Korg OASYS User guide

Parameter Guide

5

iii

Contents

Program mode: HD-1 . . . . . . . . . . . . . .1

HD-1 Overview. . . . . . . . . . . . . . . . . . . . . . . . . 1

Program P0: Play . . . . . . . . . . . . . . . . . . . . . . . 2

0–1:Main ................................... 2

0–6:KARMAGE............

................. 7

0–7:ControllerView/Effect................... 11

0–8:AudioInput/Sampling .........

......... 12

0–9:ControlSurface ......................... 18

Program P1: Basic/Vector . . . . . . . . . . . . . . . . 33

1–1:ProgramBasic .......................... 33

1–5:VectorControl ...................

...... 39

1–6:VectorEnvelope ........................ 43

1–8:SetUpControllers..............

........ 46

1–9:SetUpPads . ........................... 47

Program P2: OSC/Pitch. . . . . . . . . . . . . . . . . . 49

2–1:OSC1Basic ............................ 49

2–2:OSC1Pitch.................

............ 54

2–5:OSC2Basic ............................ 57

2–6:OSC2Pitch.....

........................ 57

2–9:PitchEG.......................

....... 57

Program P3: Filter. . . . . . . . . . . . . . . . . . . . . . 61

3–1:Filter1 ................................. 61

3–2:Filter1Modulation ..............

........ 64

3–3:Filter1LFOModulation.................. 68

3–4:Filter1EG..................

........... 69

3–5:Filter2 ................................. 72

3–6:Filter2Modulation ..

.................... 72

3–7:Filter2LFOModulation.................. 72

3–8:Filter2EG......

....................... 72

Program P4: Amp/EQ. . . . . . . . . . . . . . . . . . . 74

4–1:Amp1/Driver1.......................... 74

4–2:Amp1Modulation....................

.. 76

4–3:Amp1EG............................. 79

4–5:Amp2/Driver2...............

........... 81

4–6:Amp2Mod. ............................ 82

4–7:Amp2EG.....

........................ 82

4–9:EQ .........................

........... 82

Program P5: LFO. . . . . . . . . . . . . . . . . . . . . . . 84

5–1:OSC1LFO1............................ 84

5–2:OSC1LFO2................

............ 87

5–5:OSC2LFO1............................ 87

5–6:OSC2LFO2....

........................ 87

5–9:CommonLFO.......................

.. 88

Program P6: AMS Mixer/Common Key Track. . 90

6–1:OSC1AMSMixer ...................... 90

6–5:OSC2AMSMix..................

...... 96

6–9:CommonKeyboardTrack................ 97

Program P7: KARMA. . . . . . . . . . . . . . . . . . . 100

7–1:GESetup/KeyZones................... 100

7–2:MIDIFilter/CCOffset .................. 103

7–3:ModuleParameters‐Control..

........... 105

7–4:ModuleParameters‐Trigger ............. 110

7–5:GEReal‐TimeParameters................113

7–6:PerfReal

‐TimeParameters...............116

7–7:DynamicMIDI .........................120

7–8:RandomSeeds.....

....................122

7–9:Name/NoteMap .......................125

Program P8: Insert Effect. . . . . . . . . . . . . . . . 127

8–1:Routing...............................127

8–5:InsertFX ...............

...............130

8–6:TrackView............................133

8–7:IFX1–12....

...........................134

8–9:CommonFXLFO.....................

..136

Program P9: Master/Total Effect . . . . . . . . . . 138

9–1:Routing...............................138

9–2:MFX1 .................

................140

9–3:MFX2 .................................141

9–4:TFX1.

.................................141

9–5:TFX2.................

.................141

Program: Page Menu Commands . . . . . . . . . 142

Program mode: EXi. . . . . . . . . . . . . . 159

EXi Program P0: Play . . . . . . . . . . . . . . . . . . 159

0–1:Main..................................160

0–6:KARMAGE .............

..............161

0–7:ControllerView/Effects..................161

0–8:AudioInput/Sampling...............

...161

0–9:ControlSurface ........................161

EXi Program P4: Basic/Vector . . . . . . . . . . . . 163

4–1:ProgramBasic..........................163

4–2:EXiAudioInput....................

....168

4–5:VectorControl.........................168

4–6:VectorEnvelope.................

.......169

4–8:SetUpControllers ......................169

4–9:SetUpPads.................

...........169

EXi Program P5: Modulation . . . . . . . . . . . . . 170

5–1:CommonStepSeq......................170

5–2:CommonLFO......................

...173

5–3:CommonKeyboardTrack...............173

EXi Program P6: EQ . . . . . . . . . . . . . . . . . . . 173

EXi Program P7: KARMA . . . . . . . . . . . . . . . 173

EXi Program P8: Insert Effect . . . . . . . . . . . . . 173

EXi Program P9: Master/Total Effect . . . . . . . 173

EXi Program: Page Menu Commands . . . . . . 174

EXi: AL-1 Analog Synthesizer . . . . . . 175

AL-1 Overview . . . . . . . . . . . . . . . . . . . . . . . 175

EXi Program P0: Play . . . . . . . . . . . . . . . . . . 176

0–1:Main..................................176

Program P4: OSC Pitch . . . . . . . . . . . . . . . . . 178

iv

4–1:OSCBasic ............................ 178

4–2:Sub/Noise/RingMod.................

