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KORG Pa800 1.60 Advanced Edit Manual (E4)

Contents

1. Release c Polarity This inverts the polarity of the gate on off operation With the setting the gate will close when the input signal exceeds the specified level The direction in which the modulation source opens or closes the gate will also be reversed e Delay Time msec This sets the delay time for the input to the gate When using shorter Attack Time settings you can lengthen the Delay Time so that the sound is input after the gate opens 48 Effects EQ and Filters EQ Filter EQ and Filters EQ Filter 006 St Parametric4EQ Stereo Parametric 4 Band EQ This is a stereo 4 band parametric equalizer You can select peak ing type or shelving type for Band 1 and 4 The gain of Band 2 can be controlled by dynamic modulation Stereo In Stereo Out Left o gt o Bandi Band2 Band3 Band4 FX Amt PEQ PEQ PEQ PEQ f gt N Tin lea HEQ i A LEQ i uto Tim ft FH oH LHS PEQ fPEQ PEQ PEQ o FX Amt Trim 0 100 Sets the input level Peaking Shelving Low Band Type Selects the type of Band 1 Peaking Shelving Band4 Type High Selects the type of Band 4 Band2 Dynamic Gain Src Amt dB Selects the modulation source of Oft Tempo the Band 2 gain Sets the modulation amount of
2. FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out pii Em FX Amt Routing Routing mi Compressor Y wx Compressor Y wx Overdrive Hi EQ Trim LEQ HEQ 2 3 Band PEQ gt H C H comp 2 Amp Simulation Filter t Comp Driver LOA ANI i Output Level Output Level H Output Level FX Amt fff Mode Overdrive Hi Gain Drive Right i Right i a 9 f Pu Amt gt Envelope Control Envelope Control COMPRESSOR d Sensitivity Sets the sensitivity C a Sensitivity 1 100 Sets the sensitivity C Attack Sets the attack level Output Level Sets the compressor output level b ClAttack 1 100 Sets the attack level Output Level 0 100 Sets the compressor output level C EQ Trim Sets the EQ input level OD HI GAIN C Pre LEQ Gain dB Sets the gain of Low EQ Pre HEQ Gain dB Sets the gain of High EQ O Drive Mode Overdrive Hi Gain Switches between overdrive and high gain distortion Drive 1 100 Sets the degree of distortion P SIM A Amplifier Type SS EL84 6L6 Selects the type of guitar amplifier Routing FX Amount Switches the order of the compressor and amp simulation Amount of FX added to the direct signal Src Table Dynamic Modulation sources on page 4
3. Ratio Inf 1 Attack 100 Release 100 f Trigger Monitor Setting this parameter On will cause the trigger signal to be out put instead of the effect sound Use this parameter to check the trigger signal with EQ applied Usually set this to Off f Side PEQ Insert g Side PEQ Cutoff Hz g Q g Gain dB These parameters are used to set the EQ applied to the trigger signal The Limiter determines whether the compression is applied or not based on the post EQ trigger signal Setting the equalizer allows you to set the Limiter to respond to any frequency band 46 Effects Dynamics Dynamic 003 Multiband Limiter This effect applies the Limiter to the low range mid range and high range of the input signal You can control dynamics for each range to adjust the sound pressure of the low range mid range and high range in a different way from the EQ 004 St MasteringLimtr Stereo Mastering Limiter This is a stereo limiter that is optimized for mastering songs Stereo In Stereo Out
4. Left gt o T FX Amt i Out Ceiling f FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out i gt Limiter gx Left o gt d H 7 Band Pass Filters TXcAmt i i dim Envelope Ganra AAN F Limiter 1 X Gf Envelope Control i rae und L gt Limiter it PDAS s Dieet Limiter Out Ceiling gt F ein just Fights i Mid Offset an maons __ Limiter DS High Offset Righte go o FX AME Threshold 30 0 0 0 Sets the level above which the dB 0 0 compressor is applied Out Ceiling 1 0 1 50 0 dB 30 0 0 0 Sets the signal compression Ratio A 1 ratio Sets the output gain Release msec 0 50 1000 0 Sets the release time Threshold s 40 0 Sets the level above which the compressor is applied Sets the attack time Release Sets the release time Low Offset Gain of the low range trigger dB signal Mid Offset Gain of the mid range trigger dB signal Amount of FX added to the FX Amount direct signal 0 100 Attack 1 100 Table Dynamic Modulation sources on page 43 Amount of modulation source Src Off Tempo 100 100 High Offset 40 0 M Gain of the high range trigger signal Gain Adjust Inf dB 38 424 Sets the output gain Src Off Tempo Selects the modulation source for the output gain Amt 63 63 Sets the modul
5. C Sets the modulation amount of 5 o 63 uio Amt 100 100 the tremolo modulation depth i w me j i aci Amount of FX added to the D ED s FX Amount 0 100 direct signal qu Gy i Table Dynamic Modulation py a ED lt fin Src Off Tempo sources on page 43 Ripe c i i Le B i 100 4100 Amount of modulation source Me output Steves TS a Type a LFO Phase degree Select the type of phaser LFO and tremolo LFO for the Type 047 St Phaser Trml parameter How the effect sound moves or rotates depends on the type of LFO Selecting LFO Phase enables you to offset the Stereo Phaser Tremolo timing of the phaser peak and control a subtle movement and This effect combines a stereo phaser and tremolo with linked rotation of the sound LFOs Swelling phaser modulation and tremolo effects synchro nize with each other creating a soothing modulation effect par f Phaser Wet Dry ticularly suitable for electric piano Left o Stereo In Stereo Out Right e Resonance gt o FX Amt Tremolo Phaser FX Amt Phaser 5 NE PhaserFXAmt i T gt Tremolo LA Be o FX Amt J CLE Shape LFO Phase degree LFO Phase Phs Trml Phs LR Trml LR Selects the type of the tremolo and phaser LFOs Phaser Tremolo
6. Effects 81 Delay 060 St AutoPanningDly 061 Tape Echo Stereo Auto Panning Delay This effect simulates a tape echo unit with three playback heads This stereo delay effect pans the delay sound left and right using The distortion and tonal change typical of magnetic tape are also the LFO reproduced Stereo In Stereo Out FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o Lette fs Amt High Damp Low Dam 3 m N P un i r1 Feedback i 5 T a i zt ire Amt ol A Delay ALL N P lsanagion TN A pea Trim Pre Tone High Low Damp mmn o i FX Amt Right LFO Tri Sin LFO Shape Delay Tap1 Sets the delay time tap1 L Delay Time g og 1360 9 Sets the delay time for the left msec msec un s channel Off Tempo Selects the modulation source of Src the delay time Sets the feedback amount for L Feedback 100 100 theleftchannel z Amt 2700 Sets the modulation amount of R Delay Time 9 1369 9 Sets the delay time for the right 42700 delay time msec channel m Sets the position of Tap 2 R Feedback 100 4100 Sets the feedback amount for Iis Position o 199 relative io the Tap 1 delay time the right channel the depth of pitch variation High Damp o 490 Sets the damping am
7. Stereo In Stereo Out zum Righto Envelope Sens Envelope 0 100 Sets the envelope s sensitivity to Sens s the input signal Envelope Shape LFO Triangle Waveform Sine Vintage 100 100 Sets the envelope s curvature Selects the LFO Waveform Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right LFO Shape 100 100 LFO Phase degree LFO Frequency Hz 180 180 0 02 20 00 Sets the speed of the LFO Sets the amount added to or subtracted from the Frequency when the envelope is at maximum Envelope 20 00 Amount Hz 20 00 Sets the initial amount of tremolo Sets the amount added to or subtracted from the Depth when the envelope is at maximum Amount of FX added to the direct signal Depth 0 100 Envelope Amount 100 100 FX Amount 0 100 Table Dynamic Modulation Src Off Tempo sources on page 43 Amount of modulation source 100 100 d LFO Frequency Hz d Envelope Amount Hz e Depth e Envelope Amount The graphic below shows an example of tremolo modulation with negative modulation of both Depth and Frequency At the start of the note the input is at maximum volume This slows down the LFO Frequency to 1 0Hz but also modulates the Depth to 0 so the tremolo doesn t have any
8. OrigNote Original Note Original pitch of the sampled note While this parameter has no effect on sound it will be useful to identify the original pitch of the sample and when assigning a sample to the multisample For example if you sample a C4 set this parameter to C4 When the sample will be assigned to a keyboard zone of the mul tisample it will be transposed if needed according to this parameter to avoid a change of the original pitch Zoom Use these buttons to change the size of the waveform shown in the diagram When a button is greyed out it means the maxi mum or minimum value has been reached Increase the vertical size Decrease the vertical size Increase the horizontal size Decrease the horizontal size 22 Full zoom in aa Full zoom out 32 Sampling operating mode Sampling Loop Edit Changing the sample length and finding good sounding loop points To adjust the sample length and loop points check the Loop On parameter then use the Start Loop Start and End parameters to create a fine sounding cycling loop For example you may have sampled an audio groove of an exceeding length Use the End parameter to cut the exceeding portion at the end of the sample and adjust the starting point of the loop using the Start or Loop Start parameters Usually checking the Snap to Zero parameter is a big help to avoid the loop clicks due to level mi
9. SI Slope Time Swing and RI Release Time When AMS1 T is Velocity positive values will cause EG times to lengthen as you play more strongly and negative values will cause EG times to shorten as you play more strongly With a setting of 0 the EG times will be as specified by the Level parameters see page 19 At Attack Time Swing This parameter specifies the direction of the effect that AMS1 will have on Attack With positive values of Intensity set ting this parameter to will allow AMSI to lengthen the time and setting it to will allow AMSI to shorten the time With a setting of 0 there will be no effect Dc Decay Time Swing This parameter specifies the direction of the effect that AMS1 will have on Decay With positive values of Intensity set ting this parameter to will allow AMSI to lengthen the time and setting it to will allow AMSI to shorten the time With a setting of 0 there will be no effect SI Slope Time Swing This parameter specifies the direction of the effect that AMS1 will have on Slope With positive values of Intensity set ting this parameter to will allow AMSI to lengthen the time and setting it to will allow AMSI to shorten the time With a setting of 0 there will be no effect RI Release Time This parameter specifies the direction of the effect that AMS1 will have on
10. Sets the number of notes to Times x specify the delay time for the Low Damp panning speed 96 Panning i Saturation 0 Sets the panning width i Depth i 3 um Input Trim 0 100 Sets the input gain 0 0 100 Sets the damping amount in the d low range 100 Sets the distortion amount Selects the modulation source Pre Tone 100 Sets the tone of the input for the panning width 02 1 00 Sets the frequency at which E pitch variation will occur Src Wow Flutt Set the modulation amount of Hz a the panning width Amount of FX added to the lee utter lo 199 Sets the depth of pitch variation direct signal Amount of FX added to th Table Dynamic Modulation FX Amount 0 100 direct signal M E sources on page 43 Amt FX Amount Src Table D ic Modulati Amt m Amount of modulation source Sre Off Tempo Sources a on page 43 lad 100 4100 X Amount of modulation source a Delay Tap1 msec a Src a Amt b Tap2 Position 96 b Tap3 Position 96 The delay time for Tap 2 and 3 is specified as a proportion 96 relative to Delay Tap1 Even if you use dynamic modulation to control Delay Tap1 Tap 2 and 3 will change at the same proportion 82 Effects Delay d FB Amt e FB Amt f FB Amt g Feedback The feedback output from Tap 1 2 and 3 is mixed according to the FB Amt and then th
11. JS Y amp AT 2 Joy Stick Y amp After Touch 2 The effect will be controlled by the joystick Y vertically upward and by after touch In this case the effect of after touch will be only half of the specified intensity JS Y amp AT 2 Joy Stick Y amp After Touch 2 The effect will be controlled by the joystick Y vertically down ward and by after touch In this case the effect of after touch will be only half of the specified intensity 28 Sampling operating mode Entering and exiting the Sampling mode Sampling operating mode Pa800 includes a full featured sampler with powerful tools for creating a new sounds and b rhythm patterns based on audio grooves New Sounds Sampling allows you to create new sounds by recording from an external source e g a microphone or a CD player connected to Pa800 Audio Inputs or by loading files from a storage device Pa800 can read common formats like WAV and AIFF files Korg Trinity and Triton Samples Korg Trin ity and Triton Multisamples Korg Triton Programs and Akai 1000 and 3000 Samples and Programs To be used Samples must then be assigned to a Multisample or a Drum Kit A Multisample allows you to arrange samples into separate zones of the keyboard Drum Kits allows you to assign a different sample to each note of the keyboard with up to six dynamic layers per note Multisamples can then be assigned to Sounds Sounds created with this function c
12. Q2 Effects Mono Mono Serial Mono Mono 081 PAEQ Mt Delay Parametric 4 Band EQ Multitap Delay This effect combines a mono four band parametric equalizer 082 Comp Wah Compressor Wah Auto Wah This effect combines a mono compressor and a wah You can change the order of the connection and a multitap delay E Trim 0 100 Sets the parametric EQ input level FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left ERU Fia FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out g e Compressor Y X Wah Auto Wah FX Amt i Parametric 4Band EQ Multitap Delay EQ Trim LEQ HEQ E 2j Heomp a gt Wah Output Level i 1 FX Amt ALA i Right i d i i H Sweep Mode FX Amt Envelope Control i CEnvelope ocd Right o A T COMPRESSOR E B1 Cutoff Hz 20 1 00k Sets the center frequency of Band 1 Id Sensitivity Sets the sensitivity Q Gain dB 0 5 10 0 18 418 Sets the bandwidth of Band 1 Sets the gain of Band 1 C Attack Sets the attack level Output Level Sets the compressor output level C EQ Trim Sets the EQ input level E B2 Cutoff Hz 50 5 00k Sets the center frequency of Band 2 Q 0 5 10 0 Sets the bandwidth of Band 2 C Pre LE
13. Stereo In Stereo Out Left o m Amt Multimode Filter Driver 7 Filter Type i i Multimode Filter Driver ga Trim DA i Right ii Kai FX Amt spp nee HPF BPF celects the type of filter Trim 0 100 Sets the input level Sets the cutoff frequency 0 100 center frequency Selects the modulation source of the cutoff Sets the modulation amount of the cutoff Sets the resonance amount Off Tempo 100 100 Resonance 0 100 Selects the source that will Src Off Tempo modulate the amount of resonance Sets the amount by which the 100 100 resonance will be modulated LFO Waveform Phase degree Triangle Sine Selects the LFO Waveform Sets the LFO phase difference between the left and right Sets the depth to which the LFO will modulate the cutoff frequency 180 180 Depth 0 100 LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency Src Amt MIDI Sync MIDI syncs to the system tempo BPM 00 40 300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Base Note j Sets the n
14. 0 02 20 00 Sets the speed of the LFO Selects a modulation source for Off Tempo LFO speed 20 00 Sets the modulation amount of 420 00 LFO speed When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency MIDI MIDI syncs to the system tempo BPM 40 00 40 300 sets the tempo manually 300 00 for this individual effect A Selects the type of notes that e specify the LFO speed Sets the number of notes that specify the LFO speed Sets the depth of LFO modulation for the oscillator frequency Src Amt MIDI Sync Off On Base Note Times x1 x32 LFO Depth 0 100 Selects the modulation source Off Tempo of the depth of modulation Sets the modulation amount of the depth of modulation Amount of FX added to the direct signal Src Amt 100 100 FX Amount 0 100 Table Dynamic Modulation ane Off Tempo sources on page 43 Amount of modulation source 100 100 a OSC Mode This parameter determines whether or not the oscillator fre quency follows the note number a Pre LPF This parameter enables you to set the damping amount of the high range sound input to the ring modulator If the input sound contains lots of harmonics the effect may sound dirty In this case cut a certain amount of high range b Fixed Frequency Hz This parameter sets the oscillator frequency when OSC Mode
15. 100 Effects Mono Mono Serial Mono Mono 096 Exciter Phaser This effect combines a mono limiter and a phaser 097 Exciter Mt Delay Exciter Multitap Delay This effect combines a mono exciter and a multitap delay EXCITER X Exciter Blend 100 100 Sets the intensity depth of the Exciter effect EXCITER FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left gt o Fx Ant FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Exciter Phaser Left aaa pl FX Amt EQTrim LEQ HEQ Exeiter Multitap Delay HE Exciter gt Phaser 7 Nomi nios EQ Trim LEQ HEQ Res nance et Invert DH lt Exciter i Phaser FX Amt MLDIy FX Amt Righto i o i FX Amt LFO Tri Sine Righto A s mi X Emphasis Frequency 0 70 Sets the frequency range to be emphasized X Exciter Blend 100 100 Sets the intensity depth of the Exciter effect X Trim X Pre LEQ Gain dB 0 100 Sets the EQ input level Sets the gain of Low EQ X Emphasis Frequency 0 70 Sets the frequency range to be emphasized Pre HEQ Gain dB Sets the gain of High EQ SER X Trim X Pre LEQ Gain dB 0 100 Sets the EQ input level Sets the gain of Low EQ Pre HEQ Gain dB Sets the gain of High EQ P LFO Fre
16. Filter Filter Filter ice Jod Jura fos When Filter Type is Low Pass Resonance parameters for filter B will not be editable greyed out Keyboard Tracking Key Low High These settings specify keyboard tracking for the cutoff frequency of the filter for the selected oscillator The way in which the cut off frequency is affected by the keyboard location you play can be specified by the Key Low Key High Ramp Low and Ramp High parameters Keyboard tracking will apply to the range below the specified Low note number and above the specified High note number C 1 G9 Lowest Highest note in the range Ramp Low High These parameter specifies the angle of keyboard tracking If Intensity to A and Intensity to B are set to 50 Ramp Low is set to 62 and Ramp High is set to 62 the angle of the change in cutoff frequency will correspond to the keyboard location pitch This means that the oscillation that occurs when you increase the Resonance Resonance A will corre spond to the keyboard location If you set Ramp Low to 43 and Ramp High to 43 the cut off frequency will not be affected by keyboard location Use this setting when you do not want the cutoff frequency to change for each note 99 99 Angle value Here is how cutoff frequency is affected by keyboard location and the Ramp setting Intensity to A and Intensity to B 50 Cutoff frequ
17. Q 0 5 10 0 Sets the bandwidth of Band 3 Gain dB 18 418 Sets the gain of Band 3 E B4 Cutoff Hz 500 20 00k Sets the center frequency of Band 4 Q 0 5 10 0 Sets the bandwidth of Band 4 Gain dB 18 418 Sets the gain of Band 4 EXCITER f X Exciter Blend X Emphasis Freq FX Amount 100 100 0 100 Sets the intensity depth of the Exciter effect Sets the frequency range to be emphasized Amount of FX added to the direct signal Src Off Tempo 100 100 Table Dynamic Modulation sources on page 43 Amount of modulation source 078 P4EQ Wah Parametric 4 Band EQ This effect combines a mono four band parametric equalizer Wah Auto Wah and a wah You can change the order of the connection Left FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Parametric 4Band EQ Y x Wah Auto Wah o Routing FX Amt Q E Trim 0 100 Sets the parametric EQ input level Routing P4EQ gt Wah Wah gt P4EQ Changes the order of the parametric equalizer and wah connection E B1 Cutoff Hz 20 1 00k Sets the center frequency of Band 1 Q 0 5 10 0 Sets the bandwidth of Band 1 Gain dB 18 418 Sets the gain of Band 1 E B2 Cutoff Hz 50 5 00k Sets the
18. is set to Fixed c Note Offset c Note Fine These parameters for the oscillator are used when OSC Mode is set to Note Key Follow The Note Offset sets the pitch dif ference from the original note in semitone steps The Note Fine parameter fine adjusts the pitch in cent steps Matching the oscillator frequency with the note number produces a ring modulation effect in the correct key 049 Detune Using this effect you can obtain a detune effect that offsets the pitch of the effect sound slightly from the pitch of the input sig nal Compared to the chorus effect a more natural sound thick ness will be created FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o FX Amt Input Level High Damp gt Detune X Delay 1 v Feedback Input Level Right o po o FX Amt Pitch Shift cents Sets the pitch difference from the input signal Selects a modulation source for Src Off Tempo pitch shift 100 100 Sets the modulation amount for 100 100 pitch shift Delay Time msec Feedback 100 100 High Damp 96 0 100 0 1000 Sets the delay time Sets the feedback amount Sets the damping amount in the high range Sets the modulation amount of Input Level the input level Dmod 94 100 100 Selects the modulation source Off Tempo for the input level Amount of FX added to
19. N Tabs Sound operating mode 5 Edit menu Operating mode This indicates that the instrument is in Sound mode Edit section This identifies the current edit section corresponding to one of the items of the edit menu see Edit menu on page 5 Page menu icon Press this icon to open the page menu see Page menu on page 23 Selected oscillator Use these buttons to select the oscillator to edit Parameters area Each page contains various parameters Use the tabs to select one of the available pages For detailed information on the vari ous types of parameters see sections starting from page 5 Tabs Use tabs to select one of the edit pages of the current edit section Basic Sound Basic Here you can make basic settings for the Sound such as basic oscillator settings the oscillator count and the polyphonic mode SOUND Basic T 8 OSC Vel Keu Oscillators Count Use this box to specify the number of oscillators up to 16 the Sound is based on The total amount of polyphony varies depending on the number of oscillators used by the Sound a maximum of 120 with only 1 oscillator per voice Note When editing the Grand Piano sound keep in mind Oscilla tors 10 15 can only be heard when the Damper pedal is depressed Low priority Use this parameter to decide if the highest numbered oscillators must be turned off when more polyphony voices are needed Keep in mind that wi
20. Sets the modulation amount of 420 00 LFO speed When this is on the LFO speed MIDI Sync is set by BPM Base Note and Times instead of Frequency MIDI syncs to the system tempo BPM i 40 300 sets the tempo manually for this individual effect Selects the type of notes that Base Note i specify the LFO speed Sets the number of notes that Times specify the LFO speed Pre Delay Sets the delay time from the msec original sound Sets the depth of LFO 0 100 modulation Src Amt Selects the modulation source Off Tempo of the LFO modulation depth Sets the modulation amount of 100 4100 the LEO modulation depth Sets the frequency split point High Low 1 100 between the low and high Split Point range Sets the feed back amount of Feedback 100 100 the chorus block High Damp Sets the high range damping Mild amount of the chorus block Low Level 0 100 Sets the low range output level Sets the high range chorus High Level 0 100 output level Amount of FX added to the direct signal FX Amount 0 100 Table Dynamic Modulation Src Off Tempo sources on page 43 Amt 100 4100 Amount of modulation source f High Low Split Point This parameter sets the frequency that splits the high and low range Only the high range will be sent to the chorus block g Feedback Sets the feedback amount of the chorus block Increasing the
21. Sets the modulation amount of the LFO modulation depth Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 Amount of modulation source Amt MIDI Sync Base Note Depth Amt FX Amount Src a AUTOFADE Src b Fade In Delay msec b Fade In Rate d LFO Frequency Mod When LFO Frequency Mod is set to AUTOFADE you can use the modulation source selected in AUTOFADE Src as a trigger to automatically fade in the modulation amount When MIDI Sync is set to On you cannot use this The Fade In Rate parameter specifies the rate of fade in The Fade In Delay parameter determines the time from AutoFade modulation source On until the fade in starts The following is an example of fade in where the LFO speed is increased from 1 0Hz to 4 0Hz when a note on message is received AUTOFADE Src Gatel LFO Frequency Mod AUTOFADE LFO Frequency Hz 1 0 Amt 3 0 mn The effect is off when a value for the dynamic modulation source specified for the AUTOFADE Src parameter is smaller than 64 and the effect is on when the value is 64 or higher The AutoFade function is triggered when the value changes from 63 or smaller to 64 or higher AUTOFADE toFadeg Source Gate10 LFO Freq Mod AUTOFADE Gate1 Signal LFO Frequency Hz 1 00 Amount 3 0 t t Note On All Note Off lt r LFO Freq
22. Switches the order of the overdrive and chorus flanger Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 Amt 100 100 Amount of modulation source 102 Effects Mono Mono Serial Mono Mono 100 OD HG Phaser Overdrive Hi Gain Phaser This effect combines a mono overdrive high gain distortion and a phaser You can change the order of the effects Left FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out 3 Band PEQ Overdrive Hi Gain Y w Pu Amt Routing Phaser gt Phaser Driver LZA AN t Output Level E Mode Overdrive Hi Gain Drive Normal OD HI GAIN Output Mode Resonance Wet Invert Phaser FX Amt o FX Amt LFO Tri Sine O Drive Overdrive Mode Hi Gain Switches between overdrive and high gain distortion Drive 1 100 Sets the degree of distortion O Output Level 0 50 Sets the overdrive output level Src Off Tempo Selects the modulation source for the overdrive output level Amt 50 50 Sets the modulation amount of the overdrive output level OlLow Cutoff Hz 20 1 00k Sets the center frequency for Low EQ shelving type Gain dB 18 18 Sets the gain of Low EQ O Mid1 Cutoff Hz 300 10 00k Sets the center fr
23. The Multisample will be automatically saved to the next free available location Samples will be permanently saved to the PCM folder on the internal SSD memory They can be automatically loaded when turning the instrument on by checking the PCM Autoload option in Media mode see page 236 in the User s Manual The MIDI Groove will be temporarily saved to the SSD mem ory and will be available only when using the Import function of the Style Record mode see Import Import Groove on page 125 of the User s Manual Warning All MIDI Grooves will be delete each time the Pa800 is turned off Ex 1 Generating samples and MIDI Groove data Original rhythm sample meme o FO Original pattern Kick Snare Kick Kick Snare MET Execute the Time Slice commandO Fic Sample1 Sample2 Sample3 Sample4 Sample5 A multisample a program and MIDI Groove data will be created automatically Play in Style Play mode 120BPM gt Generated MIDI Groove Note Sliced samples and MIDI data are saved with a Write operation Ex 2 Varying the groove s tempo 150BPM Played closer together O 90BPM but pitch is unchanged Played further apart but pitch is unchanged Note To vary the groove s tempo you must first import the generated MIDI data into the Percussion track Import func tion of the Style Record mode and assign the new generated Sound to the Percussion t
24. Times Depth 0 100 Src Off Tempo Amt 100 100 Low Pre LEQ Fc Mid Low Pre HEQ Fc B Gain 156 115 9 Gain of the Low EQ fag EQ Gain 15 0 415 0 Gain ofthe High EQ Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 Amount of modulation source FX Amount 100 0 100 Src d L Pre Delay msec d R Pre Delay msec Setting the left and right delay time individually allows you to control the stereo image 027 St HarmonicChorus 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 this chorus block with feedback as a flanger Stereo In Stereo Out Lene Low Level ftx Amt mi es ia VA gt Chorus Flanger High Level x F A High Damp High Low Split Point t Feedback Y i High Damp High Level 7 t gt Chorus Flanger N DA UN Hd night Low Level M FX Amt LFO Tri Sine LFO Waveform LFO Phase degree LFO Frequency 0 02 20 00 Sets the speed of the LFO Hz Triangle Sine Selects the LFO Waveform Sets the LFO phase difference 180 180 between the left and right Selects a modulation source for Off Tempo LFO speed 20 00
25. When the Slice is completed you can save the sliced sam ples and the MIDI Groove or use the Extend function to improve the quality of the slices Select the Write command from the page menu The Write Slice dialog box will appear see Write Slice dialog box on page 41 Assign a name to the new Sound and save it to an User Sound location A MIDI Groove with the same name will also be saved to a reserved area of the internal memory Be warned that this area will be deleted when turning the instrument off Con vert it to an internal Style pattern by using the Import function of the Style Record mode before turning the instrument off To improve the quality of the slices use the Extend func tion see Extend below After saving you may press RECORD to exit the Sampling mode After exiting the Sampling mode you may load the gener ated MIDI Groove by using the Import function of the Style Record mode see Import Import Groove on page 125 of the User s Manual for more information 37 Sampling operating mode The Extend procedure The Extend procedure m A x d Ex o Set the By parameter according to the tempo of the groove you will use If you will slow down the groove very much assign higher values to this parameter otherwise you may assign lower values Select the Extend Mode Long is more suitable for cym bals Select the Extend command After the Exten
26. sees 42 How to merge PCM samples from various sources 42 Effects ieueieuu e hun ves 43 Dynamic Modulation sources 00 00 eee eee 43 Dynamics Dynamic 6 6 s bck cee t be ed ecb ee he cea 44 EQ and Filters EQ Filter 0 0 0 cece cece ene 48 Overdrive Amp models and Mic models OD Amp Mic 56 Chorus Flanger and Phaser Cho Fln Phaser 61 Modulation and Pitch Shift Mod P Shift 67 Delay V H 78 Reverb and Early Reflections Reverb ER 88 Mono Mono Serial Mono Mono ssssess 90 Double Size sei 2oeepectou prede Ee E ERA 107 MOGCOGGE aeriene i dme Poi ade n ire eco 116 2 Sound operating mode The MIDI channel Sound operating mode The Sound operating mode is where you can listen to individual Sounds and edit them To select a Sound see the Basic operations chapter In this mode the selected Sound can always be played across the full keyboard range While in a different operating mode you can easily select the Sound to be edited when switching to the Sound mode Just select the track the Sound to be edited is assigned to then keep the SHIFT button pressed while pressing the SOUND button Hint This is useful to see the Bank Select Program Change num bers when programming a Song on an external sequencer Note The Sound uses the same Scale of the latest selected Perfor mance or STS
27. 10 0 High EQ 1 TN Amt 100 4100 Sets the modulation amount of Gain dB 18 18 Sets the gain of Mid High EQ 1 gt Furor mir To eg S Bass 0 100 Sets the bass low range level i uto ets the center frequency for z Hz 290a pok Mid High EQ 2 peaking type Middle 0 100 pets the middle mid range Q 0 5 10 0 ign ES band width of Mid Treble 0 100 pets thie treble high range Gain dB 18 18 Sets the gain of Mid High EQ 2 d Presente 0 100 Sets the presence high Direct Mix 0 50 Sets the amount of the dry oo frequency tone a sound mixed to the distortion gt Post PAEQ Thru On Selects through or on for the Speaker Off On Switches the speaker simulation e equalizer Simulation on off Band1 Cutoff 20 1 00k Sets the center frequency of Amount of FX added to the Hz EIE Band 1 FX Amount 0 100 direct signal Table D IC Modulati e o 0 5 10 0 Sets Band 1 s bandwidth Src Off Tempo SOURCES oh pane M Mamiani Gain dB 18 418 Sets the gain of Band 1 100 4100 Amount of modulation source Band2 Cutoff 50 5 00k Sets the center frequency of Hz Band 2 f Q 0 5 10 0 Sets Band 2 s bandwidth Gain dB 18 418 Sets the gain of Band 2 Band3 Cutoff Sets the center frequency of Hz 300 10 00k Band 3 g Q 0 5 10 0 Sets Band 3 s bandwidth Gain dB 18 18 Sets the gain of Band 3 Band4 Cutoff Sets the center frequency of Hz 500 20 00k Band 4 h Q 0 5 10 0 Sets Band 4 s bandwidt
28. 100 Selects the output mode for the chorus flanger Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 Amount of modulation source 106 Effects Mono Mono Serial Mono Mono 108 Reverb Gate This effect combines a mono reverb and a gate Left o FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Reverb EQ Trim Pre Delay HX DEP Reverb Right LEQHEQ Gate ut Input Reverb Mix 28 Envelope Control REVERB R Reverb Time sec High Damp 9o 0 100 Sets the reverberation time Sets the damping amount in the high range R Pre Delay msec 0 200 Sets the delay time of the reverb sound and gate control signal R EQ Trim 0 100 Sets the EQ input level Reverb Balance 0 100 Sets the reverb effect balance R PreLEQ Fc Low Mid Low Selects the cutoff frequency low or mid low of the low range equalizer Pre HEQ Fc High Mid High Selects the cutoff frequency high or mid high of the high range equalizer R PreLEQ Gain dB 15 0 15 0 Sets the gain of Low EQ Pre HEQ Gain dB 15 0 415 0 Sets the gain of High EQ GATE G Envelope Select D mod Input Switches between mod
29. 18 0 18 0 Band 2 gain Band1 Cutoff pal 20 1 00k Sets the center frequency of Band 1 Q 0 5 10 0 Sets the bandwidth of Band 1 Gain dB 18 0 18 0 Sets the gain of Band 1 Band2 Cutoff Sets the center frequency of Hz 50 10 00k fBand 2 Q 0 5 10 0 Sets the bandwidth of Band 2 Gain dB 18 0 18 0 Sets the gain of Band 2 Band3 Cutoff Sets the center frequency of Hz 300 10 00k Band 3 Q 0 5 10 0 Sets the bandwidth of Band 3 Gain dB 18 0 418 0 Sets the gain of Band 3 Band4 Cutoff Sets the center frequency of Hz BHO 20 008 Band4 Q 0 5 10 0 Sets the bandwidth of Band 4 Gain dB 18 0 18 0 Sets the gain of Band 4 Amount of FX added to the FX Amount 0 100 direct signal Table Dynamic Modulation Off Tempo sources on page 43 Amount of modulation source Src Amt 100 100 b Band1 Type c Band4 Type Selects a filter type for Band 1 and 4 Parametric 4EQ Band1 Band4 Type Band4 Type Shelving High Band4 Type Peaking Bandi Type Shelving Low Band1 Type Peaki Parametric 4EQ Band2 Gain Mod Ds Band2 Gain dB 46 0 Band2 Gain Mod Amount dB 9 0 Band2 Gain dB 46 0 Band2 Gain Mod Amount dB 15 0 e f g h Q These parameters set the bandwidth of each equalizer The higher the value the narrower the band becomes d Band2 Dynamic Gain Src d Amt
30. Before pressing MENU to enter the edit environment you should select a Sound of the type you wish to edit or create Note Notes pointing to special Drum Kit features are marked by the Em icon Main page Here is the main page of the Sound operating mode Page header Page menu icon Sound Info area Realtime ck Gor Controls EA area A On Off Voice Assign Mode area FX area Page header This line shows the current operating mode and transposition SOUND LL Operating mode Master Transpose name in semitones Operating mode name Name of the current operating mode Master transpose Master transpose value in semitones This value can be changed using the TRANSPOSE buttons on the control panel Page menu icon Press the page menu icon to open the menu See Page menu on page 23 for more information Sound Info area This is where basic details for the Sound are shown Press any where in this area to open the Sound Select window Sound name Name of the Sound assigned to the corresponding Keyboard track Bank Bank the current Sound belongs to Bank Select Program Change sequence Bank Select MSB Bank Select LSB Program Change numbers in the form CC00 CC32 PC CCO00 This section shows the value of the Control Change CC 00 message or Bank Select MSB for the selected Sound CC32 This section shows the value of the Control Change CC 32 message a k a Bank Se
31. Delete Unassigned Samples option to also delete all samples not assigned to a different multisample By checking this option all samples assigned to the multi sample you are deleting and all samples not assigned to a different multisample will be deleted Note Use this option with care since you may delete samples you would like to preserve that have not yet been assigned to a multisample or drumkit Use it only when you are sure all desired samples have been assigned to a multisample or drumkit 42 Sampling operating mode Export Sample page Select MultiSamples to delete all multisamples No sam ples will be deleted including those associated with the deleted multisamples Select All Samples Multisamples Drum Samples to delete all samples multisamples and drum samples from memory This operation completely resets the RAM and may be used to clean up any trouble Export Sample page Open this page by selecting the Export command from the page menu while you are in any page of the Sample Edit Sample Record section SAMPLING Export Sample ame BACKUP 94 88 86 11 14 MIDIFILE 11 88 86 18 18 Piano f wav 1 9M 23 08 06 16 04 1 9M 23 88 86 16 84 Piano mf wawv Original Name Name of the sample being exported File Name Name of the generated file on the storage device File Type Either of the file types you can choose as the file format WAV Micros
32. Dmpr are used as a dynamic modulation source for the EG a trigger will occur at each note on In the case of Gate 1 and Gate 1 Dmpr the trigger occurs only for the first note on Gate2 Gate2 Dmpr n Dmy 44 Effects Dynamics Dynamic Dynamics Dynamic 000 No Effect Select this option when you do not use any effects 001 Stereo 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 This is a stereo compressor You can link left and right channels or use each channel separately Stereo In Stereo Out Left o FX Amt EQTrim LEQ HEQ t jL gt H Compressor Output Level Envelope Control d Envelope Control x B gt HP Compressor Supt Level EQTrim LEQ HEQ Right 3 FX Amt Envelope UR Mix Determines whether the left a Select p UR Individ and right channels are linked or ually used separately b Sensitivity 1 100 Sets the sensitivity c Attack 1 100 Sets the attack level EQ Trim 0 100 Sets the EQ input level Low Selects the cutoff frequency Pre LEQ Fc Mid Low low or mid low of the low range equalizer e High Selects the cutoff frequency MiLHigh high or mid high of the high g range equalizer Pre HEQ Fc aa Gain 15 0 415 0 Sets the gain of the Low EQ a Gain 159 41
33. Overdrive Drive Mode Hi Gain Drive 1 100 0 10 Sets the low range cut amount ib of the distortion input Sets the output level Pre Low cut Output Level 0 50 Selects the modulation source Off Tempo for the output level Sets the modulation amount of the output level Sets the center frequency for Low EQ shelving type 18 418 Sets the gain of Low EQ Sets the center frequency for 300 10 00k Mid High EQ 1 peaking type Sets the band width of Mid High Q 0 5 10 0 EQ 1 Gain dB 18 418 Sets the gain of Mid High EQ 1 Mid2 Cutoff Sets the center frequency for Hz 800 20 00k Mid High EQ 2 peaking type Sets the band width of Mid High Q 0 5 10 0 EQ2 Gain dB Direct Mix 0 50 Src Amt 50 50 Low Cutoff Hz 20 1 00k Gain dB Mid1Cutoff Hz 18 418 Sets the gain of Mid High EQ 2 Sets the amount of the dry sound mixed to the distortion Switches the speaker simulation on off Amount of FX added to the direct signal Speaker Simulation Off On FX Amount 0 100 Table Dynamic Modulation ae Off Tempo sources on page 43 Amount of modulation source 100 100 a Wah The Wah parameter switches the wah effect on off a Sw This parameter sets how the wah effect is switched on and off via the modulation source When Sw Moment the wah effect is usuall
34. of a moving sound with a changing pitch similar to the siren of an passing ambu lance Mixing the effect sound with the dry sound will create a unique chorus effect FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out pete Dex Amt Doppler opp 9 an Depth Right i m ighto FX Amt x D ze Trigger 9 LFO Mode 1 Shot LFO Mode Loop 1 Shot Switches LFO operation mode Selects the modulation source Off Tempo of LFO reset Switches between LFO reset on and off when LFO Mode is set to Loop LFO Sync Off On LFO Frequency Hz Src Off Tempo 0 02 20 00 Sets the speed of the LFO Selects a modulation source for LFO speed 20 00 Sets the modulation amount of 420 00 LFO speed When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency MIDI syncs to the system tempo BPM 40 300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that Times specify the LFO speed Sets the pitch variation of the moving sound MIDI Sync Base Note Pitch Depth Selects the modulation source aie Off Tempo of pitch variation Sets the modulation amount of pitch variation Sets the panning of the moving sound Amt 100 100 Pan Depth 100 100 Selects the modulation source Src Off Tempo of panning Sets the modul
35. 0 2 41 Octave transposition Transpose Use this parameter to adjust the pitch of the selected oscillator in semitone steps over a range of 1 octave 12 12 Transposition in semitones Tune Use this parameter to adjust the pitch of the sample in one cent steps a semitone is 100 cents over a range of 1 octave 1200 1200 Fine tune value in cents Delay This parameter sets a delay time from the note on to the real beginning of the sound With a setting of KeyOff the sound will begin when note off occurs This is useful to create sounds such as the click that is heard when a harpsichord note is released In this case set the Sustain parameter to 0 see page 16 Key Off 0 5000ms The sound will begin when the note is released Delay time in milliseconds Velocity Multisample Switch Low High This is the velocity value dividing the High and Low layers for the selected oscillator Notes struck harder than this value will be played by the High multisample Sound operating mode 7 Basic Vel Key Zone Basic Vel Key Zone Here you can set a note and velocity range window for the selected oscillator SOUND Basic T 8 gsm g e E gt Lasse J asi Ji Velocity Zone Here you can specify the velocity range for the selected oscillator Note You cannot set the Bottom Velocity higher than the Top Velocity nor the Top Velocity lower than t
36. 1 0 1 L Ratio 50 0 1 Inf 1 Sets the signal compression ratio Threshold dB 40 0 Sets the level above which the compressor is applied L Attack 1 100 Sets the attack time Release 1 100 Sets the release time c L Gain Inf Adjust dB 38 424 Sets the limiter output gain P4EQ d E Trim 0 100 Sets the parametric EQ input level Hen Cutoff 5o 1 00k Sets the center frequency of Band 1 Q 0 5 10 0 Sets the bandwidth of Band 1 Gain dB 18 418 Sets the gain of Band 1 ele Cutoff so 5 90k Sets the center frequency of Band2 Q 0 5 10 0 Sets the bandwidth of Band 2 Gain dB 18 418 Sets the gain of Band 2 EB Cutoff 309 10 00k Sets the center frequency of Band 3 Q 0 5 10 0 Sets the bandwidth of Band 3 Gain dB 18 418 Sets the gain of Band 3 m Cutoff 5oo 20 00k Sets the center frequency of Band 4 Q 0 5 10 0 Sets the bandwidth of Band 4 Gain dB 18 418 Sets the gain of Band 4 Limiter gt PAEQ PAEQ Limiter Routing FX Amount 0 100 Switches the order of the limiter and parametric EQ Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 Amount of modulation source pression is applied only when the signal level exceeds the Thresho
