song ss Position Pointer : Least significant [LSB] : Most significant [MSB] Select (Song is selected) : Song(0-127) Description ( Transmitted when ) *5 *5 [H] :Hex, [D] :Decimal Timing Clock Start Continue Stop Active Sensing F8 FA FB FC FE ( ( ( ( ( ( ( Always in Prog/Combi/Seq
1016 6A (106) 6B (107) 6C (108) 6D (109) 6E (110) 6F (111) 70 (112) 71 (113) 72 (114) 73 (115) 74 (116) 75 (117) 76 (118) 77 (119) cc (cc) 78 (120) 79 (121) 7A (122) 7B (123) 7C (124) 7D (125) 7E (126) 7F (127) pp (pp) vv (vv) bb (bb) Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Bn Cn Dn En [D] (≤63/≥64) (≤63/≥64) (≤63/≥64) (≤63/≥64) (vv) (vv) (vv) (vv) (vv) (vv) (vv) (vv) (vv) (vv) (vv) (00) (00) (00/127) (00) (00) (00) (≤16) (00) --(bb) Third ≤3F/≥40 ≤3F/≥40 ≤3F/≥40 ≤3F/≥40 vv v
Master Coarse Tune ( Control Transpose (chromatic step) in Global ) [ F0,7F,0g,04,04,vv,mm,F7 ] 3rd byte g : Global Channel 6th byte vv : Value(LSB) 7th byte mm : Value(MSB) mm,vv = 34,00:-12, 40,00:+00, 4C,00:+12 Master Fine Tune ( Control Master Tune(cent) in Global ) [ F0,7F,0g,04,03,vv,mm,F7 ] 3rd byte g : Global Channel 6th byte vv : Value(LSB) 7th byte mm : Value(MSB) mm,vv = 20,00:-50, 40,00:+00, 60,00:+50 Master Balance [ F0,7F,0g,04,02,vv,mm,F7 ] 3rd byte g : Global Channel 6th byte vv : Value(LS
Appendices Error and confirmation messages A (ADC–Are You Sure) ADC Overload Meaning: If the ADC OVERLOAD! indication appears above the Recording Level bar, the signal is distorting because of an overload at the AUDIO INPUT stage. To solve this problem: • 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. Are you sure? Meaning: This message asks you to confirm execution. To execute press the OK button.
Error and confirmation messages Can’t open pattern Continue? Meaning: When you finished recording, it was not possible to allocate enough memory to open the pattern that was Put into the track. (When it must be opened automatically.) If you press the OK button, the pattern data will be deleted, and the recorded or edited content will be saved. If you press the Cancel button, the recorded content will be discarded.
Appendices • Without using Overwrite, specify a different sample for the destination (save location). • Press the OK button to delete all files and/or directories within that directory. Destination sample is empty Disc full Meaning: The sample for editing is empty. Destination song is empty Meaning: When executing command in the Disk mode Make Audio CD page, Write to CD there is insufficient space remaining on the CD-R/RW for the data to be written.
Error and confirmation messages Meaning: When you executed the Disk mode Utility Save Sampling Data for All, All Multisamples, All Samples, or One Multisample, a directory already existed on the disk with the same name as the directory that you attempted to create on the OASYS. Meaning: When sampling to the hard disk, an identically-named file exists in the save-destination. • Either delete the existing directory or file, or specify a different name.
Appendices I (Illegal–Index) Illegal file description Inconvertible file exists Meaning: The filename that you specified when saving a file or creating a directory contained invalid characters. To solve this problem: Meaning: A file that cannot be used with ISO9660 format exists on the media. To solve this problem: • Change the filename you are specifying. Filenames not permitted by MS-DOS cannot be used as a filename.
Error and confirmation messages N (No data–Not enough song memory) • Delete other song data etc. to increase the amount of free memory. • In Global mode, turn off write-protect, and execute the write or load operation once again. Memory overflow MIDI data receiving error Meaning: While receiving exclusive data in Disk mode Save Exclusive, all remaining internal memory was used up.
Appendices Meaning: When in Disk mode you attempted to load an EXL file from media other than the internal hard disk, memory for temporary use could not be allocated on the internal hard disk. To solve either of these problems: • On the internal hard disk, create free space that is larger than the .EXL file. Not enough memory to load Meaning: When you attempted to load a .SNG file or a standard MIDI file in Disk mode, there was insufficient free memory in the sequence memory.
Error and confirmation messages P (Pattern–Program) monaural multisample, select Single. If converting a stereo multisample, select Double. P (Pattern–Program) Pattern conflicts with events Pattern used in song - Continue ? Meaning: It was not possible to execute the Bounce operation because one of the tracks contained a pattern, and the same measure of the other track contained events or a pattern. Meaning: When editing, the specified pattern has been placed in a track.
Appendices Sample used in other multisample(s) Continue? Meaning: The sample you are editing is used by other multisamples. To continue editing, press the OK button. Selected file/path is not correct • Use Link to connect any Index that you do not require, and then execute Divide. Source file is not 44100Hz or 48000Hz Can’t convert Meaning: When executing the Disk mode Utility page menu command Rate Convert, you selected a WAVE file of a sampling rate other than 44.1 kHz, 48 kHz.
Error and confirmation messages The system update has now been installed. To complete the process, you must now restart the OASYS. Please turn the power off, and then on again. Meaning: This will appear when you execute the Global P0 page menu command “Update System Software.” To complete the update, restart the system. Turn the power switch off, and then on again. U (Unable to create directory–USB Hub) This file is already loaded Meaning: When loading a divided .
Appendices Y (You) You can’t undo this operation Are you sure? Meaning: Once you enter event editing (even if you leave event editing without actually editing an event), it will no longer be possible to execute a Compare of the previous edit. If you wish to enter event editing, press the OK button. To cancel, press the Cancel button. You can’t undo last operation Are you sure? Meaning: When you exit recording or event editing in Sequencer mode, the memory area for Undo (Compare function) is not allocated.