.. 181

4–3:Mixer................................ 182

4–4:PitchCommon...........

............. 184

4–5:PitchEG/Mod ......................... 186

Program P5: Filter . . . . . . . . . . . . . . . . . . . . .188

5–1:FilterBasic ............................ 188

5–2:MultiFilter .................

.......... 191

5–3:FilterModulation ...................... 192

5–4:FilterLFOMod.............

........... 195

Program P6: Amp . . . . . . . . . . . . . . . . . . . . .196

6–1:Amp/Driver........................... 196

6–2:AmpModulation ....................

.. 198

6–3:AmpEG............................. 200

Program P7: EG 1-4. . . . . . . . . . . . . . . . . . . .203

7–1:EG1(Filter).......................... 203

7–2:EG2(Pitch)................

.......... 206

7–3:EG3 ................................. 206

7–4:EG4 .

................................ 206

Program P8: Step Seq/LFO. . . . . . . . . . . . . . .207

8–1:StepSequencer........................ 207

8–2:LFO1....................

............ 209

8–3:LFO2................................ 212

8–4:LFO3

................................ 212

8–5:LFO4...............

................. 212

Program P9: AMS Mixer . . . . . . . . . . . . . . . .213

9–1:AMSMixer........................... 213

AL-1: Tone Adjust. . . . . . . . . . . . . . . . . . . . . .214

AL-1: Page Menu Commands . . . . . . . . . . . . .216

EXi: CX-3 Tonewheel Organ. . . . . . . 217

CX-3 Overview . . . . . . . . . . . . . . . . . . . . . . .217

EXi Program P0: Play . . . . . . . . . . . . . . . . . . .218

0–1:Main ................................. 218

Program P4: Basic . . . . . . . . . . . . . . . . . . . . .220

4–1:Basic ................................. 220

4–2:Controllers...............

............. 221

Program P5: Split & Drawbars . . . . . . . . . . . .223

5–1:KeyboardSplit........................ 223

5–2:Drawbars......................

....... 224

5–3:EXDrawbars.......................... 225

Program P6: Percussion . . . . . . . . . . . . . . . . .227

6–1:Percussion ............................ 227

6–2:EXPercussion ...................

...... 228

Program P7: Amp, V/C, Rotary Speaker. . . . .230

7–1:Amp&V/C ........................... 230

7–2:RotarySpeaker ..................

...... 232

Program P9: AMS Mixer . . . . . . . . . . . . . . . .235

9–1:AMSMixer........................... 235

CX-3: Tone Adjust . . . . . . . . . . . . . . . . . . . . .236

Changes from the original CX-3 . . . . . . . . . . .237

CX-3: Page Menu Commands . . . . . . . . . . . . .238

EXi: STR-1 Plucked String. . . . . . . . . .239

STR-1 Overview. . . . . . . . . . . . . . . . . . . . . . . 239

EXi Program P0: Play. . . . . . . . . . . . . . . . . . . 241

0–1:Main..................................241

Program P4: String . . . . . . . . . . . . . . . . . . . . 243

4‐1:PluckandNoise........................243

4‐2:PCMOscillator ...................

......245

4‐3:PCMOscillatorPitch ....................247

4‐4:ExcitationMixer ...................

.....250

4‐5:StringMain............................252

4‐6:DampingandDispersion.........

.......256

4‐7:StringPitch............................258

4‐8:PickupsandFeedback. ........

..........260

4‐9:Mixer .................................263

Program P5: Filter . . . . . . . . . . . . . . . . . . . . . 265

5‐1:FilterBasic .............................265

5‐2:MultiFilter ...............

.............268

5‐3:FilterModulation .......................269

5‐4:FilterLFOMod.........

................272

Program P6: Amp . . . . . . . . . . . . . . . . . . . . . 273

6‐1:Amp..................................273

6‐2:AmpModulation.......................274

6‐3:AmpEG..............................276

Program P7: EG 1-4 . . . . . . . . . . . . . . . . . . . 279

7‐1:EG1(Filter)...........................279

7‐2:EG2(Pitch)..............

.............279

7‐3:EG3 ..................................279

7

‐4:EG4 ..................................279

Program P8: LFO 1-4. . . . . . . . . . . . . . . . . . . 279

8‐1:LFO1.................................279

8‐2:LFO2..........

.......................279

8‐3:LFO3........................

.........279

8‐4:LFO4.................................279

Program P9: AMS Mixers and String Track . . . 280

9‐1:AMSMixers1‐2 ........................280

9‐2:AMSMixers3‐4 ...............

.........280

9‐9:StringTrack...........................280

STR-1: Tone Adjust. . . . . . . . . . . . . . . . . . . . . 282

EXi: MS-20EX . . . . . . . . . . . . . . . . . .285

MS-20EX Overview . . . . . . . . . . . . . . . . . . . . 285

On‐screenknobsandswitches,

andtheParameterDetailsarea...............286

EXi Program P0: Play. . . . . . . . . . . . . . . . . . . 287

0–1:Main..................................287

Program P4: Oscillators & Filters . . . . . . . . . . 289

4‐1:Oscillators&Filters.....................289

Program P5: MG, EG, & Modulation. . . . . . . . 293

5‐1:MG,EG,&Modulation ..................293

Program P6: Patch Panel . . . . . . . . . . . . . . . . 297

6‐1:PatchPanel............................297

v

Program P7: EG 3-6 . . . . . . . . . . . . . . . . . . . 307

7‐1:EG3................................. 307

7‐2:EG4..........