37. 1 00k Sets the center frequency of d Hz Band 1 iad Gain 45 15 Sets the gain of High EQ Q 0 5 10 0 Sets the bandwidth of Band 1 Gain dB 18 418 Sets the gain of Band 1 MEE LEB Cutoff 50 _5 00k do the center frequency of Frequency 0 02 20 00 Sets the speed of the LFO Hz e Q 0 5 10 0 Sets the bandwidth of Band 2 LFO TURNS P Gain dB 18 18 Sets the gain of Band 2 Waveform Teenie Sine 3elGct TMe CRO MUR Ins Cutoff 300 10 00k_ gets the center frequency of FIDelay Time 0 0 1350 0 Sets the delay time Q 0 5 10 0 Sets the bandwidth of Band 3 f Depth 0 100 ae depth of LFO Gain dB 18 418 Sets the gain of Band 3 Inoguiston E B4 Cutoff Sets the center frequency of Feedback 100 100 9805 Ite fesdback amount Hz 500 20 00k RERI A quency Sets the effect balance of the Q 0 5 10 0 Sets the bandwidth of Band 4 TE ng 100 0 100 chorus flanger Gain dB 18 418 Sets the gain of Band 4 y Comp gt g Selects the Wet Dry modulation Routing PAEQ pagg Switches the order of the Src Off Tempo source for the chorus flanger Com compressor and parametric EQ p Amt 100 4100 Sets the Wet Dry modulation FX Amount 0 100 Amount of FX added to the U amount for the chorus flanger T direct signal F Output Normal Selects the output mode for the h Table Dynamic Modulation Mode Wet Invert chorus flanger Src Off Tempo sources on page 43 cone 100 4100 Amount of modulation sourc
38. 100 4100 Sets the curve of the sweep Invert Off On Inverts the polarity of the sweep Sets the lower limit of the wah Frequency 0 100 center frequency when Mode Bottom Custom b Sets the upper limit of the wah a 0 100 center frequency when Mode Custom Sets the lower limit of one 0 100 resonance amount when Mode Custom c Sets the upper limit of Resonance 0 100 resonance amount when Pp Mode Custom Auto Selects the control from auto Sweep Mode D mod wah modulation source and LFO LFO Selects the modulation source d Src Off Tempo for the wah when Sweep Dm Mode D mod Sets the center frequency when Manual 0 100 Sweep Mode D mod and Source Off Ene une 0 100 Sets the auto wah sensitivity e Sets the speed of response Response 0 100 when Sweep Mode Auto or D mod LFO Frequency 0 02 20 00 Sets the speed of the LFO Dyz Hz f Selects a modulation source for Src Off Tempo LFO speed Amt 20 00 Sets the modulation amount of 420 00 LFO speed When this is on the LFO speed MIDI Sync Off On is set by BPM Base Note and eg Times instead of Frequency MIDI MIDI syncs to the system tempo BPM 40 00 40 300 sets the tempo manually g 300 00 for this individual effect Selects the type of notes that Base Note A specify the LFO speed Sets the number of notes that Times X132 specify the LFO speed Output Level 0 100 zers tne output evek or the Dz Selects the modulation source h Src Off Tempo that w
39. 119 L C R Long Delay DL ovo 5 f Diz gt Mode Switch Rotate Stop This multitap delay outputs three Tap signals to left right and ager gt Speed Switch Slow Fast t tively Y t 1 f 5 460 for th D 287 C Wai Speed oni center respectively You can set a maximum of 5 460msec for the delay time Overdrive Off On Switches overdrive on off Selects modulation source to FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o Src Off Tempo switch overdrive on off z L Delay Toggle Sets the switch mode for Sw M ggie overdrive on off modulation oment C Dela High Damp Low Damp y Overdrive 0 100 Determines the degree of Z C Das Gain a distortion aii Level Dod R Delay Overdrive 0 100 Sets the overdrive output level Rights Level Overdrive 0 15 Sets the tonal quality of the Tone ux overdrive LDelavTi elay Time Speaker Off On Switches the speaker simulation z Imse 0 5460 Sets the delay time of TapL Simulator i on off She bet k Level 0 50 Sets the output level of TapL Mode Switch Rotate St witches between speaker oce wrin Rotate gt tOP rotation and stop b ee d Time 5 5460 Sets the delay time of TapC Selects a modulation source for Src Off Tempo Rotate Stop Level 0 50 Sets the output level of TapC Sets the switch mode for R Delay Time o S460 Sets the delay time of TapR Sw Toggle Rotate Stop modulation c i msec i id E Level 0 50 Sets the output level of TapR i S
40. FX Amt m Cabinet Simulator Cabinet Simulator Right o y Sets the input level Effects Overdrive Amp models and Mic models OD Amp Mic 020 St Bass Cabinet Stereo Bass Cabinet This simulates the acoustical character of a bass amp s speaker cabinet 57 Stereo In Stereo Out Left o Trim Trim Cabinet Simulator Right o L0 me FX Amt TE Cabinet Simulator o FX Amt 0 100 Sets the input level BLACK 2x10 BLACK 2x12 VOX AC15 1x12 VOX AC30 2x12 VOX AD412 4x12 UK H30 4x12 UK T75 4x12 US V30 4x12 Selects the type of the cabinet Open back cabinet with one 12 speaker typically used for blues Open back cabinet with four 10 speakers Open back cabinet with two 10 speakers American open back cabinet with two12 speakers Vox AC15 open back cabinet with one 12 Blue speaker Vox AC30 open back cabinet with two 12 Blue speakers VOX AD412 closed back cabinet with four 12 speakers Closed back classic cabinet with four 30W 12 speakers Closed back cabinet with four 75W 12 speakers Closed back cabinet with four 30W 12 speakers Air 0 100 Sets the mic position FX Amount Amount of FX added to the direct signal Src Table Dynamic Modulation sources on page 43 Amount of modulation source LA 4x10 MODERN 4x10 META
41. Filter keyboard tracking within the same oscillator Filter keyboard tracking within the same oscillator Filter keyboard tracking within the same oscillator Filter keyboard tracking within the same oscillator Amp keyboard tracking within the same oscillator Amp keyboard tracking within the same oscillator Amp keyboard tracking within the same oscillator Amp keyboard tracking within the same oscillator Velocity Poly AT Poly After Touch Channel AT Channel After Touch Joystick X Joystick Y Joystick Y JS Y amp AT 2 Joy Stick Y amp After Touch 2 JS Y amp AT 2 Joy Stick Y amp After Touch 2 Ass Pedal CC 18 CCHI7 CC 19 Velocity Polyphonic After Touch transmitted from the Pa800 only as sequence data After Touch Channel After Touch Joystick X horizontal axis Joystick Y vertical upward direction CC 01 Joystick Y vertical downward direction CC 02 Joystick Y vertical upward direction and After Touch Joystick Y vertical downward direction and After Touch Assignable foot pedal CC 04 CC 18 CCHI7 CC 19 CC 20 CC421 Damper CC 65 Sostenuto CC 80 CC 81 CC 82 CC 83 CC 20 CC 21 Damper pedal CC 64 Portamento switch CC 65 Sostenuto pedal CC 66 CC 80 CC 81 CC 82 CC 83 Tempo Tempo tempo data from Sequencer 1 clock or external MIDI clock The direction of the effect will be determined by the sign of the Ramp Low setting and by the opposite sign of the
42. G 2 80 A2 84 A 2 89 B2 94 C3 Full pattern cycling at the original speed 10096 pred Separate sliced samples i A MIDI Groove with the original pattern will also be generated The screen will change to show slices sepa rated by vertical lines peb php pap SIR AA ae Test the generated sliced drum kit on the keyboard To test the full pattern at different speed play a note from C2 half speed to C3 original speed See table above To test the single sliced samples play notes from C 3 and above If you play a full chromatic scale the original pat tern will be sounded Hint If too many samples have been generated and the key board can t fit them all use the OCTAVE buttons to transpose the keyboard and listen to samples exceeding the upper limit If the Slice didn t produce satisfactory results adjust the Release parameter If this does not produces good results try adjusting the Threshold parameter too After adjusting the Release parameter you must execute the Time Slice again Since a tempo value rounding happens when making a Time Slice operation and the loop may not be accurate you may need to adjust both the Start and End parame ters of the Sampling Edit page to make the groove loop flawlessly After editing these parameters you must execute the Time Slice again Go on experimenting different settings Editing an audio groove is a pure matter of experimentation
43. Output Level S oud Mode i High Damp 1 l Resonance Wet al Output Level i Phaser FX Amt s _ Gnvelope Contral EOTS eK Amt MS L Envelope Conran o COMPRESSOR COMPRESSOR d C Sensitivity Sensitivity C Attack Sets the attack level ClAttack m Sets the attack level Output Level 0 Sets the compressor output level Output Level 0 Sets the compressor output level C EQ Trim nee Sets the EQ input level C EQ Trim hae Sets the EQ input level del Sets the gain of Low EQ Pria Sets the gain of Low EQ Pre HEQ Gain dB Sets the sensitivity Sets the sensitivity Sets the gain of High EQ foe Gain Sets the gain of High EQ PHASER LTITAP DELAY P LFO D Tap1 Time Frequency 0 02 20 00 Sets the speed of the LFO msec 0 0 1360 0 Sets the Tap1 delay time Hz ToS Tap Level 0 100 Sets the Tap1 output level Waveform Triangle Sine Selects the LFO Waveform m TREA D Tap2 Time ets the frequency to which the msec P Manual ud effect is applied Feedback Sets the depth of LFO Tap2 100 4100 Sets the Tap2 feedback amount modulation D High 0 100 Sets the damping amount in the Sets the resonance amount Damp fe high range 0 0 1360 0 Sets the Tap2 delay time Depth Resonance D P Phaser D Mt Delay 159 99 Z Sets the multitap delay effect 100 0 100 Sets the phaser effect balance Wet Dr
44. Phaser Tremolo Spin Phaser Tremolo LR Phaser LR Tremolo Phaser LR Tremolo Spin Phaser LR Tremolo LR Sets the phase difference between the tremolo and phaser LFOs LFO Frequen Hz Src cy Sets the speed of the LFO Selects a modulation source for LFO speed Amt Sets the LFO speed modulation amount MIDI Sync When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency BPM MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Times Base Note Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Phaser Manual Sets the phaser frequency range Resonan ce Phaser Depth Sets the phaser resonance amount Sets the phaser modulation depth Src Off Tempo Selects the modulation source for the phaser modulation depth Amt 100 100 Sets the modulation amount for the phaser modulation depth Dry Phaser Wet Wet 2 98 Dry 2 98 Wet Sets the balance between the phaser effect and dry sounds Tremolo Shape 100 100 Sets the degree of the tremolo LFO shaping i FX Amount PHASER Wet Dry sets the balance between the phaser output and the dry sound OUTPUT FX Amount sets the balance between the final phaser and tremolo output level and the dry sound 048 S
45. Slope and Attack Decay Slope and Level Swings set to Release Level Swings setto Release Level Swings set to AMS1 2 Use this parameter to selecthe source that will control the Time parameters of the filter EG See AMS Alternate Modu lation Source list on page 26 Int AMS Intensity This parameter specifies the depth and direction of the effect that AMS1 2 will have For example if AMS1 2 is set to FItK Ir the EG Time parameters will be controlled by the Keyboard Tracking settings With positive values of this parameter positive values of Ramp Low High will lengthen the EG times and negative values of Ramp Low High will shorten the EG times The direction of change is specified by At Attack Time Swing Dc Decay Time Swing Sl Slope Time Swing and Rl Release Time Swing With a setting of 0 the times specified by Frequency Cutoff Frequency A will be used If AMS1 2 is set to Velocity positive values of this parame ter will cause EG times to lengthen as you play more strongly and negative values will cause EG times to shorten as you play more strongly 99 99 Intensity value At Attack Time Swing This parameter specifies the direction in which AMS1 2 will affect the attack time With positive values of Intensity set ting this parameter to will allow AMS to lengthen the time
46. Src Off Tempo for the TapC feedback Sets the modulation amount of Amt 100 100 ipe TapC feedback High Damp Sets the damping amount in the f 0 100 high range Low Damp 0 100 Sets the damping amount in the S low range Input Level Sets the modulation amount of Dmod 96 100 100 the input level Dz 9 E Selects the modulation source Src Off Tempo for the input level Sets the width of the stereo h Spread 0 50 image of the effect sound Amount of FX added to the e FX Amount 0 100 direct signal Dz i Table Dynamic Modulation Src Off Tempo sources on page 43 Amt 100 4100 Amount of modulation source a Time Over You can set the delay time up to 10 920msec If the delay time exceeds this limit the error message OVER appears in the dis play Set the delay time parameters so that this message will not appear Time Over is only a display parameter Effects Double Size 115 123 St BPM Long Dly Stereo BPM Long Delay The stereo delay enables you to match the delay time with the song tempo 124 Early Reflections This early reflection effect has more precise early reflections with twice the maximum length of a normal size effect See 076 Farly Reflections on page 89 You can create a very smooth and dense sound Stereo In Stereo Out Left
47. Times FX Amount Src a Duration c LFO Sample Cycle Hz 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 continu ously Sample Cycle Duration Sample Cycle m Duration Effects 71 Modulation and Pitch Shift Mod P Shift 044 Stereo Tremolo This effect modulates the volume level of the input signal The effect is stereo and offsetting the LFO of the left and right phases from each other produces a tremolo effect between left and right Stereo In Stereo Out Left o o FX Amt Tremolo Tremolo ce Righto Li Be IT fL FO Phase LFO Tri Sin Vintage Up Down gt LFO Shape LFO Waveform Triangle Sine Vintage Up Down Selects the LFO Waveform LFO Shape 100 100 Changes the curvature of the LFO Waveform LFO Phase degree 180 180 Sets the LFO phase difference between the left and right LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO Src Off Tempo Selects a modulation source for LFO speed Amt 20 00 20 00 Sets the modulation amount of LFO speed MIDI Sync Off On When this is on the LFO speed is set by BPM Base Note and ee Times instead of Frequency BPM MIDI 40 0
48. Times x1 x32 specify the delay time Feedback Switches the feedback Position Pre Post connection Feedback 100 4100 Sets the feedback amount High Damp Sets the damping amount in the 0 100 high range Input Level Sets the modulation amount of Dmod 100 4 100 the input level Selects the modulation source Src Off Tempo for the input level Amount of FX added to the FX Amount 0 100 direct signal Table Dynamic Modulation Src Off Tempo sources on page 43 Amt 100 4100 Amount of modulation source d BPM e Delay Base Note e Times The delay time is the duration of Times number of Delay Base Note note values at the BPM tempo or if BPM is set to MIDI the tempo determined by MIDI Clock d Time Over You can set the delay time up to 5 290msec If the delay time exceeds this limit the error message OVER appears on the display Set the delay time parameters so that this message will not appear Time Over is only a display parameter 76 Effects Modulation and Pitch Shift Mod P Shift 052 Pitch Shift Mod Pitch Shift Modulation This effect modulates the detuned pitch shift amount using an LFO adding a clear spread and width to the sound by panning the effect sound and dry sound to the left and right This is espe cially effective when the effect sound and dry sound output from stereo speakers are mixed FX Amt 100 Mono In Stereo Out FX Amt
49. a BPM 96 9 090 high range Low Damp Sets the damping amount in the b Rhythm Pattern 96 0 100 low range With the tempo specified by the BPM parameter or the MIDI Input Level _199 4100 Sets the modulation amount of Dmod the input level Clock tempo if BPM is set to MIDI the length of one beat equals the feedback delay time and the interval between taps becomes equal Selecting a rhythm pattern will automatically Sets the width of the stereo turn the tap outputs on and off When BPM is set to MIDI the aid m magere eag souna lower limit of the BPM is 44 Off Tempo Selects the modulation source Src for the input level Amount of FX added to the FX Amount 0 100 direct signal Table Dynamic Modulation Src Off Tempo sources on page 43 100 4100 Amount of modulation source a Time Over You can set the delay time up to 5 460msec If the delay time exceeds this limit the error message OVER appears in the dis play Set the delay time parameters so that this message will not appear Time Over is only a display parameter 84 Effects Delay 065 Stereo BPM Delay This stereo delay enables you to set the delay time to match the 066 St BPM Mtap Delay Stereo BPM Multi tap Delay so
50. and setting this parameter to will allow AMS to shorten the time With a setting of 0 there will be no change Dc Decay Time Swing This parameter specifies the direction in which AMS1 2 will affect the decay time With positive values of Intensity set ting this parameter to will allow AMS to lengthen the time and setting this parameter to will allow AMS to shorten the time With a setting of 0 there will be no change SI Slope Time Swing This parameter specifies the direction in which AMS1 2 will affect the slope time With positive values of Intensity set ting this parameter to will allow AMS to lengthen the time and setting this parameter to will allow AMS to shorten the time With a setting of 0 there will be no change RI Release Time Swing This parameter specifies the direction in which AMS1 2 will affect the release time With positive values of Intensity setting this parameter to will allow AMS to lengthen the time 18 Sound operating mode Amp Amp Level Pan and setting this parameter to will allow AMS to shorten the time With a setting of 0 there will be no change Amp Amp Level Pan These parameters control the volume and pan of the selected oscillator SOUND Amp ur psa Amp Level Volume of the selected oscillator Note The volume of a Sound can be controlled by CC 7 volume and 11 expression The
51. applied only to the LFO when it is first started Fade This parameter specifies the time from when the LFO begins to apply until it reaches the maximum amplitude When Key Sync is Off the fade will apply only when the LFO is first started Here is how Fade affects the LFO when Key Sync is On Note on Note off Fade Delay 00 99 Fade rate Delay This parameter specifies the time from note on until the LFO effect begins to apply When Key Sync is Off the delay will apply only when the LFO is first started 0 99 Delay time Frequency Modulation You can use two alternate modulation sources to adjust the speed of the LFOI for the selected oscillator 22 Sound operating mode LFO LFO2 AMS1 Alternate Modulation Source1 Selects the source that will adjust the frequency of the selected oscillator LFO1 see AMS Alternate Modulation Source list on page 26 LFOI can be modulated by LFO2 Intensity AMS1 Intensity This parameter specifies the depth and direction of the effect that AMSI F will have When this parameter is set to a value of 16 33 49 66 82 or 99 the LFO frequency being can be increased by a maximum of 2 4 8 16 32 or 64 times respec tively or decreased by 1 2 1 4 1 8 1 16 1 32 or 1 64 respec tively For example if AMS1 F is Note Number positive values of this parameter will cause the oscillator LFO to speed up as you play hi
52. feedback will allow you to use the effect as a flanger 62 Effects Chorus Flanger and Phaser Cho Fln Phaser 028 St Biphase Mod Stereo Biphase Modulation This stereo chorus effect adds two different LFOs together You can set the Frequency and Depth parameters for each LFO indi vidually Depending on the setting of these LFOs very complex waveforms will create an analog type unstable modulated sound Stereo In Stereo Out Left o f o FX Amt Chorus Flanger N f gt High Damp gt Feedback High Damp Chorus Flanger H N T Bi Se Amt i Righto LFO1 Tri Sine _ LFO2 Tri Sine LFO1 Waveform LFO2 Triangle Sine Selects LFO2 waveform 0 de Switches the LFO phase Phase Sw 9 difference between left and 180 deg right Triangle Sine Selects LFO1 waveform LFO1 Frequency 0 02 30 00 Sets the LFO1 speed Hz Selects the modulation source Src Off Tempo of LFO1 amp 2 speed 30 00 Sets the modulation amount of LFO1 Amt 30 00 LFO1 speed LFO2 Frequency 0 02 30 00 Sets the LFO2 speed Hz 029 Multitap Cho Delay Multitap Chorus Delay This effect has four chorus blocks with a different LFO phase You can create a complex stereo image by setting each block s delay time depth output level and pan individually You can also fix some of the chorus blocks to combine the chorus and dela
53. limit when MIDI Tempo Sync On Selects the type of notes to specify the delay time Sets the number of notes to specify the delay time REC Control Selects control source for Src Off Tempe recording RST Control Src Manual REC REC Off Control REC On Manual RST Control Off RESET Loop BPM Sync Off On Time Over OVER Loop Base A Note m Times x1 x32 Off Tempo Selects control source for reset Sets the recording switch Sets the reset switch Pan L100 L1 C Sets the stereo image of the R1 R100 effect Selects the modulation source Off Tempo of stereo image of the effect Sets the modulation amount of stereo image of the effect Amt 100 100 Table Dynamic Modulation Src sources on page 43 Amount of modulation source Amount of FX added to the FX Amount 0 100 direct signal Table Dynamic Modulation Src Off Tempo sources on page 43 Amount of modulation source 100 100 a Loop Time msec With Auto the loop time is automatically set Otherwise you can specify the loop time When Auto is selected the Loop Time is automatically set to the time it takes for a performance recorded while the Modulation Source or Manual REC Control is on However if the time length exceeds 10 800msec the loop time will be automatically set to 10 800msec c Time Over You can set the delay
54. o FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out FX Amt Left o FX Amt Volume Off On Switches Wah on off Guitar Amp Model Le Wal Wau Wau aw Selects the modulation source i Parametrie SBand EQ Src Off Tempo that switches the Wah on and oft Ps Right o o Togale Selects the switching mode for FX Amt Sw Menent the modulation source that Due s es esos d switches the Wah on and off Wah Sweep 10 410 Sets the range of Wah Range 3 VOX ACI5 Selects the modulation source VOX AC15TB Wah Sweep Off Tempo that controls the Wah VOX AC30 Src VOX AC30TB UK BLUES Drive Mode Overdrive Switches between overdrive and UK 70 S Hyper Gain hi gain distortion UK 80 S i i UK 90 S Drive 1 120 Sets the degree of distortion UK MODERN US MODERN T Pre towscut 02210 Sets the low range cut amount a AMP Type Us HIGAIN Selects the type of the amplifier is of the distortion input BOUTIQUE Output Level 0 50 the output evel EOUNOUE elects the modulation source CL Src Off Tempo for the output level BLACK 2x12 TWEED Amt 50 450 eee ee amount of 1x12 TWEED Low Cutoff 20 1 00k Sets the center frequency for 4x10 M Wb TEET s Q cheking eo Drive Gain 0 100 Sets the input gain VT E FF a M aan OW EQ Volume 0 100 Sets the output level i uto ets the center frequency for 300 10 00k yi Selects the modulation source Hz n EO peaking Pe b Src Off Tempo for the output level Q 0 5
55. the pitch will be raised or lowered more and more each time feedback is repeated If Feedback Position is set to Post the feedback signal will not pass through the pitch shifter again Even if you specify a higher value for the Feedback parameter the pitch shifted sound will be repeated at the same pitch 051 Pitch Shifter BPM This pitch shifter enables you to set the delay time to match the song tempo FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left a Pex ane Input Level High Damp Pitch Shifter Delay Ne peto e Feedback Position Feodback Input Level i Right ane Sam Tempo Slow Switches Pitch Shifter mode Medium Fast Pitch Shift 1 24 424 Sets the pitch shift amount in 2tone 2 steps of a semitone Selects the modulation source Src Off Tempo of pitch shift amount Sets the modulation amount of Amt E pitch shift amount A Sets the pitch shift amount in Fine cents _ 100 100 steps of one cent Sets the modulation amount of Amt 100 100 pitch shift amount MIDI MIDI syncs to the system tempo BPM 40 00 40 300 sets the tempo manually 300 00 for this individual effect Displays an error message when Time Over OVER the delay time exceeds the upper limit Delay Base A Selects the type of notes to Note ihi specify the delay time i Sets the number of notes to
56. with the Time Slice function see Step B below A Saving the sample and creating a Sound You can save the sample and create a multisample and a Sound to use it 1 Select the Write command from the page menu The Write Sample dialog box will appear see Write Sample dialog box on page 40 Assign a name to the new Sample and save it to the hidden PCM folder of the SSD S memory The samples will be preserved when the Pa800 is turned off Note The PCM area of the SSD can contain up to 64MB of samples After saving you can repeat the recording procedure to cre ate other samples When you have recorded and saved all needed samples press the MENU button and go to the Multisample sec tion to assign the sample s to a multisample Assign each sample to a different keyboard zone of the multisample When finished editing the multisample select the Write command from the page menu The Write Multisample dialog box will appear see Write MultiSample dialog box on page 40 Assign a name to the new multisample and save it to the internal memory SSD Press RECORD to exit the Sampling mode and return to the Sound mode You can either use the multisample to create a new Sound or the single samples to create a new Drum Kit To access the new multisample first select an ordinary Sound Press MENU and go to the Basic OSC Basic page see page 6 Select one of the available layers then select the RAM
57. 0 2000 Sets the delay time Switches the feedback connection Sets the feedback amount Pre Post Feedback 100 100 High Damp ike high range Sets the damping amount in the Sets the modulation amount of the input level Selects the modulation source for the input level Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 Amount of modulation source Input Level Dmod Src FX Amount Src a 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 If you do not need to set too much pitch shift amount set this parameter to Slow If you wish to change the pitch significantly use Fast b Pitch Shift 1 2tone b Src b Amt c Fine cents c Amt The amount of pitch shift will use the value of the Pitch Shift plus the Fine value The amount of modulation will use the b Amt value plus the c Amt The same Modulation Source is used for both Pitch Shift and Fine e Feedback Position f Feedback When Feedback Position is set to Pre the pitch shifter output is again input to the pitch shifter Therefore if you specify a higher Effects 75 Modulation and Pitch Shift Mod P Shift value for the Feedback parameter
58. Chorus Flanger This effect combines a mono limiter and a chorus flanger EXCITER X Exciter Blend X Emphasis Frequency 100 100 0 70 Sets the intensity depth of the Exciter effect Sets the frequency range to be emphasized X Trim 0 100 Sets the EQ input level X Pre LEQ Gain dB 15 415 Sets the gain of Low EQ Pre HEQ Gain dB 15 415 Sets the gain of High EQ ITER L Ratio 1 0 1 50 0 1 Inf 1 Sets the signal compression ratio L Threshold dB 40 0 Sets the level above which the compressor is applied L Attack 1 100 Sets the attack time Release 1 100 Sets the release time L Gain Adjust dB Inf 38 424 Sets the limiter output gain Routing Exciter gt Limiter Limiter gt Exciter Switches the order of the exciter and limiter FX Amount 0 100 Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 Amt 100 100 Amount of modulation source FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o Left gt Routing FX Amt FX Amt Exciter Limiter EQ Trim LEQ
59. D mod LFO Phase degree 180 180 Sets the LFO phase difference between the left and right L Manu Bottom Sets the lower limit of the frequency range for the effect on the left channel LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO L Manu Top Sets the upper limit of the frequency range for the effect on the left channel Src Off Tempo Selects the modulation source commonly used for LFO speed and step speed R Manu Bottom Sets the lower limit of the frequency range for the effect on the right channel Amt 20 00 20 00 Sets the modulation amount of LFO speed R Manu Top Sets the upper limit of the frequency range for the effect on the right channel LFO Step Freq Hz 0 05 50 00 Sets the LFO step speed Amt 50 00 50 00 Sets the modulation amount of LFO step speed Sweep Mode EG D mod Determines whether the flanger is controlled by the envelope generator or by the modulation source MIDI Sync Off On When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency BPM MIDI 40 00 300 00 MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Off Tempo Selects the modulation source that triggers the EG when EG is selected for Sweep Mode or modulation source that causes the flanger to sweep when D mo
60. Delay Base Selects the type of notes to Te ran ses me TA ai Te Note Ao specify the delay time for TapL P P 9 P Times x1 x32 Sets the number of notes to Tap4 Pan PE Sets the panning of Tap4 ae specify the delay time for TapL Feedback 100 4100 Sets the feedback amount Level 0 50 Sets the output level of TapL Selects the modulation source C Delay Base elects the type of notes to ale Off Tempo of feedback amount Note A specify the delay time for TapC Amt 100 4100 Sets the feedback amount Times x1 282 Sets the number of notes to High Damp 0 100 Sets the damping amount in the specify the delay time for TapC T high range Level 0 50 Sets the output level of TapC Low Damp 0 100 Sets the damping amount in the R Delay Base A Selects the type of notes to iid low range Note e specify the delay time for TapR Input Level Sets the modulation amount of Sets the number of notes to Dmod 100 4100 the input level Times x1 x32 specify the delay time for TapR Src Off Tempo rand thonau ation source Level 0 50 Sets the output level of TapR P Feedback 100 4100 Sets the feedback amount of FX Amount 0 100 pias or FX added to the C Delay TapC g Src Off Tempo Selects the modulation source Table Dynamic Modulation i P for the TapC feedback Src Off Tempo sources on page 43 Amt 100 100 Amount of ETET source Amt 100 100 ihe coegi auld os e TapC feedback High Damp Sets the damping amount in the
61. Depth 0 100 Sets the depth of LFO modulation Resonance 100 100 Sets the resonance amount Sets the effect balance of the chorus flanger Selects the Wet Dry modulation source for the chorus flanger Sets the Wet Dry modulation 7100 4100 iunt for the chorus flanger F Cho FIng Wet Dry 100 0 100 Src Off Tempo Amt P Phaser Wet Dry 100 0 100 Sets the phaser effect balance Src Off Tempo Selects the Wet Dry modulation source for the phaser Amt 100 100 Sets the Wet Dry modulation amount for the phaser F Output Normal Selects the output mode for the Mode Wet Invert chorus flanger Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 Amount of modulation source FX Amount Src i Output Mode When Wet Invert is selected the right channel phase of the cho rus flanger effect sound is inverted This creates pseudo stereo effects and adds spread However if a mono input type effect is connected after this effect the left and right sounds may cancel each other eliminat ing the chorus flanger effects P Output Mode FX Amount Normal Wet Invert 0 100 Selects the phaser output mode Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 Amount of modulation source
62. FX Amt Reverb Time sec High Damp 1 0 100 Sets the reverberation time Sets the damping amount in the high range Pre Delay Sets the delay time from the dry msec 0 200 sound Pre Delay 0 100 Sets the mix ratio of non delay Thru sound EQ Trim 0 100 Sets the EQ input level Selects the cutoff frequency low or mid low of the low range equalizer Selects the cutoff frequency high or mid high of the high range equalizer PreLEQ Fe I Pre HEQ Fc High Mid High fal Gain 15 0 415 0 Sets the gain of Low EQ Prgj EQ Gain 15 0 415 0 sets the gain of High EQ Amount of FX added to the FX Amount 0 100 direct signal Table Dynamic Modulation Sre Off Tempo sources on page 43 Amount of modulation source 100 100 b Pre Delay msec b Pre Delay Thru The Pre Delay sets the delay time to the reverb input allowing you to control spaciousness Using the Pre Delay Thru parameter you can mix the dry sound without delay emphasizing the attack of the sound Reverb Hall Plate Type Reverb t 2 3 Pre Delay Thru Pre Delay Reverb Time 074 Reverb Room This room type reverb emphasizes the early reflections that make the sound tighter Changing the balance between the early reflections and reverb sound allows you to simulate nuances such as the type of walls of a room
63. Fine adjust the left channel delay time Pre HEQ Fc High Mid High Selects the cutoff frequency high or mid high of the high range equalizer R Delay Base Note Jas Selects the type of notes to specify the right channel delay time Pre LEQ Gain dB 15 0 415 0 Sets the gain of Low EQ Pre HEQ Gain dB 15 0 415 0 Sets the gain of High EQ Times x1 x32 Sets the number of notes to specify the right channel delay time FX Amount 0 100 Amount of FX added to the direct signal Adjust 96 L Feedback 2 50 42 50 Fine adjust the right channel delay time Sets the feedback amount for the left channel Src Off Tempo Table Dynamic Modulation sources on page 43 Src Selects the modulation source of feedback amount R Feedback 100 100 Sets the modulation amount of the left channel feedback Sets the feedback amount for the right channel R Amt Sets the modulation amount of the right channel feedback High Damp Low Damp Sets the damping amount in the high range Sets the damping amount in the low range Input Level Dmod Sets the modulation amount of the input level Src FX Amount Selects the modulation source for the input level Amount of FX added to the direct signal Src Table Dynamic Modulation sources on page 43 Amount of mod
64. HEQ Xr Exciter Limiter a Chorus Flanger Noti lormal Gain Adjust gi IK 9 Output Mode Feedback Wet Invert Cho Fing FX Amt Right g ne Right PXARE Envelope Control LFO Tri Sine X Exciter Blend 100 100 Sets the intensity depth of the Exciter effect X Emphasis Frequency 0 70 Sets the frequency range to be emphasized X Trim 0 100 Sets the EQ input level X Pre LEQ Gain dB 715 415 Sets the gain of Low EQ Pre HEQ Gain dB CHORUS FLANGER 15 415 Sets the gain of High EQ F LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO LFO Waveform F Delay Time msec Triangle Sine 0 0 1350 0 Selects the LFO Waveform Sets the delay time Depth 0 100 Sets the depth of LFO modulation Feedback F Cho Flng Wet Dry 100 100 100 0 100 Sets the feedback amount Sets the effect balance of the chorus flanger Src Off Tempo Selects the Wet Dry modulation source for the chorus flanger Amt F Output Mode FX Amount 100 100 Normal Wet Invert 0 100 Sets the Wet Dry modulation amount for the chorus flanger Selects the output mode for the chorus flanger Amount of FX added to the direct signal Src Off Tempo 100 100 Table Dynamic Modulation sources on page 43 Amount of modulation source
65. Mix sound when Mode Preset Selects the modulation source Src Off Tempo that will control the mix level of the direct sound Sets the modulation amount for controlling the mix level of the direct sound Amt 100 100 Custom Depth Selects the modulation source sre Off Tempo that will control vibrato depth Sets the modulation amount for controlling the vibrato depth 0 100 Sets the vibrato depth Amt 100 100 Custom Speed Hz 0 02 20 00 Sets the vibrato speed Selects the modulation source Src Off Tempo for controlling the vibrato speed 20 00 Sets the modulation amount for 20 00 controlling the vibrato speed Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 Amount of modulation source Amt FX Amount 0 100 Sre Off Tempo 100 100 b Control Mode c Preset Type d Custom Mix e Custom Depth f Custom Speed Hz If Control Mode Preset you can use c Preset Type to select the effect In this case the Custom Mix Depth Speed settings are ignored If Control Mode Custom the Custom Mix Depth Speed settings are valid and the c Preset Type setting is ignored c Amt If Preset Type V1 and Src JS Y you can set this to 5 and move JS Y to control the effect in the order of V1 C1 gt V2 gt C2 gt V3 gt C3 054 Rotary Speaker This effect simulates a rotary speaker an
66. Mono In Stereo Out FX Amt 0 Stereo In Stereo Out PPR fs Amt zt Right c Left o High Damp Low Damp apse y n s HAHA Pan gt B BH i gr ge Feedback Feedback Amt e Level Pan Tay NJ saturation 1 N17 Delay Trim Pre Tone High Low Damp Wah Flatter Soran Position o FX Amt Tempo ES Base Note x Times Delay Time E CBPM gt Base Note x Times cem 1 Base Note x Time De eel BPM Delay MIDI 40 00 300 00 MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Tap1 Dmod Src Off Tempo Selects the modulation source of the delay time Tap1 Delay Note des Selects the type of notes to specify the delay time tap1 Times x1 x32 Sets the number of notes to specify the delay time tap1 Time Over Tap1 Dmod Note OVER Displays an error message when the delay time exceeds the upper limit Selects the note value used to specify the delay time when the modulation is at maximum Specifies the number of notes used to specify the delay time when the modulation is at maximum Tap2 Position 96 0 100 Sets the position of Tap 2 relative to the Tap 1 delay time the depth of pitch variation Tap3 Position 96 0 100 Sets the position of Tap 3 relative t
67. Ramp High setting 50 for a setting of 50 and 50 for a setting of 50 Fit KTrk Filter Keyboard Track H Flt KTrk Filter Keyboard Track Flt KTrk 0 Filter Keyboard Track 0 i 0 Ramp Low will have no AMS effect The sign of the Ramp High setting will determine the Fit KTrk 0 Filter Keyboard Track 0 direction of its effect Amp KTrk Amp Keyboard Track Amp KTrk Amp Keyboard Track Amp KTrk 0 Amp Keyboard Track 0 Amp KTrk 0 Amp Keyboard Track 0 The direction of the effect will be determined by the sign positive or negative of the Ramp Low or Ramp High setting Sound operating mode 27 AMS Alternate Modulation Source list 0 The sign of the Ramp Low setting will deter mine the direction of its effect Ramp High will have no AMS effect example of Amp Keyboard Track settings Ramp High 50 Key Low Key High Note Number 4 AMS Amp KTrk max AMS Intensity positive value zero Pee Depth and direction of modulation max Y 4 AMS Amp KTrk max AMS Intensity positive value zero Depth and direction of modulation 4 AMS Amp KTrk 0 4 max p AMS Intensity positive value sae a Depth and direction of modulation max M 4 AMS Amp KTrk 0 max AMS Intensity positive value z ro PM Depth and direction of modulation max M
68. Start and End points are perma nently removed Loop Start Note This parameter has no effect unless you don t turn the loop on Use the Loop On parameter on the Sampling Loop Edit page to turn the loop on see page 32 Use this parameter to adjust the Loop Start point When you adjust this parameter an audible click may appear due to a pitch and or level mismatch between the starting and ending points of the loop Move the Loop Start and Loop Sample End point so that the click can no longer be heard Sampling operating mode 3 Sampling Edit When editing audio grooves the Loop Start should match the Sample Start point This parameter usually differs from the Sam ple Start in ordinary sounds i e a guitar a piano a voice Loop Start L Loop End E Sample Start S Sample End E End Sample Loop End This is the sample and loop end point in samples You may edit this point to shorten the sample Warning When saving the edited sample Write Sample opera tion the segments exceeding the Start and End points are perma nently removed Snap to Zero If this parameter is turned on when you move the Start Loop Start and End points the selection fall on the nearest zero cross ing point i e points where the waveform crosses the x axis and goes from negative to positive or from positive to negative val ues This will make loops more accurate and will reduce the risk of clicks
69. The MIDI channel In Sound mode Pa800 receives and transmits on the same chan nel of the Upper 1 track If the Global channel is assigned notes can be received also on this channel See MIDI MIDI In Chan nels on page 214 and MIDI MIDI Out Channels on page 215 in the User s Manual for more information How to select oscillators While in an edit page requiring an oscillator to be selected for editing use the vertical row of buttons on the right 1 16 max to select one of the available oscillators The number of available oscillators depends on the Oscillators Count parameter see page 5 arrow until the hidden oscillator is shown in the display When oscillators cannot be select since the parameter contained in the current page are global and valid for the whole Sound these buttons are greyed out and cannot selected fe L If you cannot see the desired oscillator press the scroll LJ be Sounds Drum Kits Digital Drawbars Pa800 features three different kinds of Sounds Ordinary Sounds These are normal instrument Sounds like pianos strings basses Drum Kits These are drum and percussion kits where each note of the keyboard is a different percussive instru ment You can find Drum Kits in the DRUM amp PERC and USER DK banks Digital Drawbars These are Sounds with a very complex structure and a special usage See Digital Drawbars page on page 4 for more information
70. bank of multisamples Finally select the new multisample To access the new sample s you must assign them to a Drum Kit First select a Drum Kit Press MENU and go to the DrumKit Sample Setup Drum Kits page see page 8 Select a key and a layer then select the RAM bank of samples Finally select the new samples Select the Write Sound command from the page menu and save the Sound to an empty User location If you want so assign the new Sound to a track then select the Write Performance Write Current Style Perf or Write STS command from the page menu to save the Sound to a Performance Style Performance or STS Hint Drum Kits are better suited for the Drum or Percussion track Assign them to a Style Performance B Saving an Audio Groove After recording an audio groove you must slice it to create a series of separate percussive samples a multisample and a MIDI Groove 1 Go to the Time Slice page After creating a series of slices use the Extend function to refine your groove Select the Sampling operating mode 29 The Record Sampling procedure Write command from the page menu to save the sliced samples a multisample and the MIDI Groove Press RECORD to exit the Sampling mode and return to the Sound mode To access the new multisample first select an ordinary Sound Press MENU and go to the Basic OSC Basic page see page 6 Select one of the available layer
71. channel feedback Sets the feedback amount for the right channel Sets the modulation amount of the right channel feedback High Damp Sets the damping amount in the 96 EC high range Low Damp Sets the damping amount in the 96 A low range Input Level Sets the modulation amount of Dmod 96 the input level Selects the modulation source for the input level Sets the width of the stereo image of the effect sound Src Amt 100 100 R Feedback 100 100 Amt 100 100 Src Spread Amount of FX added to the FX Amount direct signal Effects Double Size 113 121 Hold Delay This effect records the input signal and plays it back repeatedly You can control the start of recording and reset via a modulation source Easy to use for real time performances FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o o Loop Time Auto 5400ms S 5 Delay i A Righto pia REC Control mod BPM H oe Base Note x Times Loop Time Auto msec 1 10800 Sets Automatic loop time setup mode or specifies loop time Specifies whether delay time is set in milliseconds or as a note value relative to tempo MIDI MIDI syncs to the system tempo BPM 40 00 40 300 sets the tempo manually 300 00 for this individual effect An error indication that appears if delay time exceeds the upper