Disk mode information AIFF and WAVE format details: importing Disk mode information AIFF and WAVE format details: importing AIFF files WAVE files When data is loaded into the OASYS, the following four chunks are referenced: Common chunk, Sound Data chunk, Marker chunk, and Instrument chunk. Other chunks are ignored. When loading, the OASYS references the Format Chunk, Sample Chunk, and Wave Data. Limitations are discussed below. Restrictions on the parameters in each chunk are described below.
Appendices About KORG format files KORG format file structure There are three types of sample-related Korg-format files: .KMP files for multisamples, .KSF files for samples, and .KSC files which handle the first two as a collection. Similar to the AIFF format, .KMP/.KSF files consist of chunks. Korg format file structure PCMGROUP.KSC PIANO.KMP PIANO.KMP Ac. Piano 4 RHODES.KMP SNARE_00.KSF PI0000.KSF Sample parameters Multisample parameters Sample data PI0000.KSF PI0001.
Disk mode information Pan (0–127 currently unused) [1 byte] Filter cutoff (–99…+99 currently unused) [1 byte] KSF filename (including period and extension) About KORG format files • Sample parameter chunk Chunk ID (‘SMP1’) [4 bytes] Chunk size (32) [4 bytes] Sample name [16 bytes] [12 bytes] × number of samples in the multisample If the .KSF filename is “SKIPPEDSAMPL”, it will be treated as a sample skipped during loading. Start address [4 bytes] 2nd start address [4 bytes] If the .
Appendices • Divided sample parameter chunk Chunk ID (‘SPD1’) [4 bytes] Chunk size (12) [4 bytes] The following up to the sample size is the same as in the SMD1 chunk Sampling frequency [4 bytes] Attributes [1 byte] Loop tune [1 byte] Number of channels [1 byte] Sample size [1 byte] Number of samples [4 bytes] Total number of samples in all divided files • Divided sample data chunk Chunk ID (‘SDD1’) [4 bytes] KSC (Korg SCript) files These files are text files which contain a list of filen
Disk mode information CD-R/RW disks on the OASYS: UDF and packet-writing CD-R/RW disks on the OASYS: UDF and packet-writing The OASYS lets you use CD-R/RW disks like you would a floppy disk or a removable hard disk. You can save individual files to a disk, over-write them, add new folders, and so on, without needing to “burn” an entire disk at once. CD-RW media It does so by using UDF (Universal Disk Format) version 1.5 and packet writing, as described below, as its native CD-R/RW data format.
Appendices CD-RW media CD-RW disks cannot be converted into ISO9660 format, and so they can only be read by devices or computers which support UDF and packet-writing. KORG devices which support ISO9660 format (level 1) • TRITON/TRITON pro/TRITON proX/TRITONRack (*1) • D1600/D12/D16/D1200mkII/D1600mkII/D16XD/ D32XD * As of January 2005 *1: Only the first session can be read. KORG devices which support UDF version 1.
Option boards/Memory/Calendar battery CD-R/RW disks on the OASYS: UDF and packet-writing Option boards/Memory/Calendar battery Please read this before you begin installation Safety precautions Warnings • Before installing an option, be sure to disconnect the power supply cable and the connecting cables to any peripheral devices. Failure to do so could cause electrical shock or may damage the device.
Appendices About option boards/memory/calendar battery You can expand the functionality of the OASYS by installing the following items. EXB-DI (Digital interface board) When the OASYS is turned on, the currently installed option boards will be shown in the LCD screen. After installing an option board, be sure to turn on the power and make sure that the option board that you installed is displayed in the LCD screen.
Option boards/Memory/Calendar battery Installing an option board/memory/calendar battery Installing an option board/memory/calendar battery Opening and closing the front panel You must read “Safety precautions” on page 1035 before you install anything. Be careful not to cut your hand on the hardware of the OASYS, option board, or memory module you are installing. 1. You will need a Phillips (+) screwdriver. 2. Place the OASYS on a level, stable surface. Calendar battery Memory 3.
Appendices Installing the EXB-DI 1. Open the front panel as described in “Opening and closing the front panel,” steps 1–6. 5. With the connectors of the EXB-DI protruding from the rear panel of the OASYS, support the EXB-DI with one hand and use the two screws you removed to fasten the EXB-DI from the rear of the OASYS. EXB-DI 2. Remove the EXB-DI from its bag. Be careful not to touch the contacts or the components. 3. Remove the two screws and washers from the two corners of the EXB-DI board 6.
Option boards/Memory/Calendar battery 3. Raise the cover to the angle shown in the following illustration; then pull out and remove it. Be careful not to drop the cover or screws inside the OASYS. Installing an option board/memory/calendar battery 6. Insert the memory module into the DIMM socket. Align the notch of the memory module with the divider inside the DIMM socket. Notch 4. Spread open the security latches at each end of the DIMM socket. Divider 7.
Appendices Installing the calendar battery 1. Open the front panel as described in steps 1–6 of “Opening and closing the front panel,” on page 1037. Tab Press 2. Remove the two screws from the memory/calendar battery cover. 5. Install the new battery. With the “+” side of the calendar battery facing upward, insert it into the battery holder at an angle, and press it into place. Memory/calendar battery cover 3.
Option boards/Memory/Calendar battery EXB-DI option EXB-DI option The EXB-DI option provides an ADAT™ Compatible Optical Output which digitally outputs the audio signal from the OASYS, and also allows the digital signal to be synchronized with another digital audio device. In this owner’s manual, “ADAT” is used as a general designation for ADAT compatible multi-track recorders such as the Alesis ADAT.
Appendices Updating the system 1. Downloading the system file The most recent system file can be downloaded to your computer from the Korg website (http://www.korg.com). For details on how to do this, refer to the Korg website. 2. Updating the system Before you begin updating the system, back up important data on external USB storage media. 1. Insert the CD-R/RW disc containing the system file into the CD-R/RW drive. 2. Access the Global P0– Basic Setup page.
Using the included Restore CDs to restore the system and factory sounds EXB-DI option Using the included Restore CDs to restore the system and factory sounds If for some reason the OASYS will not start up normally, or some other problem occurs, you can use the included set of Restore CDs to return the OASYS to its factory-preset state.