........................ 307

7‐3:EG5......................

........... 307

7‐4:EG6................................. 307

Program P8: LFO 1-4 . . . . . . . . . . . . . . . . . . 307

8‐1:LFO1................................ 307

8‐2:LFO2..........

...................... 307

8‐3:LFO3........................

........ 307

8‐4:LFO4................................ 307

Program P9: AMS Mixers . . . . . . . . . . . . . . . 307

9‐1:AMSMixers1‐2........................ 308

9‐2:AMSMixers3‐4................

........ 308

MS-20EX: Tone Adjust. . . . . . . . . . . . . . . . . . 309

MS-20EX: Page Menu Commands . . . . . . . . . 311

EXi: PolysixEX. . . . . . . . . . . . . . . . . . 313

PolysixEX Overview . . . . . . . . . . . . . . . . . . . 313

On‐screenknobsandswitches,andtheParameter

Detailsarea............................... 314

EXi Program P0: Play . . . . . . . . . . . . . . . . . . 315

0–1:Main ................................. 315

Program P4: Main. . . . . . . . . . . . . . . . . . . . . 317

4‐1:Main ................................. 317

Program P5: Modulation & Arpeggiator. . . . . 322

5‐1:Modulation&Arpeggiator.............. 322

Program P7: EG 2-3 . . . . . . . . . . . . . . . . . . . 324

7‐1:EG2................................. 324

7‐2:EG3.........

........................ 324

Program P8: LFO 1-2 . . . . . . . . . . . . . . . . . . 324

8‐1:LFO1................................ 324

8‐2:LFO2..........

...................... 324

Program P9: AMS Mixers . . . . . . . . . . . . . . . 324

9‐1:AMSMixers1‐2....................... 324

9‐2:AMSMixers3‐4...............

........ 324

PolysixEX: Tone Adjust . . . . . . . . . . . . . . . . . 325

EXi: MOD-7 Waveshaping

VPM Synthesizer . . . . . . . . . . . . . . . .327

MOD-7 Overview . . . . . . . . . . . . . . . . . . . . . 327

UsingtheParameterDetailsarea ............ 329

LoadingDXsounds ........................ 329

Synthesis with the MOD-7: a guided tour . . . . 331

Overview ................................. 331

Individualoscillators

andsubtractivesynthesis................... 332

VPM(akaFM)............................. 333

FilteredVPM...........

................... 334

PCMasaVPMmodulator.................. 335

Waveshaping ......

....................... 336

RingModulation .........................

. 338

EXi Program P0: Play . . . . . . . . . . . . . . . . . . 340

0–1:Main..................................340

Program P4: Patch Panel. . . . . . . . . . . . . . . . 342

4–1:PatchPanel............................342

Program P5: Oscillators . . . . . . . . . . . . . . . . 346

5–1:OscMain ..............................346

5–2:PCMOsc................

..............350

5–3:PCMMod.............................352

5–4:VPMOsc1 ....

.........................355

5–5:VPMOscillator2......................

.365

5–6:VPMOscillator3.......................365

5–7:VPMOscillator4...................

....365

5–8:VPMOscillator5.......................365

5–9:VPMOscillator6.................

......365

Program P6: Filter. . . . . . . . . . . . . . . . . . . . . 366

6–1:FilterBasic.............................366

6–2:MultiFilter.................

...........366

6–3:FilterModulation.......................366

6–4:FilterLFOMod.............

............366

Program P7: Amp. . . . . . . . . . . . . . . . . . . . . 367

7–1:Mixers1‐3.............................367

7–2:MainMixer ................

............368

7–3:Amp ..................................369

7–4:AmpModulation ...

....................369

7–5:AmpEG............................

..369

Program P8: EG 1–9. . . . . . . . . . . . . . . . . . . 370

8–1:EG1..................................370

8–2:EG2...........

.......................373

8–3:EG3.........................

.........373

8–4:EG4..................................373

8–5:EG5...

...............................373

8–6:EG6.................

.................373

8–7:EG7...............................

...373

8–8:EG8..................................373

8–9:EG9........

..........................373

Program P9: Step Sequencer, LFO 1-4, and AMS

Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

9–1:StepSequencer........................374

9–2:LFO1.....................

...........374

9–3:LFO2................................374

9–4:LFO3...

.............................374

9–5:LFO4...................

.............374

9–6:AMSMixers1‐2........................374

9–7:AMSMixers3‐4....

....................374

9–8:AMSMixers5‐6........................374

9–9:AMSMixers

7‐8........................374

MOD-7: Tone Adjust . . . . . . . . . . . . . . . . . . . 375

MOD-7: Page Menu Commands . . . . . . . . . . 376

Combination mode . . . . . . . . . . . . . . 377

Combination P0: Play . . . . . . . . . . . . . . . . . . 377

0–1:ProgramSelect/Mixer...................377

0–6:KARMAGE ..........................