72. close the menu without selecting a command Write Select this command to open the Write Sample Write Multisam ple or Write Slice dialog box depending on the page you are in and do the following save the sample s to the hidden PCM area of the SSD save the multisample s to the internal memory SSD save the Sound generated by the Time Slice function to the internal memory SSD See Write Sample dialog box on page 40 Write MultiSample dialog box on page 40 or Write Slice dialog box on page 41 for more information Delete Select this command to delete one or all samples and multisam ples from memory See Delete Sample dialog box on page 41 or Delete Multi sample dialog box on page 41 for more information Normalize Select this command to automatically rescale the level of the selected sample Peaks will be raised to 0dB i e maximum vol ume before clipping while the remaining parts of the sample will be proportionally raised Normalization optimizes the sample s level relative to other sam ples making all samples sound more uniformly It also helps optimizing signal noise ratio by preventing further stages of amplification from increasing any residual noise Cut Select this command to cut the selected part of the sample inside the Start and End points Trim Crop Select this command to cut all parts of the sample out of the selected range i e out of the S
73. dB You can control the gain of Band 2 using the modulation source 007 St Graphic 7EQ Stereo Graphic 7 Band EQ 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 fre quency responses You can select a center frequency setting for each band from twelve types according to the sound o FX Amt Stereo In Stereo Out Left X cq ceo pr jp oA mz Trim Bandi Band2 Band3 Band4 Band5 Band6 Band7 gt m oy m T T Bandi Band2 Band3 Band4 Band5 Band6 Band7 6 Half Wide 3 Selects a combination of center 7 Low frequencies for each band 8 Wide Low 9 Mid 10 Wide Mid 11 High 12 Wide High Trim bu Sets the input level Band1 dB 0 18 0 Sets the gain of Band 1 Band2 dB 0 18 0 Sets the gain of Band 2 Band3 dB 0 18 0 Sets the gain of Band 3 Band4 dB Sets the gain of Band 4 Band5 dB Sets the gain of Band 5 Band6 dB Sets the gain of Band 6 Band7 dB Sets the gain of Band 7 Amount of FX added to the direct signal FX Amount j src Off Tempo Table Dynamic Modulation sources on page 43 Amount of modulation source Amt 100 100 a Type This parameter selects a combination of center frequencies for each band The center frequency of each band is shown in the right of the screen You can
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75. larger Reverb Level simulates a soft wall Reverb Room Type Loose Level Dry ER Early Reflections Reverb Modulated DM Time Louder Pre Delay Thru Pre Delay Reverb Time Reverse Pre Delay ER Time z 9Q Effec ts Mono Mono Serial Mono Mono Mono Mono Serial Mono Mono 077 P4EQ Exciter Parametric 4 Band EQ Exciter This effect combines a mono four band parametric equalizer and an exciter Left o FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Parametric 4Band EQ fx Amt Exciter gt Exciter Q E Trim 0 100 Sets the parametric EQ input level E B1 Cutoff Hz 20 1 00k Sets the center frequency of Band 1 Q 0 5 10 0 Sets the bandwidth of Band 1 Gain dB 18 418 Sets the gain of Band 1 E B2 Cutoff Hz 50 5 00k Sets the center frequency of Band 2 Q Gain dB 0 5 10 0 18 418 Sets the bandwidth of Band 2 Sets the gain of Band 2 E B3 Cutoff Hz 300 10 00k Sets the center frequency of Band 3
76. location pre determined for each sample Off The sound will start from the beginning of the sample Reverse When checked the sample will be played in reverse In the case of Factory Flash ROM or User RAM samples that were origi nally specified to loop the sample will be played back in one shot reverse mode If the sample was originally set to reverse it will playback without change On The sample will playback in reverse Off The sample will play back normally How to activate Reverse on existing RAM samples The Reverse function is immediately available to samples created with OS version 1 60 or higher To make it available to existing samples you must follow this procedure 1 Load the SET folder containing the old samples 2 Go to Sampling mode 3 From the Record page choose the existing sample to con vert 4 Without any editing choose from the page menu the Write command and save the sample over itself 5 In case the sample is stereo please don t forget to convert both the L eft and R ight side of the sample Level This parameter specifies the level of the sample For more infor mation see Level on page 7 Mono Stereo indicator Non editable This indicator tells if the selected sample is mono one voice per note or stereo two voices per note Transpose This parameter transposes the selected sample Use it to change the pitch of the selected key 0 No transposition applied 64
77. modulation source Src Off Tempo used for both LFO speed and step speed 20 00 Sets the modulation amount of 20 00 LFO speed Sets the LFO step speed speed that changes in steps Sets the modulation amount of LFO step speed When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency MIDI MIDI syncs to the system tempo BPM 40 00 40 300 sets the tempo manually 300 00 for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Selects the type of notes to specify the LFO step speed LFO Step Freq Hz 0 05 50 00 50 00 Amt 50 00 MIDI Sync Off On Base Note Times Step Base Note Sets the number of notes to Times x1 x32 specify the LFO step speed Manual 0 100 Sets the filter center frequency Selects the modulation source Src Off Tempo For the filter center frequency Sets the modulation amount for the filter center frequency 0 100 Sets the modulation depth of re filter center frequency Selects the modulation source of filter modulation 100 100 Src Off Tempo Sets the modulation amount of Amt 100 100 filter modulation Resonance 0 100 Sets the resonance amount Amount of FX added to the 100 0 100 direct signal FX Amount Table Dynamic Modulation sources on page 43 Amount of mo
78. modulation source for the click noise level Amt 100 100 Sets the modulation amount of the click noise level EQ Trim 0 100 Sets the EQ input level Pre EQ Cutoff Hz 300 10 00k Sets the EQ center frequency Q 0 5 10 0 Sets the EQ band width Gain dB 18 0 18 0 Sets the EQ gain Amt Sets the LFO modulation amount of the sampling frequency Resolution Sets the data bit length Output Level Sets the output level Src Selects the modulation source for the output level Amt Sets the modulation amount of the output level FX Amount Amount of FX added to the direct signal Src Table Dynamic Modulation sources on page 43 Amount of modulation source FX Amount 0 100 Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 Amt b Flutter 100 100 Amount of modulation source This parameter enables you to set the depth of the modulation caused by a warped turntable e Click Level a Pre LPF If a sampler with a very low sampling frequency receives very high pitched sound that could not be heard during playback it could generate pitch noise that is unrelated to the original sound Set Pre LPF to On to prevent this noise from being gen erated If you set the Sampling Freq to about 3 kHz a
79. on page 43 0 50 2 00 value is 1 0 Stop stops the Amt 100 4100 Amount of modulation source rotation Distance between the micro Mic Distance 0 100 phone and rotary speaker Angle of left and right micro MicSpread 0 100 phones Amount of FX added to the FX Amount 0 100 direct signal Table Dynamic Modulation Src Off Tempo sources on page 43 100 4100 Amount of modulation source 120 St Cross Long Delay Stereo Cross Long Delay This is a stereo delay and can by used as a cross feedback delay effect in which the delay sounds cross over between left and right by changing the feedback routing You can set a maximum of 2 730msec for the delay time Stereo In Stereo Out Left o gt o FX Amt High Damp Low Dam K a Delay H Input Level D mod Stereo Cross Spread Stereo Cross Y Feedback T High Damp Low Dam Input Level D mod Delay oN Z F Righto y o FX Amt Switches between stereo delay and cross feedback delay Sets the delay time for the left channel Sets the delay time for the right channel Sets the feedback amount for the left channel Stereo Cross Stereo Cross L Delay Time msec 0 0 2730 0 R Delay Time msec 0 0 2730 0 L Feedback 100 4100 Selects the modulation source of Off Tempo feedback amount Sets the modulation amount of the left
80. or smaller and the effect is on when the value is 64 or higher 122 LCR BPM Long Dly The L C R delay enables you to match the delay time with the song tempo FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out ute Kia Amt gt L Delay x Level 1 C Delay Spread a i BPM Base Note x Times t gt Base Note x Times MIDI MIDI syncs to the system tempo BPM 40 00 40 300 sets the tempo manually 9 300 00 for this individual effect a Displays an error message when Time Over OVER the delay time exceeds the upper limit L Delay Base Selects the type of notes to ey Note em specify the delay time for TapL b dg Sets the number of notes to Times Wira specify the delay time for TapL Level 0 50 Sets the output level of TapL C Delay Base elects the type of notes to syne Note A specify the delay time for TapC IS c z Sets the number of notes to Times x1 x32 specify the delay time for TapC Level 0 50 Sets the output level of TapC R Delay Base Selects the type of notes to ey Note e specify the delay time for TapR d z Sets the number of notes to Times x1 x32 specify the delay time for TapR Level 0 50 Sets the output level of TapR Feedback Sets the feedback amount of er C Delay 100 100 TapC Dm Selects the modulation source e
81. oscillator KEY C 1 Layers gt 1 V Assign LEUTE Selected Layer Velocity Switches P Rom 2nd Offset Rev Level 65 Transpose 8 45 SD Wood 2 pp Stereo Tune 8 Cutoff Resonance Attack B Decay 17 Key Key Key in edit You can press a key on the keyboard while this parameter is selected to select a key Layers Number of layers assigned to the selected key Depending on the number of selected layers you can have a different number of velocity switches Assign Use this parameter to turn the sample on off On The sample is assigned to the selected key Off The sample is not assigned The sample assigned to the next highest assigned key is used instead Layer Selector amp Velocity Sample Switch Selected Layer Use these radio buttons to select the layer to edit The available layers depends on the Layers parameter Velocity Switches Each of these values separates the two adjacent layers for the selected sample key Notes stricken harder than a velocity switch will be played by the layer on the right while notes stricken softer are played by the layer on the left The first and last values are not editable and are always 001 and 127 respectively Drum Sample Bank Num Use these parameters to select a different Drum Sample for each layer You can use velocity to switch between the available sam ples Offset and Level can be adjusted independently
82. resulting level is determined by multi plying the values of CC 7 and 11 The Global MIDI channel is used for control 0 127 Volume level Pan Pan stereo position of the selected oscillator This parameter is not available when editing a Drum Kit Use the individual Pan control for each key see Pan on page 9 Random The sound will be heard from a different location at each note on L001 Places the sound at far left C064 Places the sound in the center R127 Places the sound to far right Note This can be controlled by CC 10 panpot A CC 10 value of 0 or 1 will place the sound at the far left a value of 64 will place the sound at the location specified by the Pan setting for each oscilla tor and a value of 127 will place the sound at the far right This is controlled on the global MIDI channel Pan modulation AMS Alternate Modulation Source Selects the source that will modify pan see AMS Alternate Modulation Source list on page 26 This change will be rela tive to the Pan setting Intensity Specifies the depth of the effect produced by AMS For exam ple if Pan is set to C064 and AMS is Note Number positive values of this parameter will cause the sound to move toward the right as the note numbers increase beyond the C4 note i e as you play higher and toward the left as the note numbers decrease i e as you play lower Negative values of this paramete
83. the LFO step speed Feedback 100 100 Sets the feedback amount f Sets the number of notes to Times x1 x32 specify the LFO step speed High Dam Sets the feedback damping 94 P 10 100 amount in the high range 6 Depth 0 100 Sets the depth of LFO Amount of FX added to th a eee mount o added to the FX Amount 100 0 100 direct signal Feedback 100 100 Sets the feedback amount h Src Off Tempo aed ea High Damp o 499 Sets the feedback damping E 96 zs amount in the high range 100 4100 Amount of modulation source Amount of FX added to the FX Amount 100 0 100 direct signal g Feedback i Sr Off Tempo Table Dynamic Modulation h FX Amount e ud p sources on page 43 Amt 100 4100 Amount of modulation source The peak shape of the positive and negative Feedback value is different The harmonics will be emphasized when the effect sound is mixed with the dry sound if you set a positive value for both Feedback and FX Amount and if you set a negative value for both Feedback and FX Amount g High Damp 96 This parameter sets the amount of damping of the feedback in the high range Increasing the value will cut high range harmon ics 034 St Env Flanger Stereo Envelope Flanger This Flanger uses an envelope generator for modulation You will obtain the same pattern of flanging each time you play You can also control the Flanger directly using the modu
84. the delay time parameters so that this message will not appear Time Over is only a display parameter 100 4100 J Amount of modulation source Effects 85 Delay 067 St BPM Mod Delay LLFO Phase igo 4gg 5etsthe phase obtained when deg ii the left LFO is reset Stereo BPM Modulation Delay y Sets the depth of the left LFO M g 2 Depth 0 200 modulation This is a stereo modulation delay that lets you synchronize the RLFO Phase yao aigq Sets the phase obtained when the right LFO is reset Sets the depth of the right LFO modulation delay time to the tempo of the song deg Depth 0 200 Stereo In Stereo Out Left o 3 fes Right tem Base Note x Times m Base Note x Times s FX Amt D zeiz Response Modulation Mode LFO sydil LFO Tri Sine LFO Shape rng LFO Phase Modulation Mode Switches between LFO modulation control and modulation source control D mod Modulation Reversed L R control by modulation source Src Selects the modulation source that controls delay time Response Sets the rate of response to the modulation source LFO Waveform Triangle Sine Selects the LFO Waveform LFO Shape 100 100 Changes the curvature of the LFO Waveform LFO Sync Off On Switches LFO reset off on Src Off Tem
85. the keyboard 99 4 99 Intensity value Amp Amp EG These parameters let you create time varying changes in the vol ume of the selected oscillator SOUND Amp ur Ex s L n Sound operating mode 19 Amp Amp EG Diagram The diagram on top of the page shows the Amplitude envelope line Level These parameters are the level of the envelope segment Amplifier EG Attack Level Note off Note on Break Point Volume PIE Attack Decay Slope Time Time Time Release Time Start This parameter specifies the volume level at note on If you want the note to begin at a loud level set this to a high value 0 99 Level value Attack This parameter specifies the volume level that will be reached after the attack time has elapsed 0 99 Level value Break This parameter specifies the volume level that will be reached after the decay time has elapsed 0 99 Level value Sustain This parameter specifies the volume level that will be maintained from after the slope time has elapsed until note off occurs 0 99 Level value Time These parameters specify the time over which the volume change will occur Attack This parameter specifies the time over which the volume will change after note on until it reaches the attack level If the start level is 0 this will be the rise time of the sound 0 99 Time value Decay This parameter specifies the t
86. the sound brightness LFO Depth Intensity of the Vibrato LFO LFO Speed Speed of the Vibrato LFO LFO Delay Delay time before the Vibrato LFO begins after the sound starts Resonance Use the Filter Resonance to boost the cutoff fre quency Sound operating mode 3 Main page Voice Assign Mode Poly The Sound will play polyphonically allowing you play chords Mono The Sound will play monophonically producing only one note at a time Hold Use this parameter to keep the notes sustained even after releas ing the keys Note Please remember the Hold must be On before playing the note to be held Legato This parameter is available when the Mono option is selected Note If Legato is On certain multisamples or keyboard locations may produce an incorrect pitch On Legato is on When multiple note on s occur the first note on will retrigger the sound and the sec ond and subsequent note on s will not retrigger When legato is on multiple note on s will not retrigger the voice If one note is already on and another note is turned on the first voice will con tinue sounding The oscillator sound envelope and LFO will not be reset and only the pitch of the oscillator will be updated This setting is effective for wind instrument sounds and analog synth type sounds Off Legato is off Notes will always be retriggered when note on occurs When legato is off multiple note on s will retrigger
87. the voice at each note on The oscillator sound envelope and LFO will be reset and retriggered according to the settings of the Sound FX Area In Sound mode the Sound uses its own effects instead of relying on A D effects Two effect processors FX1 and FX2 are available On Off Use this button to turn on or off the corresponding effect Note When an effect parameter is edited this parameter is auto matically set to On Note If the FX1 and EX2 effects have been set to Off FX Send val ues are set to zero when saving the Sound Selected Effect Non editable This shows the effect assigned to the corresponding FX processor To select a different effect see FX1 2 on page 22 Send Use this knob to adjust the level of the dry sound sent to the cor responding effect 4 Sound operating mode Digital Drawbars page FX Amount Volume of the effect that is added to the dry uneffected signal Digital Drawbars page DIGITAL DRAWBARS are different from ordinary Sounds Their parameters are not saved as a new Sound but can be saved to a Performance Therefore when entering the Digital Draw bars page the MENU button is disabled Note In Style Play and Backing Sequence mode only a Digital Drawbar Sound is available for the Keyboard tracks and one for the Style tracks Save them to a Performance see Write Perfor mance dialog box on page 106 of the User s Manual Note In Song Play mode there is a Digit
88. this will apply refer to Int to A Intensity to A Int to B Intensity to B Specifies the depth and direction of the effect that AMS will have on filter B For details on how this will apply refer to Int to A Intensity to A Note The sum of the settings for Velocity to A B Intensity to A B5 and AMS Intensity to A B will determine the depth and direction of the effect produced by the filter EG Filter A B Modulation AMS1 Alternate Modulation Source 1 for filter A B Selects the source that will control modulation of the filter A cutoff frequency See AMS Alternate Modulation Source list on page 26 Note The filter B parameters will be displayed when Filter Type on page 13 is Low Pass amp High Pass Intensity Intensity to AMS1 Specifies the depth and direction of the effect that AMS1 will have When AMS is JS X a positive value for this parameter will cause the cutoff frequency to rise when the joystick is moved toward the right and fall when the joystick is moved toward the left With a negative value for this parameter the opposite will occur This value is added to the setting of the Filter A Frequency AMS2 Alternate Modulation Source 2 for filter A B Selects the source that will control modulation of the filter A cutoff frequency see AMS Alternate Modulation Source list on page 26 Intensity Intensity to AMS2 Spec
89. this window by selecting the Copy FX item from the page menu Here you can copy all FX settings between FX processors From Sound Press this button to open the Sound Select window and select the source Sound From FX Select the source effect to copy from To FX Target effect where to copy the source settings to Copy Drum Kit dialog box Open this window by selecting the Copy Drum Kit item from the page menu Here you can copy settings from a range of keys of a Drum Kit Copy Drum Kit From Drum Kit Press this button to open the Sound Select window and select the source Drum Kit From Key Select the source range of keys to copy from To Key Target key Settings are copied starting from this key and upwards Sound operating mode Copy Drum Kit dialog box 25 26 Sound operating mode AMS Alternate Modulation Source list AMS Alternate Modulation Source list Pitch EG Pitch EG Filter EG Filter EG within the same oscillator Amp EG Amp EG within the same oscillator LFO1 LFO1 within the same oscillator LFO2 LFO2 within the same oscillator Fit KTrk Filter Keyboard Track Fit KTrk Filter Keyboard Track Fit KTrk 0 Filter Keyboard Track 0 Fit KTrk 0 Filter Keyboard Track 0 Amp KTrk Amp Keyboard Track Amp KTrk Amp Keyboard Track Amp KTrk 0 Amp Keyboard Track 0 Amp KTrk 0 Amp Keyboard Track 0 Note Number Note number
90. time i e a square wave with random period SineO Ay Sine wave Guitar I gt Guitar vibrato Exponential Triangle N i Random Vector Sa Down w Random5 Vector Random6 Vector Exponential A These types cause Random 1 3 to change Saw Up smoothly They can be used to simulate the instability of acoustic instruments etc Sound operating mode 21 LFO LFO1 Frequency Set the LFO frequency A setting of 99 is the fastest 00 99 Frequency rate Offset This parameter specifies the central value of the LFO waveform For example with a setting of 0 as shown in the following dia gram the vibrato that is applied will be centered on the note on pitch With a setting of 99 the vibrato will only raise the pitch above the note on pitch in the way in which vibrato is applied on a guitar When Waveform is set to Guitar the modulation will occur only in the positive 4 direction even if you set Offset to 0 Here are offset settings and pitch change produced by vibrato Pitch offset 99 offset 0 offset 99 Pitch at note on 99 4 99 Offset value Key Sync This parameter specifies if the LFO is synchronized to key strokes On The LFO will start each time you play a note and an independent LFO will operate for each note Off The LFO effect that was started by the first played note will continue to be applied to each newly played note In this case Delay and Fade will be
91. time up to 10 800msec If the delay time exceeds this limit the error message OVER appears in the dis play Set the delay time parameters so that this message will not appear Time Over is only a display parameter 114 Effects Double Size b Loop BPM Sync c BPM d Loop Base Note d Times If Loop BPM Sync is on the Times setting is ignored the loop time is determined by BPM Loop Base Note and Times Even in this case the delay time cannot exceed 10 800 msec Hold procedure when Loop Time Auto 1 Rec Src JS Y 01 Reset Src JS Y 02 Manual REC Control REC Off Manual RST Control RESET Loop Time msec Auto MIDI Tempo Sync Off It should be noted that all recordings will be deleted while Reset is On 2 Manual RST Control Off Reset is cancelled and the unit enters Rec ready mode 3 Push the joystick in the Y direction forward and play a phrase you wish to hold When you pull the joystick to its original position the recording will be finished and the phrase you just played will be held Loop Time is automatically set only for the first recording after resetting If the time length exceeds 10 800msec Loop Time will be automatically set to 10 800msec If you have set Times to 1 10 800msec the specified loop time will be used regardless of the time taken from pushing the joy stick forward until it is pulled bac
92. 0 300 00 MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Base Note As Selects the type of notes that specify the LFO speed Times x1 x32 Sets the number of notes that specify the LFO speed Depth 0 100 Sets the depth of LFO modulation Src Off Tempo Selects the modulation source of the depth of modulation Amt 100 100 Sets the modulation amount of the depth of modulation FX Amount 0 100 Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 Amt 100 100 a LFO Waveform Amount of modulation source This parameter sets the basic shape of the LFO The Vintage waveform models classic guitar amp tremolo Triangle Sine b LFO Phase degree Vintage Up Down VNPNIANPNIUVV Tremolo LFO Waveform This parameter determines the difference between the left and right LFO phases A higher value will simulate the auto pan effect in which the sound is panned between left and right 72 Effects Modulation and Pitch Shift Mod P Shift 045 St Env Tremolo Stereo Envelope Tremolo This effect uses the input signal level to modulate a stereo trem olo LFO volume modulation For instance you can create a tremolo effect that becomes deeper and faster as the input gets more quiet 4 FX Amt gt Tremolo
93. 0 Stereo In Stereo Out Left o Pitch Shifter Righto LFO Tri Sqr Pitch Shift cents LFO Triangle Waveform Square LFO Frequency Hz Sets the pitch difference from 7100 4100 the input signal Selects the LFO Waveform 0 02 20 00 Sets the speed of the LFO Selects a modulation source for Src Off Tempo LFO speed 20 00 Sets the modulation amount of 420 00 LFO speed When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency MIDI MIDI syncs to the system tempo BPM 40 00 40 300 sets the tempo manually 300 00 for this individual effect Amt MIDI Sync Off On Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the LFO modulation depth for pitch shift amount Selects the modulation source of the depth of modulation Sets the modulation amount of the depth of modulation Pan L 1 99 99 Sets the panning effect sound 1 R and dry sound separately Amount of FX added to the direct signal Base Note Mu Times x1 x32 Depth 100 100 Src Off Tempo Amt 100 100 FX Amount 0 100 Table Dynamic Modulation Src Off Tempo sources on page 43 Amount of modulation source 100 100 a Pitch Shift cents e Depth These parameters set the amount
94. 1 100 of a semitone From To Range of the selected Zone or Index The minimum size is one key When reducing the range of a zone the adjacent one is auto matically increased to fill the gap Hint To create a silent zone create it and assign no sample to it Buttons Insert Press this button to split the current zone in half and create a new zone Index on the left of the selected one Add Press this button to add a new zone Index after the last one Delete Press this button to delete the selected Zone Index The zone on the right of the deleted one is automatically extended to fill the gap Multisample Key Assign Use this page to see and edit the samples assigned to each Key board Range Index in the multisample This page gives a better display of the assigned samples and their range on the keyboard OM ERR a MULU LILLIA LNU LJRELRELRELRELREEEERT Sample list Keyboard ranges MS Multisample See MS MultiSample on page 38 Sample list List of samples assigned to the selected multisample Use the big button with an arrow on top and to the bottom of the list to scroll the list up or down Keyboard ranges Next to each sample name the low and high Zone limits appear Edit these values to change the Zone range The Original Note is shown in red Page menu Press the page menu icon to open the menu Press a command to select it Press anywhere in the display to
95. 12 00k Q 0 5 10 0 Gain dB 18 0 18 0 FX Amount 0 100 Table Dynamic Modulation are DItoaemper sources on page 43 Amount of modulation source 100 100 a Envelope Select When L R Mix is selected for this parameter the left and right channels are linked to control the Limiter using the mixed signal If L Only or R Only is selected the left and right channels are linked and the Limiter is controlled via only the left or right channel With L R individually the left and right channels control the Limiter individually b Ratio c Threshold dB e Gain Adjust dB This parameter sets the signal compression Ratio Compres sion is applied only when the signal level exceeds the Thresh old value Adjust the output level using the Gain Adjust parameter since compression causes the entire level to be reduced Limiter Threshold Ratio Ratioz1 0 1 A Output Level E Uo Ratioz20 1 Threshold et Ratio 40 1 cepe Ration Inf 1 t x 8 4 Louder Input Level Ratioz1 0 1 Threshold Ratio inf 1 Effects 45 Dynamics Dynamic d Attack d Release These parameters set the attack time and release time A higher attack time will cause the compression to be applied more slowly Limiter Attack Release Threshold Ratio Inf 1 Attack 1 Release 1
96. 2 20 00 Sets the speed of the LFO COMPRESSOR Hz Selects the LFO Waveform c Sets the depth of LFO modulation C Attack 100 Sets the attack level FX Amount 0 100 Amount of FX added to the Output Level 0 100 Sets the compressor output level direct signal Decimator Src Off Tempo Table Dynamic Modulation Comp Switches the order of the sources on page Comp gt decimator and compressor 100 4100 Amount of modulation source Decimator d Larry 100 Sets the sensitivity T Depth 0 100 Routing Amount of FX added to the FX Amount 0 100 direct signal Table Dynamic Modulation Src Off Tempo sources on page 43 100 4100 Amount of modulation source Effects Mono Mono Serial Mono Mono 105 106 Cho Flng Mt Dly Chorus Flanger Multitap Delay 107 Phaser Cho Flng Phaser Chorus Flanger This effect combines a mono chorus flanger and a multitap This effect combines a mono phaser and a chorus flanger delay FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out FX Amt Left o Phaser Chorus Flanger d FX Amt Chorus Flanger Multitap Delay Phaser Kh Chorus F
97. 2 Gain dB 18 18 Sets the gain of Band 2 E B2 Cutoff Hz 50 5 00k Sets the center frequency of Band 2 Q 0 5 10 0 Sets the bandwidth of Band 2 Gain dB 18 4 18 Sets the gain of Band 2 E B3 Cutoff Sets the center frequency of Hz 300 10 00k Band 3 Q 0 5 10 0 Sets the bandwidth of Band 3 Gain dB 18 418 Sets the gain of Band 3 E B3 Cutoff Hz 300 10 00k Sets the center frequency of Band 3 Q 0 5 10 0 Sets the bandwidth of Band 3 Gain dB 18 4 18 Sets the gain of Band 3 E B4 Cutoff Sets the center frequency of Hz 500 20 00k Band4 Q 0 5 10 0 Sets the bandwidth of Band 4 Gain dB 18 418 Sets the gain of Band 4 E B4 Hz 500 20 00k Sets the center frequency of Band 4 Q 0 5 10 0 Sets the bandwidth of Band 4 Gain dB 18 4 18 Sets the gain of Band 4 CHORUS FLANGER PHASER F LFO Frequency 0 02 20 00 Sets the speed of the LFO Hz LFO Waveform Triangle Sine Selects the LFO Waveform P LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO LFO Waveform Triangle Sine Selects the LFO Waveform fee ine 0 0 1350 0 Sets the delay time Sets the depth of LFO Depth 0 100 modulation Feedback 100 4100 Sets the feedback amount P Manual 0 100 Sets the frequency to which the effect is applied
98. 2 00 Rotor Acceleration 0 100 Stop Rotor Ratio 0 50 2 00 Sets the level balance between Rotor 1 99 the high frequency horn and low frequency rotor Sets the distance between the microphone and rotary speaker Horn Rotor Balance Horn Mic Distance 0 100 Sets the angle of left and right microphones Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 Amount of modulation source Mic Spread 0 100 FX Amount Src a Mode This parameter sets how the modulation source switches between rotation and stop When Mode Toggle the speaker rotates or stops alternately each time you press the pedal or move the joystick Via MIDI rotation will switch between start and stop each time the modu lation amount exceeds 64 When Mode Moment the speaker rotates by default and stops only when you press the pedal or move the joystick Via MIDI modulation values above 64 make the speaker rotate and values below 64 make it stop Effects 77 Modulation and Pitch Shift Mod P Shift b Speed Switch This parameter controls how the rotation speed slow and fast is switched via the modulation source When Mode Toggle the speed will switch between slow and fast each time you press the pedal or move the joystick Via MIDI the speed will switch each time the modulation amount exceeds 64 When Mode Moment the speed is usuall
99. 3 Amount of modulation source O Output Level 0 50 Sets the overdrive output level Src Off Tempo Selects the modulation source for the overdrive output level Amt 50 50 Sets the modulation amount of the overdrive output level O Low Cutoff Hz 20 1 00k Sets the center frequency for Low EQ shelving type Gain dB 18 418 Sets the gain of Low EQ O Mid1 Cutoff Hz 300 10 00k Sets the center frequency for Mid High EQ 1 peaking type Q 0 5 10 0 Sets the band width of Mid High EQ 1 Gain dB 18 418 Sets the gain of Mid High EQ 1 O Mid2 Cutoff Hz 500 20 00k Sets the center frequency for Mid High EQ 2 peaking type Q 0 5 10 0 Sets the band width of Mid High EQ 2 Gain dB 18 418 Sets the gain of Mid High EQ 2 O Wet Dry Dry 1 99 99 1 Wet Sets the overdrive effect balance Src Off Tempo Selects the Wet Dry modulation source for the overdrive Amt 100 100 Sets the Wet Dry modulation amount for the overdrive Routing FX Amount Comp gt OD HG OD HG Comp 0 100 Switches the order of the compressor and overdrive Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 Amount of modulation source 94 Effects
100. 5 0 Sets the gain of the High EQ Sets the output level of the Output Level 0 100 compressor Dz Selects the modulation source g 5rc Off Tempo for the compressor output level Sets the modulation amount for Amit 100 100 the compressor output level FX Amount 0 100 Sets the balance between the Drez effect and the dry input Selects a modulation source for h Src Off Tempo FX Amount Sets the modulation amount for Amt 100 100 FX Amount a Envelope Select This parameter selects whether the left and right channels are linked to control both signals simultaneously or whether each channel is controlled independently b Sensitivity g Output Level The Sensitivity parameter sets the sensitivity of the compres sor If this parameter is set to a higher value lower level sounds will be boosted With a higher Sensitivity the overall volume level is higher To adjust the final volume level use the Output Level parameter Compressor Sensitivity Louder c Attack This parameter controls the attack level Compressor Attack Attack 80 Attack 20 002 Stereo Limiter The Limiter regulates the input signal level It is similar to the Compressor except that the Limiter compresses only signals that exceed the specified level to lower unnecessary peak signals The Limiter applies a peaking type EQ to the trigger signal which controls the degree of t
101. 63 Transpose value in semitones Tune Use this parameter to fine tune the assigned sample 0 Original tuning 99 4 99 Fine tuning value in cents 1 100 of a semitone Cutoff This parameter sets the cutoff frequency for the filter applied to the selected sample Resonance This parameter sets the resonance for the filter applied to the selected sample Attack This parameter is an offset to the selected sample s EG Attack Decay This parameter is an offset to the selected sample s EG Decay DrumKit Voice Mixer Drum Kits This page appears when you edit a Drum Kit Here you can set various parameters for the different percussive sample assigned to the selected key and layer KEY C 1 Layers gt t V Assign LULA meti Exclusive Group 0 V Enable Note On Receive J Enable Note Off Receive Mixer Pan R 35 Sent to FX 1 36 Sentto FX 2 9 Setup Key See Key on page 8 Sound operating mode 9 DrumKit Voice Mixer Drum Kits Voice Assign Mode Single Trigger Use this parameter to set the sample as a single triggered one On When the same key note is played repeatedly the previous note will be stopped before the new note is triggered so that they will not overlap Off When the same key note is played repeatedly the previous note will not be stopped before the new note is triggered Exclusive Group Exclusive Groups are sets of mutually exclusive keys sto
102. Amt Tube Pre Amp1 ji gt 90 Tube Pre Amp2 Output Level Righto o Tube1 Low Cut Hz Sets the cutoff frequency for the low cut filter of stage 1 Sets the cutoff frequency for the high cut filter of stage 1 Thru 21 8 00k High Cut Hz 22 20 00k ae Sain 24 0 424 0 Sets the input gain for stage 1 Sets the input output response for stage 1 Sets the bias voltage for stage 1 Saturation 94 0 100 Tube1 Bias 0 100 Normal Tube1 Phase Wet Invert Tube2 Low Thru Turns phase reversal on off Sets the cutoff frequency for the Cut Hz 21 8 00k low cut filter of stage 2 53 20 00k Sets the cutoff frequency for the High Cut Hz Thru high cut filter of stage 2 er Gain 24 0 424 0 Sets the input gain for stage 2 Sets the input output response for stage 2 Sets the bias voltage for stage 2 Saturation 94 0 100 Tube2 Bias 0 100 Tube2 Output Level 48 0 0 0 dB Sets the output level Amount of FX added to the FX Amount 0 100 direct signal Table Dynamic Modulation sre sources on page 43 Amount of modulation source Effects 59 Overdrive Amp models and Mic models OD Amp Mic b f Saturation With higher settings of this value the waveform will change at high gain levels tending to cause distortion Lower settings of this value will produce
103. Crossfade Length will gradually decrease and the waveform level immediately before the beginning of the loop will gradually increase as the two are mixed When the Loop On parameter is checked and the Start and Loop S parameters have different values the Crossfde but ton becomes available When you press the Crossfade button the Crossfade Loop dialog box appears Crossfade Loop CELES Crossfade Length In Crossfade Length specify the length of the sample that you wish to crossfade You can enter it either as the number of sam ples or a percentage If you set this as a percentage the number of samples will be calculated automatically If you set this to 50 crossfade will be performed on the second half of the region between loop start and loop end The Crossfade Length cannot be greater than the smaller length between the Sample Start Loop Start points or the Loop Start Sample End points Curve Set Curve to specify how the volume will change in the cross faded region Linear The volume will change linearly Power The volume will change non linearly Sometimes a setting of Linear will produce the impression that the volume has dropped in the middle of the crossfade curve In such cases use Power Sampling Sampling Info Use this page to see detailed info on the sample in edit General information for the RAM memory is also available SA
104. EG Attack Time Specifies the time over which the pitch will change from note on until it reaches the pitch specified as the attack level 0 99 Parameter value Decay Time Specifies the time over which the pitch will change after reaching the attack level until it reaches the normal pitch 0 99 Parameter value Release Time Specifies the time over which the pitch will change from note off until it reaches the pitch specified as the release level 0 99 Parameter value Level Modulation Pitch EG change level AMS JS Y Velocity Intensity positive value Note on Note on Note on Note off Note off Note off A note played softly with A note played strongly with A note played strongly with Start Level Swing set at 0 Start Level Swing set to 0 Start Level Swing set to 0 Attack Level Swing setto Attack Level Swing setto Attack Level Swing set to the Joystick pulled on the Joystick pulled on the Joystick pulled on AMS1 2 Alternate Modulation Source 1 2 These parameters select the source that will control the pitch EG Level parameters AMS Alternate Modulation Source list on page 26 Intensity AMS1 2 Intensity These parameters specify the depth and direction of the effect applied by AMS1 With a setting of 0 the levels specified by Level will be used For example if AMS1 is After Touch pressing the keys to turn it on will change the Level parameter
105. Effects 89 Reverb and Early Reflections Reverb ER 075 Reverb BrightRoom 076 Early Reflections This room type reverb emphasizes the early reflections that This effect is only the early reflection part of a reverberation make the sound brighter sound and adds presence to the sound You can select one of the four decay curves FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out FX Amt FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out E ads gt ERs pem FX Amt LEQ HEQ Ear Thru gt H lt _ gt Pre Delay Reverb Reverb Level EQ Trim LEQ HEQ ee gt H X Pre Delay Early Reflections EQ Trim Righto FX Amt EQ Trim Righto o FX Amt Reverb Time sec High Damp Sets the damping amount in the Type 96 high range Reverse Pre Delay Sets the delay time from the dry ER Time 10 800 Sets the time length of early msec A sound msec 5E reflection Pre Dela Sets the mix ratio of non delay Thru s ER Level Sets the level of early reflections Sets the reverberation level EQ Trim 0 100 Sets the reverberation time Modica Selects the decay curve for the early reflection Sets the time taken from the sound ere 0 200 original sound to the first early reflection Sets the input level of EQ applied to the effect sound Low Selects the cutof
106. Filter envelope Note off Attack Level Sustain Level Note on Release Break Point The specified Level file Time cutoff frequency y Attack Decay Slope Release Time Time Time Time Level These are the envelope segment levels The result will depend on the filter that was selected in Filter Type For example with the Low Pass Resonance filter positive values of EG Intensity will cause the tone to be brightened by positive levels and darkened by negative levels Start This parameter specifies the change in cutoff frequency at the time of note on 99 4 99 Level value Attack This parameter specifies the change in cutoff frequency after the attack time has elapsed 99 4 99 Level value Break Break Point This parameter specifies the change in cutoff frequency after the decay time has elapsed 99 4 99 Level value Sustain This parameter specifies the change in cutoff frequency that will be maintained from after the slope time has elapsed until note off occurs 99 4 99 Level value Release This parameter specifies the change in cutoff frequency that will occur when the release time has elapsed 99 4 99 Level value Time These parameters specify the time over which the filter change will occur Attack This parameter specifies the time over which the level will change from note on until the attack level is reached 0 99 Time value Decay This pa