Appendices [ ] Restore OS and factory sounds If for some reason the OASYS will no longer start up normally, try this option first. It does the following: At start-up, the LCD display will show a “Public ID.” This is a unique identifier, like a very specific name; it is different for each and every OASYS. • Restores the system software on the internal hard drive. The Public ID is 16 characters long, and uses only the characters 0-9 and A-F.
Voice Name List Combinations INT-A # A000 A001 A002 A003 A004 A005 A006 A007 A008 A009 A010 A011 A012 A013 A014 A015 A016 A017 A018 A019 A020 A021 A022 A023 A024 A025 A026 A027 A028 A029 A030 A031 A032 A033 A034 A035 A036 A037 A038 A039 A040 A041 A042 A043 A044 A045 A046 A047 A048 A049 A050 A051 A052 A053 A054 A055 A056 A057 A058 A059 A060 A061 A062 A063 Name Particles & Waves WS Layer Keys Orchestra & Timpani Locale Five Always Watching You...
Voice Name List INT-B # B000 B001 B002 B003 B004 B005 B006 B007 B008 B009 B010 B011 B012 B013 B014 B015 B016 B017 B018 B019 B020 B021 B022 B023 B024 B025 B026 B027 B028 B029 B030 B031 B032 B033 B034 B035 B036 B037 B038 B039 B040 B041 B042 B043 B044 B045 B046 B047 B048 B049 B050 B051 B052 B053 B054 B055 B056 B057 B058 B059 B060 B061 B062 B063 Name Pure Attitude California Phase Shifter Alexander's Folk-Dance Wurly-Hop Split Motivation Grind and Bump Natural Str.
INT-C # C000 C001 C002 C003 C004 C005 C006 C007 C008 C009 C010 C011 C012 C013 C014 C015 C016 C017 C018 C019 C020 C021 C022 C023 C024 C025 C026 C027 C028 C029 C030 C031 C032 C033 C034 C035 C036 C037 C038 C039 C040 C041 C042 C043 C044 C045 C046 C047 C048 C049 C050 C051 C052 C053 C054 C055 C056 C057 C058 C059 C060 C061 C062 C063 Name Summer Anthem EXs1 Electus Grandus EXs1 Velo Dynamic Orch.
Voice Name List Programs Bank INT-A [HD-1] # A000 A001 A002 A003 A004 A005 A006 A007 A008 A009 A010 A011 A012 A013 A014 A015 A016 A017 A018 A019 A020 A021 A022 A023 A024 A025 A026 A027 A028 A029 A030 A031 A032 A033 A034 A035 A036 A037 A038 A039 A040 A041 A042 A043 A044 A045 A046 A047 A048 A049 A050 A051 A052 A053 A054 A055 A056 A057 A058 A059 A060 A061 A062 A063 S D D D d D D D D D D S D S D S S D S D d D S D D D D D D D D S D D D D d D S D D D D D D D D D D D D D d D D D S D D d D D D D Name OASYS
Bank INT-B [HD-1] # B000 B001 B002 B003 B004 B005 B006 B007 B008 B009 B010 B011 B012 B013 B014 B015 B016 B017 B018 B019 B020 B021 B022 B023 B024 B025 B026 B027 B028 B029 B030 B031 B032 B033 B034 B035 B036 B037 B038 B039 B040 B041 B042 B043 B044 B045 B046 B047 B048 B049 B050 B051 B052 B053 B054 B055 B056 B057 B058 B059 B060 B061 B062 B063 S D D D d D D D D D D S D D D D S D S D d D D D D D D D D S S D D D D D d D D D D D D D D D D D D D S D d D D D D D D D D D D D Name 3 Way Stereo Grand Benny's Bounce
Voice Name List Bank INT-C [HD-1] # C000 C001 C002 C003 C004 C005 C006 C007 C008 C009 C010 C011 C012 C013 C014 C015 C016 C017 C018 C019 C020 C021 C022 C023 C024 C025 C026 C027 C028 C029 C030 C031 C032 C033 C034 C035 C036 C037 C038 C039 C040 C041 C042 C043 C044 C045 C046 C047 C048 C049 C050 C051 C052 C053 C054 C055 C056 C057 C058 C059 C060 C061 C062 C063 D D D D d D S D D D D D D D D D D D D D d D D D D D D D D D S D D D S D D D S D D D D S D D S D D D S D d S D D S D D S S S D S Name Stereo Concert Pi
Bank INT-D [HD-1] # D000 D001 D002 D003 D004 D005 D006 D007 D008 D009 D010 D011 D012 D013 D014 D015 D016 D017 D018 D019 D020 D021 D022 D023 D024 D025 D026 D027 D028 D029 D030 D031 D032 D033 D034 D035 D036 D037 D038 D039 D040 D041 D042 D043 D044 D045 D046 D047 D048 D049 D050 D051 D052 D053 D054 D055 D056 D057 D058 D059 D060 D061 D062 D063 D D D D d D D D D D D D D D D D D S D D d D S D D D D D D D D S D D D D d D D D D D D D D D D D D D S D d D D D D D D D D D S D Name Classic Piano Knob6 BPM Ribbon Tr
Voice Name List Bank INT-E [HD-1] EXs1 # E000 E001 E002 E003 E004 E005 E006 E007 E008 E009 E010 E011 E012 E013 E014 E015 E016 E017 E018 E019 E020 E021 E022 E023 E024 E025 E026 E027 E028 E029 E030 E031 E032 E033 E034 E035 E036 E037 E038 E039 E040 E041 E042 E043 E044 E045 E046 E047 E048 E049 E050 E051 E052 E053 E054 E055 E056 E057 E058 E059 E060 E061 E062 E063 D D D D d D D D D D D S D D D D D D D D d D D D D D D S D S D D D D D D d d D D D D S S D D d D S D D D d D D D D d D D D D D D Name OASYS Pia