.383

0–7:ControllerView/Effect ..................386

0–8:AudioInput/Sampling..................387

vi

0–9:ControlSurface. ....................... 389

Combination P1: EQ/Vector/Controller. . . . . .401

1–1:TimbreEQ ............................ 401

1–5:VectorVolumeControl .................

403

1–6:VectorCCControl..................... 406

1–7:VectorEnvelope .......................

 409

1–8:SetUpControllers..................... 412

1–9:SetUpPads .....................

...... 413

Combination P2: Timbre Parameters . . . . . . . .415

2–1:MIDI................................. 415

2–2:OSC ..............

................... 416

2–3:Pitch ..............................

... 418

2–4:Delay ................................ 419

2–5:WaveSequence/KARMA..........

..... 420

2–6:EXiAudioInput ....................... 422

Combination P3: MIDI Filter/Zones . . . . . . . . .423

3–1:MIDIFilter1........................... 423

3–2:MIDIFilter2...................

........ 424

3–3:MIDIFilter3........................... 425

3–5:KeyboardZones ...........

............ 426

3–6:VelocityZones ........................ 428

Combination P7: KARMA . . . . . . . . . . . . . . . .430

7–1:GESetup/KeyZones................... 430

7–2:MIDIFilter/CCOffset.................. 434

7–3:ModuleParameters‐Control..

........... 435

7–4:ModuleParameters‐Trigger ............. 436

7–5:GEReal‐TimeParameters............... 438

7–6:PerfReal

‐TimeParameters .............. 441

7–7:DynamicMIDI........................ 443

7–8:RandomSeeds ....

.................... 444

7–9:Name/NoteMap ...................... 446

Combination P8: Insert Effect . . . . . . . . . . . . .448

8–1:Routing1 ............................. 448

8–2:Routing2 .................

............ 451

8–5:InsertFX ............................. 452

8–6:TrackView ...

........................ 454

8–7:IFX1–12 ........................

...... 455

8–9:CommonFXLFO ...................... 457

Combination P9: Master/Total Effect. . . . . . . .458

9–1:Routing .............................. 458

9–2:MFX1................

................ 459

9–3:MFX2................................

460

9–4:TFX1 ................................. 460

9–5:TFX2 ...............

.................. 460

Combination: Page Menu Commands . . . . . . .461

Sequencer mode . . . . . . . . . . . . . . . 467

Sequencer Overview . . . . . . . . . . . . . . . . . . .467

MIDIsequencer ........................... 467

Setupparameters&Musicaldata............ 469

Tip:AutoSongSetup

...................... 470

Sequencer P0: Play/REC. . . . . . . . . . . . . . . . .471

0–1:MIDITrackProgSelect/Mixer ........... 471

0–2:AudioTrackMixer..................... 477

0–3:MIDITrackLoop.......

............... 482

0–5:Preferences............................484

0–6:KARMAGE..

.........................488

0–7:ControllerView/Effect..................490

0–8:AudioIn/Sampling...

..................491

0–9:ControlSurface ........................493

Sequencer P1: EQ/Vector/Controller . . . . . . . 505

1–1:MIDITrackEQ.........................505

1–2:AudioTrackEQ....................

....507

1–5:VectorVolumeControl..................508

1–6:VectorCCControl ......................511

1–7:Vector

Envelope........................514

1–8:SetUpControllers ......................517

1–9:SetUp

Pads............................519

Sequencer P2: Track Parameters . . . . . . . . . . 521

2–1:MIDI .................................521

2–2:OSC..............

....................523

2–3:Pitch..............................

....525

2–4:Delay.................................526

2–5:WaveSequence/KARMA ...........

.....528

2‐6:EXiAudioInput ........................530

2–7:AudioTrackDelay ..............

.......531

Sequencer P3: MIDI Filter/Zones . . . . . . . . . . 532

3–1:MIDIFilter1...........................532

3–2:MIDIFilter2..................

.........533

3–3:MIDIFilter3...........................535

3–5:KeyboardZones...........

.............536

3–6:VelocityZones.........................538

Sequencer P4: Track Edit . . . . . . . . . . . . . . . . 540

4–1:TrackEdit.............................540

4–2:MIDITrackName...............

.......542

4–3:AUDIOTrackName ....................543

Sequencer P5: Pattern/RPPR . . . . . . . . . . . . . 544

5–1:PatternEdit............................544

5–2:PatternName ...................

.......546

5–3:RPPRSetup............................547

Sequencer P7: KARMA. . . . . . . . . . . . . . . . . . 550

7–1:GESetup/KeyZones ....................551

7–2:MIDIFilter/CCOffset ...................555

7–3:ModuleParameters‐Control ...

..........556

7–4:ModuleParameters‐Trigger..............557

7–5:GEReal‐TimeParameters ...............558

7–6:PerfReal‐TimeParameters.

..............560

7–7:DynamicMIDI .........................561

7–8:RandomSeeds.......

..................562

7–9:Name/NoteMap.......................563

Sequencer P8: Insert Effect . . . . . . . . . . . . . . . 565

8–1:MIDIRouting1 .........................565

8–2:MIDIRouting2 ......................

...567

8–3:AudioRouting1 ........................568

8–4:AudioRouting2 .....................

...570

8–5:InsertFX..............................571

8–6:TrackView............