107. High 99 l Li L Key Key Low Key High Amp Modulation These parameters specify how the volume of the selected oscilla tor will be affected by velocity Velocity Intensity With positive values the volume will increase as you play more strongly With negative values the volume will decrease as you play more strongly Volume change with positive values of this parameter Note on Note on Note off Note off Softly played Strongly played 99 4 99 Intensity value AMS Alternate Modulation Source Selects the source that will control the volume of the amp for the selected oscillator See AMS Alternate Modulation Source list on page 26 Velocity cannot be selected Intensity This parameter specifies the depth and direction of the effect that AMS will have The actual volume will be determined by multiplying the value of the changes produced by the amp EG with the values of Alternate Modulation etc and if the levels of the amp EG are low the modulation applied by Alternate Modu lation will also be less For example if AMS is set to After Touch positive values of this parameter will cause the volume to increase when pressure is applied to the keyboard However if the EG settings etc have already raised the volume to its maximum level the volume can not be increased further With negative values of this parameter the volume will decrease when pressure is applied to
108. L 4x10 CLASSIC 8x10 UK 4x12 STUDIO Cabinet Type 1x15 JAZZ 1x15 VOX AC100 2x15 US 2x15 UK 4x15 LA 1x18 COMBI 1x12 amp 1x18 Selects the cabinet type Four 10 speakers LA sound cabinet Four 10 aluminum cone speakers modern cabinet Four 10 aluminum cone speakers modern cabinet Eight 10 speakers classic cabinet Four 12 speakers UK manufactured cabinet One 15 speaker studio combo cabinet One 15 speaker jazz combo cabinet Two 15 speakers cabinet for Vox AC100 Two 15 speakers US manufac tured cabinet Four 15 speakers UK manufactured cabinet One 18 speaker LA sound cabinet One 12 and one 18 speaker combination cabinet FX Amount 0 100 Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 Amt 100 100 Amount of modulation source 58 Effects Overdrive Amp models and Mic models OD Amp Mic 021 Bass Amp Model This simulates a bass amp FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o Right o FX Amt Volume Bass Amp Model K LA STUDIO JAZZ GOLD PANEL SCOOPED VALVE2 VALVE CLASSIC Selects the amplifier type An amp that is typical of the LA sound A combo amp favored by jazz bassists An amp distinctive for its eye catching
109. L Feedback 100 100 Sets the feedback amount for the left channel Src Off Tempo Selects the modulation source of feedback amount AmtL 100 100 Sets the modulation amount of the left channel feedback R Feedback 100 100 Sets the feedback amount for the right channel Amt R 100 100 Sets the modulation amount of the right channel feedback High Damp 96 0 100 Sets the damping amount in the high range Low Damp 96 0 100 Sets the damping amount in the low range Input Level Dmod 96 100 100 Sets the modulation amount of the input level Src Off Tempo Selects the modulation source for the input level FX Amount 0 100 Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 a Time Over L R Amount of modulation source Normal Cross Feedback Cross Pan1 Cross Pan2 Switches the left and right delay routing MIDI 40 00 300 00 MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect ay Time Over 1 OVER Displays an error message when the delay time for Tap1 exceeds the upper limit OVER Displays an error message when the delay time for Tap2 exceeds the upper limit Tap 1 Base Note TR Selects the type of notes to
110. LFO modulation control and modulation source control D mod Modulation L R L R Reversed L R control by modulation source Src Off Tempo Selects the modulation source that controls delay time Response 0 30 Sets the rate of response to the modulation source LFO Waveform Triangle Sine Selects the LFO Waveform LFO Shape 100 100 Changes the curvature of the LFO Waveform LFO Sync Off On Switches LFO reset off on Src Off Tempo Selects the modulation source that resets the LFO LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO MIDI Sync Off On When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency BPM MIDI 40 00 MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Base Note Selects the type of notes that specify the LFO speed Times L LFO Phase deg 180 180 Sets the number of notes that specify the LFO speed Sets the phase obtained when the left LFO is reset L Depth 0 200 Sets the depth of the left LFO modulation R LFO Phase deg R Depth 180 180 0 200 Sets the phase obtained when the right LFO is reset Sets the depth of the right LFO modulation L Delay Time msec 0 0 1000 0 Sets the delay time for the left channel L Feedback R Delay Tim
111. LFO speed Level 0 100 Sets the Voice1 output level L Delay Time F n F 0 0 500 0 Sets the left channel delay time Voice1 Sets the intensity of resonance msec Resonance 100 100 when Control Mode Manual R Delay Time Sets the right channel delay 0 0 500 0 Sets the damping amount of msec ume f high Damp 5 19g resonant sound in the high Depth 0 200 PH depti of LFO range Pan Be Sets the Voice1 stereo image Feedback 100 100 Sets the feedback amount R1 R6 Dre Di Sets the voice 2 Pitch for High Damp Sets the feedback damping Voice2 Pitch C0 B8 resonance 0 100 amount in the high range F n n 9o g g Ej Fine adjusts the voice 2 pitch for Fine cents 50 50 resonante FX Amount 100 0 100 Fi a added to the Level 0 100 Sets the Voice2 output level 5 n Voice2 Sets the intensity of resonance Src Off Tempo Tabes ee Resonance 100 100 when Control Mode Manual Sets the damping amount of Amt 100 4100 Amount of modulation source h tl Damp 9 400 resonant sound in the high range Pan RUE G Sets the Voice2 stereo image Amount of FX added to the FX Amount 0 100 direct signal Dz i Table Dynamic Modulation Src Off Tempo sources on page 43 Amt 100 4100 Amount of modulation source a Control Mode f Voice 1 Resonance h Voice 2 Resonance This parameter determines the resonance intensity When Control Mode Manual the Resonance param
112. Level of the signal exiting the effect 2 going back to the effect 1 Send to Master This parameters allows you to decide if the direct effected sig nal must go to the Master or just the effected signal On Only the effected signal will be sent to the Audio Outputs The direct non effected signal will not be sent Off Both the effected signal and direct signals will be sent to the Audio Outputs Effects FX1 In this page you can edit the effected assigned to the FX1 effect processor usually reverb See Effects on page 43 for more information Effects FX2 In this page you can edit the effected assigned to the FX2 effect processor usually modulating effect See Effects on page 43 for more information Sound operating mode 23 Effects FX1 Page menu Press the page menu icon to open the menu Press a command to select it Press anywhere in the display to close the menu without selecting a command WA Write Sound Select this command to open the Write Sound dialog box and save all editing parameters to a Sound See Write Sound dialog box on page 24 for more information Solo Oscillator Select this command to solo the selected oscillator and mute the other oscillators Select it again to unmute the other oscillators When this function is activated the Solo OSC n indicator n oscillator number blinks on the page header While in this sit uation you can
113. MPLING D SM Sample Selected sample See SM Sample on page 30 Sampling Info Samples Number of samples in memory Sampling operating mode 33 Sampling Sampling Info Drum Samples Number of drum samples in memory Multisamples Number of multisamples in memory Available Memory RAM Bank Pa800 comes with 64MB of RAM already installed This is the maximum amount of samples that can be loaded or recorded Mono Time Remaining sample memory in seconds This value is given for mono samples With stereo samples this time has to be halved Bytes Remaining memory for sampling in Bytes This value is given for mono samples With stereo samples this time has to be halved Sample Info Selected Samples Size of the selected sample in samples Samples Total size of the samples in memory in samples Sampling Frequency Sampling frequency of the selected sample in Hertz Time Slice The Time Slice function lets you transform a rhythm audio groove in a series of single percussive samples to be assigned to the Drum or Percussion track of a Style or a Song SAMPLING a How timeslice works Analyzing and processing This function detects the attacks e g kick and snare inside a rhythm audio groove a sample that loops a drum pattern and automatically divides the audio groove into individual percussive samples The divided percussive samples will be automatically a
114. Mono Mono Serial Mono Mono 085 Comp PAEQ Compressor Parametric 4 Band EQ 086 Comp Cho Flng Compressor Chorus Flanger This effect combines a mono compressor and a chorus flanger You can change the order of the effects This effect combines a mono compressor and a four band para metric equalizer You can change the order of the effects FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out o Left FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left Routing K N Parametric 4Band EQ Routing Compressor Compressor _ Kw Chorus Flanger EQ Trim LEQ HEQ HK HCcomp Comp f e nnd F i Output Level Tam Normal Right Right o Sey Amt P L Envelope Control LFO Tri Sine Envelope Control COMPRESSOR COMPRESSOR E sitivity 1 100 Sets the sensitivity a Sela 1 100 Sets the sensitivity ClAttack 1 100 Sets the attack level C Attack 1 100 Sets the attack level Output Level 0 100 Sets the compressor output level b Output Level 0 100 Pets the compressor output eve Q ERR eon Sets the parametric EQ input c C EQ Trim 0 100 Sets the EQ input level level Bl 15 415 Sets the gain of Low EQ E B1 Cutoff 20
115. N O Drive Mode Overdrive Hi Gain Switches between overdrive and high gain distortion Drive 1 100 Sets the degree of distortion O Output Level 0 50 Sets the overdrive output level Src Off Tempo Selects the modulation source for the overdrive output level Amt 50 50 Sets the modulation amount of the overdrive output level O Output Level Src 0 50 Off Tempo Sets the overdrive output level Selects the modulation source for the overdrive output level Amt 50 50 Sets the modulation amount of the overdrive output level OlLow Cutoff Hz 20 1 00k Sets the center frequency for Low EQ shelving type Gain dB 18 418 Sets the gain of Low EQ OlLow Cutoff Hz Gain dB 20 1 00k 18 418 Sets the center frequency for Low EQ shelving type Sets the gain of Low EQ O Mid1 Cutoff Hz 300 10 00k Sets the center frequency for Mid High EQ 1 peaking type Q 0 5 10 0 Sets the band width of Mid High EQ 1 Gain dB 18 4 18 Sets the gain of Mid High EQ 1 O Mid2 Cutoff Hz 500 20 00k Sets the center frequency for Mid High EQ 2 peaking type Q 0 5 10 0 Sets the band width of Mid High EQ 2 Gain dB 18 418 Sets the gain of Mid High EQ 2 O Mid1 Cutoff Hz 300 10 00k Sets the center frequency for Mid High EQ 1 peakin
116. Q Gain dB Sets the gain of Low EQ Pre HEQ Gain dB Sets the gain of High EQ Gain dB E B3 Cutoff Hz 18 418 300 10 00 k Sets the gain of Band 2 Sets the center frequency of Band 3 H Q 0 5 10 0 Sets the bandwidth of Band 3 W Frequency Bottom 0 100 Sets the lower limit of the wah center frequency Frequency Top 0 100 Sets the upper limit of the wah center frequency Gain dB 18 418 Sets the gain of Band 3 E BA Cutoff Hz 500 20 00 k Sets the center frequency of Band 4 Q 0 5 10 0 Sets the bandwidth of Band 4 w Sweep Mode Auto D mod LFO Selects the control from auto wah modulation source and LFO Src Off Tempo Selects the modulation source for the wah when Sweep Mode D mod Gain dB 18 418 Sets the gain of Band 4 LTITAP DELAY D Tap1 Time msec 0 0 1360 0 Sets the Tap1 delay time Tap1 Level 0 100 Sets the Tap1 output level W LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO Resonance 0 100 Sets the resonance amount LPF Off On Switches the wah low pass filter on and off D Tap2 Time msec 0 0 1360 0 Sets the Tap2 delay time Feedback Tap2 100 100 Sets the Tap2 feedback amount D High Damp 0 100 Sets the damping amount in the high rang
117. Release With positive values of Intensity setting this parameter to will allow AMSI to lengthen the time and setting it to will allow AMSI to shorten the time With a setting of 0 there will be no effect AMS2 Alternate Modulation Source 2 This is another alternate modulation source for the Amp EG See above AMS1 parameters LFO LFO1 In this and the next page you can make settings for the LFO that can be used to cyclically modulate the Pitch Filter and Amp of each oscillator There are two LFO units for each oscillator By setting the LFO1 or LFO2 Intensity to a negative value for Pitch Filter or Amp you can invert the LFO waveform SOUND LFO ur sa Ea triangle 8 Waveform This parameter selects the LFO waveform The numbers that appear at the right of some of the LFO waveforms indicate the phase at which the waveform will begin Triangle 0 Av Step Triangle 4 sh Triangle 900 AV Triangle wave Step Triangle 6 A i o Phase will change Mangio 2NA randomly at each key n Step Saw 4 Fx Saw on N Step Saw 6 FP Sawtooth down Saw 180 Ab Randomt S H m Conventional sample amp hold S H in which the level changes randomly at fixed intervals of Square TT Square wave time Random S H Both the levels and the time intervals will change randomly Random3 S H The maximum level and minimum level will alternate at random intervals of
118. Sample dialog box Open this dialog box by selecting the Write command from the page menu while in the Sample Edit Sample Record section In this dialog box you can save the sample to the hidden PCM area of the internal SSD memory Write Sample P To assign a different name to the sample press the T Text Edit button to open the Text Edit window Select an option to select a memory location where to save the sample Select Save as a new Sample to save to a new location Select Save to to overwrite an existing location Warning The older sample at the same location will be deleted Write MultiSample dialog box Open this dialog box by selecting the Write command from the page menu while in the Multisample section In this dialog box you can save the multisample to the internal memory SSD Multisamples are a way to organize samples on the keyboard and are used by Sounds as their basis Note Multisamples are maintained in memory even when turning the instrument off but the associated samples are not To automat ically reload them to the RAM memory when turning the instru ment on check the PCM Autoload parameter in the Media mode see page 236 of the User s Manual Write MultiSample To assign a different name to the multisample press the T Text Edit button to open the Text Edit window Select an option to select a memory location where to save the sample S
119. Selects the modulation source Src Off Tempo that will control the effect output level Sets the modulation amount of 100 100 the effect output level Amount of FX added to the direct signal Base Note Mu Output Level 0 100 Amt FX Amount 0 100 Table Dynamic Modulation Src Off Tempo sources on page 43 100 100 Amount of modulation source a Frequency Bottom a Frequency Top The sweep width and direction of the wah filter are determined by the Frequency Top and Frequency Bottom settings Sweep Mode D mod Frequency Frequency Top 75 Wah Bottom 60 9 Bottom 25 loo TOp 80 Higher _ Dz Higher Zero Max Sweep Mode Auto Frequency Frequency Top 75 Wah Bottom 75 Wah t E 2 Wo Woo a Bottom 25 Top 25 Envelope Time Envelope Time b Sweep Mode This parameter changes the wah control mode Setting Sweep Mode to Auto will select an auto wah that sweeps according to envelope changes in the input signal level Auto wah is fre quently used for funk guitar parts and clav sounds When Sweep Mode is set to D mod you can control the filter directly via the modulation source in the same way as a wah pedal When Sweep Mode is set to LFO the effect uses LFO to sweep in cycle c Envelope Sens This parameter sets the sensitivity of auto wah Increase
120. Sine Selects the LFO Waveform degree oo between the left and right LFO LFO Shape 100 100 Changes the curvature of the Frequency 0 02 2000 Sets the speed of the LFO LFO Phase Sets the LFO phase difference z 180 180 Selects the modulation source degree between the lett andiright src Off Tempo used for both LFO speed and Free 0 02 20 00 Sets th d of the LFO step peed requency 02 20 ets the speed of the z Hz Amt RU E DR A amount of Src Off Tempo eee M sourcetar LFO Step 0 05 50 00 Sets the LFO step speed speed Freq Hz that changes in steps Amt 20 00 Sets the modulation amount of d 50 00 5 h dulati r 420 00 LFO speed Step Amt ROS Tm E med amount o When this is on the LFO speed 7 MIDI Sync Off On is set by BPM Base Note and off o When AniS T on Hora Speed Times instead of Frequency MIDI Sync Mn is set by Base Note an MDI IBI h Times instead of Frequency n syncs to the system tempo z BPM 40 00 40 300 sets the tempo manually MIDI MIDI syncs to the system tempo 300 00 for this individual effect BPM 40 00 40 300 sets the tempo manually 5 Sales tnet Facies tink e 300 00 for this individual effect elects the type of notes tha Base Note As specify the LFO speed Base Note a me uoo that Sets the number of notes that Times x1 x32 specify the LFO speed Times x1 x32 aee that Depth 0 100 zets the depth Of LFO Step Base Selects the type of notes to modulation C Note specify
121. This effect combines a mono exciter and a compressor You can change the order of the effects This effect combines a mono limiter and a multitap delay You can change the order of the effects FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out L Ratio 1 0 1 50 0 1 Inf 1 Sets the signal compression ratio FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left Left 7 Routing FX Amt 4xeMer Compressor EQ Trim LEQ HEQ Limiter gt lt P Exciter Comp a i Output Level Right Right i gu j f Dex Amt X Exciter Blend 100 100 Sets the intensity depth of the Exciter effect Threshold dB 40 0 Sets the level above which the compressor is applied X Emphasis Frequency 0 70 Sets the frequency range to be emphasized L Attack 1 100 Sets the attack time X EQ Trim 0 100 Sets the EQ input level Release 1 100 Sets the release time L Gain Adjust dB Inf 38 424 Sets the limiter output gain X Pre LEQ Gain dB 15 415 Sets the gain of Low EQ Pre HEQ Gain dB 15 415 Sets the gain of High EQ LTITAP DELAY COMPRESSOR D Tap1 Time msec 0 0 1360 0 Sets the Tap1 delay time Tap1 Level 0 100 Sets the Tap1 output
122. UDIO A tube combo ideal for the COMBO Motown sound Amp Type Cabinet Type VOX AC100 By VORS tube amp AC100 made VOX AC15 VOX AC15 1x12 UK MAJOR ie tube amp made in the VOX AC15TB VOX AC15 1x12 Drive Gain 0 100 Sets the input gain VOX AC30 VOX AC30 2x12 Volume 0 100 Sets the output level Selects the modulation source VOX AC30TB VOX AC30 2x12 Src Off Tempo to the output level UK BLUES UK H30 4x12 Amt 100 100 ecu eu did MIS IS JERDI Bass 0 100 Sets the bass low range level UK 80 S UK T75 4x12 i Middle 0 100 pets the middle mid range UK 90 S UK T75 4x12 Treble 0 100 Sets the treble high range level UK MODERN UK T75 4x12 US V30 4x12 es 4 ae Sets the presence high US MODERN US V30 4x12 frequency tone Cabinet Off o Switches the cabinet simulator US HIGAIN US V30 4x12 UK T75 4x12 Simulator di on off BOUTIQUE OD K H30 4x12 LA 4x10 OUTIQUE O UK H3 X MODERN 4 BOUTIQUE CL UK H30 4x12 4x10 METAL 4x10 BLACK 2x12 BLACK 2x12 CLASSIC 8x10 UK 4x12 TWEED 1x12 TWEED 1x12 STUDIO 1x15 Cabinet Type JAZZ 1x15 Selects the cabinet type TWEED 4x10 TWEED 4x10 VOX AC100 2x15 US 2x15 UK 4x15 LA 1x18 COMBI 1x12 amp 1x18 Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 FX Amount 0 100 Src Off Tempo 100 4100 Amount of modulation source a Amp Type i Cabinet Type Rec
123. X Amount 0 100 direct signal Table Dynamic Modulation src Off Tempo sources on page 43 Amount of modulation source 100 100 a Control Target This parameter selects no level control delay output control effect balance or feedback amount control a Polarity b Threshold b Offset c Attack d Release The Offset parameter specifies the value for the Control Tar get parameter that is set to None expressed as the ratio rela tive to the parameter value the FX Amount value with Control Target Output level or the Feedback value with Control Target Feedback When Polarity is positive the Control 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 The Attack and Release parameters specify attack time and release time of delay level control Level 4 Dynamic Delay o Envelope WetO Ducking Delay n See E I b s V Dt A Polarity EI i 5s T WetO o Target Output Level Polarity f Ii l w
124. X added to the FX Amount 0 100 direct signal Table Dynamic Modulation ae Oft Tempo sources on page 43 Amount of modulation source 100 100 a Scratch Source b Response The Scratch Source parameter enables you to select the modula tion source that controls simulation The value of the modula tion source corresponds to the playback position The Response parameter enables you to set the speed of the response to the modulation source Scratch Source Start Playback Position End Recorded Sound A Scratch Source mod JS XO D i gt Ribbon i Max Zero i Max i Scratch i JS YH i i i JS YO Zero Max etc c Envelope Select c Src d Threshold When Envelope Select is set to D mod the input signal will be recorded only when the modulation source value is 64 or higher When Envelope Select is set to Input the input signal will be recorded only when its level is over the Threshold value The maximum recording time is 2 730msec If this is exceeded the recorded data will start being erased from the top e Response This parameter enables you to set the speed of the response to the end of recording Set a smaller value when you are recording a phrase or rhythm pattern and set a higher value if you are recording only one note f Direct Mix With Always On a dry sound is usually output With Always Off dry sounds are not o
125. a drum signal in realtime Stereo In Stereo Out ne Tn A de Amt Oe Z R High i F Isolator f JN Low 1 n Mid 2 JR High is Right o o FX Amt Des Ds De Trim 0 100 Sets the input level Sets the frequency at which the Low Mid Hz 100 500 low and mid bands are divided Mid High Sets the frequency at which the Hz 2000 6000 Ti and high bands are divided loe Gair DD ae Sets the low frequency gain Selects the source that will Off Tempo modulate low frequency gain Sets the amount by which the Amt 72 472 low frequency gain will be modulated Src ide Gain um 412 Sets the mid frequency gain Selects the modulation source Off Tempo for mid frequency gain Sets the amount by which the Amt 72 4 72 mid frequency gain will be modulated Src a Gain 3h 412 Sets the high frequency gain Selects the modulation source Src Off Tempo for high frequency gain Sets the amount by which the Amt 72 72 high frequency gain will be modulated Amount of FX added to the 0 100 direct signal FX Amount Table Dynamic Modulation Src Off Tempo sources on page 43 100 4100 Amount of modulation source 010 St Wah Auto Wah Stereo Wah Auto Wah This stereo wah effect allows you to create sounds from vintage wah pedal simulation
126. ables you to match the delay time with the This four tap delay enables you to select a tempo and rhythm song tempo You can also synchronize the delay time with the pattern to set up each tap arpeggiator or sequencer If you program the tempo before per formance you can achieve a delay effect that synchronizes with FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out the song in real time Delay time is set by notes Left o FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left t1 Anput Level D mod Input Level D mod L Delay T High Damp Low Damp High Damp Low Damp C Delay MF 14 R L resa Input Level D mod Input Level D mod R Delay DA Right o Right o BBIK 55 5 Base Note x Times o gt Base Note x Times i pa Re L Base Note x Times MIDI syncs to the system tempo MIDI MIDI syncs to the system tempo BPM 00 40 300 sets the tempo manually 40 00 40 300 sets the tempo manually for this individual effect 300 00 for this individual effect Rhythm Selects a rhythm pattern Displays an error message when Pattern Pd Time Over OVER the delay time exceeds the Tap1 Pan m Sets the panning of Tap1 upper limit L
127. al Drawbars Sound for the Keyboard tracks one for Song tracks 1 8 another one for Song tracks 9 16 Note In Sequencer mode there is a Digital Drawbars Sound for Song tracks 1 8 one for Song tracks 9 16 When you select the DIGITAL DRAWBARS bank the Digital Drawbar page appears and the current setting is assigned to the selected track DRAWBARS SETTING N 6 7 6 E 4 3 2 1 8 ANWAD To change the settings touch a foot and use TEMPO VALUE controls to change its value Each foot refers to the pipe length in a pipe organ in which the sound is produced by pipes of different length Longer pipes mean a lower sound therefore the 16 drawbar produces the lowest pitched sound while the 1 drawbar produces the highest pitched sound Percussion The percussion adds a percussive sound to the attack segment of the organ sound On Off Use this parameter to turn percussion on or off Foot Use this parameter to select a percussion register 4 Percussion added to the 4 foot yi Percussion added to the 2 3 foot Mode Percussion Mode This parameters lets you decide if the percussion sound has to be triggered on the first note of a group of held notes or to all notes All The percussive attack is played on all notes of a chord Ist The percussive attack is played only on the first note of a chord or a group of held notes Release all notes to trigger the percussion again Volume P
128. amic Delay Stereo Dynamic Delay This stereo delay controls the level of delay according to the input signal level You can use this as a ducking delay that applies delay to the sound only when you play keys at a high velocity or only when the volume level is low Stereo In Stereo Out iite E lis Ai i High Damp Low Damp V Delay AHE H5 amp 7 Feedback Spread A g High Damp Low Damp Bbeay H NH y Out FX Amt Right o i Envelope A Attack Release iControl Target Threshold Control None Out Target FB Polarity Threshold 0 100 Offset 0 100 Selects from no control output and feedback Reverses level control Sets the level to which the effect is applied Sets the offset of level control Sets the attack time of level control 100 Sets the release time of level control Sets the delay time for the left channel Attack 1 100 Release f L Delay Time msec 0 0 1360 0 R Delay Time msec 0 0 1360 0 Feedback 100 100 High Damp 1 0 100 Low Damp 96 0 100 Sets the delay time for the right channel Sets the feedback amount Sets the damping amount in the high range Sets the damping amount in the low range Sets the width of the stereo image of the effect sound Spread 100 100 Amount of FX added to the F
129. amic Modulation sources on page 43 100 4100 Amount of modulation source FX Amount 0 100 Src Off Tempo 057 St Multitap Delay Stereo Multitap Delay The left and right Multitap Delays have two taps respectively Changing the routing of feedback and tap output allows you to create various patterns of complex effect sounds Stereo In Stereo Out Left o i S reedbuck TX Input Level D mod High Damp Low Damp 1 Mode Tap1 Level Input Level D mod High Damp Low Damp a Tap2 2 V NEZ Delay 2h X n Amt Spread Tap1 1 AET Righto Switches the left and right delay Mode routing Tap1 Time msec Tap2 Time msec Sets the Tap1 delay time Sets the Tap2 delay time Tap1 Level 0 100 Sets the Tap1 output level Feedback Tap2 100 4100 Sets the Tap2 feedback amount Selects the modulation source Src Off Tempo of the Tap2 feedback amount Sets the modulation amount of Amt the Tap2 feedback amount High Damp Sets the damping amount in the 96 idi high range Low Damp Sets the damping amount in the 96 s low range Input Level Sets the modulation amount of Dmod 96 100 100 the input level Selects the modulation source for the input level Sets the width of the stereo 100 4100 image of the effect sound Src Off Tempo Selects
130. ampling frequency rate from 11 025 to 48 000Hz Loaded samples always preserve their original resolution Note If the sample exceeds the maximum size allowed by the Pa800 1 048 576 samples corresponding to 1 Megasample either mono or stereo it will be truncated A warning will appear in the display Import Use the Import command to import complex formats i e sounds multisamples and samples in non native ie non Korg formats SAMPLING Import 94 88 86 11 14 11 88 86 18 18 40 Sampling operating mode Write Sample dialog box With this command you can import the following formats PCG is Korg s native Program format used by the Trinity and Triton series of workstations The file name must have the PCG extension Note that Drum Kits cannot be imported KMP is Korg s native multisample format used by the Trinity and Triton series of workstations The file name must have the KMP extension Pp is Akai 1000 and 3000 native Program format including the sample key assignation or multisample Note Akai data can only be imported from Akai CDs Imported Sounds and Multisamples are automatically stored in the internal SSD memory so that they will not be lost when turning the instrument off To automatically load samples when turning the instrument on check the PCM Autoload function in Media mode see page 236 of the User s Manual To load samp
131. an be used as any ordinary Sound and assigned to any track The Load Sample function allows you to read samples Korg KSF Akai S1 or 4535 AIFF and WAV from a storage device The Import function allows to read multisamples Korg KMP from Korg Trinity and Triton files and Programs Akai9 P1 or P3 from Akai 1000 or 53000 CDs Programs PCG files can be imported from Korg Triton disks and con verted to Sounds Note Akai data can only be imported from Akai CDs You can also use the Export function to export samples KSF and multisamples KMP in Korg proprietary format Audio Grooves Another powerful feature of the Sampling mode is the Time Slice This feature lets you add realism to MIDI tracks by using sampled patterns as the rhythm track of a Style Cycling rhythm samples usually named audio grooves can be sliced into separate percussive instruments Combined with MIDI tracks the sliced audio groove can be kept in sync with the Tempo and can play slower or faster than the original groove Warning When loading a SET folder containing Sounds associ ated with PCM data all existing PCM data in memory are deleted Save them before loading the folder by selecting the PCM option during a Save All operation see Saving the full memory content on page 229 of the User s Manual To see if a SET folder contains PCM data open it and look for a PCM folde
132. ape 100 100 LFO Phase degree LFO Frequency Hz 180 180 0 02 20 00 Sets the speed of the LFO Selects a modulation source for Src Off Tempo LFO speed 20 00 Sets the modulation amount of 20 00 LFO speed When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency MIDI MIDI syncs to the system tempo BPM 40 00 40 300 sets the tempo manually 300 00 for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Sets the frequency to which the effect is applied Amt MIDI Sync Off On Base Note Mu Times x1 x32 Manual 0 100 Selects the modulation source Src Off Tempo for the LFO modulation Sets the modulation amount of the LFO modulation Sets the depth of LFO 0 100 modulation 100 100 Selects the modulation source Off Tempo for the LFO modulation depth Sets the modulation amount of the LFO modulation depth Sets the resonance amount Src Amt 100 100 Resonance 100 100 Sets the resonance damping High Damp 0 100 amount in the high range 96 Amount of FX added to the FX Amount direct signal 100 0 100 j Table Dynamic Modulation Src Off Tempo sources on page 43 Amount of modulation source Amt 100 100 h Resonance i FX Amount The pea
133. ar and the level decays fast Long This option is most suitable for cymbals whose sound should be sustained up until the next note The tail envelope is sustained and falls slowly then falls suddenly next to the end Press this button to execute the Extend command After you select it it will return ghosted meaning that you can t select it again If you change any of the parameters in this page it will be available again Extend button The Time Slice procedure Before executing a Slice operation you must record or load a sample Then you may edit the sample on Sampling Edit then execute the Slice operation on this sample 1 After recording or loading a sample go to the Time Slice page 2 Pa800 automatically calculates the BPM parameter based on the given Meter and Measures values If you know these data set the Meter Measures and BPM Beats Per Minute parameters This would make the slicing more accurate 3 Select the Slice command The original sample will be sliced and each generated sam ple assigned to a different key Separate sliced samples C3 Full pattern at the original speed C2 B2 Full pattern at a slower speed Key Assigned sample pattern Speed C2 Full pattern cycling at half the speed 50 C 2 53 D2 56 D 2 60 E2 63 F2 67 F 2 Full pattern cycling at various speeds 71 G2 75
134. ation amount of panning Amount of FX added to the direct signal Amt 100 100 FX Amount 0 100 g Table Dynamic Modulation Src Off Tempo sources on page 43 Amount of modulation source Amt 100 100 a LFO Mode a Src b LFO Sync The LFO Mode parameter switches LFO operation mode When Loop is selected the Doppler effect will be created repeat edly If LFO Sync is set to On the LFO will be reset when the modulation source specified with the Src parameter is turned on When LFO Mode is set to 1 Shot the Doppler effect is created only once when the modulation source specified in the Src field is turned on At this time if you do not set the Src param eter the Doppler effect will not be created and no effect sound will be output 70 Effects Modulation and Pitch Shift Mod P Shift n The effect is off when a value for the modulation source specified for the Src parameter is smaller than 64 and the effect is on when the value is 64 or higher The Doppler effect is triggered when the value changes from 63 or smaller to 64 or higher e Pitch Depth With the Doppler effect the pitch is raised when the sound approaches and the pitch is lowered when the sound goes away This parameter sets this pitch variation f Pan Depth This parameter sets the width of the stereo image of the effect sound With larger values the sou
135. ation amount of the output gain FX Amount 0 100 Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 e Low Offset dB f Mid Offset dB g High Offset dB Amount of modulation source These parameters set the gain of the trigger signal For example if you do not want to apply compression to the high range reduce the High Offset value down below the Threshold level In this way the high range limiter will not respond and compression will not be applied 005 Stereo Gate This effect mutes the input signal when it falls below a specified level You can also invert the on off status of the gate or use note on off messages to turn the gate on off directly Stereo In Stereo Out Left o FX Amt i Gain Adjust m nvelope Source Delay 4 Gate Side PEQ N d a Envelope Select Delay Hi Gate X Dzsi Gain Adjust Blo FX Control BUS 1 Gf FX Control BUS 2 Right o FX Amt Selects the source to control the D mod Input gate D mod control or use the input signal as a trigger Envelope Source Envelope iuh Select Selects the control signal left and right linked left only or R Only right only Selects the source that will Src control tne gate when Envelope Src D mo Sets t
136. ble set the output level of the source to be sampled to the maximum Watch at the meters in the display to check the input level Red means distortion signal clipping so ideally the LED should never go to red and should usually stay orange green means too low an input signal Use the Record Mode parameter to select the audio input to be sampled Recording Next you ll record the sound or audio groove 1 Ifyou can start first the source to be recorded then press the Record button in the display to start recording As an alternative press the Record button in the display and immediately start the source to be recorded N Press the Record button in the display again to stop record ing When the memory is full the sampling automatically stops A maximum of 21 8 seconds is allowed for each sam ple Note Stereo and Mono samples have the same sampling time This apply only to the editor memory needed for saving depends on the actual size of the sampled data 3 Select a page tab different from Record and play the key board to listen to the sampled sound 4 If you are not satisfied with the recorded sound return to the Record page and press the Record button in the display again to repeat recording Press Record again to stop recording A new sample will be automatically created When finished sampling your sound you can save it see Step A below If it is an audio groove continue editing it
137. ble polyphonic synthesizer and spread to the sound because the signal is output from the left right and center FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o Cant FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o s Ant Polysix Ensemble Ensemble j Right o FX Amt Righte gt o FX Amt 0 100 Sets the depth of the effect Selects the modulation source noue Src Off Tempo that will control the effect depth Sets the amount by which the Amt 100 4100 affect depth will be modulated Amount of FX added to the direct signal Speed Sets the speed of the LFO Src Selects a modulation source for LFO speed Sets the modulation amount of LFO speed Sets the depth of LFO modulation Selects the modulation source of the LFO modulation depth Sets the modulation amount of the LFO modulation depth Sets the amount of shimmering of the LFO waveform Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 FX Amount 0 100 Amt Table Dynamic Modulation is Off Tempo sources on page 43 100 4100 Amount of modulation source Depth Src Amt Shimmer FX Amount Src Amt Amount of modulation source c Shimmer This parameter sets the amount of shimmering of the LFO wave form Increasing this value adds more shimmering
138. board Track Low Ramp a positive value and High Ramp a positive value Note on Note on Note on A AK pee Low pitched note played with High pitched note played with Attack Decay Slope and Attack Decay Slope and Release Time Swing at Release Time Swing at Amp 1 EG changes Time AMS Velocity Intensity a positive value Note on Note on Note on IA AK he Softly played note with Strongly played note with Strongly played note with Attack Decay Slope and Attack Decay Slope and Attack Decay Slope and Release Time Swing at Release Time Swing at Release Time Swing at AMS1 Alternate Modulation Source 1 Time This parameter specifies the source that will control the Time parameters of the amp EG see AMS Alternate Modulation Source list on page 26 With a setting of Off there will be no modulation Intensity This parameter specifies the depth and direction of the effect that AMS1 will have For example if AMS1 T is Amp KTrk the Amp Keyboard Track settings see Keyboard Track ing on page 18 will control the EG Time parameters With positive values of this parameter positive values of Ramp Ramp Setting will cause EG times to be lengthened and negative values of Ramp Ramp Setting will cause EG times to be shortened The direction of the change is specified by At Attack Time Swing Dc Decay Time Swing
139. center frequency of Band 2 Q 0 5 10 0 Sets the bandwidth of Band 2 Gain dB 18 418 Sets the gain of Band 2 E B3 Cutoff Hz 300 10 00k Sets the center frequency of Band 3 Q 0 5 10 0 Sets the bandwidth of Band 3 Gain dB 18 418 Sets the gain of Band 3 E B4 Cutoff Hz 500 20 00k Sets the center frequency of Band 4 Q 0 5 10 0 Sets the bandwidth of Band 4 Gain dB 18 418 Sets the gain of Band 4 H W Frequency Bottom 0 100 Sets the lower limit of the wah center frequency Frequency Top 0 100 Sets the upper limit of the wah center frequency W Sweep Mode Selects the control from auto wah modulation source and LFO Src Off Tempo Selects the modulation source for the wah when Sweep Mode D mod W LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO Resonance 0 100 Sets the resonance amount LPF Off On Switches the wah low pass filter on and off W Wet Dry Dry 1 99 99 1 Wet Sets the wah effect balance Src Off Tempo Selects the Wet Dry modulation source for the wah FX Amount 100 100 0 100 Sets the Wet Dry modulation amount for the wah Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 Am
140. configure a 21 Band Graphic EQ ranging from 80 Hz to 18 kHz if you route three Graphic 7 Band EQ effects in series with a setting of 7 Low 9 Mid and 11 High for each EQ Effects 49 EQ and Filters EQ Filter 008 St Exciter Enhncr Stereo Exciter Enhancer This effect is a combination of the Exciter which adds a punch to the sound and the Enhancer which adds spread and presence Stereo In Stereo Out Left o LEQ HEQ gt lt Exciter x EQ Trim EQ Trim U lt hH Exciter T Right o Sets the intensity depth of the Exciter effect p Selects the modulation source of the Exciter intensity Sets the modulation amount of the Exciter intensity Emphasis Sets the frequency to be empha _ Freq 0 70 sized Dz Exciter Blend 100 100 a Src Off Tempo Amt 100 100 Selects the modulation source of b sni Off Tempo the frequency to be emphasized Sets the amount of modulation of anus 70 470 the frequency to be emphasized Enhancer Sets the delay time for the era 0 0 50 0 Enhancer left channel Enhancer Delay R msec Sets the delay time for the Enhancer right channel Sets the determines to what degree the Enhancer effect is applied Selects the modulation source of the Enhancer width Sets the modulation amount of the Enhancer width Sets the 2 band EQ input l
141. cts the type of notes to specify the right channel delay time Times x1 x32 Sets the number of notes to specify the right channel delay time Feedback 100 100 High Damp 1 0 100 Sets the feedback amount for the right channel Sets the damping amount in the high range Low Damp 96 0 100 Sets the damping amount in the low range LFO Waveform Triangle Sine Shape 100 100 Selects the LFO Waveform Changes the curvature of the LFO Waveform LFO Phase 180 180 Sets the LFO phase difference between the left and right Panning Freq Hz 0 02 20 00 MIDI Sync Sets the panning speed When this is on the pan LFO speed is set by BPM Base Note and Times instead of Frequency BPM Base Note MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Selects the type of notes to specify the delay time for the panning speed Panning Depth 0 100 Sets the number of notes to specify the delay time for the panning speed Sets the panning width Src Off Tempo Selects the modulation source for the panning width 100 100 FX Amount 0 100 Set the modulation amount of the panning width Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 Amount of modulation source Left o FX Amt 100