Bank INT-F [EXi] # F000 F001 F002 F003 F004 F005 F006 F007 F008 F009 F010 F011 F012 F013 F014 F015 F016 F017 F018 F019 F020 F021 F022 F023 F024 F025 F026 F027 F028 F029 F030 F031 F032 F033 F034 F035 F036 F037 F038 F039 F040 F041 F042 F043 F044 F045 F046 F047 F048 F049 F050 F051 F052 F053 F054 F055 F056 F057 F058 F059 F060 F061 F062 F063 EXi1/2 A/A A/A A/A A/A A/A A/A A/A A/A A/A/A A/A A/A A/A A/A A/A/A/A/A/A A/A/A A/A A/A A/A A/A A/A/A/A A/A/A A/A A/A A/A A/A A/A A/A/A A/A/A A/A A/A A/A A/A A/A/A/A/A/A/A/A
Voice Name List Bank USER-D [EXi] LAC-1 # D000 D001 D002 D003 D004 D005 D006 D007 D008 D009 D010 D011 D012 D013 D014 D015 D016 D017 D018 D019 D020 D021 D022 D023 D024 D025 D026 D027 D028 D029 D030 D031 D032 D033 D034 D035 D036 D037 D038 D039 D040 D041 D042 D043 D044 D045 D046 D047 D048 D049 D050 D051 D052 D053 D054 D055 D056 D057 D058 D059 D060 D061 D062 D063 EXi1/2 P6/MS MS/P6/MS/P6/P6/P6/MS/A MS/P6 P6/MS/C P6/MS/P6/P6/MS/P6/MS/P6/MS/P6/P6/MS/MS/MS/MS/P6/MS/MS/MS/MS/P6 P6/MS MS/P6 MS/P6/P6 P6/P6/P6/P6/P6
Bank USER-E [EXi] # E000 E001 E002 E003 E004 E005 E006 E007 E008 E009 E010 E011 E012 E013 E014 E015 E016 E017 E018 E019 E020 E021 E022 E023 E024 E025 E026 E027 E028 E029 E030 E031 E032 E033 E034 E035 E036 E037 E038 E039 E040 E041 E042 E043 E044 E045 E046 E047 E048 E049 E050 E051 E052 E053 E054 E055 E056 E057 E058 E059 E060 E061 E062 E063 EXi1/2 S/S S/S S/S/S S/S/S/S/S/S/S/S/A S/S/S/S/A S/S/S/S/S S/S/S S/S S/S S/S S/S/S/S/S S/S S/S/S S/S/S/S/S S/S/S S/S/S S/S S/S S/S/S/S S/S/S S/S S/S S/S/S S/S S/S S/S/S S/
Voice Name List Bank USER-F [EXi] # F000 F001 F002 F003 F004 F005 F006 F007 F008 F009 F010 F011 F012 F013 F014 F015 F016 F017 F018 F019 F020 F021 F022 F023 F024 F025 F026 F027 F028 F029 F030 F031 F032 F033 F034 F035 F036 F037 F038 F039 F040 F041 F042 F043 F044 F045 F046 F047 F048 F049 F050 F051 F052 F053 F054 F055 F056 F057 F058 F059 F060 F061 F062 F063 EXi1/2 C/C/C/C/C/C/C C/C/C/C/C/C/C/C/C C/C C/C/C/C/C/C/C/C/C/C/C/C/C/C/C/C/C/C/C/C/C C/C C/C C/C C/C/C/C/C/C/C/C/C/C C/C/C/C C/C/A/A A/A A/A A/A A/A A/A A
Bank G / g(1)…g(9) / g(d) # GM001 g(1)001 g(2)001 GM002 g(1)002 GM003 g(1)003 GM004 g(1)004 GM005 g(1)005 g(2)005 g(3)005 GM006 g(1)006 g(2)006 g(3)006 g(4)006 GM007 g(1)007 g(2)007 g(3)007 GM008 g(1)008 GM009 GM010 GM011 GM012 g(1)012 GM013 g(1)013 GM014 GM015 g(1)015 g(2)015 GM016 GM017 g(1)017 g(2)017 g(3)017 GM018 g(1)018 g(2)018 GM019 GM020 g(1)020 g(2)020 GM021 g(1)021 GM022 g(1)022 GM023 GM024 GM025 g(1)025 g(2)025 g(3)025 GM026 g(1)026 g(2)026 g(3)026 GM027 g(1)027 GM028 S S S S S S S D D S D D S S
Voice Name List # GM061 g(1)061 GM062 g(1)062 GM063 g(1)063 g(2)063 g(3)063 GM064 g(1)064 g(2)064 GM065 GM066 GM067 GM068 GM069 GM070 GM071 GM072 GM073 GM074 GM075 GM076 GM077 GM078 GM079 GM080 GM081 g(1)081 g(2)081 GM082 g(1)082 g(2)082 g(3)082 g(4)082 GM083 GM084 GM085 g(1)085 GM086 GM087 GM088 g(1)088 GM089 GM090 g(1)090 GM091 GM092 g(1)092 GM093 GM094 GM095 GM096 GM097 GM098 GM099 g(1)099 GM100 GM101 GM102 GM103 g(1)103 g(2)103 GM104 GM105 g(1)105 GM106 GM107 S D S D D D D D S D D S S S S S S S S S S
Drum Kits Bank USER-A [HD–1] EXs2 # A000 A001 A002 A003 A004 A005 A006 A007 A008 A009 A010 D D D D D D D D Name OASYS Piano EXs2 St.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters. # 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 389 390 391 392 393 394 395 396 397 398 399 400 401 402 403 404 405 406 407 408 409 410 411 412 413 414 415 416 417 418 419 420 421 422 423 424 425 426 427 428 429 430 431 GE Name E.Piano 06 E.Piano 07 E.Piano 08 E.Piano Chord 1 E.Piano Police E.Piano Riff Express Piano F.
[ ] = can be controlled or changed by GE Parameters. # GE Name RTC Model 432 433 434 435 436 437 438 439 440 441 442 443 444 445 446 447 448 449 450 451 452 453 454 455 456 457 458 459 460 461 462 463 464 465 466 467 468 469 470 471 472 473 474 475 476 477 478 479 480 481 482 483 484 485 486 487 488 489 490 491 492 493 494 495 496 497 498 499 500 501 502 503 504 505 Vox Oasis 1234 Organ Shuffle 3/4 Piano Phrase 4tone Ride 80's Stereo Riff A.