................572

8–7:IFX1–12...............................574

8–9:CommonFX

LFO.......................576

Sequencer P9: Master/Total Effect . . . . . . . . . 578

9–1:Routing...............................578

9–2:MFX1 .................

................580

vii

9–3:MFX2 ................................ 581

9–4:TFX1 ...............

.................. 581

9–5:TFX2 ...............................

.. 581

Sequencer: Page Menu Commands . . . . . . . . 582

System Exclusive events supported in

Sequencer mode . . . . . . . . . . . . . . . . . . . . . . 618

Sampling mode. . . . . . . . . . . . . . . . .621

Sampling Overview. . . . . . . . . . . . . . . . . . . . 621

SamplingtoRAM,ordirecttodisk........... 621

Samplingfeatures.......................... 621

Sampling P0: Recording . . . . . . . . . . . . . . . . 625

0–1:Recording ............................ 625

0–8:AudioInput..................

......... 631

0–9:ControlSurface ........................ 636

Sampling P1: Sample Edit . . . . . . . . . . . . . . . 643

1–1:SampleEdit ........................... 643

Sampling P2: Loop Edit . . . . . . . . . . . . . . . . . 646

2–1:LoopEdit............................. 646

Sampling P3: Multisample Edit. . . . . . . . . . . . 649

3–1:MultisampleEdit...................... 649

Sampling P4: EQ/Controller . . . . . . . . . . . . . 652

4–1:EQ ................................... 652

4–8:SetUpControllers..........

........... 653

4–9:SetUpPads . .......................... 655

Sampling P5: Audio CD. . . . . . . . . . . . . . . . . 657

5–1:AudioCD ............................ 657

Sampling P8: Insert Effect . . . . . . . . . . . . . . . 660

8–1:Routing .............................. 660

8–5:InsertFX................

.............. 662

8–6:TrackView ........................... 664

8–7:IFX1–12 ....

.......................... 665

8–9:CommonFXLFO .....................

. 666

Sampling P9: Master/Total Effect. . . . . . . . . . 668

9–1:Routing .............................. 668

9–2:MFX1 ................

................ 670

9–3:MFX2 ................................

670

9–4:TFX1 ................................. 670

9–5:TFX2 ...............

.................. 670

Sampling: Page Menu Commands . . . . . . . . . 672

Global mode. . . . . . . . . . . . . . . . . . .699

Global P0: Basic Setup . . . . . . . . . . . . . . . . . 699

0–1:BasicSetup ........................... 699

0–2:AudioInput..................

......... 705

Global P1: MIDI . . . . . . . . . . . . . . . . . . . . . . 708

1–1:MIDI ................................. 708

1–2:External1..............

............... 714

1–3:External2............................. 716

Global P2: Controller/Scale. . . . . . . . . . . . . . 717

2–1:Controller ............................ 717

2–2:UserScale.................

............718

Global P3: Category Name . . . . . . . . . . . . . . 720

3–1:ProgramCategory ......................720

3–2:CombiCategory........................721

3–3:KARMA

Category ......................721

Global P4: Wave Sequence. . . . . . . . . . . . . . 722

4–1:SequenceParameters....................722

4–2:Per‐StepParameters ....................727

Global P5: Drum Kit . . . . . . . . . . . . . . . . . . . 731

5–1:SampleSetup..........................731

5–2:SampleParameters ...................

..735

5–3:VoiceAssign/Mixer .....................736

Global P6: Plug-in Info . . . . . . . . . . . . . . . . . 738

Global: Page Menu Commands . . . . . . . . . . . 740

Disk mode . . . . . . . . . . . . . . . . . . . . 749

Disk P0: File . . . . . . . . . . . . . . . . . . . . . . . . . 751

0–1:Load ..................................751

0–2:Save..............

....................753

0–3:Utility..............................

...754

0–9:MediaInformation......................755

Disk P1: Audio CD . . . . . . . . . . . . . . . . . . . . 756

1–1:MakeAudioCD ........................756

1–2:PlayAudioCD .....................

....758

1–9:MediaInformation......................760

Disk: Page Menu Commands. . . . . . . . . . . . . 761

Effect Guide . . . . . . . . . . . . . . . . . . . 787

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . 787

Abouteffectsresources......................787

Effectsineachmode.......................

.788

Dynamicmodulation(Dmod)andTempo

Synchronization ............................789

CommonFXLFOs ................

..........790

FXControlBuses...........................790

EffectI/O ..........

........................792

Insert Effects (IFX1…IFX12) . . . . . . . . . . . . . . 794

In/Out .................................... 794

Routing.............

......................794

Mixer............................

.........804

ControllingtheInsertEffectsviaMIDI ........805

Master Effects (MFX1, 2) . . . . . . . . . . . . . . . . 807

In/Out .................................... 807

Routing.............

......................807

Mixer............................

.........811

ControllingtheMasterEffectsviaMIDI .......812

Total Effects (TFX1, 2) . . . . . . . . . . . . . . . . . . 813

In/Out .................................... 813

Routing.............

......................813

Mixer............................

.........814

UsingMIDItocontroltheTotalEffects........814

Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 815

viii

MainOutputs ............................. 815

IndividualOutputs..................