142. d is selected for Sweep Mode Base Note ba Selects the type of notes that specify the LFO speed EG Attack 1 100 Sets the EG attack speed Times x1 x32 Sets the number of notes that specify the LFO speed EG Decay 1 100 Sets the EG decay speed Step Base Note pm Selects the type of notes to specify the LFO step speed Resonance 100 100 Sets the resonance amount Times x1 x32 Sets the number of notes to specify the LFO step speed Manual 0 100 Sets the frequency to which the effect is applied High Damp 9o FX Amount 0 100 100 0 100 Sets the resonance damping amount in the high range Amount of FX added to the direct signal Src Off Tempo Selects the modulation source for the LFO modulation Src Off Tempo Table Dynamic Modulation sources on page 43 Amt 100 100 Sets the modulation amount of the LFO modulation Depth 0 100 Sets the depth of LFO modulation Resonance 100 100 Sets the resonance amount High Damp FX Amount 0 100 100 0 100 Sets the resonance damping amount in the high range Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 Amount of modulation source 100 100 Amount of modulation sourc
143. d obtains a more realis tic sound by simulating the rotor in the low range and the horn in the high range separately The effect also simulates the stereo microphone settings FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Cas FX Amt Y Horn gt Rotary Speaker Horn Rotor Mic Distance Ed cR it Speaker Simulation Righto o FX Amt D 2227 Mode Switch Rotate Stop med 7 Speed Switch Slow Fast Switches between speaker rotation and stop Selects a modulation source for Rotate Stop Sets the switch mode for Rotate Stop modulation Mode Switch Rotate Stop Switches the speaker rotation Speed Switch Slow Fast speed between slow and fast Selects a modulation source for Slow Fast Sets the switch mode for Slow Fast modulation Src Off Tempo Toggle Mode Moment Manual Sets a modulation source for Speed Ctrl Off Tempo direct control of rotation speed How quickly the horn rotation speed in the high range is switched Adjusts the high range side horn rotation speed Standard value is 1 00 Selecting Stop will stop the rotation Determines how quickly the rotor rotation speed in the low range is switched Adjusts the low frequency rotor speed Standard value is 1 00 Selecting Stop will stop the rotation Hore Acceleration 0 100 1 Stop Hore Ratio 0 50
144. d operation is complete test the full pattern at different speed by playing notes from C2 half speed to C3 original speed See table on page 36 If the Extend didn t produce satisfactory results change the settings Any previously made change will be deleted When the Extend is completed you can save the sliced and extended samples and the resulting MIDI Groove to the internal memory Select the Write command from the page menu The Write Slice dialog box will appear see Write Slice dialog box on page 41 Assign a name to the new Sound and save it to an User Sound location A MIDI Groove with the same name will also be saved to a reserved area of the internal memory Be warned that this area will be deleted when turning the instrument off Con vert it to an internal Style pattern by using the Import function of the Style Record mode before turning the instrument off After saving you may press RECORD to exit the Sampling mode After exiting the Sampling mode you may load the gener ated MIDI Groove by using the Import function of the Style Record mode see Import Import Groove on page 125 of the User s Manual for more information Multisample Edit MS The Multisample is a way of organizing several samples on the keyboard Each sample is assigned to a Keyboard Zone or Index with a higher and a lower limit A Multisample is then assigned to a Sound see Basic OSC Basic on page 6 where it is en
145. display Sampling Record This page allows you to record a 16 bit 48kHz stereo or mono sample While in this page you will be able to monitor the input signal The keyboard will not play SAMPLING D Loop Sampling SM Sample Press this area to open the Choose Sample window and select one of the available samples to be loaded in the editor SAMPLING Ss T 0001 Sample 82 The window will be automatically closed after selecting Level Use these meters to see the level of the entering signal When the CLIP indicator turns red the signal is too hot Lower it by reduc ing the source output level or by using the GAIN knob on the rear panel of the Pa800 REC Setup Record Mode Use this parameter to select the audio input on the back of the instrument Channel 1 L Only the Input 1 is selected A mono sample will be produced Channel 2 R Only the Input 2 is selected A mono sample will be produced Channel 1 amp 2 Stereo Both inputs will be selected A stereo sample will be produced Note Whether you record or load a stereo or mono sample the sample in memory will be treated as if it was stereo the editor is always a stereo editor Mono samples will be saved as mono files Stereo samples will be saved as two separate mono files and will be treated as mono files when reloaded Left to Sample Non editable Remaining memory in samples seconds for sam pling The maxi
146. dulation source Src Off Tempo 100 100 a LFO Phase degree Offsetting the left and right phases alters how modulation is applied to the left and right channels creating a swelling affect LFO Phase 0 90 1 180 degree a LFO Waveform b LFO Frequency Hz c LFO Step Freq Hz When LFO Waveform is set to Step Tri LFO is a step shape triangle waveform The LFO Frequency parameter sets the original triangle waveform speed Changing the LFO Step Freq parameter enables you to adjust the width of the steps When LFO Waveform is set to Random the LFO Step Freq parameter uses a random LFO cycle Random Filter LFO LFO Frequency Hie Step Frequency eia Step Frequency Step Tri Random d BPM e Step Base Note e Times The width of an LFO step or a cycle of random LFO is obtained by multiplying the length of a note uu selected for Step Base Note in relation to the tempo specified in BPM or the MIDI Clock tempo if BPM is set to MIDI by the number specified in the Times parameter i FX Amount The effect sound s phase will be reversed when you set this parameter in the negative range of values 013 St MultiModeFilter Stereo Multi Mode Filter This is a multi mode filter with four types low pass high pass band pass and band reject You can use LFO or dynamic modu lation to vary the cutoff frequency or resonance
147. e Effects 67 Modulation and Pitch Shift Mod P Shift Modulation and Pitch Shift Mod P Shift 038 Stereo Vibrato This effect causes the pitch of the input signal to shimmer Using the AutoFade allows you to increase or decrease the shimmering speed Stereo In Stereo Out Left o f o FX Amt Vibrato Ff Vibrato N Righto A xam LFO Frequency AUTOFADE Src Fade In Delay msec 00 2000 Selects the modulation source Off Tempo that starts AutoFade Sets the fade in delay time Fade In Rate 1 100 Sets the rate of fade in LFO Waveform Triangle Sine Selects the LFO Waveform Changes the curvature of the LFO Waveform Switches between D mod and AUTOFADE for the LFO frequency modulation LFO Shape LFO Frequency Mod LFO Frequency Hz 100 100 D mod AUTOFADE 0 02 20 00 Sets the speed of the LFO Src Selects a modulation source for a LFO speed Sets the modulation amount of LFO speed When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency MIDI syncs to the system tempo BPM 00 40 300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that Times dii specify the LFO speed Sets the depth of LFO modulation Src Selects the modulation source of the LFO modulation depth
148. e D Mt Dela y Wet Dry 0 100 Sets the multitap delay effect balance W Wet Dry Dry 1 99 99 1 Wet Sets the wah effect balance Src Off Tempo Selects the Wet Dry modulation source for the wah Amt 100 100 Sets the Wet Dry modulation amount for the wah Src Off Temp o Selects the Wet Dry modulation source for the multitap delay FX Amount 100 100 0 100 Sets the Wet Dry modulation amount for the multitap delay Amount of FX added to the direct signal Src Off Temp o Table Dynamic Modulation sources on page 43 100 100 Amount of modulation source Routing FX Amount Comp gt Wah Wah gt Comp 0 100 Switches the order of the compressor and wah Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 Amount of modulation source Effects Mono Mono Serial Mono Mono 93 083 Comp Amp Sim Compressor Amp Simulation 084 Comp OD HiGain Compressor Overdrive Hi Gain This effect combines a mono compressor and an overdrive high gain distortion You can change the order of the effects This effect combines a mono compressor and an amp simula tion You can change the order of the effects COMPRESSOR
149. e msec 100 100 0 0 1000 0 Sets the feedback amount of left delay Sets the delay time for the right channel R Feedback 100 100 Sets the feedback amount of right delay FX Amount Src 100 0 100 Off Tempo Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 Amt 100 100 Amount of modulation source b D mod Modulation When the modulation source is used for control this parameter reverses the left and right modulation direction 80 Effects Delay d LFO Sync d Src g L LFO Phase deg h R LFO Phase deg If LFO Sync is On the LFO will be reset by the modulation source that is received The Src parameter sets the modulation source that resets the LFO For example you can assign Gate as a modulation source so that the sweep always starts from the specified point L LFO Phase and R LFO Phase set the phase obtained when the left and right LFOs are reset In this way you can create changes in pitch sweep for the left and right channels individu ally w The effect is off when a value of the modulation source specified in the Src parameter is 63 or smaller and the effect is on when the value is 64 or higher The LFO is triggered and reset to the L LFO Phase and R LFO Phase settings when the value changes from 63 or smaller to 64 or higher 059 St Dyn
150. e and Times instead of Frequency MIDI MIDI syncs to the system tempo BPM 40 00 40 300 sets the tempo manually 300 00 for this individual effect A Selects the type of notes that is specify the LFO speed Sets the number of notes that specify the LFO speed Amount of FX added to the 0 100 direct signal Amt MIDI Sync Off On Base Note Times x1 x32 FX Amount Table Dynamic Modulation Off Tempo sources on page 43 Src 100 4100 Amount of modulation source c Voice Top d Voice Center e Voice Bottom These parameters assign vowels to the top center and bottom position of the controller E g When Voice Top A Voice Center I and Voice Bottom U If Sweep Mode is set to D mod and Ribbon is selected as the modulation source moving your finger from the right to left of e C the ribbon controller will change the sound from a to i then 0 u If Sweep Mode is set to LFO the sound will change cyclically 352 from a to i u i then a Talking Modulator Control C Voice Top vE o4 i mode JSXO i Mai 4 RibbonD Max Zero gt q ons gt Max Js YH Zero etc f Formant Shift This parameter adjusts the frequency level to which the effect is applied If you wish to apply the effect to a higher range sound set this paramete
151. e effect that AMS will have For example if you set AMS to Velocity and set this value to 12 00 the velocity will control the range of pitch change produced by the pitch EG in a range of 1 octave As you play more softly the pitch change will draw closer to the pitch EG levels Pitch change level Note on Note on Note on Note off Note off Note off Softly played Strongly played with Intensity Pitch EG setting a positive value Strongly played with a negative value Note Intensity Pitch EG and AMS will be added to determine the depth and direction of the pitch modulation applied by the pitch EG Portamento Enabled This parameter turns the portamento effect smooth change in pitch from one note to the next on off and specifies how it will be applied Note Portamento will also be switched when CC 65 Portamento SW is received On Portamento will be applied Off Portamento will not be applied Fingered This parameter specifies whether the portamento effect restarts or not with each note played On Portamento will restart with each note Off Portamento will not restart with each note Time This parameter sets the portamento time Increasing the value will produce a slower change in pitch 000 127 Portamento time in MIDI value Sound operating mode 11 Pitch Pitch EG Pitch Pitch EG Here you can make settings for the pitch EG which creates time va
152. e final amount of feedback is specified by Feedback 062 Auto Reverse This effect records the input signal and automatically plays it in reverse the effect is similar to a tape reverse sound FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o o FX Amt Direct Auto Reverse Mix Rec Reverse Play H Control EG Right i i o id f Dd i Sey Amt D ze eS Envelope Control Input T Envelope Select Sets the recording mode Rec Mode Single Multi Sets the maximum duration of the reverse playback Selects whether the start and end of recording is controlled via the modulation source or the input signal level Selects the modulation source Src Off Tempo that controls recording when Envelope Select is set to D mod Sets the recording start level when Envelope Select is set to Input Sets the speed of the response to the end of recording Reverse Time msec 20 2640 Envelope Select D mod Input Threshold 0 100 Response 0 100 Always On Always Off Cross Fade Direct Mix Selects how a dry sound is mixed Amount of FX added to the Mode Reverse Time Rec Reverse Rec t t Reyerse Envelope Select Input Mode Single Mode Multi tz xi tz xi Reverse Time Reverse Time c Envelope Select c Src d Threshold These parameters select the sourc
153. e i Routing Flanger Switches the order of the Flanger gt compressor and chorus flanger Comp Amount of FX added to the FX Amount 0 100 direct signal j Table Dynamic Modulation Src Off Tempo sources on page 43 Amt 100 4100 Amount of modulation source h F Output Mode i Routing When Wet Invert is selected the right channel phase of the cho rus flanger effect sound is inverted This creates pseudo stereo effects and adds spread However if a mono input type effect is connected after this effect the left and right sounds may cancel each other eliminat ing the chorus flanger effects When Routing is set to Flanger Comp F Output Mode will be set to Normal Effects 95 Mono Mono Serial Mono Mono 087 Comp Phaser 088 Comp Mt Delay Compressor Phaser Compressor Multitap Delay This effect combines a mono compressor and a phaser You can This effect combines a mono compressor and a multitap delay change the order of the effects You can change the order of the effects FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out em Routing FX Amt Em Routing FX Amt Compressor Y x Phaser ta Trim LEQ HEQ i EQ Trim LEQ HEQ H cH comp X Phaser Ux gt H lt H comp k A NH
154. e sound board Sets the low range gain of Low Offset dB trigger signal Mid Offset Sets the mid range gain of dB id trigger signal Sets the intensity of the string resonance created when the damper pedal is pressed Damper Depth Selects the modulation source of Src Off Tempo damper effect High Offset Sets the high range gain of dB U trigger signal Sets tonal quality of effect Tone sound Sets the output gain Gain Adjust dB Sets the mid range of tonal quality Tune 50 50 Fine tuning Mid Shape Selects the modulation source sre for the output gain Sets the modulation amount of Amt the output gain Amount of FX added to the PX Amount direct signal Table Dynamic Modulation Src sources on page 43 Amount of modulation source 0 100 Amount of FX added to the FX Amount direct signal Table Dynamic Modulation Src Off Tempo sources on page 43 Amount of modulation source 100 100 a Sound Board Depth This parameter sets the intensity of resonance of the piano sound board b Damper Depth b Src This parameter sets the resonance intensity of the other strings created when the damper pedal is pressed The Src parameter selects the modulation source from which the damper effect is applied Usually select Damper 64 Pdl Damper pedal The effect is off when a value for the modu
155. e to control the start and end of recording When Envelope Select is set to D mod the input signal will be recorded only when the value of the modulation source selected by the Src parameter is 64 or higher When Envelope Select is set to Input the input signal will be recorded only when its level exceeds the Threshold level When recording is completed reverse playback starts immedi ately FX Amount 0 100 direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 Amount of modulation source a Rec Mode b Reverse Time msec When Rec Mode is set to Single you can set up to 2 640msec for Reverse Time If recording starts during the reverse play back the playback will be interrupted When Rec Mode is set to Multi you can make another record ing during the reverse playback However the maximum Reverse Time is limited to 1 320msec If you wish to record a phrase or rhythm pattern set Rec Mode to Single If you record only one note set Rec Mode to Multi The Reverse Time parameter specifies the maximum duration of the reverse playback The part in excess of this limit will not be played in reverse If you wish to add short pieces of the reverse playback of single notes make the Reverse Time shorter Effects 83 Delay 063 Sequence BPM Dly 064 L C R BPM Delay Sequence BPM Delay The L C R delay en
156. ead to the sound by offsetting the phase of the left and right LFOs from each other Stereo In Stereo Out Left j FX Amt LEQ HEQ on Es X X Chorus EQ Trim LEQ HEQ jf ES X 4 Chorus E Trim E X Right fl d LFO Tri Sine LFO Waveform LFO Phase degree LFO Frequency 0 02 20 00 Sets the speed of the LFO Hz Triangle Sine Selects the LFO Waveform Sets the LFO phase difference 180 180 between the left and right Selects a modulation source for LFO speed Sets the modulation amount of LFO speed When this is on the LFO speed MIDI Sync is set by BPM Base Note and Times instead of Frequency MIDI syncs to the system tempo BPM 00 40 300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Src Amt Base Note Sets the number of notes that specify the LFO speed L Pre Delay Sets the delay time for the left msec I channel R Pre Delay Sets the delay time for the right msec channel Sets the depth of LFO modulation Selects the modulation source for the LFO modulation depth Sets the modulation amount of the LFO modulation depth EQ Trim 0 100 Sets the EQ input level Selects the cutoff frequency low or mid low of the low range equalizer High Selects the cutoff frequency MA Hi h high or mid high of the high g range equalizer
157. effect As the input volume dies down the Frequency speeds up the Depth also increases making the tremolo effect increasingly audible When the input volume approaches silence the Depth is at its maximum 100 and Frequency is at 8Hz Shimmer Dry Envelope LFO Frequency Hz 8 00 AE Envelope Amount Hz 7 0Hz Depth 1000 Envelope Amount 100 E E 046 Stereo Auto Pan This is a stereo in stereo out auto panner The Phase and Shape parameters lets you create various panning effects such as mak ing the left and right inputs seem to chase each other around the stereo field Stereo In Stereo Out Left o t Right o 4 ii LFO Tri Sin LFO Shape LFO Waveform Triangle Sine Selects the LFO Waveform Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right LFO Shape 100 100 LFO Phase degree LFO Frequency Hz 180 180 0 02 20 00 Sets the speed of the LFO Selects a modulation source for Src Off Tempo LFO speed 20 00 Sets the modulation amount of 20 00 LFO speed When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency MIDI MIDI syncs to the system tempo BPM 40 00 40 300 sets the tempo manually 300 00 for this individual effect Amt MIDI Sync Off On Selects the type of notes that specify the LFO
158. el Noise Generator Carrier Trim 0 100 Modulator Trim 0 100 Sets the Carrier input level Sets the Modulator input level Input Modulator Audio In 1 Source Audio In 2 L R Mix Selects whether to use the left L Only right mix only left or only right R Only of the modulator input Formant 2 42 Sets the height of the frequency Shift sE for the vocoder effect Sets the speed of the response to the modulator input Sets the noise mix level to the Carrier Selects the modulator input Modulater Select Response 0 100 Noise Level 0 100 Off Tempo Selects the modulation source Src for the noise mix level Sets the modulation amount for Amt 100 4100 the noise mix level Modulator High Mix 0 100 Low Gain dB 12 412 Sets the high range output level of the modulator Sets the low range output level of the vocoder Sets the high range output level of the vocoder Amount of FX added to the am direct signal 12 412 High Gain dB FX Amount Table Dynamic Modulation Src Off Tempo sources on page 43 Amount of modulation source 100 100 e Formant Shift By offsetting the Carrier filter you can adjust the height of the frequency range to which the vocoder effect is applied The tonal quality will change significantly g Noise Level This parameter enables you to
159. elect Save as a new MultiSample to save to a new loca tion Select Save to to overwrite an existing location Warning The older multisample at the same location will be deleted Sampling operating mode 4 Write Slice dialog box Write Slice dialog box Open this dialog box by selecting the Write command from the page menu while in the Time Slice page In this dialog box you can save the Sound sliced Samples and Multisample generated by the Time Slice function together with the generated MIDI Groove The Sound will be saved to the selected User bank location in the internal non volatile memory SSD The Multisample will be saved to a free location in the same memory SSD Samples will be saved in the hidden PCM area of the same memory SSD Note The MIDI Groove is automatically saved in a reserved tem porary location and is automatically deleted when turning the instrument off So import it by using the Import Import Groove function in Style Record mode see page 125 of teh User s Manual before turning the instrument off Warning The older Sound at the target location will be deleted Write Slice USERG1 Name To assign a different name to the Sound press the T Text Edit button to open the Text Edit window Sound Bank Target bank of Sounds Each bank corresponds to one of the SOUND buttons Use TEMPO VALUE controls to select a dif ferent bank Sound Target Sou
160. elect this command to execute the Slice after entering the Time Slice page or changing the Release value This command is ghosted i e non selectable if no sample has been recorded of loaded yet The Time Slice operation is executed on the sample from the Start to the End point set in the Sample Edit Sample Record section Extend See The Extend procedure on page 37 for more information When using a sliced groove with a tempo slower than the origi nal an annoying gap may be heard between a sample and the following one The Extend function allows you to fix this prob lem by adding a tail to all samples making their decay smoother and more musical Before extending Added tail gt and after extending Note You can use the Extend function only after a Time Slice oper ation Note The Extend function increases the original sample size By Use this parameter to set the length of the tail added to the samples in percentage The higher this value the greater the size of the samples A setting of 20 30 is usually suitable to most grooves Caveat With higher By values the Extend function may add audible artifacts Mode This parameter specifies if the added tail must decay in a linear way or sustain for a longer time and then fall suddenly Normal This option is most suitable for percussive sound with a short but not immediate decay The tail envelope is line
161. ency A High Ramp 99 High Ramp 62 High Ramp 0 High Rampz 43 Low Ramp 499 Low Ramp 43 High Ramp 99 Low Ramp 0 Low Ramp 62 Ker LowKey High Key Low Ramp 99 Tracking to A B These parameters specify the note numbers at which keyboard tracking will begin to apply and set the Intensity to A and Intensity to B parameters to specify the depth and direction of the change applied to filters A and B For the range of notes between Key Low and Key High the cutoff frequency will change according to the keyboard location pitch 99 4 99 Parameter value Filter EG Changes in cutoff frequency Note on Note on Note on Note off Note off Note off Softly played Strongly played Strongly played Setting to Setting to Velocity to A This parameter specifies the depth and direction of the effect that velocity will have on the time varying changes created by the filter EG as set on Filter Filter EG to control the filter A cutoff frequency With positive values playing more strongly will cause the fil ter EG to produce greater changes in cutoff frequency With neg ative values playing more strongly will also cause the filter EG to produce greater changes in cutoff frequency but with the polarity of the EG inverted 99 99 Value of the Velocity to A parameter Velocity to B This parameter specifies the depth and direction of the effect that velocity
162. eo ISHUPUINe E L1C2IS3 365 C9 1CH Table of Contents 1 Table of Contents Sound operating mode Lu usus 2 The MIDI channel 2 cae sen aves Ee Rr rra scans 2 How to select oscillators 0 0 0 e eee eee eee eee 2 Sounds Drum Kits Digital Drawbars 00 2 Main page eoe sao CEU RE ERR ET SENE weeded 2 Digital Drawbars page 0 cece eee ee eee eee 4 Edit MENU s areenan t PP OTI EORASEOPR des Beaty 5 Edit pagestr cture L voovi sehen died eas 5 Basic Sound Basic asse teats Wis de ge E Ee PIRE PUO os 5 Basic OSC Basic v sudovisy re E ade ede Gave s PES 6 Basic Vel Key Zone eos coros Ede dia dee T Erg 7 DrumKit Sample Setup Drum Kits 0005 8 DrumkKit Voice Mixer Drum Kits 000005 9 Pitch Pitch Modi oet ieee 08454 Fie 10 Pitch Pitch EG gs Ro e ode dation tan PLIN 11 Filters Hiltet Type rreraino eT Eu OUI vel RI heeds 13 Filter Euter Mod ea sts roe ERO EE RIT PIDEN 14 Filter Hilter LFO ics oue ie we eL RIILINS 15 Filter Filter EG i ooesteseC erp ER eed ere teet 16 Amp Amp Level Pan cesa temet 18 Amp Amp Mod idee e en e XR deen cea 18 Amp AMPEG cese eer eh er dnote oar et eee 19 LEO LEOT iude eh re onan od Gat ep in nex 21 LEO LEO2 4 5 pex ureepx Ae dep xen Nod ede 22 Effects EX Select oeeteseedeto e reet ee o med eie 22 Effects FXI iis secos serere pe ER Opere dede 23 Effects EX2 i suecosdeheer e
163. equency for Mid High EQ 1 peaking type Q 0 5 10 0 Sets the band width of Mid High EQ 1 Gain dB 18 418 Sets the gain of Mid High EQ 1 O Mid2 Cutoff Hz 500 20 00k Sets the center frequency for Mid High EQ 2 peaking type Q 0 5 10 0 Sets the band width of Mid High EQ 2 Gain dB 18 18 Sets the gain of Mid High EQ 2 PHASER P LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO LFO Waveform Triangle Sine Selects the LFO Waveform P Manual 0 100 Sets the frequency to which the effect is applied Depth 0 100 Sets the depth of LFO modulation Resonance 100 100 Sets the resonance amount P Phaser Wet Dry 100 0 100 Sets the phaser effect balance Src Off Tempo Selects the Wet Dry modulation source for the phaser Amt 100 100 Sets the Wet Dry modulation amount for the phaser P Output Normal Mode Wet Invert Selects the phaser output mode OD HG gt Phaser Phaser gt OD HG Routing FX Amount 0 100 Switches the order of the overdrive and phaser Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 Amount of modulation source 101 OD HG Mt Delay Overdrive Hi Gain Multitap Delay This effect combines a mono overdrive high gain distortion and a multi
164. ercussion Volume Level of the percussive sound 0 99 Level Length Percussion Length Decay speed of the percussive sound 0 99 Decay time Atk Noise Attack Noise On Off Turns the noise component of the percussive attack on of off Volume Level of the attack noise from 0 to 7 Wave Drawbar Wave Waveshape of the drawbars Mellow A mellow sounding synthetic wave Hard A harder sounding synthetic wave Edit menu From any page press the MENU button to open the Sound edit menu This menu gives access to the various Sound edit sections When in the menu select an edit section or press EXIT or SOUND to exit the menu and return to the main page To return to the main page you can also select the Main Page menu item When in an edit page press EXIT or the SOUND button to return to the main page of the Sound operating mode When an ordinary Sound is selected SOUND Menu BEEN CENE When a Drum Kit is selected the Basic section is replaced by the DrumKit section Each item in this menu corresponds to an edit section Each edit section groups various edit pages that may be selected by press ing the corresponding tab on the lower part of the display Edit page structure All edit pages share some basic elements Operating mode Edit section Page menu icon SOUND Basic LH Selected EH Oj oscillator L E Parameters area
165. eter sets the intensity of resonance If the Resonance parameter has a negative value harmonics will be changed and resonance will occur at a pitch one octave lower When Control Mode LFO the intensity of resonance varies according to the LFO The LFO sways between positive and neg ative values causing resonance to occur between specified pitches an octave apart in turn When Control Mode D mod the resonance is controlled by the dynamic modulation source If JS X or Ribbon is assigned as the modulation source the pitch an octave higher and lower can be controlled similar to when LFO is selected for Control Mode a LFO D mod Invert When Control Mode LFO or D mod the controlled phase of either Voice 1 or 2 will be reversed When the resonance pitch is set for Voice 1 Resonance has a positive value Voice 2 will reso nate at a pitch an octave below Resonance has a negative value f Voice 1 Pitch f Fine cents h Voice 2 Pitch h Fine cents The Pitch parameter specifies the pitch of resonance by note name The Fine parameter allows for fine adjustment in steps of cents g High Damp i High Damp This sets the amount of damping amount for the high frequen cies of the resonant sound Lower values create a metallic sound with a higher range of harmonics Effects 69 Modulation and Pitch Shift Mod P Shift 041 Doppler This effect simulates the Doppler effect
166. ets the modulation amount of the input level Src Off Tempo Selects the modulation source for the input level FX Amount 0 100 Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 a L R Pitch Amount of modulation source When you select Up Down for this parameter the pitch shift amount for the right channel will be reversed If the pitch shift amount is positive the pitch of the left channel is raised and the pitch of the right channel is lowered Effects Double Size 117 St PitchShift BPM Stereo Pitch Shifter BPM 111 This stereo pitch shifter enables you to set the delay time to match the song tempo Stereo In Stereo Out Left o High Damp Pitch Shifter ja Delay N Input Level Post Pre 5 Pos Feedback Position Feedback Spread i Pre Post gt Input Level a Pitch Shifter Delay N TT High Damp FX Amt Righto FX Amt Tempo IPM BPM gt Base Note x Times gt Base Note x Times Slow Switches Pitch Shifter mode Mode Medium Fast a Normal Determines whether or not the L R Pitch Up Down UR pitch shift amount is P inverted Pitch Shift 1 Sets the pitch shift amount in HE 2tone 724 424 steps of a semitone D b Src Off Tempo Selects the modulation source of pitch shift amou
167. evel Selects the cutoff frequency low or mid low of the low range equalizer High Selects the cutoff frequency MA Hi h high or mid high of the high g range equalizer Enhancer Depth Src Off Tempo Amt 100 100 EQ Trim 0 100 PreLEQFe EOW w Pre HEQ Fc nae Gain 156 115 0 Gain of the Lo EQ ae Gain _15 9 415 0 Gain of the High EQ Amount of FX added to the FX Amount direct signal 0 100 Table Dynamic Modulation Sre Off Tempo sources on page 43 Amount of modulation source 100 100 a Exciter Blend This parameter sets the depth intensity of the Exciter effect Positive values give a frequency pattern to be emphasized dif ferent from negative values b Emphasis Freq This parameter sets the frequency to be emphasized Higher val ues will emphasize lower frequencies c Enhancer Delay L msec d Enhancer Delay R msec These parameters set the delay time for the Enhancer left and right channel Specifying a slightly different delay time for the left and right channel will add a stereo image depth and width to the sound 50 Effects EQ and Filters EQ Filter 009 Stereo Isolator This is a stereo effect that separates the input signal into low mid and high frequency bands and controls the volume of each band independently For example you can separately boost or cut the kick snare and hi hat sounds from
168. evel Sets the modulation amount of Dmod 100 100 the input level Src Off Tempo 100 100 Selects the modulation source Off Tempo for the input level Sets the width of the stereo Spread 50 image of the effect sound Src Amount of FX added to the FX Amount 0 100 direct signal Table Dynamic Modulation ae Off Tempo sources on page 43 100 4100 Amount of modulation source e High Damp e Low Damp 96 These parameters set the damping amount of high range and low range The tone of the delayed sound becomes darker and lighter as it feeds back g Spread This parameter sets the pan width of the effect sound The stereo image is widest with a value of 50 and the effect sound of both channels is output from the center with a value of 0 the left channel feedback R Feedback 100 4100 Sets the feedback amount for the right channel p e Sets the modulation amount of Amt R 7100 4100 the right channel feedback High Damp Sets the damping amount in the f ipod 0 100 high range Low Damp Sets the damping amount in the 9 96 Po low range Input Level Sets the modulation amount of e h Dmod 6 7100 4100 e input level Dz Selects the modulation source Src Off Tempo for the input level Sets the width of the stereo i Spread 50 50 image of the effect sound Amount of FX added to the direct signal Table Dyn
169. f frequency Pre LEQ Fc Mid Low low or mid low of the low range equalizer Selects the cutoff frequency high or mid high of the high range equalizer Reverb Level EQ Trim 0 100 Sets the EQ input level Low Selects the cutoff frequency Pre LEQ Fc Mid Low low or mid low of the low range equalizer High Selects the cutoff frequency Pre HEQ Fc TH high or mid high of the high Mid High range equalizer fjg O Gain 15 0 415 0 Gain of the Low EQ Pre LEQ Gain _15 9 415 0 Sets the gain of Low EQ Pre HEQ Gain dB Pre Pre HEQ Gain dB FX Amount 0 100 High Pre HEQ Fc Mid High 15 0 415 0 Gain of the High EQ 15 0 415 0 Sets the gain of High EQ Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 Amt 100 4100 X Amount of modulation source Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation Src Off Tempo sources on page 43 Amt 100 4100 Amount of modulation source FX Amount 0 100 a Type c ER Level This parameter selects the decay curve for the early reflection d Reverb Level Early Reflections Type These parameters set the early reflection level and reverb level Changing these parameter values allows you to simulate the type of walls in the room That is a larger ER Level simulates a hard gnai wall and a
170. f the tap outputs 116 St Pitch Shifter Stereo Pitch Shifter This is a stereo pitch shifter The pitch shift amount for the left and right channels can be reversed from each other Stereo In Stereo Out Left FX Amt High Damp Pitch Shifter Delay V Input Level Pe bPost ot Feedback Position A Feedback Spread Input Level Pri vue Pitch Shifter Delay High Damp Rights FX Amt Slow Switches Pitch Shifter mode Mode Medium Fast a Normal Determines whether or not the UR Pitch Up Down L R pitch shift amount is P inverted Pitch Shift 1 Sets the pitch shift amount in A 2tone 24 424 steps of a semitone D b Src Off Tempo Selects the modulation source Amt 24 24 of pitch shift amount Sets the modulation amount of pitch shift amount Fine cents 100 100 Sets the pitch shift amount in steps of one cent Amt 100 100 L Delay msec Sets the modulation amount of pitch shift amount Sets the delay time for the left channel R Delay msec Sets the delay time for the right channel Feedback High Damp 1 0 100 Sets the feedback amount Sets the damping amount in the high range Feedback Position Pre Post Switches the feedback connection 100 100 Spread Sets the width of the stereo image of the effect sound Input Level Dmod 94 100 100 S
171. ferent multisamples preset multisamples supplied by Korg as standard RAM RAM multisample read from the RAM These are user loaded or created multisamples Note If you create a new Sound based on a RAM multisample the RAM samples must be loaded from the internal SSD S memory hidden PCM folder See PCM Autoload and Load PCM but ton on page 247 of the User s Manual Media mode for information on loading PCM samples either at startup or with a dedicated command In case samples are not loaded no sound will be heard even if the Sound can be selected and its name appears in the display Note Each multisample has an upper note range limit and cannot produce sound when played above that limit 2nd Offset These parameters specify the point where the multisample s will begin to play For some multisamples this parameter will not be available On The sound will begin from the offset location pre determined for each multisample Off The sound will start from the beginning of the multisample waveform Level These parameters specify the level of each multisample 0 127 Multisample level Note Depending on the multisample high settings of this parame ter may cause the sound to distort when a chord is played If this occurs lower the level Pitch Delay Velocity Switch Octave Use this parameter to adjust the pitch of the selected oscillator in octave units The normal octave of the multisample is
172. folder over the same or a new SET folder Effects Effects 43 Dynamic Modulation sources Pa800 is equipped with four powerful Effect Processors for the internal MIDI tracks Upper Lower Style Song Pads Dynamic Modulation sources When the pge symbol is encoutered a Dynamic Modulation can be applied to the corresponding parameter Dynamic Modu lation allows for realtime control of the effect The following table shows the available modulation sources Modulation source Note Gate1 Gate2 Note Nr Note Number Expo Velocity Exponential Note Velocity JS X Joystick Left Right JS Y CC 02 Joystick Backward MIDI CC 12 MIDI CC 16 MIDI CC 17 MIDI CC 20 MIDI CC 17 MIDI CC 20 Modulation source Note Damper 64 Sostenu 66 Sostenuto Pedal MIDI CC 80 MIDI CC 82 MIDI CC 85 MIDI CC 87 Tempo Some notes on the Gate parameters follow Gate1 Gate1 Dmpr Gate1 Damper The effect is at maximum during note on and will stop when all keys are released With Gatel Dmpr the effect will remain at maximum even after the keys are released as long as the damper sustain pedal is pressed Gate1 Gate1 Dmpr n Dmi 1 231 3 23 Mnoe Ta T Damper Pedal Lon t eee Gate1 Dmpr Time Gate2 Gate2 Dmpr Gate2 Damper This is essentially the same as for Gate 1 or Gate 1 Dmpr However when Gate 2 or Gate 2
173. for the var ious multisamples The pop up menu is where you select the bank ROM or RAM while the numeric field under it is for selecting the sample inside the selected bank The sample name appears on its right The sample you select for the current layer will be triggered by velocities higher than the value of the Velocity Switches parameter see page 8 If you do not wish to use velocity switch ing assign just one layer to the selected key and assign a sample only to Layer 1 ROM The Factory bank The internal Factory area of the Flash ROM memory contains 944 different samples preset samples supplied by Korg as standard RAM RAM sample read from the RAM These are user loaded or created samples Note If you create a new Drum Kit based on a RAM sample the RAM samples must be loaded from the internal SSD S memory hidden PCM folder See PCM Autoload and Load PCM but ton on page 247 of the Users Manual Media mode for information on loading PCM samples either at startup or with a dedicated command In case samples are not loaded no sound will be heard even if the Drum Kit can be selected and its name appears in the display Note Each sample has an upper note range limit and may not produce sound when played above that limit 2nd Offset These parameters specify the point where the sample will begin to play For some samples this parameter will not be available On The sound will begin from the offset
174. g of Sequencer 1 the LFO will always perform one cycle every four beats D This parameter is not available when editing a Drum Kit dade die le rdi a Note value Times D This parameter is not available when editing a Drum Kit mm 16 Beats before restarting the cycle LFO LFO2 Here you can make settings for the LFO2 which is the second LFO that can be applied to the selected oscillator See LFO LFOI for more information on the parameters value However in Frequency Modulation the LFO cannot be selected as a modulation source in AMS1 or AMS2 Effects FX Select Here you can select two effects for the whole Sound switch them on off and specify chaining SOUND Effects 1 8 a Note For details on the effects refer to the Effects chapter FX 1 2 Group Send Send level for each effect E Drum samples have their own send level settings see Send FX1 and Send FX2 on page 9 Use this parameter to adjust the general offset of the Drum Kit 000 127 Effect level FX1 2 Use these parameters to select the effect type for effect 1 2 See the Effects chapter for more information Note If 000 No Effect is selected the output from the master effect will be muted FX Amount Volume of the effect that is added to the dry uneffected signal 2 gt 1 Use this parameter to send the output of effect 2 to the input of effect 1 000 127
175. g type Q 0 5 10 0 Sets the band width of Mid High EQ 1 Gain dB O Mid2 Cutoff Hz 18 4 18 500 20 00k Sets the gain of Mid High EQ 1 Sets the center frequency for Mid High EQ 2 peaking type Q 0 5 10 0 Sets the band width of Mid High EQ 2 Gain dB 18 4 18 Sets the gain of Mid High EQ 2 AMP SIM h A Amplifier Type SS EL84 6L6 Selects the type of guitar amplifie Routing FX Amount OD HG gt Switches the order of the overdrive and amp Amount of FX added to the direct signal CHORUS FLANGER F LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO LFO Waveform Triangle Sine Selects the LFO Waveform Src Table Dynamic Modulation sources on page 43 Amount of modulation source F Delay Time msec 0 0 1350 0 Sets the delay time Depth 0 100 Sets the depth of LFO modulation Feedback 100 100 Sets the feedback amount F Cho FIng Wet Dry 100 0 100 Sets the effect balance of the chorus flanger Src Off Tempo Selects the Wet Dry modulation source for the chorus flanger Amt 100 100 Sets the Wet Dry modulation amount for the chorus flanger F Output Mode Normal Wet Invert Selects the output mode for the chorus flanger Routing FX Amount OD HG gt Flanger Flanger gt OD HG 0 100
176. ge Amount of FX added to the direct signal FX Amount 100 0 100 Table Dynamic Modulation Src Off Tempo sources on page 43 100 4100 Amount of modulation source Bi Phase Modulation LFO 2x o NA Mig Wl Ww Depth2 Tap3 090 0 1000 Sets the Tap3 LFO phase 90 msec du degrees delay time Depth 0 30 Sets the Tap3 chorus depth Level 0 30 Sets the Tap3 output level Pan FW c Sets the Tap3 stereo image Tap4 270 Sets the Tap4 LFO phase 270 msec degrees delay time Depth 0 30 Sets the Tap4 chorus depth Level 0 30 Sets the Tap4 output level Pan FPES c Sets the Tap4 stereo image 0 1000 TD ack 100 100 Sets the Tap1 feedback amount Selects the modulation source Src Off Tempo of Tap1 feedback amount and effect balance Sets the Tap1 feedback amount Amt 100 100 and modulation amount Amount of FX added to the FX Amount 0 100 direct signal Table Dynamic Modulation Src Off Tempo sources on page 43 100 4100 Amount of modulation source Effects 63 Chorus Flanger and Phaser Cho Fln Phaser 030 Ensemble 031 Polysix Ensemble This Ensemble effect has three chorus blocks that use LFO to This models the ensemble effect built into the classic Korg create subtle shimmering and gives three dimensional depth PolySix programma