[ ] = can be controlled or changed by GE Parameters. # GE Name RTC Model 506 507 508 509 510 511 512 513 514 515 516 517 518 519 520 521 522 523 524 525 526 527 528 529 530 531 532 533 534 535 536 537 538 539 540 541 542 543 544 545 546 547 548 549 550 551 552 553 554 555 556 557 558 559 560 561 562 563 564 565 566 567 568 569 570 571 572 573 574 575 576 577 578 579 Indian Riff Indian Stars Jazz Club (nnnNice...
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters. # 872 873 874 875 876 877 878 879 880 881 882 883 884 885 886 887 888 889 GE Name Synth-Bass Thang Tagadah Orch. 1 Tagadah Orch.
[ ] = can be controlled or changed by GE Parameters. # 942 943 944 945 946 947 948 949 950 951 952 953 954 955 956 957 958 959 960 961 962 963 964 965 966 967 968 969 GE Name WhackWah 1 16 Strum Oct 7/8 Strum 8/16 Strum 8th Note Jazz Gtr Strum Bossa Guitar 2 Chorus E.Guit Do the Funky Slide Dotted 16 Strum E.G.
[ ] = can be controlled or changed by GE Parameters. # GE Name RTC Model 1012 1013 1014 1015 1016 1017 1018 1019 1020 1021 1022 1023 1024 1025 1026 1027 1028 1029 1030 1031 1032 1033 1034 Frets Riff Pick 2 Fun with Dist Gtrs HOLD! Funk Guitar Riff Funk Guitar Riff WS G. Strum (random) GTR Dist.
[ ] = can be controlled or changed by GE Parameters. # 1082 1083 1084 1085 1086 1087 1088 1089 1090 1091 1092 1093 1094 1095 1096 1097 1098 1099 1100 1101 1102 1103 1104 1105 1106 1107 1108 1109 1110 1111 1112 1113 1114 1115 1116 1117 1118 1119 1120 1121 1122 1123 1124 1125 1126 1127 1128 1129 1130 1131 1132 1133 1134 1135 1136 1137 1138 1139 1140 1141 1142 1143 1144 1145 1146 1147 1148 1149 1150 1151 1152 1153 1154 1155 GE Name E.BassLine 07 E.BassLine 08 Electro Bass 1 F.BassLine 1 F.BassLine 2 F.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters. # GE Name 1741 1742 1743 1744 1745 1746 1747 1748 1749 1750 1751 1752 1753 1754 1755 1756 1757 1758 1759 1760 1761 1762 1763 1764 1765 1766 1767 1768 1769 1770 1771 1772 1773 1774 1775 1776 1777 1778 1779 1780 1781 1782 1783 1784 1785 1786 1787 1788 1789 1790 1791 1792 1793 1794 1795 1796 1797 1798 1799 1800 1801 1802 1803 1804 1805 1806 1807 1808 1809 1810 1811 1812 1813 1814 Sparse R&B [All Kits] SqGarage [All Kits] Std.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters.
[ ] = can be controlled or changed by GE Parameters. # GE Name 1963 1964 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 Dramatic 2 [Orch&Ethnic Kit] Dramatic 3 [Orch&Ethnic Kit] Dramatic 4 [Orch&Ethnic Kit] Dramatic 5 [Orch&Ethnic Kit] Drum Fills [All Kits] Drum Roller [All Kits] Mega Drum Hit MilitaryMarch [Orch&Ethnic Kit] Olde Celtic [Cuban Perc Kit] Orch Army [Orch&Ethnic Kit] Orch. Bs &Sn [Orch&Ethnic Kit] Orch.
[ ] = can be controlled or changed by GE Parameters.
KARMA RTC Names # 000 001 002 003 004 005 006 007 008 009 010 011 012 013 014 015 016 017 018 019 020 021 022 023 024 025 026 027 028 029 030 031 032 033 034 035 036 037 038 039 040 041 042 043 044 045 046 047 048 049 050 051 052 053 054 055 056 057 058 059 060 061 062 063 064 065 066 067 068 069 070 071 072 073 074 075 076 Name [no name] Alternate Drum Map Alternate DrumMap On/Off Arp<->Gated<->Fixed Arpeggio<->Gated Auto Transpose On Bend (Note) On/Off Bend Alternation Bend Always Even If Zero Bend Amoun
# 311 312 313 314 315 316 317 318 319 320 321 322 323 324 325 326 327 328 329 330 331 332 333 334 335 336 337 338 339 340 341 342 343 344 345 346 347 348 349 350 351 352 353 354 355 356 357 358 359 360 361 362 363 364 365 366 367 368 369 370 371 372 373 374 375 376 377 378 379 380 381 382 383 384 385 386 387 388 1090 Name Note Pattern <-> Chord Note Pattern [1] Note Pattern [2] Note Pattrn<>Rand[1] Note Pattrn<>Rand[2] Note Pattrn<>Random Note Random Jump Note Random Jump[1] Note Random Jump[2] Note Rando
External Setups 000: NI Pro53 Controller Knob1 Knob2 Knob3 Name Filter Cutoff Filter Resonance Filter Env Amount Gilde CC# CC#099 CC#103 CC#079 SW1 SW2 SW3 Controller Name CC# Filter High Pass Filter Env.