...... 815

Effect/Mixer Block Diagrams . . . . . . . . . . . . .816

Dynamics. . . . . . . . . . . . . . . . . . . . . . . . . . . .819

000:NoEffect............................. 819

001:StereoDynaCompressor ..............

. 819

002:StereoCompressor..................... 820

003:StereoExpander ....................... 823

004:St.MultibandCompressor............... 824

005:StereoLimiter ......................... 826

006:MultibandLimiter...

.................. 827

007:StereoMultibandLimiter............... 828

008:StereoMasteringLimiter ........

....... 829

009:StereoGate ........................... 830

010:StereoNoiseReduction..........

....... 831

EQ and Filters . . . . . . . . . . . . . . . . . . . . . . . .832

011:StereoParametric4EQ.................. 832

012:StereoGraphic7EQ.................... 833

013:StereoMaster3EQ.

.................... 834

014:StereoExciter/Enhncr .................. 835

015:StereoIsolator......

................... 836

016:StereoWah/AutoWah ................. 836

017:St.Vintage/CustomWah.......

......... 838

018:StereoRandomFilter................... 839

019:MultiModeFilter...............

....... 840

020:StereoSubOscillator................... 841

021:TalkingModulator..................

... 842

022:StereoDecimator...................... 843

023:StereoAnalogRecord.................

. 844

024:StereoWaveShaper.................... 844

025:PianoBody/Damper ................... 846

026:Vocoder ..

............................ 846

Overdrive, Amp models, and Mic models . . . .848

027:OD/Hi‐GainWah ...................... 848

028:OD/HyperGainWah................... 849

029:StereoGuitar

Cabinet .................. 850

030:GuitarAmpModel+P4EQ .............. 850

031:GuitarAmpModel+Cabinet.......

..... 851

032:StereoBassCabinet.................... 852

033:BassAmpModel.................

..... 852

034:BassAmpModel+Cabinet .............. 853

035:BassAmpTubeDrive+Cab ............. 854

036:TubePreAmpModeling .....

........... 855

037:St.TubePreAmpModeling............. 855

038:MicModeling+PreAmp................

856

039:St.MicModeling+PreAmp ............. 856

Chorus, Flanger, and Phaser . . . . . . . . . . . . .857

040:StereoChorus ......................... 857

041:StereoHarmonicChorus................ 858

042:St.Bi‐phase

Modulation................ 859

043:MultitapCho/Delay4Taps .............. 860

044:MultitapCho/Delay6Taps ............

.. 860

045:BiChorus............................. 861

046:Ensemble ................

............. 863

047:PolysixEnsemble ...................... 863

048:StereoFlanger ..........

............... 864

049:StereoRandomFlanger................. 865

050:StereoEnvelopeFlanger ............

.... 865

051:StereoPhaser ..........................866

052:StereoRandomPhaser.............

.....867

053:StereoEnvelopePhaser .................868

054:BiPhaser . .......................

......868

Modulation and Pitch Shift . . . . . . . . . . . . . . . 870

055:StereoVibrato..........................870

056:StereoAutoFadeMod...................871

057:2

‐VoiceResonator......................872

058:Doppler ..........................

.....873

059:Scratch ................................874

060:GrainShifter ...........

................874

061:StereoTremolo .........................875

062:StereoEnvelopeTremolo ......

..........876

063:StereoAutoPan ........................877

064:StereoPhaser+Tremolo ............

......878

065:StereoRingModulator ..................879

066:StereoFrequencyShifter.................880

067:Detune....

............................881

068:PitchShifter ....................

.......881

069:StereoPitchShifter .....................882

070:PitchShifterBPM.................

......883

071:StereoPitchShifterBPM.................884

072:PitchShiftMod. .....................

...885

073:OrganVibrato/Chorus..................886

074:RotarySpeaker.........................886

075:

RotarySpeakerProOD .................888

076:RotarySpeakerProCX ..................889

Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 891

077:L/C/RDelay...........................891

078:L/C/RLongDelay.................

.....891

079:Stereo/CrossDelay .....................892

080:Stereo/CrossLongDelay ................893

081:StereoMultitap

Delay...................893

082:StereoModulationDelay................894

083:StereoDynamicDelay .........

.........895

084:StereoAutoPanningDelay..............896

085:TapeEcho .....................

........897

086:MultibandMod.Delay ..................898

087:ReverseDelay.....................

.....899

088:HoldDelay ............................900

089:AutoReverse.............

.............901

090:SequenceBPMDelay ...................902

091:L/C/RBPMDelay ............

..........903

092:L/C/RBPMLongDelay .................904

093:StereoBPMDelay...............

.......905

094:StereoBPMLongDelay.................906

095:StereoBPMMultitapDelay ..............907

096:StereoBPMMod.Delay .

................908

097:St.BPMAutoPanningDly...............909

098:TapeBPMEcho............

............910

099:ReverseBPMDelay.....................911

Reverb and Early Reflections . . . . . . . . . . . . . 913

100:Overb.................................913

101:ReverbHall...............

.............914

102:ReverbSmoothHall ....................914

103:ReverbWetPlate ............

...........914

104:ReverbDryPlate.......................914

105:ReverbRoom..........