177. gher notes Negative values will cause the oscillator LFO to slow down as you play higher notes This change will be centered on the C4 note If AMS1 F is set to JS Y raising the value of this parameter will cause the oscillator LFO1 speed to increase as the joystick is moved away from yourself With a setting of 499 moving the joystick all the way away from yourself will increase the LFO speed by approximately 64 times 99 99 Intensity value AMS2 Alternate Modulation Source2 Intensity AMS2 Intensity Make settings for a second alternate modulation source that will adjust the frequency of the oscillator LFO1 see above AMS1 Alternate Modulation Sourcel and Intensity AMSI Inten sity Frequency MIDI Tempo Sync MIDI Tempo Sync This parameter enables disables the LFO synchronization with Sequencer 1 Tempo On The LFO frequency will synchronize to the tempo MIDI Clock of Sequencer 1 In this case the values you specified for Frequency see page21 and Frequency Modulation see page 21 will be ignored Base Note When MIDI Tempo Sync is On these parameters set a note length relative to J Tempo and the multiple Times that will be applied to it These parameters will determine the fre quency of the LFO1 For example if Base Note is J quarter note and Times is 04 the LFO will perform one cycle every four beats Even if you change the J Tempo settin
178. gold panel and clean sound An amp typical of 80 s sounds A tube amp suitable for rock A tube amp with the ULTRA LO switch turned ON A tube amp whose basic character changes according to the setting of the value dial 0 100 Sets the output level Src Off Tempo Selects the modulation source for the output level Amt 100 100 Sets the modulation amount of the output level Bass 100 Sets the bass low range level Middle 100 Sets the middle mid range level Mid Range 4 Sets the mid frequency range Treble 100 Sets the treble high range level Presence 100 Sets the presence high frequency tone FX Amount 0 100 Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 Amount of modulation source 022 Bass Amp Cabinet Bass Amp Model Cabinet This simulates a bass amp and speaker cabinet FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o FX Amt Volume Bass Amp Model Hy Cabinet Simulator Right o o FX Amt D e LA STUDIO JAZZ GOLD PANEL a Amp Type SCOOPED Selects the type of the amplifier VALVE2 VALVE CLASSIC Volume 0 100 Sets the output level Dz Selects the modulation source b Src Off Te
179. h Gain dB 18 18 Sets the gain of Band 4 Amount of FX added to the FX Amount 0 100 direct signal i Table Dynamic Modulation Src Off Tempo sources on page 43 Amt 100 4100 Amount of modulation source Effects 109 Double Size a Amp Type 113 BassTubeAmp Cab d Presence Bass Tube Amp Model Cabinet If the Amp Type is VOX AC15 VOX AC30TB this sets the atten uation of the high frequency range For other types this sets the boost of the high frequency range This simulates a bass amp with gain and drive and speaker cabinet FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left This corresponds to the Cut knob control of amps made by the VOX Corporation o FX Amt e Post PAEQ valama Bass Amp Model2 DA Cabinet Simulator 7 By chaining this with 19 St Guitar Cabinet you can simulate the combination of a guitar amp and speaker cabinet In this case i we recommend that you set Post PAEQ to Thru but if neces Right j EAD sary you can turn it On and adjust the tone Dz Drive Recommended Combinations of Guitar Amp Models and Selects the type of the amplifier Cabinet Simulators yp p ST
180. h range D Mt Delay 0 100 Sets the multitap delay effect Wet Dry ii balance Selects the Wet Dry modulation k src Off Tempo source for the multitap delay Amt 100 4100 Sets the Wet Dry modulation amount for the multitap delay Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 FX Amount 0 100 Src Off Tempo Amt 100 4100 Amount of modulation source Effects 103 Mono Mono Serial Mono Mono 102 Wah Amp Sim 103 Decimator Amp Wah Amp Simulation Decimator Amp Simulation This effect combines a mono wah and an amp simulation You This effect combines a mono decimator and an amp simulation can change the order of the effects You can change the order of the effects FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o FX Amt Left Wah Auto Wah VN Amp Simulation om Decimator VON mp Simulation i Resoluti Output m Amp Simulation Filter Decimator M Amp Simulation Filter Pre LPF High Damp Right AME Right o IS Amt DECIMATOR Turn the harmonic noise Off On caused by lowered sampling D Pre LPF E a on and off Iw High D Sets the ratio of high Sets the lower limit of the wah igh Dam
181. he 0 100 direct signal FX Amount Table Dynamic Modulation Src sources on page 43 Off Tempo 100 4100 Amount of modulation source 112 Effects Double Size 118 Rotary SpeakerOD a Sw Rotary Speaker Overdrive This parameter determines how to switch on off the overdrive ius via a modulation source This is a stereo rotary speaker effect It has an internal speaker simulator that simulates overdrive recreating the amp distor When Sw Toggle overdrive is turned on off each time the tion and characteristics of the rotary speaker producing a very pedal or joystick is operated realistic rotary speaker sound Overdrive will be switched on off each time the value of the modulation source exceeds 64 FX Amt 100 Mi In Stereo Out FX Amt 0 St In St Out pn aD UE Do vicie sc UMEN MG When Sw Moment overdrive is applied only when you press um A the pedal or operate the joystick PIERA i vor Lol Wie Distance mnm Only when the value for the modulation source is 64 or higher the lori lotor park Balance pr Mie Spread overdrive effect is applied ini 1 1 F Gpeaker Simulation Fight
182. he Bottom Velocity 0 127 Assigned velocity Keyboard Range Here you can specify the note range for the selected oscillator Note You cannot set the Bottom Key higher than the Top key nor the Top Key lower than the Bottom key C 1 G9 Assigned note Scaled Velocity Use these parameters to scale velocity values received by the oscillator By using the Velocity Zone function see above an oscillator may be limited to a restricted range say 10 to 20 that may result in weak dynamics when the associated sample is trig gered By assigning a different value to these parameters the restricted range will be converted to a wider range for example the lowest range value of 10 may be converted to a Scaled Velocity value of 0 and the highest range value of 20 may be converted to a Scaled Velocity value of 127 All values included between the mini mum and maximum value are scaled accordingly As a consequence you can create an RX Sound of guitar by assigning the guitar fret noise to the 10 20 velocity range When a dynamics value between 10 20 is received the real velocity value is scaled to the Scaled Velocity values and plays louder 0 127 Assigned velocity value 8 Sound operating mode DrumKit Sample Setup Drum Kits DrumKit Sample Setup Drum Kits This page appears when you edit a Drum Kit Here you can select a different percussive sample for each key and layer Em Drum Kits use only one
183. he Limiter effect allowing you to set any band width to be covered This effect is a stereo limiter You can link left and right channels or use each channel individually Stereo In Stereo Out Lefto EX Amt Gain Adjust gt Limiter 7 7 i A 2 Envelope Select Envelope ui fgf FX Control BUS 1 Lf FX Control BUS 2 x Limiter 2 Gain Adjust y o FX Amt Right Selects from linking both L R Mix channels controlling only from a ES Lony R left channel only from the right Indiiduall channel or controlling each Y channel individually b Ratio 1o s Sets the signal compression Inf 1 ratio E Threshold 40 0 Sets the level above which the dB ied compressor is applied Attack 1 100 Sets the attack time v Release 1 100 Sets the release time ru Adjust D ni Sets the output gain Dm Selects the modulation source ad ae Off Tempo for the output gain Sets the modulation amount of dui 763463 the output gain Side PEQ Off On Toggles between on off of the Insert trigger signal s EQ f Trigger Switches between effect output Mentor Off On monitor and trigger signal monitor Side PEQ Cutoff Hz Sets the EQ center frequency for the trigger signal Sets the EQ bandwidth for the trigger signal Sets the EQ gain for the trigger signal Amount of FX added to the direct signal 20
184. he level at which gating is applied Polarity Switches the polarity of gating Attack i Sets the attack time Release Sets the release time Delay Time Sets the delay time for the gate msec U input Side PEQ Switches the tigger signal Insert equalizer on o Switches between monitoring the effect output and the trigger signal Threshold Trigger Monitor Side PEQ Sets the center frequency of the Cutoff Hz equalizer for the trigger signal Q Sets the bandwidth of the equalizer for the trigger signal Sets the gain of the equalizer for the trigger signal Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 Amount of modulation source Gain dB FX Amount Src Effects 47 Dynamics Dynamic c Threshold d Attack d Release Threshold specifies the level at which gating occurs when Envelope Select is set to L R Mix L Only or R Only Attack and Release specify the attack time and release time of the gate Gate Threshold A Output Level Threshold N Louder Louder Input Level E Gate Attack Release Threshold Attack 1 Release 1 Attack 100 Release 100
185. ifies the depth and direction of the effect that the selected source will have see Intensity Intensity to AMS1 on page 15 Sound operating mode 15 Filter Filter LFO Filter Filter LFO Here you can use the filter LFO to apply cyclic modulation to the cutoff frequency of the filter for the selected oscillator to create cyclical changes in tone SOUND Filter Filter LFO 1 Intensity to A Specifies the depth and direction of the modulation that LFO1 set on LFO LFO1 will have on the cutoff frequency of filter A Negative settings will invert the phase Change in cutoff MM Low setting High setting 99 4 99 Parameter value Intensity to B Specify the depth and direction of the modulation that LFO1 will have on the cutoff frequency of filter B see Intensity to A 99 4 99 Parameter value JS Joystick Y Intensity to A By moving the joystick in the Y direction toward yourself you can control the depth at which LFO1 modulates the cutoff fre quency of filter A This parameter specifies the depth and direc tion of the control Higher settings of this parameter will produce greater increases in the effect of LFO1 on the filter when the joystick is moved toward yourself 99 4 99 Parameter value JS Joystick Y Intensity to B By moving the joystick in the Y direction toward yourself you can control the depth at which LFO1 modulates the cut
186. ill control the effect output level Sets the modulation amount of Amt 100 100 the effect output level Amount of FX added to the FX Amount 0 100 direct signal Dz i Table Dynamic Modulation Src Off Tempo sources on page 43 Amt 100 4100 Amount of modulation source a Shape This parameter specifies the sweep curve of the wah It applies to all control via auto wah modulation source and LFO and lets you adjust subtle nuances of the wah effect 52 Effects EQ and Filters EQ Filter a Mode b Frequency Bottom b Frequency Top c Resonance Bottom c Resonance Top If Mode Preset this simulates a vintage wah pedal In this case internally fixed values are used for Frequency Bottom Top and Resonance Bottom Top and these settings will be ignored The settings for Frequency Bottom Top and Resonance Bottom Top are valid if Mode Custom 012 St Random Filter Stereo Random Filter This stereo band pass filter uses a step shape waveform and ran dom LFO for modulation You can create a special effect from filter oscillation Stereo In Stereo Out Left f o M FX Amt Filter Right o d LFO Step Tri Random LFO Step Tri Waveform Random LFO Phase degree LFO Frequency Hz Selects the LFO Waveform Sets the LFO phase difference 180 180 between the left and right 0 02 20 00 Sets the speed of the LFO Selects the
187. ime over which the volume will change from when it reaches the attack level until it reaches the break point level 0 99 Time value 20 Sound operating mode Amp Amp EG Slope This parameter specifies the time over which the volume will change from when it reaches the break point level until it reaches the sustain level 0 99 Time value Release This parameter specifies the time over which the volume will change after note off until it reaches 0 0 99 Time value Level Modulation Amp 1 EG changes Level AMS Velocity Intensity a positive value Note on Note on Note on LA AA Ad Softly played note when Start Level Strongly played note when Start Level Strongly played note when Start Level and Break Level Swing are setto Break Level Swing are setio Break Level Swing are setto AMS Alternate Modulation Source This parameter specifies the source that will control the Level parameters of the amp EG See AMS Alternate Modulation Source list on page 26 Intensity This parameter specifies the depth and direction of the effect that AMS will have For example if AMS is Velocity setting St Start Level Swing At Attack Level Swing and Br Break Point Level Swing to and setting Intensity to a pos itive value will cause the amp EG volume levels to increase as you play more strongly Setting Intensity to a negative val ue
188. in Adjust A i Output Mode H Resonance et Invert i Phaser FX Amt Righto i XA i i m Envelope Control CLFO Tri Sine LIMITER L Ratio 1 0 1 50 0 1 Inf 1 Sets the signal compression ratio Threshold Sets the level above which the dB 40 0 compressor is applied b L Attack 1 100 Sets the attack time Release 1 100 Sets the release time L Gain Inf Sets the limiter output gain Adjust dB 38 24 PHASER P LFO Frequency 0 02 20 00 Sets the speed of the LFO d Hzl ass Triangle Sine Selects the LFO Waveform Sets the frequency to which the P Manual 0 100 effect is applied Sets the depth of LFO e Depth 0 100 modulation Resonance 100 100 Sets the resonance amount P Phaser FX Amount Limiter 0 100 Wet Dry 100 0 100 Sets the phaser effect balance prez r src T a dd amt 100 100 Sets the phasers Wet Dry g ee ne Selects the phaser output mode Limiter gt i h Routing Phaser panel order of the limiter Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 Amount of modulation source 98 Effects Mono Mono Serial Mono Mono 092 Limiter Mt Delay Limiter Multitap Delay 093 Exciter Comp Exciter Compressor
189. ion source i Time Over L R You can set the delay time up to 2 550msec If the delay time exceeds this limit the error message OVER appears in the dis play Set the delay time parameters so that this message will not appear Time Over is only a display parameter 86 Effects Delay 068 St BPMAutoPanDly Stereo BPM Auto Panning Delay This stereo auto panning delay enables you to set the delay time 069 Tape Echo BPM This is a tape echo that lets you synchronize the delay time to the tempo of the song to match the song tempo Stereo In Stereo Out ON P xm Lr Pan High Damp Low Damp nE Tempo LFO Tri Sin LFO Shape MIDI BPM 40 00 300 00 MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Time Over L OVER Display the error message if the left channel delay time exceeds the upper limit OVER Display the error message if the right channel delay time exceeds the upper limit L Delay Base A Note UM Selects the type of notes to specify the left channel delay time Times x1 x32 Sets the number of notes to specify the left channel delay time Feedback 100 100 Sets the feedback amount for the left channel R Delay Base A Note ies Sele
190. is parameter specifies the depth and direction of the effect that Res Mod by AMS Resonance modulated by AMS will have on the resonance level specified by Resonance Resonance A For example if Velocity has been selected changes in keyboard velocity will affect the resonance With positive values the resonance will increase as you play more strongly and as you play more softly the resonance will approach the level specified by the Resonance setting With negative values the resonance will decrease as you play more strongly and as you play more softly the resonance will approach the level specified by the Resonance setting The resonance level is determined by adding the Resonance and Intensity AMS Intensity values 99 4 99 Parameter value Filter B Frequency Cutoff Frequency B This parameter specifies the cutoff frequency of filter B This parameter will be displayed when Filter Type is set to Low Pass amp High Pass High Pass Level This filter cuts the low frequency range that lies below the cutoff frequency By cutting the lower overtones it lightens the tone 12dB oct Frequency 00 99 Cutoff frequency value 14 Sound operating mode Filter Filter Mod Filter Filter Mod These settings let you apply modulation to the cutoff frequency Frequency of the filter for the selected oscillator to modify the tone SOUND Filter
191. k However the recording method remains the same The phrase being played while the joystick is pushed forward will be held 4 Ifyou made a mistake during recording pull the joystick in the Y direction back to reset In this way the recording will be erased Repeat step 4 again 5 The recorded phrase will be repeated again and again You can use this to create an accompaniment 6 By pushing the joystick in the Y direction forward you can also overdub performances over the phrase that is being held e REC Control Src g Manual REC Control REC Control Src selects the modulation source that controls recording If this modulation is on or if Manual REC Control is set to On you can record the input signal If a recording has already been carried out additional signals will be overdubbed m The effect is off when a value for the modulation source specified for the REC Control Src parameter is 63 or smaller and the effect is on when the value is 64 or higher f RST Control Src h Manual RST Control The RST Control Src parameter specifies the modulation source that controls the reset operation When you set this modulation source to On or Manual RST Control to RESET you can erase what you recorded If the Loop Time parameter has been set to Auto the loop time is also reset The effect is off when a value for the modulation source specified for the RST Control Src parameter is 63
192. k shape of the positive and negative Feedback value is different The harmonics will be emphasized when the effect sound is mixed with the dry sound if you set a positive value for both Resonance and FX Amount and if you set a negative value for both Resonance and FX Amount h High Damp This parameter sets the amount of damping of the resonance in the high range Increasing the value will cut high range harmon ics 66 Effects Chorus Flanger and Phaser Cho Fln Phaser 037 St Env Phaser Stereo Envelope Phaser 036 St Random Phaser Stereo Random Phaser This stereo phaser uses an envelope generator for modulation You will obtain the same pattern of phasing each time you play You can also control the Phaser directly using the modulation source This is a stereo phaser The effect uses a step shape waveform and random LFO for modulation creating a unique phasing effect Stereo In Stereo Out Left o m isi Stereo In Stereo Out Left Phaser ga Phaser d Resonance gt T High Damp i gt Resonance gt aser i i High Damp gt Phaser Right o p am LFO Phase Right c Lx Aw LFO Step Tri Random LFO Waveform Step Tri Step Sin Random Selects the LFO Waveform p LN EG Attack Decay s
193. langer F EdD LEaHEQ x ahi lisi jut le Il Chorue Fianger Resonance Phased Feedback fet Invert EQ LEQ HEQ g 1 FX Amt Trim i FX Amt High Damp i Creig i mi Feedback Right o po Amt LFO Tri Sine LFO Tri Sine Right Pax Au LFO Tri Sine CHORUS FLANGER FILFO Frequency Hz 0 02 20 00 Sets the speed of the LFO LFO Waveform Triangle Sine Selects the LFO Waveform msec F Delay Time 0 0 1350 0 Sets the delay time Depth 0 100 Sets the depth of LFO modulation Feedback 100 100 Sets the feedback amount FJEQ Trim 0 100 Sets the EQ input level F PreLEQ Gain dB 15 415 Sets the gain of Low EQ PreHEQ Gain dB 15 415 Sets the gain of High EQ F Cho FIng Wet Dry Wet 1 99 Dry 1 99 Wet Sets the effect balance of the chorus flanger LTITAP DELAY D Tap1 Time msec 0 0 1360 0 Sets the Tap1 delay time Tap1 Level 0 100 Sets the Tap1 output level D Tap2 Time msec 0 0 1360 0 Sets the Tap2 delay time Feedback 100 100 Sets the Tap2 feedback amount D High Damp 0 100 Sets the damping amount in the high range D Mt Delay Wet Dry 0 100 Sets the multitap delay effect balance Src Off Tempo Selects the Wet Dry modulation source for the multitap delay FX Amount 100 100 Sets the We
194. lation source Stereo In Stereo Out ten Ti Flanger Ao Feedback H High Damp Flanger F Right o PL mode LL mod 1 3 EG Attack Decay Ed L Dly Bottom Sets the lower limit of the left msec add channel delay time L Dly Top Sets the upper limit of the left msec channel delay time R Dly Bottom Sets the lower limit of the right msec channel delay time R Dly Top Sets the upper limit of the right msec channel delay time Determines whether the flanger is controlled by the envelope generator or by the modulation source Sweep Mode Selects the modulation source that triggers the EG when Sweep Mode EG or the modulation source that causes the flanger to sweep when Sweep Mode D mod Sets the EG attack speed Sets the EG decay speed Sets the feedback amount Off Tempo EG Attack 1 100 EG Decay 1 100 Feedback 100 100 Sets the feedback damping High Damp 0 100 amount in the high range Amount of FX added to the FX Amount direct signal 100 0 100 Table Dynamic Modulation Off Tempo sources on page 43 Amount of modulation source Src 100 100 c Sweep Mode c Src This parameter switches the flanger control mode With Sweep Mode EG the flanger will sweep using the envelope genera tor This envelope gene
195. lation source specified for the Src parameter is 63 or smaller and the effect is on when the value is 64 or higher c Tone d Mid Shape These parameters control the tonal quality of the effect sound e Tune Since this effect simulates the resonance of the strings the sound varies depending on the pitch If you have changed tuning using the Master Tuning Global gt General Controls gt Basic adjust this parameter value 108 Effects Double Size 111 OD HyperGain Wah Overdrive Hyper Gain 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 112 GuitarAmp P4EQ Guitar Amp Model Parametric 4 Band EQ This combines a guitar amp simulation which even faithfully replicates the distortion and tone control circuitry with a four band equalizer FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out pete fasc By using this in conjunction with 019 St Guitar Cabinet Ste gf Mode Overdrive Hyper Gain reo Guitar Cabinet on page 57 you can obtain an even more Pre Low cut 3 Band EQ icti 1 1 1 m mr LC PENNE err realistic guitar sound that simulates a guitar amp speaker cabi Output Level net Direct Mix Righto gt
196. ld value vue FX Amt Adjust the output level using the Gain Adjust parameter since Limit Pi tric 4Band EQ M meme compression causes the entire level to be reduced Limiter J J gt Limiter Threshold Ratio im x Ratioz1 0 1 Output Level p Ratio 2 0 1 Threshold ue Ratio 4 0 1 Ration Inf 1 Louder Louder gt Input Level Level Dry Threshold Ratio Inf 1 gt Time 090 Limiter Cho Flng Limiter Chorus Flanger This effect combines a mono limiter and a chorus flanger You can change the order of the effects FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o Routing T Limiter _ FX Amt Chorus Flanger Limiter Paine EQ Trim LEQ HEQ Chorus Flanger Gain Adjust Feedback i Output Mode i fet Invert iCho FIng FX Amt o i FX Amt LFO Tii Sine L Ratio 1 0 1 50 0 1 Inf 1 Sets the signal compression ratio Threshold dB 40 0 Sets the level above which the compressor is applied L Attack Release 1 100 Sets the attack time Sets the release time e L Gain Adjust dB Sets the limiter output gain CHORUS FLANGER F LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO LFO Wavefor
197. lect LSB for the selected Sound PC This section shows the value of the Program Change PC message for the selected Sound Values are in the standard 0 127 MIDI number ing format Note Some manufacturers could use the 1 128 numbering system when connecting your Pa800 to an instrument of this kind increment the PC value by 1 unit Octave Transpose icon Octave transpose value Use the UPPER OCTAVE buttons to change this value Realtime Controls area Controls in this area allow you to edit the main parameters of the Sounds assigned to each track Touch one of them and mod ify its value by using the TEMPO VALUE controls or moving your finger Note All values refer to the original values of the Sound Note When selecting the Write Sound command from the page menu current parameter values after editing the Realtime Con trols are saved with the Sound After saving Realtime Controls are set back to the default position Note After selecting a different Sound Realtime Control values are automatically set to zero Attack Attack time This is the time during which the sound goes from zero at the moment when you strike a key to it s maximum level Decay Decay time Time to go from the final Attack level to the beginning of the Sustain Release Release time This is the time during which the sound goes from the sustaining phase to zero The Release is triggered by releasing a key Cutoff Filter cutoff This sets
198. les after turning the instrument on press the Load PCM button in the same page see page 236 of the User s Manual Samples are also auto matically loaded when entering the Sampling mode Note While Pa800 and Triton share most of their internal multi samples some of them may differ While reading a PCG file Pa800 tries to use exactly the same multisamples as in Triton If this is not possible it looks for a similar multisample If this too is not possi ble an empty multisample will be selected Enter the Sound Edit mode and select a multisample suitable for the imported Program Note Not all Triton s PCG data are imported Insert FX EQ Arpeggio Combi Global and Drum Kit data are not loaded Note You cannot import Drum Kits Note Multisample may contain many different samples They are assigned to the same keys as in the original file Hint When importing a KMP file take note of the selected multi sample name you will need it in Sound Edit mode when assigning the multisample to a new Sound Export Depending on wheter you are in the Sample Edit Sample Record or Multisample section this command allows you to export a sample in one of two popular computer audio file for mats or a multisample in a Korg KMP file See Export Sample page on page 42 or Export Multisample page on page 42 for more information Exit from Record Choose this command to exit from the Sampling mode Write
199. level D Tap2 Time msec 0 0 1360 0 Sets the Tap2 delay time Cc Sensitivity C Attack 1 100 Sets the sensitivity Sets the attack level Output Level 0 100 Sets the compressor output level Feedback 100 100 Sets the Tap2 feedback amount D High Damp 0 100 Sets the damping amount in the high range D Mt Delay Wet Dry 0 100 Sets the multitap delay effect balance Src Off Tempo Selects the multitap delay s Wet Dry modulation source Amt 100 100 Sets the multitap delay s Wet Dry modulation amount Routing FX Amount Limiter gt Mt Delay Mt Delay gt Limiter 0 100 Switches the order of the limiter and multitap delay Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 Amount of modulation source Routing FX Amount Exciter gt Comp Comp Exciter 0 100 Switches the order of the exciter and compressor Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 Amount of modulation source Effects Mono Mono Serial Mono Mono 99 094 Exciter Limiter This effect combines a mono exciter and a limiter You can change the order of the effects 095 Exciter Cho Flng Exciter
200. linear response Mic Pre Amp Saturation Out Saturation 0 X Saturation 50 Bias 0 c Tube1 Bias This expresses the effect that changes in vacuum tube bias have on the distortion of the waveform Higher settings of this value will produce distortion even at low gain levels Since this will also change the overtone structure you can use it to control the tonal character Mic Pre Amp Bias Out Bias 100 Bias 50 Bias 0 Satulation 50 d Tube1 Phase With the Wet Invert setting the phase of the signal will be inverted between stage 1 and stage 2 Since Bias is applied to the inverted signal in stage 2 this will change the tonal character 60 Effects Overdrive Amp models and Mic models OD Amp Mic 024 St Tube PreAmp Stereo Tube PreAmp Modeling This is a stereo vacuum tube preamp simulator See 023 Tube PreAmp Model Tube PreAmp Modeling on page 59 Stereo In Stereo Out Left o o T FX Amt Tube Pre Amp1 t gt o c Tube Pre Amp2 divert Output Level Tube Pre Ampt ape Tube Pre Amp2 2 Right o 4 Y a FX Amt 025 Mic Model PreAmp Mic Modeling PreAmp This effect simulates a mic and vacuum tube preamp You can choose from various types of mic and positions to create differ ing sonic characters FX Amt 100 Mono In Mon
201. m Triangle Sine Selects the LFO Waveform F Delay Time msec 0 0 1350 0 Sets the delay time Depth 0 100 Sets the depth of LFO modulation Feedback 100 100 Sets the feedback amount F EQ Trim 0 100 Sets the EQ input level F Pre LEQ Gain dB Pre HEQ Gain dB 15 415 15 415 Sets the gain of Low EQ Sets the gain of High EQ F Cho Flng Wet Dry 100 0 100 Sets the effect balance of the chorus flanger Src Amt Off Tempo 100 100 Selects the Wet Dry modulation source for the chorus flanger Sets the Wet Dry modulation amount for the chorus flanger F Output Mode Normal Wet Invert Selects the output mode for the chorus flanger Routing FX Amount Limiter gt Flanger Flanger gt Limiter Switches the order of the limiter and chorus flanger Amount of FX added to the direct signal Src 100 4100 Amount of modulation source Table Dynamic Modulation sources on page 43 Effects Mono Mono Serial Mono Mono 091 Limiter Phaser This effect combines a mono limiter and a phaser You can change the order of the effects 97 FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left gt o Routing Fat Limiter Phaser Limiter Ha gt Phaser i Normal i Ga
202. making the chorus effect more complex and richer Ensemble LFO 4 Shimmer 64 Effects Chorus Flanger and Phaser Cho Fln Phaser 032 Stereo Flanger 033 St Random Flanger This effect gives a significant swell and movement of pitch to the Stereo Random Flanger sound It is more effective when applied to a sound with a lot of The stereo effect uses a step shape waveform and random LFO harmonics This is a stereo flanger You can add spread to the for modulation creating a unique flanging effect sound by offsetting the phase of the left and right LFOs from each other Stereo In Stereo Out Left o p M M FX Amt Stereo In Stereo Out i Flanger T Loft mes i V gt Flanger T High Damp P rai EON g High Damp Right o A re gt Flanger 1 m GF Sando Righto J FO Phase AMi Lro Ti Sine gt LFO Shape 4 Delay Time 56 59g Sets the delay time from the a msec b original sound Delay Time Sets the delay time from the LFO Step Tri Selects the LFO Waveform msec 0 0 50 0 original sound b Waveform Random LFO LFO Phase 180 4180 9ets the LFO phase difference Waveform Triangle
203. mix white noise with the Carrier h Modulator High Mix This parameter sets the high range output level of the modula tor sound If the modulator is a human voice it will make the words more clear Using the vocoder with microphone input When programming the Vocoder you can start from one of the specially programmed Vocoder Performances in the SFX bank as templates To use a voice from a microphone as a modulator 1 Connect a miccrophone to either the Audio Input 1 or Audio Input 2 2 Set Modulator Source to Audio In 1 or Audio In 2 depending on the physical inpuit you connected the micro phone to 3 Speak into the microphone while you use the GAIN knob to adjust the level as high as possible without allowing dis tortion to occur With these settings the sound from the microphone will be used as the modulator While you play speak into the mic it will sound as though the instrument is talking If the effect sound is distorted adjust the Carrier Trim and Modulator Trim Note Please remember to set the Carrier track s Pan value to Off and the Send value to 127 You can add reverb to the Vocoder by way of the D to C parame ter Hint To create a new Song making use of the Vocoder enter the Sequencer Backing Sequence mode with a Performance that includes the Vocoder effect Address KORG ITALY SpA Via Cagiata 85 l 60027 Osimo An Italy Web www korgpa com www
204. mpo for the output level Sets the modulation amount of Amt 7100 4100 ue output level c Bass 0 100 Sets the bass low range level Sets the middle mid range d Middle 0 100 level Mid Range 0 4 Sets the mid frequency range e Treble 0 100 co treble high range Sets the presence high f Presence 0 100 frequency tone Cabinet Switches the cabinet simulator 9 simulater Off On on off LA 4x10 MODERN 4x10 METAL 4x10 CLASSIC 8x10 UK 4x12 h Cabinet Type Mace d Selects the cabinet type JAZZ 1x15 VOX AC100 2x15 US 2x15 UK 4x15 LA 1x18 COMBI 1x12 amp 1x18 Amount of FX added to the M FX Amount 0 100 direct signal D i Table Dynamic Modulation Src Off Tempo sources on page 43 Amt 100 4100 Amount of modulation source a Amp Type h Cabinet Type Recommended Combinations of Bass Amp Models and Cabinets Amp Type Cabinet Type LA STUDIO LA 4x10 LA 1x18 JAZZ JAZZ 1x15 GOLD PANEL MODERN 4x10 SCOOPED METAL 4x10 VALVE2 CLASSIC 8x10 VALVE CLASSIC 8x10 CLASSIC COMBI 1x12 amp 1x18 023 Tube PreAmp Model 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 FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Lefto o FX
205. mum space available for samples is 1 048 576 mono or stereo samples or 21 8 seconds Sampled Non editable Used memory in samples seconds for sampling Sampling Buffer Non editable Available memory in samples seconds for sample editing Record button Press this button to start recording Press it again to stop record ing Recording will automatically stop when the maximum avail able space will end Note Pa800 always samples at the maximum quality 16 bit 48 000Hz Samples of a different quality may be loaded 8 or 16 bit 11 025Hz to 48 000Hz Sampling Edit This page allows you to cut trim or normalize a sample as well as edit the loop points The sample can played on the full key board SM Sample Selected sample See SM Sample above Waveform display This is the graphical display of the selected sample waveform i e the one you can hear when playing the keyboard The area included between the Start and End points is highlighted dark background Parameters Start Sample Start This is the sample start point in samples You may edit this point as well as the End point to shorten the sample Changing the Sample Start cuts out the attack portion of the sound Note When moving the Start point forward and reach the Loop Start point this latter is also moved forward Warning When saving the edited sample Write Sample opera tion the segments exceeding the
206. n Delay 00 2000 Sets the fade in delay time LFO msec bd Frequency 0 02 20 00 Sets the speed of the LFO z Hz Sets the rate of fade in b Rate 1 100 Selects the modulation source ee Switches between D mod and D mod Src Off Tempo mo resonance Dz Freauaney D mod AUTOFADE for the LFO y Mod y AUTOFADE frequency modulation When this is on the LFO speed MIDI Sync Off On is set by BPM Base Note and ea Switches between D mod and Times instead of Frequency Wet Dry Mod D mod AUTOFADE for the effect MIDI MIDI syncs to the system tempo y AUTOFADE balance modulation BPM 40 00 40 300 sets the tempo manually c 300 00 for this individual effect ries Triangle Sine Selects the LFO Waveform Base Note A Selects the type of notes that Waveform g e is specify the LFO speed Changes the curvature of the Sets the number of notes that LFO Shape 7100 100 LFO Waveform Times xt x32 specify the LFO speed LFO Phase Sets the LFO phase difference _ Sets the amount of resonance degree 180 180 between the left and right d Mod Depth 100 100 intensity control via LFO D mod LFO Trim 0 100 Sets the input level at the Frequency 0 02 20 00 Sets the speed of the LFO i resonator Hz S n n Dres Di ets the voice1 Pitch for Src Off Tempo Selects a modulation source for Voice1 Pitch C0 B8 resonance LFO speed e Fine cents 50 50 Fine adjusts the voice 1 pitch for Amt 20 00 Sets the modulation amount of iun resonance 20 00
207. nd location in the selected bank Use TEMPO VALUE controls to select a different location Select button Press this button to open the Sound Select window and select a target location Delete Sample dialog box Open this dialog box by selecting the Delete command from the page menu while you are in any page of the Sample Edit Sample Record section Delete Sample Select Selected and select a sample number to delete just one of the samples from memory Select Not assigned to any Multisample Drumkit to delete only samples not yet assigned to a multisample or drumkit see paragraphs on the Multisample section starting from page 198 Note Use this option with care since you may delete samples you would like to preserve that have not yet been assigned to a multisample or drumkit Use it only when you are sure all desired samples have been assigned to a multisample or drumkit Select All Samples Multisamples Drum Samples to delete all samples multisamples and drum samples from memory This operation completely resets the RAM and may be used to clean up any trouble Delete Multisample dialog box Open this dialog box by selecting the Delete command from the page menu while you are in any page of the Multisample sec tion Delete MultiSample Select Selected and select a multisample number to delete just one of the multisamples from memory Check the
208. nd seems to come and go from much further away With positive values the sound moves from left to right with negative values the sound moves from right to left Doppler Pitch Pan Depth 3 S T bo r i Pan DepthO Pan Depth value i value Original Pitch i Higher Pitch Depth d i Pan Depth lt lt ccc 5 5 gt Louder gt Volume Louder 042 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 FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o Scratch Right o Selects the modulation source for simulation control Sets the speed of the response to the Scratch Src Selects whether the start and end of recording is controlled via the modulation source or the input signal level Selects the modulation source Src Off Tempo that controls recording when Envelope Select is set to D mod Sets the recording start level when Envelope Select is set to Input Sets the speed of the response to the end of recording Scratch Source Off Tempo Response 0 100 Envelope Select D mod Input Threshold 0 100 Response 0 100 Always On Always Off Cross Fade Direct Mix Selects how a dry sound is mixed Amount of F
209. nd set Pre LPF to Off you can create a sound like a ring modulator This parameter enables you to set the level of the click noise that occurs once every rotation of the turntable This simulation reproduces record noise and the noise generated after the music on a vinyl record finishes 56 Effects Overdrive Amp models and Mic models OD Amp Mic Overdrive Amp models and Mic models OD Amp Mic 018 OD Hi Gain Wah Overdrive Hi Gain Wah This distortion effect utilizes an Overdrive mode and a Hi Gain mode Controlling the wah effect the 3 band EQ and the amp simulation will allow you to create versatile distortion sounds This effect is suitable for guitar and organ sounds FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o gt o Mode Overdrive Hi Gain Drive PreLow cut ji 3 Band PEQ Wah H Driver ZANAN Amp Simulation H Output Level Direct Mix Righto Be r7 Off On Switches Wah on off Selects the modulation source Src Off Tempo that switches the Wah on and off Selects the switching mode for the modulation source that switches the Wah on and off Toggle Sw Moment Wah Sweep Range 10 10 Wah Sweep Selects the modulation source Src Off Tempo that controls the Wah Switches between overdrive and hi gain distortion Sets the degree of distortion Sets the range of Wah
210. ng tempo This four tap delay enables you to select a tempo and rhythm pattern to set up each tap Stereo In Stereo Out Len FX Amt High Damp Low Damp Stereo In Stereo Out Delay CN Llium Left o Input Level D mod x A FX Amt i 94 Feedback gt Feedback ZX Input Level D mod High Damp Low Damp Input Level D mod High Damp Low Damp 1 h Delay HH Mode Tap Level Mani re Input Level D mod High Damp Low Damp a LI o Right o A XA UN Delay Tenes EP ricki A ak igi BPM Sr Base Note x Times CAdjust Sq i DT i Base Note x Times Adjust MIDI 40 00 300 00 MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Time Over L OVER Display the error message if the left channel delay time exceeds the upper limit OVER Display the error message if the right channel delay time exceeds the upper limit L Delay Base Note dos Selects the type of notes to specify the left channel delay time Times x1 x32 Sets the number of notes to specify the left channel delay time Adjust 96 2 50 42 50 Fine adjust the left channel delay time R Delay Base Note Times d x1 x32 Selects the type of notes to specify the right channel delay time Sets the number of notes to specify the right channel delay time Adjust 96 2 50 42 50 Fine adjust the right channel delay time
211. nt Sets the modulation amount of 24 424 pitch shift amount Amt Sets the pitch shift amount in 100 100 steps of one cent Fine cents Sets the modulation amount of pitch shift amount Sets the modulation amount of pitch shift amount 100 100 MIDI 40 00 300 00 MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Display the error message if the left channel delay time exceeds the upper limit Time Over L OVER Display the error message if the right channel delay time exceeds the upper limit OVER Selects the type of notes to specify the left channel delay L Delay Base Note time As Sets the number of notes to specify the left channel delay time Times Selects the type of notes to specify the right channel delay time R Delay Base Note dis Sets the number of notes to specify the right channel delay time Times x1 x32 Feedback Switches the feedback Position i Pre Post connection Sets the width of the stereo 100 100 image of the effect sound Spread Sets the feedback amount Feedback 100 100 High Damp 96 Sets the damping amount in the 0 100 high range Sets the modulation amount of Input Level the input level Dmod 94 100 100 Selects the modulation source Src for the input level Off Tempo Amount of FX added to t
212. o gt o FX Amt FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out High Damp Low Damp Left o Delay j N ot FX Amt Input Level D mod g Feedback EQ Trim Input Level D mod Jj High Damp Low D LEQ HEQ jen Damp bow Dany gt H lt Pre Delay Early Reflections Delay H N Z TF Right gt EQ Trim cai FX Amt Tempo Right 7 PM gue FX Amt BPM gt Base Note x Times Adjust 4 Base Note x Times Adjust MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Type Sharp Loose Modulated Reverse Selects the decay curve for the early reflection Time Over L Display the error message if the left channel delay time exceeds the upper limit ER Time msec 10 1600 Sets the time length of early reflection Display the error message if the right channel delay time exceeds the upper limit Pre Delay msec 0 200 Sets the time taken from the original sound to the first early reflection L Delay Base Note Selects the type of notes to specify the left channel delay time EQ Trim 0 100 Sets the input level of EQ applied to the effect sound Times x1 x32 Sets the number of notes to specify the left channel delay time Pre LEQ Fc Low Mid Low Selects the cutoff frequency low or mid low of the low range equalizer Adjust 96 2 50 42 50