004: Subtractor (Reason) Controller Name CC# Controller Name CC# Controller Name Knob1 Knob2 Knob3 Knob4 Knob5 Knob6 Knob7 Knob8 Filter1 Cutoff Filter1 Resonance Filter2 Cutoff Filter2 Resonance Osc1 Phase Osc2 Phase FM Mix CC#074 CC#071 CC#079 CC#078 CC#093 CC#106 CC#108 CC#107 SW1 SW2 SW3 SW4 SW5 SW6 SW7 SW8 Osc2 On/Off Ring Mod On/Off Noise On/Off Filter Link Filter2 On/Off CC#094 CC#109 CC#081 CC#075 Off Off Off Off SW9 SW10 SW11 SW12 SW13 SW14 SW15 S
008: Redrum (Reason) 8-channel Editor Controller Name CC# Controller Knob1 Knob2 Knob3 Knob4 Knob5 Knob6 Knob7 Knob8 Drum1 Pitch Drum2 Pitch Drum3 Pitch Drum4 Pitch Drum5 Pitch Drum6 Pitch Drum7 Pitch Drum8 Pitch CC#051 CC#052 CC#053 CC#054 CC#055 CC#056 CC#057 CC#058 SW1 SW2 SW3 SW4 SW5 SW6 SW7 SW8 Name CC# Controller Off Off Off Off Off Off Off Off SW9 SW10 SW11 SW12 SW13 SW14 SW15 SW16 Name CC# Controller Name CC# Off Off Off Off Off Off Off Off
012: Legacy MS-20 Controller Knob1 Knob2 Knob3 Knob4 Knob5 Knob6 Knob7 Knob8 Name VCO1 Waveform VCO1 Level VCO2 Waveform VCO2 Level HPF Cutoff HPF Peak LPF Cutoff LPF Peak CC# CC#077 CC#020 CC#082 CC#021 CC#028 CC#029 CC#74 CC#071 SW1 SW2 SW3 SW4 SW5 SW6 SW7 SW8 Controller Name CC# Controller Off Off Off Off Off Off Off Off SW9 SW10 SW11 SW12 SW13 SW14 SW15 SW16 Name CC# Controller Name CC# Off Off Off Off Off Off Off Off Slider 1 Slider 2 Slide
016: 8-channel MIDI Mixer Controller Name CC# Controller Knob1 Knob2 Knob3 Knob4 Knob5 Knob6 Knob7 Knob8 Channel1 Pan Channel2 Pan Channel3 Pan Channel4 Pan Channel5 Pan Channel6 Pan Channel7 Pan Channel8 Pan CC#010 CC#010 CC#010 CC#010 CC#010 CC#010 CC#010 CC#010 SW1 SW2 SW3 SW4 SW5 SW6 SW7 SW8 Name CC# Controller Off Off Off Off Off Off Off Off SW9 SW10 SW11 SW12 SW13 SW14 SW15 SW16 Name CC# Controller Name CC# Off Off Off Off Off Off Off Off Slid
Multisamples ROM mono # 0000 0001 0002 0003 0004 0005 0006 0007 0008 0009 0010 0011 0012 0013 0014 0015 0016 0017 0018 0019 0020 0021 0022 0023 0024 0025 0026 0027 0028 0029 0030 0031 0032 0033 0034 0035 0036 0037 0038 0039 0040 0041 0042 0043 0044 0045 0046 0047 0048 0049 0050 0051 0052 0053 0054 0055 0056 0057 0058 0059 0060 0061 0062 0063 0064 0065 0066 0067 0068 0069 0070 0071 0072 0073 1096 Name Acoustic Piano 1 mf -L Acoustic Piano 1 mf -R Acoustic Piano 1 f -L Acoustic Piano 1 f -R Acoustic Piano 1
# 0308 0309 0310 0311 0312 0313 0314 0315 0316 0317 0318 0319 0320 0321 0322 0323 0324 0325 0326 0327 0328 0329 0330 0331 0332 0333 0334 0335 0336 0337 0338 0339 0340 0341 0342 0343 0344 0345 0346 0347 0348 0349 0350 0351 0352 0353 0354 0355 0356 0357 0358 0359 0360 0361 0362 0363 0364 0365 0366 0367 0368 0369 0370 0371 0372 0373 0374 0375 0376 0377 0378 0379 0380 0381 0382 0383 0384 0385 Name El.
# 0620 0621 0622 0623 0624 0625 0626 0627 0628 0629 0630 0631 0632 0633 0634 0635 0636 0637 0638 0639 0640 0641 0642 0643 0644 0645 0646 0647 0648 0649 0650 0651 0652 0653 0654 0655 0656 0657 0658 0659 0660 0661 0662 0663 0664 0665 0666 0667 0668 0669 0670 0671 0672 0673 0674 0675 0676 0677 0678 0679 0680 0681 0682 0683 0684 0685 0686 0687 0688 0689 0690 0691 0692 0693 0694 0695 0696 0697 1098 Name VS36 VS37 VS38 VS39 VS40 VS41 VS42 VS43 VS44 VS45 VS46 VS47 VS48 VS49 VS50 VS51 VS52 VS53 VS54 VS55 VS56 VS5
# 0932 0933 0934 0935 0936 0937 0938 0939 0940 0941 0942 0943 0944 0945 0946 0947 0948 0949 0950 0951 0952 0953 0954 0955 0956 0957 0958 0959 0960 0961 0962 0963 0964 0965 0966 0967 0968 0969 0970 0971 0972 0973 0974 0975 0976 0977 0978 0979 0980 0981 0982 0983 0984 0985 0986 0987 0988 0989 0990 0991 0992 0993 0994 0995 0996 0997 0998 0999 1000 1001 1002 1003 1004 1005 1006 1007 1008 1009 Name "Thuum" "Kaahh" "Tchh" "Pan" "Ti" "Cap" "Chhi" "Tinn" "Haaa" Glottal VS126 VS127 VS128 VS129 VS130 VS131 VS132 VS1
# 1244 1245 1246 1247 1248 1249 1250 1251 1252 1253 1254 1255 1256 1257 1258 1259 1260 1261 1262 1263 1264 1265 1266 1267 1268 1269 1270 1271 1272 1273 1274 1275 1276 1277 1278 1279 1280 1281 1282 1283 1284 1285 1286 1287 1288 1289 1290 1291 1292 1293 1294 1295 1296 1297 1298 1299 1300 1301 1302 1303 1304 1305 1306 1307 1308 1309 1310 1311 1312 1313 