................915

106:ReverbBrightRoom....................915

ix

107:EarlyReflections....................... 916

108:EarlyReflectionsHiDens ............... 916

Mono-Mono Serial . . . . . . . . . . . . . . . . . . . . 918

109:P4EQ‐Exciter......................... 921

110:P4EQ‐Wah.....................

...... 921

111:P4EQ‐Chorus/Flanger................. 921

112:P4EQ‐Phaser ......................

... 922

113:P4EQ‐MultitapDelay ................. 922

114:Comp‐Wah ......................

.... 922

115:Comp‐AmpSim...................... 923

116:Comp‐OD/HiGain.................

... 923

117:Comp‐P4EQ ......................... 923

118:Comp‐Chorus/Flanger................

. 924

119:Comp‐Phaser ........................ 924

120:Comp‐MultitapDelay ................. 925

121:

Limiter‐P4EQ ........................ 925

122:Limiter‐Chorus/Flanger ............... 925

123:Limiter‐Phaser ...

.................... 926

124:Limiter‐MultitapDelay ................ 926

125:Exciter‐Comp .......

................. 927

126:Exciter‐Limiter....................... 927

127:Exciter‐Chorus/Flanger .....

........... 927

128:Exciter‐Phaser ........................ 928

129:Exciter‐MultitapDelay ........

........ 928

130:OD/HiGain‐AmpSim................. 928

131:OD/HiGain‐Cho/Flanger.............. 929

132:OD/Hi

Gain‐Phaser................... 929

133:OD/HiGain‐MultitapDly.............. 929

134:Wah‐AmpSim .......

................ 930

135:Decimator‐AmpSim.................. 930

136:Decimator‐Comp........

............. 931

137:AmpSim‐Tremolo .................... 931

138:Cho/Flanger‐MultitapDly ..........

... 932

139:Phaser‐Chorus/Flanger................ 932

140:Reverb‐Gate ........................

. 932

Mono/Mono Parallel. . . . . . . . . . . . . . . . . . . 934

141:P4EQ//P4EQ ......................... 937

142:P4EQ//Comp ..................

....... 937

143:P4EQ//Limiter........................ 938

144:P4EQ//Exciter............

............ 938

145:P4EQ//OD/HiGain.................... 938

146:P4EQ//Wah.........

................. 938

147:P4EQ//Chorus/Flanger ................ 939

148:P4EQ//Phaser .........

............... 939

149:P4EQ//MultitapBPMDly .............. 939

150:Comp//Comp ...........

............. 939

151:Comp//Limiter ....................... 940

152:Comp//Exciter.......

................. 940

153:Comp//OD/HiGain................... 940

154:Comp//Wah.....

..................... 940

155:Comp//Chorus/Flanger ................ 941

156:Comp//Phaser .......

................. 941

157:Comp//MultitapBPMDly ............. 941

158:Limiter//Limiter.........

............. 941

159:Limiter//Exciter....................... 942

160:Limiter//OD/HiGain .......

........... 942

161:Limiter//Wah......................... 942

162:Limiter//Chorus/Flanger .......

........ 942

163:Limiter//Phaser ....................... 943

164:Limiter//MtapBPMDly ..........

..... 943

165:Exciter//Exciter ........................943

166:Exciter//OD/HiGain.............

......943

167:Exciter//Wah ..........................944

168:Exciter//Chorus/Flanger.............

...944

169:Exciter//Phaser ........................944

170:Exciter//MtapBPMDly................

.944

171:OD/HiGain//OD/HiGain ..............945

172:OD/HiGain//Wah.....................945

173:OD/HiGain//Cho/Flanger

..............945

174:OD/HiGain//Phaser ...................945

175:OD/HiGain//MtBPMDly.......

.......946

176:Wah//Wah............................946

177:Wah//Chorus/Flanger.........

.........946

178:Wah//Phaser ..........................946

179:Wah//MultitapBPMDly.........

.......947

180:Cho/Flange//Cho/Flanger ...............947

181:Cho/Flange//Phaser ....................947

182:Cho/Flange//Mt

BPMDly...............947

183:Phaser//Phaser........................948

184:Phaser//MtapBPMDly ..

...............948

185:Mt.BPMDly//Mt.BPMDly ..............948

KARMA GE guide . . . . . . . . . . . . . . . 949

About the KARMA GE guide . . . . . . . . . . . . . 949

Howtoreadthe“GEGuide”.................949

HowGEparameternamesaredisplayed ......949

About KARMA . . . . . . . . . . . . . . . . . . . . . . . 951

Overview..................................951

TheoryOfOperation...............

.........951

KARMAArchitecture(Diagram) .............952

GE (Generated Effect) Group . . . . . . . . . . . . . 953

Overview..................................953

GEGlobalParameters...............

........953

Note Series Group . . . . . . . . . . . . . . . . . . . . 956

Overview..................................956

Parameters ................

................956

Phase Group . . . . . . . . . . . . . . . . . . . . . . . . 960

Overview..................................960

AboutPhasePatterns..............

.........960

GeneralParameters .........................960

PhaseSpecificParameters ..............

.....962

EndLoopParameters.......................963

PatternParameters ..................

.......963

Rhythm Group . . . . . . . . . . . . . . . . . . . . . . . 965

Overview..................................965

AboutRhythmPatterns..............