213. o Out FX Amt 0 Stereo In Stereo Out Left o o FX Amt Mic Simulation Tube Pre Amp Output Level Righto o FX Amt Vintage Dynamic Multi Condenser Percussion Condenser Mic Type Drums Dynamic Selects the type of mic Vocal Dynamic Multi Dynamic Vocal Condenser Vocal Tube Kick Dynamic ui Close On i Mic Position Off Far Sets the mic placement distance Tube Low Thru Sets the frequency of the low Cut Hz 21 8 00k cut filter 53 20 00k Sets the frequency of the high Thru cut filter High Cut Hz Tube Gain B Sets the input gain to the dB TEM vacuum tube preamp Saturation 0 100 Sets the input output response 96 s of the preamp Sets the bias level of the preamp Tube Output Sets the output level of the Level dB 748 0 0 0 preamp Amount of FX added to the direct signal Tube Bias 0 100 FX Amount 0 100 Table Dynamic Modulation Src Off Tempo sources on page 43 100 4100 Amount of modulation source b Mic Position This expresses the effect that the mic position has on the sound The Close setting is the closest mic position and the Far setting is the farthest Effects 61 Chorus Flanger and Phaser Cho Fln Phaser Chorus Flanger and Phaser Cho Fln Phaser 026 Stereo Chorus This effect adds thickness and warmth to the sound by modulat ing the delay time of the input signal You can add spr
214. o a negative values the EG levels will fall as you play more strongly 99 4 99 Intensity value St Start Level Swing This parameter specifies the direction in which AMS will affect Start When Intensity has a positive value a setting of for this parameter will allow AMS to raise the EG level and a setting of will allow AMS to lower the EG level With a setting of 0 there will be no change At Attack Level Swing This parameter specifies the direction in which AMS will affect Attack When Intensity has a positive value a setting of for this parameter will allow AMS to raise the EG level and a setting of will allow AMS to lower the EG level With a setting of 0 there will be no change Br Break Level Swing This parameter specifies the direction in which AMS will affect Break Break Point When Intensity has a positive 4 value a setting of for this parameter will allow AMS to raise the EG level and a setting of will allow AMS to lower the EG level With a setting of 0 there will be no change Sound operating mode 7 Filter Filter EG Time Modulation Filter 1 EG changes Time AMS Velocity Intensity a positive value Note on Note on Note on Note off Note off Note off Softly played note with Attack Strongly played note with Strongly played note with Decay Slope and Release Attack Decay
215. o adjust the level at which the audio signal output from the selected oscillator is input to filter A Note If this value is raised the sound may distort if Resonance is set to a high value or when you play a chord 00 99 Trim level Filter A Frequency Cutoff Frequency A This parameter specifies the cutoff frequency of filter A This is a filter that cuts the i high frequency region above the cutoff 1 frequency 1 This is the most common type of filter I 12dB oct and is used to cut part of the overtone 1 components making an originally bright I L 1 Low Pass Level 24dB oct timbre sound more mellow darker When the Filter Type is Low Pass Frequency Resonance the cutoff will have a steeper slope 00 99 Cutoff frequency value Sound operating mode 13 Filter Filter Type Resonance Resonance A The resonance emphasizes the overtone components that lie in the region of the cutoff frequency specified by Frequency pro ducing a more distinctive sound Increasing this value will pro duce a stronger effect 00 99 Resonance value Res Mod by AMS Resonance modulated by AMS Selects the source that will control the Resonance level See AMS Alternate Modulation Source list on page 26 The effect of resonance Low Pass Level Low resonance value f gt High resonance value Intensity AMS Intensity Th
216. o the Tap 1 delay time the depth of pitch variation Tap1 Level 0 100 Sets the Tap1 output level Pan L 1 99 R Sets the stereo image of tap1 FB Amt 100 100 Sets the Tap1 feedback amount Tap2 Level 0 100 Sets the Tap2 output level Pan FB Amt L 1 99 R 100 100 Sets the stereo image of tap2 Sets the Tap2 feedback amount Tap3 Level 0 100 Sets the Tap3 output level Pan L 1 99 R Sets the stereo image of tap3 FB Amt 100 100 Sets the Tap3 feedback amount Feedback Src 0 100 Off Tempo Sets the amount of feedback for Taps 1 2 and 3 Selects the modulation source of feedback amount Amt 100 100 Sets the depth by which feedback amount will be modulated High Damp 0 100 Sets the damping amount in the high range Low Damp 96 100 Sets the damping amount in the low range Saturation 100 Sets the distortion amount Input Trim Sets the input gain Pre Tone Wow Flutter Hz 0 0 0 100 0 100 0 02 Sets the tone of the input Sets the frequency at which pitch variation will occur Wow Flutter depth 0 100 Sets the depth of pitch variation FX Amount 0 100 Off Tempo Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 100 100 Amount
217. of modulation source a Tap1 Dmod Src b Tap1 Delay Note b Times c Tap1 Dmod Note c Times If Tap1 Dmod Src is Off or the selected modulation is at 0 the delay time will be the length specified by Tap1 Delay Note and Times If Tap1 Dmod Src is other than Off the delay time will change so that it will be as specified by Tap1 Dmod Note and Times when the maximum modulation is reached b Time Over You can set the delay time up to 5 400msec If the delay time exceeds this limit the error message OVER appears in the dis play Set the delay time parameters so that this message will not appear Time Over is only a display parameter Effects Delay 87 88 Effects Reverb and Early Reflections Reverb ER Reverb and Early Reflections Reverb ER 070 Reverb Hall This hall type reverb simulates the reverberation of mid size concert halls or ensemble halls 071 Reverb SmoothHall This hall type reverb simulates the reverberation of larger halls and stadiums and creates a smooth release 072 Reverb Wet Plate This plate reverb simulates warm dense reverberation 073 Reverb Dry Plate This plate reverb simulates dry light reverberation FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o o FX Amt Pre Delay Thru EQ Trim LEQ HEQ gt lt Pre Delay Reverb EQ Trim Righto o
218. of pitch shift and amount of modulation by means of the LFO Pitch Shift Mod Pitch Shift Depth ALFO Waveform TriangleO N GE Depth value v Pitch Shift 4 value Original Pitch i LFO WaveformzSquareL Depth value g Pan h FX Amount The Pan parameter pans the effect sound and dry sound to the left and right With L the effect sound is panned left and the dry sound is panned right With a FX Amount 100 setting the effect and dry sound will be output in a proportion of 1 1 053 Organ Vib Chorus Organ Vibrato Chorus This effect simulates the chorus and vibrato circuitry of a vintage organ The modulation speed and depth can be customized FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o gt o FX Amt Vibrato Chorus Preset Setting 0 oss seed i Custom Parameters Mode Right o gt o FX Amt Input Trim 0 100 Control Preset Mode Custom Sets the input level Selects either preset or custom settings Selects the effect type when Mode Preset V1 V2N3 are variations of vibrato and C1 C2 C3 are varia tions of chorus V1 C1 V2 Preset Type C5 ya3 c3 Selects the modulation source Src Off Tempo inar will change the effect type Sets the modulation amount for Amt 75h changing the effect type Vibrato 1 99 99 1 Chorus Sets the mix level of the direct Custom
219. off fre quency of filter B This parameter specifies the depth and direc tion of the control see JS Joystick Y Intensity to A AMS Filter LFO1 Alternate Modulation Source Select a source that will control the depth and direction of cutoff frequency change for both filters A and B See AMS Alternate Modulation Source list 16 Sound operating mode Filter Filter EG Intensity to A Specifies the depth and direction of the effect that AMS will have on filter A For example if AMS is After Touch higher settings of this parameter will allow greater change to be applied to LFO1 when you apply pressure to the keyboard 99 4 99 Parameter value Intensity to B Specifies the depth and direction of the effect that AMS will have on filter B see Intensity to A LFO 2 Adjusts the depth of the cyclic modulation applied by LFO2 set on LFO LFO2 to the cutoff frequency of filters A and B For more information on the parameters see LFO 1 above Filter Filter EG Here you can make settings for the EG that will produce time varying changes in the cutoff frequency of filters A and B for the selected oscillator The depth of the effect that these settings will have on the filter cutoff frequency is determined by the Veloc ity and Intensity parameters SOUND Filter Le ies as Junie Diagram The diagram on top of the page shows the Filter envelope line
220. oft Wave format very common on Win dows PCs AIFF Apple s Audio Interchange File Format standard on the Macintosh Export Multisample page Open this page by selecting the Export command from the page menu while you are in any page of the Multisample section SAMPLING Export MultiSample ami BACKUP 94 08 06 11 14 MIDIFILE 11 88 86 18 18 Piano f wav 1 9M 23 88 86 16 04 1 9M 23 88 86 16 84 Piano mf wawv By using this function you can export from the internal mem ory the multisample in edit in the Multisample section and all linked samples The Export operation generates a KMP file Korg s proprietary file format for multisamples and a folder containing a series of KSF files Korg s proprietary file format for samples inside the same directory Note When exporting a stereo multisample be careful to assign a different name to the Left and Right channel files to avoid over writing A L and R suffix is usually added after the name of this kind of files How to merge PCM samples from various sources When you load a SET folder all PCM samples in memory are deleted To merge samples from several sources do the follow ing 1 Load a SET folder containing samples you want to merge with other samples 2 Loadsingle Sounds from other SET folders 3 Load or import Samples from other sources Trinity Tri ton Akai Wav Aiff files 4 Savethe SET
221. ommended Combinations of Bass Amp Models and Cabinets Amp Type Cabinet Type STUDIO COMBO STUDIO 1x15 AC100 VOX AC100 2x15 UK MAJOR UK 4x15 UK 4x12 110 Effects Double Size 114 St Mic PreAmp Stereo Mic Modeling PreAmp This is a stereo mic and preamp simulator See 025 Mic Model PreAmp Mic Modeling PreAmp on page 60 For example you might use this to simulate micing of a stereo source such as a rotary speaker Lefto FX Amt Mic Simulation Tube Pre Amp NEUE Output Level Mic Simulation Tube Pre Amp Right 4 o FX Amt 115 Multitap Cho Delay Multitap Chorus Delay This effect has six chorus blocks with different LFO phases You can produce a complex stereo image by setting a different delay time and depth for each block You can control the delay output level via a modulation source Stereo In Stereo Out FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Lette Feedback 4 FX Amt Tap1 Delay i Tap2 Delay Tap3 Delay 2 Tapa Delay 4 1 Taps Delay jg 4 Tap6 Delay I f4 f Righto ESERE i i i d FX o Amt 180 s cae 60 degr Panning Preset 240 degree 120 degree 300 degree LFO Triangle On Off Control Tap5 120 msec 0 2000 Sets the Tap5 LFO
222. or and select the controllers that will affect the oscillator pitch and specify the depth of control You can also specify the amount of pitch change produced by the Pitch EG and by LFO1 and LFO2 switch portamento on off and specify how it will apply SOUND Pitch ur psa Pitch Pitch Slope Normally you will leave this parameter at 1 0 Positive val ues will cause the pitch to rise as you play higher notes and neg ative values will cause the pitch to fall as you play higher notes With a value of 0 there will be no change in pitch and the C4 pitch will sound regardless of the keyboard location you play The diagram shows how the Pitch Slope and pitch are related Pitch 2 L 1 Li i C4 C5 Key 1 0 2 0 Pitch slope value JS X This parameter specifies how the pitch will change when the joy stick is moved all the way to the right A setting of 12 produces 1 octave of change For example if you set this to 12 and move the joystick all the way to the right the pitch will rise one octave above the original pitch 60 12 Maximum pitch change in semitones JS X This parameter specifies how the pitch will change when the joy stick is moved all the way to the left A setting of 12 produces 1 octave of change For example if you set this to 60 and move the joystick all the way to the left the pitch will fall five octaves below the original pitch This can be u
223. ount in the m Sets the position of Tap 3 96 zs high range Ii Position 0 100 relative to the Tap 1 delay time Low Damp o 40g Sets the damping amount in the the depth of pitch variation 96 fe low range Tap1 Level 0 100 Sets the Tap1 output level P un Triangle Sine Selects the LFO Waveform Pan L 1 99 R Sets the stereo image of tap1 ch m z Fih FB Amt 100 100 Sets the Tap1 feedback amount LFO Shape 100 100 EO eon UIROS Tap2 Level 0 100 Sets the Tap2 output level Sets the LFO phase difference Pan L 1 99 R Sets the stereo image of tap2 between the left and right FB Amt 100 100 Sets the Tap2 feedback amount fe Freq 0 02 20 00 Sets the panning speed Tap3 Level 0 100 Sets the Tap3 output level Pan L 1 99 R Sets the stereo image of tap3 Phase degree 180 180 Switches between using the MIDI Sync Off On frequency of the panning speed pe FB Amt 100 100 Sets the Tap3 feedback amount and using the tempo and notes Feedback 0 100 Sets the amount of feedback for MIDI syncs to the system tempo Taps 1 2 and 3 BPM 00 40 300 sets the tempo manually Selects the modulation source of for this individual effect Src Off Tempo Feedback amount Selects the type of notes to 100 100 Sets the feedback amount Base Note specify the delay time for the z panning speed t Damp o 109 Sets the damping amount in the 0 high range
224. ount of modulation source 079 PAEQ Cho Flng Parametric 4 Band EQ Chorus Flanger This effect combines a mono four band parametric equalizer and a chorus flanger FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left Parametric 4Band EQ Chorus Flanger Chorus Flanger g d S Output Mode Feedback let Invert i Cho Fing FX Amt o i FX Amt LFO Tri Sine 080 P4EQ Effects Mono Mono Serial Mono Mono Phaser Parametric 4 Band EQ Phaser This effect combines a mono four band parametric equalizer and a phaser 91 Left FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Resonance Wet Invert Phaser FX Amt o i FX Amt LFO Tri Sine Sets the parametric EQ input l E Trim 0 100 evel E Trim 0 100 Sets the parametric EQ input level E B1 Cutoff Sets the center frequency of Hz 20 1 00k Band 1 Q 0 5 10 0 Sets the bandwidth of Band 1 Gain dB 18 18 Sets the gain of Band 1 E B1 Cutoff Hz 20 1 00k Sets the center frequency of Band 1 Q 0 5 10 0 Sets the bandwidth of Band 1 Gain dB 18 18 Sets the gain of Band 1 E B2 Cutoff Sets the center frequency of Hz 50 5 00k Band 2 Q 0 5 10 0 Sets the bandwidth of Band
225. ource Type f Routing FX Amount Src 104 Effects Mono Mono Serial Mono Mono 104 Decimator Comp 105 AmpSim Tremolo Decimator Compressor Amp Simulation Tremolo This effect combines a mono decimator and a compressor You This effect combines a mono amp simulation and a tremolo can change the order of the effects FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left Amp Simulation Tremolo mamg 7 RFRAmw o0 0 quee eee pesticide deed Decimator y X Compressor is Amp Simulation Filter Tremolo Resolution Output Level Z Decimator A Comp Pre LPF High Damp Output Level Righte i LFO Tri Sin Vintage Up Down LFO Shape Right s C ge Up Down gt pe i i FX Amt P SIM DECIMATOR A Amplifier SS EL84 6L6 Selects the type of guitar Type amplifier Turn the harmonic noise caused D Pre LPF Off On by lowered sampling on and off MOLO high Damp 0 100 eon of high range rILFo pone D Samplin Waveform Vintage Up Freq He 9 1 00k 48 00k Sets the sampling frequency Down Resolution 4 24 Sets the data bit length LFO Shape 100 100 oe of the D Output 0 Sets the decimator output level T LFO Level Frequency 0 0
226. p o 499 ets the ratio of high range Frequency center frequency damping DJS lin 1 00k 48 0 Frequency Sets the upper limit of the wah onn Ok Sets the sampling frequency b 9 Freq Hz Top s center frequency Resolution 4 24 Sets the data bit length Selects the control from auto W Sweep wah modulation source and D Output Sets the decimator output Mode LFO g Level 0 100 level Selects the modulation source P SIM Src m for the wah when Sweep A Amplifie SS EL84 Selects the type of guitar Mode D mod r Type 6L6 amplifier WILFO Frequency 02 20 Sets the speed of the LFO Decimator Switches the order of the Hz Routing decimator and amp simulation Resonance n Sets the resonance amount Decimator Switches the wah low pass filter Amount of FX added to the odd on and off p PA Amount Cec direct signal W Wet Dry 0 Sets the wah effect balance T Off Temp Table Dynamic o Src Modulation sources on Selects the Wet Dry modulation page 43 source for the wah Src Amount of modulation Sets the Wet Dry modulation 100 100 ource Amt amount for the wah AMP SIM A Amplifier SS EL84 6L6 Selects the type of guitar i amplifier Wah gt Amp Switches the order of the wah and amp simulation Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 Amount of modulation s
227. phasez120 degrees delay time Depth 0 30 Sets the Tap5 chorus depth Status Always On Always Off On Off Dm Off gt On Dm Selects on off or modulation source for the control of Tap5 output Tap6 300 msec 0 2000 Sets the Tap1 LFO phase 300 degrees delay time Depth 0 30 Sets the Tap6 chorus depth Status Always On Always Off On Off Dm Off gt On Dm Selects on off or modulation source for the control of Tap6 output Panning Preset 1 L123456R 2 1 135 246 R 35246R L1 L145632R 3 4 Selects the stereo panning pattern for each tap Tap1 Feedback 100 100 Sets the Tap1 feedback amount Src Off Tempo Selects the modulation source for the Tap output level feedback amount and effect balance Amt 100 100 Sets the modulation amount of Tap1 feedback amount FX Amount 0 100 Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 100 100 Amount of modulation source Frequency Hz 0 02 13 00 Sets the speed of the LFO Tap1 000 msec 0 2000 Sets the Tap1 LFO phase 0 degrees delay time Depth 0 30 Sets the Tap1 chorus depth Status Always On Always Off On Off Dm Off gt On Dm Selects on off or modulation source for the control of Tap1 out
228. po Selects the modulation source that resets the LFO LFO Frequency Hz Sets the speed of the LFO MIDI Sync When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency BPM MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Base Note Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed MIDI MIDI syncs to the system tempo BPM Delay 40 00 40 300 sets the tempo manually 300 00 for this individual effect Display the error message if the Time Over L OVER left channel delay time exceeds the upper limit Display the error message if the OVER right channel delay time exceeds the upper limit Selects the type of notes to specify the left channel delay time L Delay Base A Note oo Sets the number of notes to Times x1 x32 specify the left channel delay time Sets the feedback amount of Feedback 100 100 left delay Selects the type of notes to R Delay Base di specify the right channel delay DIS time Sets the number of notes to Times x1 x32 specify the right channel delay time Sets the feedback amount of Feedback 100 100 right delay Amount of FX added to the FX Amount 100 0 100 direct signal Table Dynamic Modulation Src Off Tempo Sources on page 43 100 4100 Amount of modulat
229. pping each other For example if the Open Hi Hat and Closed Hi Hat are assigned the same Exclusive Group playing an Open Hi Hat will stop the Closed Hi Hat playing None No Exclusive Group assigned The selected key will not be stopped by any other key 1 127 Exclusive Groups assigned to the selected key When you play this key all other keys assigned to the same Exclusive Group will be stopped and this key will be stopped by other keys assigned to the same Exclusive Group Enable Note On Receive Use this parameter to enable disable the reception of the Note On Key On message On The Note On message is normally received Off The Note On message is not received Therefore the corresponding key is muted Enable Note Off Receive Use this parameter to enable disable the reception of the Note Off Key Off message On The sound will stop as soon as you release the key Off The sound will continue playing up to the end of the sample The Note Off message is ignored Mixer Pan This parameter sets the position in the stereo panorama of the selected key Send FX1 This parameter sets the FX1 send level for of the selected key Send FX2 This parameter sets the FX2 send level for of the selected key 10 Sound operating mode Pitch Pitch Mod Pitch Pitch Mod Here you can make pitch settings for each oscillator These set tings specify how keyboard location will affect the pitch of each oscillat
230. put b c d e f g Status These parameters set the output status of each Tap Always On Output is always on No modulation Always Off Output is always off No modulation On Off dm Output level is switched from on to off depend ing on the modulation source Off On dm Output level is switched from off to on depend ing on the modulation source Combining these parameters you can change from 4 phase cho rus to two tap delay by crossfading them gradually via the mod ulation source during a performance h Panning Preset Tap2 180 msec 0 2000 Sets the Tap2 LFO phasez180 degrees delay time Depth 0 30 Sets the Tap2 chorus depth Status Always On Always Off On Off Dm Off On Dm Selects on off or modulation source for the control of Tap2 output Tap3 060 msec 0 2000 Sets the Tap3 LFO phase 60 degrees delay time Depth 0 30 Sets the Tap3 chorus depth Status Always On Always Off On Off Dm Off gt On Dm Selects on off or modulation source for the control of Tap3 output Tap4 240 msec 0 2000 Sets the Tap4 LFO phase 240 degrees delay time Depth 0 30 Sets the Tap4 chorus depth Status Always On Always Off On Off Dm Off gt On Dm Selects on off or modulation source for the control of Tap4 output This parameter selects combinations of stereo images o
231. quency Hz 0 02 20 00 Sets the speed of the LFO LTITAP DELAY LFO Waveform Triangle Sine Selects the LFO Waveform D Tap1 Time msec 0 0 1360 0 Sets the Tap1 delay time Tap1 Level 0 100 Sets the Tap1 output level P Manual Depth 0 100 0 100 Sets the frequency to which the effect is applied Sets the depth of LFO modulation Resonance 100 100 Sets the resonance amount D Tap2 Time msec 0 0 1360 0 Sets the Tap2 delay time Feedback Tap2 D High Damp 96 100 100 0 100 Sets the Tap2 feedback amount Sets the damping amount in the high range P Phaser Wet Dry Src 100 0 100 Off Tempo Sets the phaser effect balance Selects the Wet Dry modulation source for the phaser Amt 100 100 Sets the Wet Dry modulation amount for the phaser P Output Mode FX Amount Normal Wet Invert 0 100 Selects the phaser output mode Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 Amt 100 100 Amount of modulation source D Mt Delay Wet Dry 0 100 Sets the multitap delay effect balance Src FX Amount Off Tempo 100 100 0 100 Selects the Wet Dry modulation source for the multitap delay Sets the Wet Dry modulation amount for the multitap delay Amo
232. r Hint Load single Sounds if you want to load new PCM data with out deleting the ones already contained in memory Note When entering the Sampling mode samples are automati cally loaded from the hidden PCM area on the SSD This may cause a delay before the Sampling mode becomes operative Note No sound will be heard when you first enter the Sampling mode Note Some demo audio grooves Real Drum and Turkish Arabic World xxx can be found in the Bonus area of the Korg Pa800 web site www korgpa com Entering and exiting the Sampling mode While in Sound mode press the RECORD button to enter in Sampling mode While in Sampling mode press the RECORD button to exit the Sampling mode and return to the Sound mode The Record Sampling procedure Here is a short overview of a typical sampling procedure Preparing to record First of all you will set the recording levels for sampling 1 Press the SOUND button to access the Sound mode then press RECORD to access the Record page With the MASTER VOLUME slider set to zero connect the source to be sampled e g a microphone or a CD player to one or both the Audio Inputs on the rear of the Pa800 When the source has been connected raise the MASTER VOLUME slider to a position other than zero n w Adjust the source s volume using both the GAIN knobs of the Pa800 next to the Audio Input connectors and the source s output level If possi
233. r to a higher value to apply the effect to a lower range sound set this to a lower value f Resonance This parameter sets the intensity of resonance for the voice pat tern A larger value will add more character to the sound 016 Stereo Decimator This effect creates a rough sound like a cheap sampler by lower ing the sampling frequency and data bit length You can also simulate noise unique to a sampler aliasing Stereo In Stereo Out Left o x PreLPF Resolution NEM FX Amt High Damp Output Level 4 Decimator N gx ry Sampling Frequency Y N E y PreLPF Resolution Righto Y gt Decimator gr High Damp Output FX Amt Pre LPF Selects whether the harmonic noise caused by a decrease in sampling frequency is generated or not Effects EQ and Filters EQ Filter 55 f Resolution g Output Level If you set a smaller value for the Resolution parameter the sound may be distorted The volume level may also be changed Use Output Level to adjust the level 017 St Analog Record Stereo Analog Record This effect simulates the noise caused by scratches and dust on analog records It also reproduces some of the modulation caused by a warped turntable Stereo In Stereo Out High Damp 96 Sets the ratio of cut of the high range Samplin Freq uz Sets the sampling frequency Src Selec
234. r will have the opposite effect 99 4 99 Parameter value Amp Amp Mod These settings allow you to apply modulation to amp for each oscillator to modulate the volume SOUND Amp ur Keyboard Tracking These parameters let you use keyboard tracking to adjust the volume of the selected oscillator Use the Key and Ramp parameters to specify how the volume will be affected by the keyboard location that you play Key Low High These settings specify the note number at which keyboard track ing will begin to apply The volume will not change between Key Low and Key High Keyboard tracking will apply to the range below the specified Low note number and above the specified Highy note number C 1 G9 Lowest Highest note in the range Ramp Low High These parameters specify the angle of keyboard tracking With positive values of the Ramp Low parameter the vol ume will increase as you play notes below the Key Low note number With negative values the volume will decrease With positive values of the Ramp High parameter the vol ume will increase as you play notes above the Key High note number With negative values the volume will decrease 99 4 99 Angle value Here is an example of volume changes produced by keyboard location and Ramp settings Volume 4 Ramp Low 99 Ramp High 99 Ramp Low 0 Ramp High 0 Ramp Low 99 1 i Ramp
235. rack Gaps between sliced samples when slowing down the tempo can be automatically filled by the Extend function smoothing each sample s tail Sampling operating mode 35 Time Slice Ex 3 Recombining MIDI notes and samples Metronome Information Meter Use this parameter to specify the Meter of the original sample Measures Edit the MIDI data f i Use this parameter to specify the number of measures of the original sample Usually you will load a groove 1 or 2 measures long BPM This parameter specifies the tempo in Beats Per Minute of the original sample Pa800 automatically calculates this value based Note To recombine notes inside the generated MIDI sequence on the Start End see page 31 Meter and Measures parameters you must first import the MIDI data in Style Record mode by using the Import function Then use the Event Edit to The BPM can be only adjusted to values lower than the one change the note order automatically calculated This can be useful for example when the actual sample is shorter than the entered Meter and Mea sures values Sample diagram Meas 1 Meas 2 This diagram shows the sample waveform and the slices Here is how the sample diagram appears before the Slice In the above example the actual groove lasts only up to the first half of Measure 2 The recognized tempo is 130 while the real tempo is 100 Set the BPM value
236. rameter specifies the time over which the level will change from the attack level to the break point level 0 99 Time value Slope This parameter specifies the time over which the level will change after the decay time has elapsed until the sustain level is reached 0 99 Time value Release This parameter specifies the time over which the level will change after note on occurs until the release level is reached 0 99 Time value Level Modulation Filter 1 EG changes level AMS Velocity Intensity a positive value Note on Note on Note on ICE AA CAN Softly played note with Start Level Strongly played note with Start Strongly played note with Start Break Level Swing set to and Break Level Swingsetto and Break Level Swing set to AMS Alternate Modulation Source This parameter selects the source that will control the Level parameters of the filter EG AMS Alternate Modulation Source list on page 26 Intensity AMS Intensity This parameter specifies the depth and direction of the effect applied by AMS With a setting of 0 the levels specified by Frequency Cutoff Frequency A will be used For example if AMS is Velocity and you set St Start Level Swing At Attack Level Swing and Br Break Level Swing to and set Intensity to a positive value the EG levels will rise as you play more strongly If Intensity is set t
237. range 54 Effects EQ and Filters EQ Filter 015 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 syn thesizer is talking FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o gt o FX Amt Talking Modulator A I U E O F Right c i 2 i FX Amt Sweep Mode _ Voice Top A i zT modi Janene Voice Center LA LFO D mod LFO Switches between modulation Sweep Mode source control and LFO control Bottom Manual Voice 1 49 Control Center 51 99 Top Voice pattern control Selects the modulation source that controls the voice pattern Selects a vowel sound at the top end of control Src Off Tempo Voice Top A U E O Selects a vowel sound in the center of control Selects a vowel sound at the bottom end of control Sets the frequency to which the effect is applied Voice Center A l U E O Voice Bottom A I U E O Formant Shift 100 100 0 100 Sets the Level of resonance of Resonance the voice pattern LFO Frequency Hz 0 02 20 00 Sets the speed of the LFO Selects a modulation source for Src Off Tempo LFO speed 20 00 Sets the modulation amount of 20 00 LFO speed When this is on the LFO speed is set by BPM Base Not
238. rator is included in the envelope flanger and not related to the Pitch EG Filter EG or Amp EG The Src parameter selects the source that starts the envelope generator If you select for example Gate the envelope genera tor will start when the note on message is received When Sweep Mode D mod the modulation source can con trol the flanger directly Select the modulation source using the Src parameter Moll The effect is off when a value for the modulation source specified for the Src parameter is smaller than 64 and the effect is on when the value is 64 or higher The Envelope Generator is triggered when the value changes from 63 or smaller to 64 or higher d EG Attack d EG Decay Attack and Decay speed are the only adjustable parameters on this EG Effects 65 Chorus Flanger and Phaser Cho Fln Phaser 035 Stereo Phaser This effect creates a swell by shifting the phase It is very effective on electric piano sounds You can add spread to the sound by offsetting the phase of the left and right LFOs from each other Stereo In Stereo Out Left o f FX Amt p Phaser g xX Resonance High Damp Righto LFO Tri Sine LFO Shape LFO Waveform Triangle Sine Selects the LFO Waveform Changes the curvature of the LFO Waveform Sets the LFO phase difference between the left and right LFO Sh
239. reshold value Double Size Effects Double Size 107 Double size effects can be used only with FX processors B and D 109 St Mitband Limiter Stereo Mitband Limiter This is a stereo multiband limiter Stereo In Stereo Out Band Pass Filters A Low init i gt Envelope Control s Limiter t i Envelope Conrail Limiter ain Adjust Left o Higl ram Veg Envelope Control Limiter ff Envelope Control LAE MM SSS Low ar aa Envelope Control f gt Mid s Envelope Control TRE Ml High Limiter Gain Adjust Limiter Lelie Gier Limiter Right o f FX Amt Offset Sets the signal compression Ratio ratio Sets the level above which the compressor is applied Attack 5 Sets the attack time Sets the release time Threshold dB Release 110 PianoBody Damper PianoBody Damper Simulation 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 FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left Right FX Amt Drez Sound Board Sets the intensity of resonance Depth of th
240. riant changes in the pitch of the oscillators The depth of pitch change produced by these EG settings on the oscillators is adjusted by the Intensity AMS1 2 Intensity parameter see page 12 SOUND Pitch Diagram The diagram on top of the page shows the Pitch envelope line Level These parameters specify the amount of pitch change The actual amount of pitch change will depend on the Intensity AMS1 2 Intensity parameter see below For example with an Inten sity setting of 12 00 a Level setting of 99 would raise the pitch one octave and a Level setting of 99 would lower the pitch one octave Time varying pitch settings when Pitch EG Intensity 412 00 99 approximately 1 octave Attack Level Note off Decay IN Time Time Attack Release Time Note on 0 pitch when key is held sustained gt Time Release Level Start Level 99 approximately 1 octave Start Level Specifies the amount of pitch change at note on 99 4 99 Parameter value Attack Level Specifies the amount of pitch change when the attack time has elapsed 99 4 99 Parameter value Release Level Specifies the amount of pitch change when the release time has elapsed 99 4 99 Parameter value Time These parameters specify the time over which the pitch change will occur See diagram above 12 Sound operating mode Pitch Pitch
241. riched with several performance parameters like Amplitude Envelope LFO Filters etc SAMPLING E E b Xlll m 38 Sampling operating mode Multisample Key Assign MS MultiSample Press this area to open the Choose Multisample window and select one of the available multisamples in memory Keyboard diagram This diagram shows the selected Index Zone highlighted and its Original Note in red Use the big and button on its side to scroll the diagram one octave lower or upper Multisample Setup Index Index number of the selected Zone of the multisample total number of Zones in the multisample A Zone always corre sponds to a single sample When you play a note on the keyboard the corresponding index number is automatically selected Sample Number Name Number name of the sample assigned to the selected zone of the multisample Original Note Use this parameter to automatically transpose the assigned sam ple on the keyboard When you play this note the sample sounds exactly as it was recorded At first it matches the OrigNote Original Note value assigned when editing the sample see page 31 This will speed up the programming The note set with this parameter is also shown in red in the vir tual keyboard diagram Level Relative level of the selected zone This value can only be nega tive Pitch Fine tuning of the selected sample in cents 1 cent
242. riority Hold Use this parameter to keep the notes sustained even after releas ing the keys Transpose Range Use these parameters to set a range for transposition Inside this range notes are transposed Outside this range they are not transposed This is useful to avoid RX Sounds being transposed when transposing a Sound Basic OSC Basic The multisample s on which the Sound will be based can be selected here for each of the sixteen oscillators Each oscillator can use 1 or 2 multisamples each one assigned to the High or Low layer SOUND Basic Sound Basic J OSC Multisample High Low Bank Num Use these parameters to select a different multisample for each of the High and Low layers You can use velocity to switch between the two multisamples Offset and Level can be adjusted indepen dently for the High and Low multisamples The High and Low pop up menus is where you select the bank ROM or RAM while the numeric field under it is for selecting the multisample inside the selected bank The Sound name appears on its right The multisample you select for the High layer will be triggered by velocities higher than the value of the Velocity Multisample Switch Low High parameter see page 7 If you do not wish to use velocity switching set the switch to a value of 001 and select only the High multisample ROM The Factory bank The internal Factory area of the Flash ROM memory contains 604 dif
243. rossDelay This is a stereo delay and can by used as a cross feedback delay effect in which the delay sounds cross over between the left and right by changing the feedback routing Stereo In Stereo Out Left 2 FX Amt High Damp Low Damp Delay N d Input Level D mod Stereo Cross Y i Feedback Spread Input Level D mod High Damp Low Damp Delay m Stereo Cross Righto FX Amt L Delay Ti Switches between stereo dela Ced Ime o 2730 Sets the delay time of TapL a Stereo Cross Stereo Cross and cross feedback delay y Level 0 50 Sets the output level of TapL L Delay Time Sets the delay time for the left C Delay Time b msec 0 0 1360 0 channel msec pe Sets the delay time of TapC c IR Delay Time 0 0 1360 0 98ts the delay time for the right Level 0 Sets the output level of TapC msec channel EXE Sets the feedback amount for e hasc TIN 0 Sets the delay time of TapR L Feedback 100 100 the left channel p Level 0 Sets the output level of TapR d Src Off Tempo nn source fe Bey 100 100 ro feedback amount of AmtL 100 4100 Sets the modulation amount of Selects the modulation source of the TapC feedback amount Sets the modulation amount of the TapC feedback amount High Damp Sets the damping amount in the 96 0 100 high range Low Damp 0 100 Sets the damping amount in the oe low range Input L
244. s then select the RAM bank of multisamples Finally select the new multisample Select the Write Sound command from the page menu and save the Sound to an empty User location Assign the new Sound to a Style track preferably the Drum or Percussion track then select the Save Current Style Perf command from the page menu to save the Style Performance Use the Import Import Groove function in the Style Record mode see page 125 of the User s Manual to import the generated MIDI Groove to the Style track you assigned the new Sound to By playing this MIDI Groove with the new Sound you ll be able to play the original audio groove on the keyboard Warning Generated MIDI Grooves will be deleted when turning the instrument off Import them to a Style track before turning the instrument off 30 Sampling operating mode Edit menu Edit menu From any page of the Sampling mode press the MENU button to open the Sampling edit menu This menu gives access to the various Sampling edit sections When in the menu select an edit section or press EXIT to exit the menu and return to the Sample Edit Sample Record page To return to this page you can also select the Sample Edit Sam ple Record menu item SAMPLING Menu C Each item in this menu corresponds to an edit section Each edit section groups various edit pages that may be selected by press ing the corresponding tab on the lower part of the
245. s of the Pitch EG As the absolute value of Intensity is increased the pitch EG levels will change more greatly when the key pressure is released The direction of the change is specified by St Start Level Swing and At Attack Level Swing When the key pressure is released the pitch EG levels will return to their own settings If AMS1 is set to Velocity increasing the absolute value of Intensity will produce increasingly wider change in pitch EG levels for strongly played notes The direction of the change is specified by St Start Level Swing and At Attack Level Swing As you play more softly the pitch change will draw closer to the pitch EG levels 99 4 99 Parameter value St Start Level Swing This parameter specifies the direction of change in Start Level caused by AMS1 2 If Intensity is a positive value a set ting of will raise the EG level and a setting of will decrease it With a setting of 0 there will be no change At Attack Level Swing This parameter specifies the direction of change in Attack Level caused by AMS1 2 If Intensity is a positive value a setting of will raise the EG level and a setting of will decrease it With a setting of 0 there will be no change Time Modulation Pitch EG changes Time AMS Velocity Intensity positive value Note on Note on Note on Note off Note off Note off Anote pla
246. s will cause the amp EG volume levels to decrease as you play more strongly With a setting of 0 the levels will be as specified on Amp Amp EG 99 99 Intensity value St Start Level Swing This parameter specifies the direction in which AMS will change Start If Intensity is set to a positive value setting this parameter to will allow AMS to increase the EG level and setting this parameter to will allow AMS to decrease the EG level With a setting of 0 no change will occur At Attack Level Swing This parameter specifies the direction in which AMS will change Attack If Intensity is set to a positive 4 value set ting this parameter to will allow AMS to increase the EG level and setting this parameter to will allow AMS to decrease the EG level With a setting of 0 no change will occur Br Break Point Level Swing This parameter specifies the direction in which AMS will change Break If Intensity is set to a positive value set ting this parameter to will allow AMS to increase the EG level and setting this parameter to will allow AMS to decrease the EG level With a setting of 0 no change will occur Time Modulation These parameters let you use an alternate modulation source to modify the amp EG times that were specified in Time on page 19 Amp 1 EG changes Time AMS Amp KTrk Intensity a positive value When Amp Key