1314 1315 1316 1317 1318 1319 1320 1321 1100 Name Industry Hit 26 Industry Loop 1 Industry Loop 2 Industry Loop 3 Voice 01 Voice 02 Voice 03 Voice 04 Voice 05
EXs1 mono # 0000 0001 0002 0003 0004 0005 0006 0007 0008 0009 0010 0011 0012 0013 0014 0015 0016 0017 0018 0019 0020 0021 0022 0023 0024 0025 0026 0027 0028 0029 0030 0031 0032 0033 0034 0035 0036 0037 0038 0039 0040 0041 0042 0043 0044 0045 0046 0047 0048 0049 0050 0051 0052 0053 0054 0055 0056 0057 0058 0059 0060 0061 0062 0063 0064 0065 0066 0067 0068 0069 0070 0071 0072 0073 0074 0075 0076 Name Acoustic Piano 1 mp -L Acoustic Piano 1 mp -R Acoustic Piano 1 mp-mono Acoustic Piano 2 mf -L Acoustic Piano
Drumsamples ROM mono # 0000 0001 0002 0003 0004 0005 0006 0007 0008 0009 0010 0011 0012 0013 0014 0015 0016 0017 0018 0019 0020 0021 0022 0023 0024 0025 0026 0027 0028 0029 0030 0031 0032 0033 0034 0035 0036 0037 0038 0039 0040 0041 0042 0043 0044 0045 0046 0047 0048 0049 0050 0051 0052 0053 0054 0055 0056 0057 0058 0059 0060 0061 0062 0063 0064 0065 0066 0067 0068 0069 0070 0071 0072 0073 1102 Name BD-01-amb f BD-01-amb ff BD-02-amb mf BD-02-amb f BD-03-amb mf BD-03-amb f BD-04-amb mf BD-04-amb f BD-05-a
# 0308 0309 0310 0311 0312 0313 0314 0315 0316 0317 0318 0319 0320 0321 0322 0323 0324 0325 0326 0327 0328 0329 0330 0331 0332 0333 0334 0335 0336 0337 0338 0339 0340 0341 0342 0343 0344 0345 0346 0347 0348 0349 0350 0351 0352 0353 0354 0355 0356 0357 0358 0359 0360 0361 0362 0363 0364 0365 0366 0367 0368 0369 0370 0371 0372 0373 0374 0375 0376 0377 0378 0379 0380 0381 0382 0383 0384 0385 Name SD-Dance 61 SD-Dance 62 SD-Dance 63 SD-Dance 64 SD-Dance 65 SD-Dance 66 SD-Dance 67 SD-Dance 68 SD-Dance 69 SD-Dan
# 0620 0621 0622 0623 0624 0625 0626 0627 0628 0629 0630 0631 0632 0633 0634 0635 0636 0637 0638 0639 0640 0641 0642 0643 0644 0645 0646 0647 0648 0649 0650 0651 0652 0653 0654 0655 0656 0657 0658 0659 0660 0661 0662 0663 0664 0665 0666 0667 0668 0669 0670 0671 0672 0673 0674 0675 0676 0677 0678 0679 0680 0681 0682 0683 0684 0685 0686 0687 0688 0689 0690 0691 0692 0693 0694 0695 0696 0697 1104 Name Bongo 1 Lo-Closed Bongo 1 Lo-Flam Bongo 1 Lo-MuffledFlam Bongo 1 Lo-Stick Bongo 1 Lo-StickEdge mf Bongo 1 Lo
# 0932 0933 0934 0935 0936 0937 0938 0939 0940 0941 0942 0943 0944 0945 0946 0947 0948 0949 0950 0951 0952 0953 0954 0955 0956 0957 0958 0959 0960 0961 0962 0963 0964 0965 0966 0967 0968 0969 0970 0971 0972 0973 0974 0975 0976 0977 0978 0979 0980 0981 0982 0983 0984 0985 0986 0987 0988 0989 0990 0991 0992 0993 0994 0995 0996 0997 0998 0999 1000 1001 1002 1003 1004 1005 1006 1007 1008 1009 Name Jew's Harp 03 Jew's Harp 04 Jew's Harp 05 Jew's Harp 06 Jew's Harp 07 Jew's Harp 08 Jew's Harp 09 Jew's Harp 10 Je
# 1244 1245 1246 1247 1248 1249 1250 1251 1252 1253 1254 1255 1256 1257 1258 1259 1260 1261 1262 1263 1264 1265 1266 1267 1268 1269 1270 1271 1272 1273 1274 1275 1276 1277 1278 1279 1280 1281 1282 1283 1284 1285 1286 1287 1288 1289 1290 1291 1292 1293 1294 1295 1296 1297 1298 1299 1300 1301 1302 1303 1304 1305 1306 1307 1308 1309 1310 1311 1312 1313 1314 1315 1316 1317 1318 1319 1320 1321 1106 Name Machine Gun Laser Gun Cannon 1 Cannon 2 Cannon 3 Explosion Thunder Wind Stream Bubble ChurchBell Old Telepho
# 0155 0156 0157 0158 0159 0160 0161 0162 0163 0164 0165 0166 0167 0168 0169 0170 0171 0172 0173 0174 0175 0176 0177 0178 0179 0180 0181 0182 0183 0184 0185 0186 0187 0188 0189 0190 0191 0192 0193 0194 0195 0196 0197 0198 0199 0200 0201 0202 0203 0204 0205 0206 0207 0208 0209 0210 0211 0212 0213 0214 0215 0216 0217 0218 0219 0220 0221 0222 0223 0224 0225 0226 0227 0228 0229 0230 0231 0232 Name SD-08-dry f -L SD-08-dry f -R SD-08-dry ff -L SD-08-dry ff -R SD-09-dry mp -L SD-09-dry mp -R SD-09-dry mf -L SD-0
# 0467 0468 0469 0470 0471 0472 0473 0474 0475 0476 0477 0478 0479 0480 0481 0482 0483 0484 0485 0486 0487 0488 0489 0490 0491 0492 0493 0494 0495 0496 0497 0498 0499 0500 0501 0502 0503 0504 0505 0506 0507 0508 0509 0510 0511 0512 0513 0514 0515 0516 0517 0518 0519 0520 0521 0522 0523 0524 0525 0526 0527 0528 0529 0530 0531 0532 0533 0534 0535 0536 0537 0538 0539 