247. sed to simulate the downward swoops that a guitarist produces using the tremolo arm 60 12 Maximum pitch change in semitones AMS Alternate Modulation Source This parameter selects the source that will modulate the pitch of the selected oscillator See AMS Alternate Modulation Source list on page 26 Intensity This parameter specifies the depth and direction of the effect produced by AMS With a setting of 0 no modulation will be applied With a setting of 12 00 the pitch will change up to one octave For example if you set AMS to After Touch and apply pressure to the keyboard the pitch will rise if this parameter is set to a positive value or fall if this parameter is set to a negative value The range is a maximum of one octave 12 00 12 00 Parameter value Pitch EG The Pitch EG Envelope Generator is unique to all oscillators Velocity Intensity This parameter specifies the depth and direction of the modula tion that the pitch EG specified on Pitch Pitch EG will apply to the pitch With a setting of 12 00 the pitch will change a max imum of 1 octave 12 00 12 00 Parameter value Pitch EG AMS Alternate Modulation Source This parameter selects the source that will modulate the pitch EG of the selected oscillator See AMS Alternate Modulation Source list on page 26 Pitch EG Intensity This parameter specifies the depth and direction of th
248. select a different oscillator to be soloed Swap LFO Select this command to replace LFO1 with LFO2 and vice versa Copy Oscillator Select this command to copy all settings between oscillators See Copy Oscillator dialog box on page 24 for more informa tion Copy FX Select this command to copy all FX settings from another Sound See Copy FX dialog box on page 24 for more information Copy Drum Kit Select this command to copy the Drum Kit from a different Drum Kit See Copy Drum Kit dialog box on page 25 for more informa tion Init Sound Select this command to delete all parameters and set them to a default value Compare When this command is checked original Sound parameter val ues are temporarily recalled to compare them with edited 24 Sound operating mode Write Sound dialog box parameters You cannot edit the Sound while you are in Com pare mode While this function is on the Compare indicator blinks on the page header Write Sound dialog box Open this window by selecting the Write Sound item from the page menu Here you can save all Sound parameters to a Sound location in memory Warning If you write over an existing Sound the Sound will be deleted and replaced by the one you are saving overwrite Please save on a storage device any User Sound you dont want to lose Note DrumKits cannot be written over standard Sounds nor vice versa Note To save o
249. smatches Sampling Loop Edit The loop is a cycling portion of a sampled sound It is a tech nique used to reduce the sampling time cycling a portion of the sound to create the sustain phase of the sound After the attack stage most sounds repeat the same waveform during their sus tain stage You may adjust the Loop Start point with the Loop Start parameter and the Loop End point always matching the Sample End point using the End parameter This page lets you fine tune the loop points by watching at the Loop End and Loop Start points matching at the center of the diagram A good sounding loop is shown as a continuous non breaking line Hp Gp Info SM Sample Selected sample See SM Sample on page 30 Loop diagram This diagram shows the End Loop End point on the left half and the Loop Start point on the right half of the screen Use the End and Loop Start parameters to adjust the loop Parameters Start See Start Sample Start on page 31 Loop Start See Loop Start on page 31 End See End Sample Loop End on page 31 Use Zero See Snap to Zero on page 31 Loop Lock This fixes the length of the loop being edited Off The Loop S and End parameters can be edited separately On When the Loop S or End parameter is edited the other one will be automatically adjusted so that the distance between
250. specify the delay time for Tap1 Times xX1 x32 Sets the number of notes to specify the delay time for Tap1 Tap 2 Base Note Te Selects the type of notes to specify the delay time for Tap2 Times x1 x32 Sets the number of notes to specify the delay time for Tap2 Tap1 Level 0 100 Sets the Tap1 output level Feedback Tap2 100 100 Sets the Tap2 feedback amount Src Off Tempo Selects the modulation source of the Tap2 feedback amount Amt 100 100 Sets the modulation amount of the Tap2 feedback amount High Damp 0 100 Sets the damping amount in the high range Low Damp 0 100 Sets the damping amount in the low range Input Level Dmod 100 100 Sets the modulation amount of the input level Src Off Tempo Selects the modulation source for the input level Spread 100 100 Sets the width of the stereo image of the effect sound Src Off Tempo Selects the modulation source of the effect sound s stereo image width Amt 100 100 Sets the modulation amount of the effect sound s stereo image width FX Amount 0 100 Amount of FX added to the direct signal Src Off Tempo Table Dynamic Modulation sources on page 43 You can set the delay time up to 2 730msec If the delay time exceeds this limit the error message OVER appears in the dis play Set
251. speed x1 x32 Sets the number of notes that m specify the LFO speed Sets the depth of LFO modulation Base Note Mu Times Depth 0 100 Selects the modulation source of Src Off Tempo the depth of modulation Sets the modulation amount of the depth of modulation Amount of FX added to the direct signal Amt 100 100 FX Amount 0 100 Table Dynamic Modulation Off Tempo sources on page 43 Amount of modulation source Src 100 100 a LFO Shape You can change the panning curve by modifying the LFO s Shape b LFO Phase degree This determines the phase difference between the left and right LFOs When you gradually change the value away from 0 the sounds from the left and right channels will seem to chase each other around If you set the parameter to 180 or 180 the sounds from each channel will cross over each other You ll only hear the effect of this parameter if the input is true stereo with different signals in the left and right channels Effects Modulation and Pitch Shift Mod P Shift Stereo Auto Pan LFO Phase Tremolo 0 100 Sets the tremolo modulation LFO Phase 0 di Depth T depth O degrees LFO Phase 90 degrees CFO Phase 180 degrees C Selects the modulation source 5 I D yj Src Off Tempo for the tremolo modulation ED ED ED depth
252. ssigned to different keys in a multisample and the multisample to a Sound 34 Sampling operating mode Time Slice Within the generated multisample a separate sample is assigned to a different note on the keyboard starting from C 3 By play ing an ascending chromatic scale with this multisample you could recreate the original audio groove A MIDI Groove will also be created containing a sequence of notes triggering the sliced percussive samples in the same order as in the original audio groove i e it plays an ascending chro matic scale starting from C 3 When you will import this MIDI Groove to the percussive track of a Style see Import Import Groove on page 125 of the User s Manual this sequence will let you adjust the groove s tempo without affecting the pitch of the percussive samples In addition to changing the groove s tempo without affecting its pitch this lets you do the following change the order in which notes are played change the timing edit the pattern notes to freely recreate a new rhythm loop Saving After the slicing you can select the Write command from the page menu to save the Sound based on sliced samples and the MIDI Groove containing the corresponding MIDI sequence The Sound will be saved to the selected location in the User area of the internal memory You will be able to select it as an ordinary Sound and assign it to the Drum or Percussion track of a Style
253. t Ring Modulator Stereo Ring Modulator This effect creates a metallic sound by applying the oscillators to the input signal Use the LFO or Dynamic Modulation to modu late 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 Stereo In Stereo Out bene FX Amt Pre LPF N Ring Modulator Ring Modulator m F Right o i Fixed Frequency Fixed Sine Oscillator i e Pitch Note NIIT Note Offset Fine _ et Note Key Follow iD enero Switching between specifying OSC Mode ORO ESI the oscillator frequency and y using a note number Sets the damping amount of Pre LPF 0 100 the high range input to the ring modulator Fixed i Ere quB 0 12 00k Sets the oscillator frequency Hz when OSC Mode is set to Fixed Selects the modulation source Src Off Tempo for the oscillator frequency when OSC Mode is set to Fixed 12 00k Sets the modulation amount of 412 00k the oscillator frequency when OSC Mode is set to Fixed Sets the pitch difference from the Note Offset 48 48 original note when OSC Mode is set to Note Key Follow 100 4100 _ Fine adjusts the oscillator Note Fine frequency 74 Effects Modulation and Pitch Shift Mod P Shift LFO Frequency Hz
254. t Dry modulation amount for the multitap delay Amount of FX added to the direct signal Src Table Dynamic Modulation sources on page 43 Amount of modulation source PHASER P LFO Frequency Hz LFO Waveform 0 02 20 00 Triangle Sine Sets the speed of the LFO Selects the LFO Waveform P Manual 0 100 Sets the frequency to which the effect is applied Depth Resonance 0 100 100 100 Sets the depth of LFO modulation Sets the resonance amount P Phaser Wet Dry 100 0 100 Sets the phaser effect balance CHORUS FLANGER FILFO Frequency Hz 0 02 20 00 Sets the speed of the LFO LFO Waveform Triangle Sine Selects the LFO Waveform msec Depth F Delay Time 0 0 1350 0 0 100 Sets the delay time Sets the depth of LFO modulation Feedback 100 100 Sets the feedback amount F EQ Trim 0 100 Sets the EQ input level F PreLEQ Gain dB 715 415 Sets the gain of Low EQ PreHEQ Gain dB 15 415 Sets the gain of High EQ F Cho Flng Wet Dry 100 0 100 Sets the effect balance of the chorus flanger Src Off Tempo Selects the Wet Dry modulation source for the chorus flanger Amt 100 100 Sets the Wet Dry modulation amount for the chorus flanger F Output Mode FX Amount Normal Wet Invert 0
255. tap delay FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left 3 Band PEQ Driver KHAANI H Output Level BF Mode Overdrive Hi Gain Drive Right OD HI GAIN O Drive Overdrive Switches between overdrive and Mode Hi Gain high gain distortion a Drive 1 100 Sets the degree of distortion GIO utput 0 50 Sets the overdrive output level Selects the modulation source b Src Off Tempo for the overdrive output level Sets the modulation amount of Amt 50 50 the overdrive output level O Low Sets the center frequency for e Cutoff Hz 20 1 00k Low EQ shelving type Gain dB 18 18 Sets the gain of Low EQ O Mid1 Sets the center frequency for Cutoff Hz 300 10 00k Mid High EQ 1 peaking type f Sets the band width of Mid Q 0 5 10 0 High EQ 1 Gain dB 18 4 18 Sets the gain of Mid High EQ 1 O Mid2 Sets the center frequency for Cutoff Hz 500 20 00k Mid High EQ 2 peaking type g Sets the band width of Mid Q 0 5 10 0 High EQ 2 Gain dB 18 18 Sets the gain of Mid High EQ 2 MULTITAP DELAY D Tap1 Time 9 9 1360 0 Sets the Tap1 delay time h msec Tap1 Level 0 100 Sets the Tap1 output level D Tap2 Time i msec 0 0 1360 0 Sets the Tap2 delay time Feedback 100 100 Sets the Tap2 feedback amount D High Sets the damping amount in the J Damp 0 100 hig
256. tart and End points Select All Use this command to select the whole sample Sampling operating mode 39 Page menu Init Multisample Only available in the Multisample page Select this command to create a new blank multisample Only one Zone will be avail able with no sample assigned Load Sample Use this command to load single samples mono or stereo in KSF AIFF or WAVE format Warning By loading new samples the sample currently in edit will be lost if not saved Before loading use the Write command to save the sample in edit if not yet saved to the SSD memory SAMPLING Load Sample 94 88 86 11 14 11 88 86 18 18 The samples are loaded to the editor Before leaving the Sam pling mode use the Write command to save any unsaved sample to the SSD PCM folder as a New Sample KSP is Korgs native sample format used by the Trinity and Triton series of workstations as well as the Pa series arrangers The file name must have the KSP extension SP is Akai S1000 and S3 is 53000 native sample format AIFP is the Apple Macintosh preferred format for audio The file name must have the AIF extension WAVE is the Microsoft WindowsO preferred format for audio The file name must have the WAV extension Note Akai data can only be imported from Akai CDs Note You can only load samples in a 8 or 16 bit resolution and a s
257. th Op ee Qa epe bwin te 23 Page Ten xou esce ees e eee d See DAI ise eere ta 23 Write Sound dialog box 02 eee eee eee eee 24 Copy Oscillator dialog box 0 0 0 eee eee eee 24 Copy FX dialog box ice id culenung ese whe ewe 24 Copy Drum Kit dialog box 0 0 0 0 02 eee eee eee 25 AMS Alternate Modulation Source list 26 Sampling operating mode 28 Entering and exiting the Sampling mode 28 The Record Sampling procedure susuue 28 Edit ment serro orrai ag use be e pax e RR REPE er 30 Sampling Record ied ic sg Rx ERE ERES 30 Sampling Edit 4 6e 222 e prm er tp RRARRE ERE 31 Sampling Loop Edit u rece e prete ORAE EE med 32 Sampling Sampling Info 00 eee eee ee eee 33 Time Slice serae pires ate tet E E RITE eee 33 Th Time Slice procedure rer IE s 36 The Extend procedure 1 cer IR DI RE Rs 37 Multisample Edit MS cece cece 37 Multisample Key Assign sseeeeeeeeeeeeeeeee 38 P ge menu 2eceeerkbt Uevemeua tree e y we I Ra ER YE 39 Write Sample dialog box 0 0 cee eee eee eee eee 40 Write MultiSample dialog box 0000 40 Write Slice dialog box 0 eee eee eee eee 41 Delete Sample dialog box 00 cece eee eee eee 41 Delete Multisample dialog box 00000 41 Export Sample page cesis etre en e e Res 42 Export Multisample page
258. th a dense polyphony missing oscillators might not even be heard 0 No oscillator will be turned off in any case 1 The highest numbered oscillator will be turned off if needed 6 Sound operating mode Basic OSC Basic 2 The two highest numbered oscillators can be turned off one after the other if needed n 16 The n numbered oscillators up to 16 can be turned off one after the other if needed Voice Assign Mode This is the polyphonic mode of the Sound Poly The Sound will play polyphonically allowing you to play chords Mono The Sound will play monophonically producing only one note at a time Single Trigger This parameter is available when the selected mode is Poly On When the same note is played repeatedly the pre vious note will be silenced before the next note is sounded so that the notes do not overlap Off When the same note is played repeatedly the pre vious note will not be silenced before the next note is sounded Legato This parameter is only available when the selected mode is Mono It is the same found on the main page of the Sound mode See Legato on page 3 for information on this parameter Priority This parameter is available when the selected mode is Mono It specifies which note will be given priority to play when two or more notes are played simultaneously Low Lowest note will take priority High Highest note will take priority Last Last note will take p
259. the direct signal Src FX Amount 0 100 Table Dynamic Modulation 2m Off Tempo sources on page 43 Amount of modulation source 100 100 d Input Level Dmod d Src This parameter sets the dynamic modulation of the input level Input Level Dmod Input Level Dmod 50 Input Level Dmodz 100 C Input Level Dmod 50 inputLevelDmod 100 8 x0 5 Drar Higher 050 Pitch Shifter This effect changes the pitch of the input signal You can select from three types Fast quick response Medium and Slow pre serves tonal quality You can also create an effect in which the pitch is gradually raised or dropped using the delay with feed back FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left o FX Amt Input Level High Damp ji Pitch Shifter Delay N Prok Post Feedback Position Feedback Input Level Right FX Amt Slow Switches Pitch Shifter mode Mode Medium Fast Pitch Shift 1 2tone Sets the pitch shift amount by MA steps of a semitone Selects the modulation source Src Off Tempo of pitch shift amount Sets the modulation amount of pitch shift amount Sets the pitch shift amount by steps of a cent Sets the modulation amount of pitch shift amount Amt Fine cents Amt Delay Time msec Feedback Position
260. the value if the input signal is too low to sweep Reduce the value if the input signal is so high that the filter is stopped temporarily c Envelope Shape This parameter determines the sweep curve for auto wah Envelope Shape Envelope 4 Value 0 4100 Pi value 0 100 d LFO Frequency Hz e MIDI Sync When MIDI Tempo Sync Off the LFO speed uses the LFO Frequency parameter setting When MIDI Tempo Sync On the LFO speed follows the BPM Base Note and Times set tings e BPM e Base Note e Times One cycle of LFO sweep is obtained by multiplying the length of a note o selected for Base Note in relation to the tempo specified in BPM or the MIDI Clock tempo if BPM is set to MIDI by the number specified in the Times parameter Effects EQ and Filters EQ Filter 51 011 St Vintage Wah Stereo Vintage Custom Wah This effect simulates the tonal character of a vintage wah pedal You can customize the tone and range settings Stereo In Stereo Out Left o V ic Amt 4 T Envelope Sens pz Response LFO Sweep Mode Auig e Shape Invert 4 od tC pieset seting x gt Wah 24 lode ix gt Wah Righte Amt Preset Selects either preset or custom Mode Custom settings a Shape
261. the modulation source Src Off Tempo ofthe effect sound s stereo image width Sets the modulation amount of Amt 100 4100 the effect sound s stereo image width Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 100 4100 Amount of modulation source FX Amount 0 100 Src Off Tempo Mode Normal Mode Cross Feedback Mode Cross Pant Mode Cross Pan2 a Mode You can change how the left and right delay signals are panned by modifying the routing of the left and right delay as shown in the figure above You need to input different sounds to each channel in order for this parameter to be effective d Tap1 Level This parameter sets the output level of Tapl Setting a different level from Tap2 will add a unique touch to a monotonous delay and feedback 058 St Mod Delay Stereo Modulation Delay Effects Delay 79 This stereo delay uses an LFO to sweep the delay time The pitch also varies creating a delay sound which swells and shimmers You can also control the delay time using a modulation source Stereo In Stereo Out Righto Left o m Delay b 2 o r Amt Feedback gr Delay TF Dic C Response Leo sydlll gt CFO Tri 7 Sine gt LFO Shape 2f Bey Amt f o LFO Phase Modulation Mode Modulation Mode LFO D mod Switches between
262. the pitch EG times will more closely approach the actual settings of the pitch EG 99 4 99 Parameter value At Attack Time Swing This parameter specifies the direction in which AMS will affect the Attack Time parameter With positive values of Inten sity a setting of will cause the time to be lengthened and a setting of will cause the time to be shortened With a setting of 0 there will be no change Dc Decay Time Swing Specify the direction in which AMS will affect the Decay Time With positive values of Intensity a setting of will cause the time to be lengthened and a setting of will cause the time to be shortened With a setting of 0 there will be no change Filter Filter Type Here you can make settings for the filters that will be used by the oscillators You can select either a 24 dB octave low pass filter with resonance or a series connection of a 12 dB octave low pass filter and a 12 dB octave high pass filter SOUND Filter ur su Filter Filter f Filter LEO iod Filter Type This parameter selects the type of filter Low Pass Resonant Low Pass amp High Pass for the selected oscillator Low Pass Resonance When the Low Pass filter type is selected only fil ter A will be activated Low Pass amp High Pass When the Low Pass amp High Pass filter type is selected the filter B will be activated Trim Use this parameter t
263. them i e the loop length does not change This is convenient when you are creating a rhythm loop to match a spe cific tempo Loop On Use this parameter to turn the loop on or off On The loop is turned on and the portion of sound included between the Loop Start and Loop End points will cycle until a key is kept pressed If the Loop Start point matches the Start point the whole sample is cycled When the loop is turned on a vertical yellow line showing the loop point appears in the waveform display Off The loop is turned off The sound will play from the Sample Start to the Sample End point only once even if you keep a key pressed on the key board Crossfade When looping the pitched sample of a complex sound such as strings or woodwinds to make the sound sustain it is necessary to create a long loop to preserve the rich character of the sound Crossfade Loop can be used to minimize the difference in pitch and level between the beginning and ending of the loop region to create a natural sounding loop In order to solve such prob lems Crossfade Loop causes the sound to change gradually from the end to the beginning of the loop In practice here is how it works A specific length the Cross fade Length value of the waveform immediately before the beginning of the loop is taken and mixed with the end portion At this time the waveform level of the portion immediately before the end the length specified by
264. to 100 and a rest will be added to the end of the groove to allow it to loop seamlessly and the same diagram after the Slice eH boy bp Irt Im See The Time Slice procedure on page 36 for more information Time Slice Release Adjust the value of this parameter to change the number of rec ognized attacks by varying the speed needed to the Slice engine to start working again For example in the following example if the Release value is too high i e too long the second attack may be lost Note After changing the Release value you must select the Slice command again Threshold This parameter varies the threshold over which the attacks are recognized ie the Time Slice sensitivity If it is too low weaker attacks may be ignored Note After changing the Threshold value you are not obliged to select the Slice command again The Slices value is immediately changed Attacks This non editable parameter shows the number of attacks rec ognized More than one attack may be recognized in a single slice Adjust the Release and Threshold parameters to change the number of recognized attacks 36 Sampling operating mode The Time Slice procedure Slices This non editable parameter shows the number of generated slices i e generated samples and notes in the midifile To change this value edit the Release and Threshold parameters Note You can have a maximum of 100 slices Slice button S
265. to auto wah simulation and much broader range settings Stereo In Stereo Out Left o o f Amt gt Wah Envelope Sens G a Enraope Sheps f i Wah Righto x A Frequency 0 100 Sets the lower limit of the wah Bottom UO center frequency Frequency 0 100 Sets the upper limit of the wah Top E center frequency Auto Selects the control from auto Sweep Mode D mod wah modulation source and LFO LFO Selects the modulation source Src Off Tempo for the wah when Sweep Mode D mod Sets the response speed when Respon 0 100 Sweep Mode Auto or D mod Ene ene 0 100 Sets the sensitivity of auto wah Envelope Sets the sweep curve of auto Shape 100 4100 LFO Frequency 0 02 20 00 Sets the speed of the LFO Hz Selects a modulation source for Src Off Tempo LFO speed Amt 20 00 Sets the modulation amount of 20 00 LFO speed When this is on the LFO speed MIDI Sync Off On is set by BPM Base Note and Times instead of Frequency MIDI MIDI syncs to the system tempo BPM 40 00 40 300 sets the tempo manually 300 00 for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that Times x1 x32 specify the LFO speed Resonance 0 100 Sets the resonance amount Low Pass Switches the wah low pass filter Filter Off On on and off Sets the output level of the effect sound
266. ts the modulation source of the sampling frequency Amt Sets the modulation amount of the sampling frequency Left o d EQ Trim Pre EQ A FX Amt Analog Record SL Simulation gx LS i EQ Trim Pre EQ Right o E o FX Amt Speed RPM 33 1 3 45 78 Sets the r p m of a record LFO Frequency Hz Sets the speed of the LFO Src Selects a modulation source for LFO speed Amt Sets the modulation amount of LFO speed MIDI Sync When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency Flutter 0 100 Sets the modulation depth Noise Density 0 100 Sets the noise density Noise Tone 0 100 Sets the noise tone Noise Level 0 100 Sets the noise level Src Off Tempo Selects the modulation source for the noise level Amt 100 100 Sets the modulation amount of the noise level BPM MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect Base Note Selects the type of notes that specify the LFO speed Times Sets the number of notes that specify the LFO speed Depth Sets the depth of the sampling frequency LFO modulation Src Selects the LFO modulation source of the sampling frequency Click Level 0 100 Sets the click noise level Src Off Tempo Selects the
267. uencyO AUTOFADE Fade In Rate 1 043 0 4 0Hz Fade In Dealy e 7 LFO FrequencyO z1 0Hz 68 Effects Modulation and Pitch Shift Mod P Shift 039 St Auto Fade Mod Stereo Auto Fade Modulatiom 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 040 2Voice 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 Right o y each other Kona 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out o FX Amt High Damp Resonator j N Stereo In Stereo Out Trim egongo Level Pan Lefto 5 FX Amt Resonance 4 i Resonator HN Trim F High Damp Level Pan Righto 24 o High Damp FX Ani Pitch Fine cents Control Manual LFO Switches the controls of Mode D mod resonance intensity a LFO D mod Reverses the Voice 1 and 2 AUTOFADE Off Tem Selects the modulation source Invert Off On control when LFO D mod is Src tempO that starts AutoFade selected Fade I
268. ulation source control and input signal control Src G Input Reverb Mix Off Tempo Selects the modulation source that controls the gate when Envelope Select is set to D mod Sets the balance between the dry and reverb sounds of the gate control signal Threshold Sets the gate threshold level G Polarity Switches between non invert and invert of the gate on off state G Attack Sets the attack time Release FX Amount Off Tempo Sets the release time Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 Amt 100 100 Amount of modulation source f G Envelope Select f Src g G Input Reverb Mix g Threshold The G Envelope Select parameter enables you to select whether turning the gate on and off is triggered by the input sig nal level or controlled directly by the modulation source You can select from Off to Tempo for the Src parameter to specify the modulation source When G Envelope Select is set to Input the gate is controlled by the level of signals that are the combination of the dry sound and the reverb sound When the signal level exceeds the thresh old the gate opens and the reverb sound is output Normally set G Input Reverb Mix to Dry the gate is con trolled only by the dry sound If you wish to extend the gate time set the G Input Reverb Mix value higher and adjust the Th
269. ulation source 100 100 Amount of modulation source a Time Over L R You can set the delay time up to 5 460msec If the delay time exceeds this limit the error message OVER appears in the dis play Set the delay time parameters so that this message will not appear Time Over is only a display parameter 116 Effects Vocoder Vocoder The Vocoder can only be assigned to the D FX processor usu ally the modulating effect for the keyboard tracks When this effect is selected the microphone input no longer goes to the Voice Processor but is routed to the D FX processor 125 Vocoder This effect applies the timbral character of a different signal the modulator to the input signal the carrier A common use of this effect is to produce the sound of various instruments by inputting a voice to the Modulator via a micro phone A special effect is also achieved by using rhythm or effect sounds Strings or distortion guitar sounds with a lot of har monics are suitable as Carrier signals FX Amt 100 Stereo In Mono Out FX Amt 0 Stereo In Stereo Out ee FX Amt i Carrier Trim 2 e 4 E 2S Modulator Trim Band Pass Filter Leo js o Modulator Select 7 Modulator High Mix Modulator Source Right o FX Amt o FX Control BUS 1 i o FX Control BUS 2 Noise Lev
270. umber of notes that Times i specify the LFO speed Switches distortion on off within the filter Sets the output level Sets the distortion amount Drive SW Output Level Drive Gain Sets the amount of low range boost Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 Low Boost FX Amount Src Off Tempo Amount of modulation source 100 100 Effects 53 EQ and Filters EQ Filter 014 St Sub Oscillator Stereo Sub Oscillator This effect adds very low frequencies to the input signal It is very useful when simulating a roaring drum sound or emphasiz ing powerful low range This effect is different from the equalizer in that you can add very low range harmonics You can also adjust the oscillator frequency to match a particular note num ber for use as an octaver Stereo In Stereo Out Left o e JN CET Shape Envelope Sens PreLPF ag Fixed Frequency Fre Dz Fixed Frequency Fixe s T pitch Note BT Note Interval Fine 5 77 Note Key Follow Envelope Sens Pre LPF Ee EN Cimelspe Shape Righte Note Key Determines whether the oscil Follow lator frequency follows the note Fixed number or whether it is fixed Sets the pitch difference from the note number when OSC Mode Note Key Follow Fine adjustment of the oscillator frequenc
271. unt of FX added to the direct signal Src Off Tempo 100 100 Table Dynamic Modulation sources on page 43 Amount of modulation source Effects Mono Mono Serial Mono Mono 101 098 OD HG Amp Sim Overdrive Hi Gain Amp Simulation 099 OD HG Cho FIng Overdrive Hi Gain Chorus Flanger This effect combines a mono overdrive high gain distortion and This effect combines a mono overdrive high gain distortion and a chorus flanger You can change the order of the effects an amp simulation You can change the order of the effects FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Lefto gt J FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Routing FX Amt Left Overdrive Hi Gain Y wx Chorus Flanger Overdrive Hi Gain KY wx Amp Simulation 3 Band PEQ Driver KO A N Chorus Flanger 3 Band PEQ Output Level E In Mod Driver ZR NN Amp Simulation Filter f f utput Mode F Output Level Ef Mode Overdrive Hi Gain Feedback et Invert Drive Cho FIng FX Amt Pf Mode Overdrive Hi Gain Righte rive OTIS H FX Amt CLFO Tri Sine Right gt o a Amt OD HI GAIN O Drive Mode Overdrive Hi Gain Switches between overdrive and high gain distortion Drive 1 100 Sets the degree of distortion OD HI GAI
272. utput With Cross Fade a dry sound is usu ally output and it is muted only when scratching Set FX Amount to 100 to use this parameter effectively 043 Grain Shifter This effect cuts extremely short samples grains from the input signal waveform and plays them repeatedly giving a mechanical character to the sound FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Left FX Amt Grain Shifter t Sample Cycle Right o i o Duration Sets the duration of the grain Selects the source that will Src Off Tempo modulate the duration of the grain Sets the amount by which the Amt 100 4100 grain duration will be modulated Selects the modulation source that will reset the LFO LFO Sample Sets the frequency at which the Cycle Hz 0 02 20 00 grain will be switched Selects a modulation source for LFO speed LFO Sync Src Off Tempo Src Sets the modulation amount of LFO speed When this is on the LFO speed MIDI Sync is set by BPM Base Note and Times instead of Frequency MIDI syncs to the system tempo BPM 00 40 300 sets the tempo manually for this individual effect Selects the type of notes that specify the LFO speed Sets the number of notes that specify the LFO speed Amount of FX added to the direct signal Table Dynamic Modulation sources on page 43 Amount of modulation source Amt Base Note
273. ver a Factory Sound location unckeck the Factory Sound Protect parameter in Media mode see Factory Sound Pro tect on page 247 of the User s Manual Warning When replacing a Factory Sound please be warned that all Performance STSs Styles and Songs making use of it will be modified as well Use this feature with great care To restore the original data please reload the original Musical Resources available in the Accessory CD or downloadable from our web site www korgpa com Write Sound Name Name of the Sound to be saved Press the T Text Edit button next to the name to open the Text Edit window Sound Bank Target bank of Sounds Each bank corresponds to one of the PERFORMANCE SOUND buttons Use TEMPO VALUE con trols to select a different bank Sound Target Sound location in the selected bank Use TEMPO VALUE controls to select a different location Select button Press this button to open the Sound Select window and select a target location Copy Oscillator dialog box Open this window by selecting the Copy Oscillator item from the page menu Here you can copy all settings between oscilla tors Copy Oscillator From Sound Press this button to open the Sound Select window and select the source Sound From Oscillator Select the source oscillator to copy from To Oscillator Target oscillator where to copy the source settings to Copy FX dialog box Open
274. will have on the time varying changes created by the filter EG to control the filter B cutoff frequency see Velocity to A 99 99 Value of the Velocity to B parameter Int to A Intensity to A Specifies the depth and direction of the effect that the time vary ing changes created by the filter 1 EG will have on the filter A cutoff frequency With positive settings the sound will become brighter when the EG levels set by Filter EG Level and Time parameters are in the area and darker when they are in the area With negative settings the sound will become darker when the EG levels set by Filter EG Level and Time parameters are in the area and brighter when they are in the area 99 4 99 Parameter value Int to B Intensity to B Specifies the depth and direction of the effect that the time vary ing changes created by the filter EG will have on the filter B cut off frequency see Int to A Intensity to A 99 4 99 Parameter value AMS EG Alternate Modulation Source Selects the source that will control the depth and direction of the effect that the time varying changes produced by the filter EG will have on the cutoff frequency of filters A and B See AMS Alternate Modulation Source list on page 26 Int to A Intensity to A Specifies the depth and direction of the effect that AMS will have on filter A For details on how
275. witches the speaker rotation Feedback Sets the feedback amount of Speed Switch Slow Fast speed between slow and fast C Delay 100 100 TapC Selects a modulation source for i Src Off Tempo Selects the modulation source P slow Fast d Src Off Tempo for the TapC feedback Toggle Sets the switch mode for Slow Sets the modulation amount of aw Moment Fast modulation Amt 100 100 the Tapc feedback Sets the volume balance High Dam Sets the damping amount in the Bon Dees nu 1 99 between the high range horn Ux P 0 100 high range ping o and low range rotor e Low Damp 0 100 Sets the damping amount in the Manual Off Tempo Sets a modulation source for 96 vis low range SpeedCtrl ix P direct control of rotation speed Input Level 00 00 Sets the modulation amount of Horn Sets how quickly the horn Dmod _ 7100 1 the input level 0 100 rotation speed changes f Acceleration Src Off Tempo Selects the modulation source 2 p for the input level Adjusts the high frequency Horn Ratio _ StoP horn rotation speed Standard Sets the width of the stereo 0 50 2 00 value is 1 00 Stop stops the g Spread 0 50 image of the effect sound rotation Rotor Sets how quickly the rotor FXA t 0 100 Amount of FX added to the Acceleration 0 100 speed changes iind direct signal Adjusts the low frequency h Src Off Tempo Table Dynamic Modulation Rotor Ratio StOP rotor rotation speed Standard P sources
276. y OSC Mode Note Interval 48 0 Note Fine 100 100 Fixed Frequency Hz Sets the oscillator frequency 10 0 80 0 when OSC Mode Fixed Selects the modulation source Src Off Tempo for the oscillator frequency when OSC Mode Fixed Sets the oscillator frequency modulation amount when OSC Mode Fixed Sets the upper limit of the frequency range for which very low harmonics are added Sets the sensitivity with which Amt 80 80 Envelope Pre LPF 1 100 Envelope 0 100 Sens very low harmonics are added Envelope Sets the oscillator s volume Shape 100 100 envelope curve Amount of FX added to the FX Amount 0 100 direct signal Table Dynamic Modulation Src Off Tempo sources on page 43 100 4100 Amount of modulation source a OSC Mode b Note Interval b Note Fine The OSC Mode parameter selects the oscillator operation mode When Note Key Follow is selected the oscillator s fre quency is determined based on the note number allowing you to use it as an octaver The Note Interval parameter sets the pitch offset from the original note number by semitone steps The Note Fine parameter allows you to fine tune in steps of cents d Envelope Pre LPF This parameter sets the upper limit of the frequency range to which very low harmonics are added Adjust this parameter if you do not want to add lower harmonics to the higher
277. y balance Wet Dry Wet Selects the Wet Dry modulation Selects the Wet Dry modulation source for the phaser Off Tempo source for the multitap delay Sets the Wet Dry modulation Sets the Wet Dry modulation amount for the phaser Amt 100 100 amount for the multitap delay Src Off Tempo Src Amt 100 100 F Output Normal Comp gt Mode Wet Invert Routin Mt Delay Switches the order of the g Mt Delay compressor and multitap delay Switches the order of the Comp Routing compressor and phaser Selects the phaser output mode Amount of FX added to the FX Amount 0 100 direct signal Amount of FX added to the i Table Dynamic Modulation FX Amount lx direct signal Src Off Tempo sources on page 43 Table Dynamic Modulation 100 100 Amount of modulation source sources on page 43 Amount of modulation source Src Q6 Effects Mono Mono Serial Mono Mono a L Ratio a Threshold dB c L Gain Adjust dB 089 Limiter PAEQ Limiter Parametric 4 Band EQ This effect combines a mono limiter and a four band parametric equalizer You can change the order of the effects This parameter sets the signal compression L Ratio Com Left FX Amt 100 Mono In Mono Out FX Amt 0 Stereo In Stereo Out Tri Gain Adjust Envelope Control
278. y effects FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o FX Amt Tap1 Delay a Pan Tap2 Delay Siva Gem Y Tap3 Delay A Taps Delay Level Pan Right 0 degree FX Amt 180 degree 90 degree 270 degree Frequency 0 02 13 00 Sets the speed of the LFO Hz Tap1 000 Sets the Tap1 LFO phase 0 msec degrees delay time Depth 0 30 Sets the Tap1 chorus depth Level 0 30 Sets the Tap1 output level Pan MET G Sets the Tap1 stereo image 0 1000 Tap2 180 Sets the Tap2 LFO phase 180 msec degrees delay time Depth 0 30 Sets the Tap2 chorus depth Level 0 30 Sets the Tap2 output level Pan a G Sets the Tap2 stereo image 0 1000 Amt 30 00 Sets the modulation amount of 30 00 LFO2 speed Sets the depth of LFO1 modulation Depth1 0 100 Selects the modulation source Off Tempo of LFO1 amp 2 modulation depth Sets the modulation amount of Amt 7100100 T FO1 modulation depth Sets the depth of LFO2 modulation Src Depth2 0 100 Sets the modulation amount of Amt 7100 4100 1 FO2 modulation depth L Pre Delay Sets the delay time for the left msec 0 0 50 0 channel R Pre Delay Sets the delay time for the right msec 0 0 50 0 channel Feedback 100 4100 Sets the feedback amount High Damp Sets the damping amount in 0 100 the high ran
279. y slow It becomes fast only when you press the pedal or move the joystick Via MIDI modulation values above 64 set the speed to Fast and val ues below 64 set it to Slow c Manual Speed Ctrl If you wish to control the rotation speed manually instead of switching between Slow and Fast select a modulation source in the Manual Speed Ctrl parameter If you don t want to use man ual control set this to Off d Horn Acceleration e Rotor Acceleration On a real rotary speaker the rotation speed accelerates or decel erates gradually after you switch the speed The Horn and Rotor Acceleration parameters set the transition times between fast and slow speeds g Mic Distance g Mic Spread This is a simulation of stereo microphone settings Rotary Speaker Mic Placement Mic Spread Microphone l Microphone i it Mic Distance Mic Distance P Rotary Speaker Top View 79 Effects Delay Delay 055 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 FX Amt 100 Mono In Stereo Out FX Amt 0 Stereo In Stereo Out Left o L Delay Input Level D mod C Delay High Damp Low Damp ST lu L A Feedback Input Level D mod R Delay Righto 056 Stereo C
280. y turned off It is turned on only when you press the pedal or operate the joystick When a value for the modulation source is less than 64 off speed is selected and when the value is 64 or higher on is selected When Sw Toggle the wah effect is switched between on and off each time you press the pedal or operate the joystick The switch will be turned on off each time the value of the modulation source exceeds 64 b Wah Sweep Range b Wah Sweep Src This parameter sets the sweep range of the wah center frequency A negative value will reverse the direction of sweep The wah center frequency can be controlled by the modulation source specified in the Wah Sweep Src parameter d Pre Low cut Cutting the signal in the low range before it is input to the Dis tortion will create a sharp distortion d Drive e Output Level The degree of distortion is determined by the level of input sig nal and the setting of Drive Raising the Drive setting will cause the entire volume level to increase Use the Output Level parameter to adjust the volume level The Output Level parameter uses the signal level input to the 3 Band EQ If clip ping occurs at the 3 Band EQ adjust the Output Level param eter 019 St Guitar Cabinet Stereo Guitar Cabinet This simulates the acoustical character of a guitar amp s speaker cabinet Stereo In Stereo Out Trim Trim Left o Fi o
281. yed softly with Anote played strongly with Anote played strongly with Attack Time Swing set to Attack Time Swing setto and Attack Time Swing set to and and Decay Time Swing setto Decay Time Swing set to Decay Time Swing set to AMS Alternate Modulation Source This parameter selects the source that will control the Time parameters of the pitch EG see AMS Alternate Modulation Source list on page 26 Intensity AMS Intensity This parameter specifies the depth and direction of the effect that AMS will have on the Time parameters With a setting of 0 the pitch EG times will be just as specified by the Time set tings The alternate modulation value at the moment that the EG reaches each point will determine the actual value of the EG time that comes next For example the decay time will be determined by the alternate modulation value at the moment that the attack level is reached When this parameter is set to values of 16 33 49 66 82 or 99 the specified EG times will speed up as much as 2 4 8 16 32 or 64 times respectively or slowed down to 1 2 1 4 1 8 1 16 1 32 or 1 64 of the original time For example if AMS is set to Velocity increasing the absolute value of Intensity will allow strongly played notes to increase the changes in pitch EG Time values The direction of the change is specified by At Attack Time Swing and Dc Decay Time Swing As you play more softly

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