0540 0541 0542 0543 0544 1108 Name Tom Rock1-dry Lo ff -L Tom Rock1-dry Lo ff -R Tom Rock1-dry Mid mp -L Tom Rock1-dry Mid mp -R Tom Rock1-dry
# 0779 0780 0781 0782 0783 0784 0785 0786 0787 0788 0789 0790 0791 0792 0793 0794 0795 0796 0797 0798 0799 0800 0801 0802 0803 0804 0805 0806 0807 0808 0809 0810 0811 0812 0813 0814 0815 0816 0817 0818 0819 0820 0821 0822 0823 0824 0825 0826 0827 0828 0829 0830 0831 0832 0833 0834 0835 0836 0837 0838 0839 0840 0841 0842 0843 0844 0845 0846 0847 0848 0849 0850 0851 0852 0853 0854 0855 0856 Name Conga Hi-Open mf -L Conga Hi-Open mf -R Conga Hi-Open f -L Conga Hi-Open f -R Conga Hi-OpenFlam -L Conga Hi-OpenFl
# 1091 1092 1093 1094 1095 1096 1097 1098 1099 1100 1101 1102 1103 1104 1105 1106 1107 1108 1109 1110 1111 1112 1113 1114 1115 1116 1117 1118 1119 1120 1121 1122 1123 1124 1125 1126 1127 1128 1129 1130 1131 1132 1133 1134 1135 1136 1137 1138 1139 1140 1141 1142 1143 1144 1145 1146 1147 1148 1149 1150 1151 1152 1153 1154 1155 1156 1157 1158 1159 1160 1161 1162 1163 1164 1165 1166 1167 1168 1110 Name Shaker 1-Pull a -R Shaker 1-Pull b -L Shaker 1-Pull b -R Shaker 1-Accent a -L Shaker 1-Accent a -R Shaker 1-
# 1403 1404 1405 1406 1407 1408 1409 1410 1411 1412 1413 1414 1415 1416 1417 1418 1419 1420 1421 1422 1423 1424 1425 1426 1427 1428 1429 1430 1431 1432 1433 1434 1435 1436 1437 1438 1439 1440 1441 1442 1443 1444 1445 1446 1447 1448 1449 1450 1451 1452 1453 1454 1455 1456 1457 1458 1459 1460 1461 1462 1463 1464 1465 1466 1467 1468 1469 1470 1471 1472 1473 1474 1475 1476 1477 1478 1479 1480 Name Vocoder Voice 27 "Four" Vocoder Voice 28 Vocoder Voice 29 PC Voice 1-06 "One" PC Voice 1-07 "Three" PC Voice 1-08
# 0229 0230 0231 0232 0233 0234 0235 0236 0237 0238 0239 0240 0241 0242 0243 0244 0245 0246 0247 0248 0249 0250 0251 0252 0253 0254 0255 0256 0257 0258 0259 0260 0261 0262 0263 0264 0265 0266 0267 0268 0269 0270 0271 0272 0273 0274 0275 0276 0277 0278 0279 0280 0281 0282 0283 0284 0285 0286 0287 0288 0289 0290 0291 0292 0293 0294 0295 0296 0297 0298 0299 0300 0301 0302 0303 0304 0305 0306 1112 Name Tom Vintage Hi ff Tom Rock1-dry Lo mp Tom Rock1-dry Lo mf Tom Rock1-dry Lo f Tom Rock1-dry Lo ff Tom Rock1-d
# 0541 0542 0543 0544 0545 0546 0547 0548 0549 0550 0551 0552 0553 0554 0555 0556 0557 0558 0559 0560 0561 0562 0563 0564 0565 0566 0567 0568 0569 0570 0571 0572 0573 0574 0575 0576 0577 0578 0579 0580 0581 0582 0583 0584 0585 0586 0587 0588 0589 0590 0591 0592 0593 0594 0595 0596 0597 0598 0599 0600 0601 0602 0603 0604 0605 0606 0607 0608 0609 0610 0611 0612 0613 0614 0615 0616 0617 0618 Name Shaker 1-Accent b Shaker 1-Slow a Shaker 1-Slow b Shaker 1-Slow c Shaker 1-Roll a Shaker 1-Roll b Shaker 1-Roll c
Wave Sequences INT # INT000 INT001 INT002 INT003 INT004 INT005 INT006 INT007 INT008 INT009 INT010 INT011 INT012 INT013 INT014 INT015 INT016 INT017 INT018 INT019 INT020 INT021 INT022 INT023 INT024 INT025 INT026 INT027 INT028 INT029 INT030 INT031 INT032 INT033 INT034 INT035 INT036 INT037 INT038 INT039 INT040 INT041 INT042 INT043 INT044 INT045 INT046 INT047 INT048 INT049 INT050 INT051 INT052 INT053 INT054 INT055 INT056 INT057 INT058 INT059 INT060 INT061 INT062 INT063 INT064 INT065 INT066 INT067 INT068 INT069 I
Preset Patterns # P000 P001 P002 P003 P004 P005 P006 P007 P008 P009 P010 P011 P012 P013 P014 P015 P016 P017 P018 P019 P020 P021 P022 P023 P024 P025 P026 P027 P028 P029 P030 P031 P032 P033 P034 P035 P036 P037 P038 P039 P040 P041 P042 P043 P044 P045 P046 P047 P048 P049 P050 P051 P052 P053 P054 P055 P056 P057 P058 P059 P060 P061 P062 P063 P064 P065 P066 P067 P068 P069 Name (Pattern/Drum kit) Pop&Balad 1/Std Pop&Balad 2/Std Pop&Balad 3/Std Pop&Balad 4/Std Pop&Balad 5/Std Pop&Balad 6/Std Pop&Balad 7/Std Pop&Bal
Demo Songs 0. Sinfonia Russe EXs1 1. Love Embraces All EXs1 2. TEKNOSYS EXs1 3. Night On The Town 4. Primitive Song 00 “Sinfonia Russe EXs1” Song 02 “TEKNOSYS EXs1” by Peter Schwartz ©2005 Peter Schwartz - all rights reserved Song 01 “Love Embraces All EXs1” by Rogers Benjamin Dowling ©2005 Visionsound Music (www.visionsound.
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.