.......965

GlobalParameters ..........................965

PatternGrid&AssociatedParameters.........966

RandomWeightingParameters‐Pools ..

......967

RandomWeightingParameters‐Ties.........967

AssociatedParameters......................968

Duration Group . . . . . . . . . . . . . . . . . . . . . . 970

Overview..................................970

AboutDurationPatterns ..............

......970

PatternGrid&AssociatedParameters.........970

AssociatedParameters......................970

x

RandomWeightingParameters‐Pools....... 971

RandomWeightingParameters–Ties ........ 972

AssociatedParameters ..................... 972

Index Group . . . . . . . . . . . . . . . . . . . . . . . . .973

Overview................................. 973

AboutIndexPatterns...............

........ 973

PatternGrid&AssociatedParameters ........ 973

AssociatedParameters ..................... 973

RandomWeightingParameters....

.......... 974

AssociatedParameters ..................... 974

Cluster Group . . . . . . . . . . . . . . . . . . . . . . . .977

Overview................................. 977

AboutClusterPatterns..............

....... 977

PatternGrid&AssociatedParameters ........ 977

RandomWeightingParameters.............. 978

AssociatedParameters ............

......... 978

Velocity Group. . . . . . . . . . . . . . . . . . . . . . . .979

Overview................................. 979

AboutVelocityPatterns ..............

...... 979

GlobalParameters......................... 979

PatternGrid&AssociatedParameters ........ 980

RandomWeightingParameters..

............ 980

AssociatedParameters ..................... 980

CCs/Pitch Group . . . . . . . . . . . . . . . . . . . . . .982

Overview................................. 982

AboutCC/Bend/PitchPatterns ..............

982

PatternGrid&AssociatedParameters ........ 982

RandomWeightingParameters.............. 983

GlobalParameters...................

...... 984

AssociatedParameters ..................... 984

WaveSeq Group . . . . . . . . . . . . . . . . . . . . . .986

Overview................................. 986

AboutWaveSeqPatterns ..............

..... 986

GlobalParameters......................... 986

PatternGrid&AssociatedParameters ........ 987

RandomWeightingParameters...

........... 988

AssociatedParameters ..................... 988

Envelope Group . . . . . . . . . . . . . . . . . . . . . . .989

Overview................................. 989

AboutEnvelopes...............

........... 989

Parameters ............................... 989

LevelCombinations......

.................. 992

TimeCombinations ........................ 992

Repeat (Melodic Repeat) Group . . . . . . . . . . .994

Overview................................. 994

GeneralParameters...............

......... 994

RangeParameters ......................... 997

GEMode=Real‐TimeParameters.........

... 997

Bend Group. . . . . . . . . . . . . . . . . . . . . . . . . .999

Overview................................. 999

GeneralParameters...............

......... 999

GEMode=Real‐TimeParameters........... 1001

Drum Group . . . . . . . . . . . . . . . . . . . . . . . .1003

Overview................................ 1003

AboutDrumPatterns...............

...... 1003

PatternEditingGrid

&AssociatedParameters...................1003

AssociatedParameters..................

...1004

RandomWeightingParameters–Pools.......1005

RandomWeightingParameters–Rests.......1006

AssociatedParameters.....................1006

Direct Index Group . . . . . . . . . . . . . . . . . . . 1010

Overview ................................1010

GeneralParameters .................

.......1010

DurationParameters .......................1011

RepeatParameters....................

.....1012

BendParameters..........................1012

Appendices . . . . . . . . . . . . . . . . . . . . . . . . . 1014

UsingAuto‐Bend..........................1014

RandomWeightingCurves .................1015

Appendices. . . . . . . . . . . . . . . . . . .1019

Alternate Modulation Sources (AMS). . . . . . . 1019

AlternateModulationOverview.............1019

AlternateModulationSource(AMS)List .....1021

AlternateModulationsettings...............1025

Dynamic Modulation Sources (Dmod) . . . . . . 1030

Overview ................................1030

DynamicModulationSourceList ............1030

Controller Assignments . . . . . . . . . . . . . . . . 1033

SW1/2Assignments........................1033

RealtimeKnobs5–8Assignments............1034

FootSwitchAssignments ..........

.........1035

FootPedalAssignments ....................1036

Dynamic MIDI Sources & Destinations. . . . . . 1038

DynamicMIDISources.....................1038

DynamicMIDIDestinations ................1040

MIDI transmission from OASYS controllers . . 1045

OASYS and MIDI CCs. . . . . . . . . . . . . . . . . . 1049

ResponsestostandardMIDIcontrollers......1049

ParameterscontrolledbyMIDICCs#70‐79 ...1052

MIDI applications. . . . . . . . . . . . . . . . . . . . . 1055

AboutMIDI ..............................1055

ConnectingMIDIdevices&computers.......1055

Messagestransmitted

andreceivedbytheOASYS ...

..............1056

MIDI Implementation . . . . . . . . . . . . . . . . . . 1068

Error and confirmation messages . . . . . . . . . 1072

A(ADC–AreYouSure) ....................1072

B(Buffer)..........................

.......1072

C(Can’tcalibrate–Completed) ..............1072

D(Destination–Disk).......................1073

E(Error–Exceeded)..

......................1074

F(File–Front)...........................

..1074

I(Illegal–Index)...........................1076

M(Master–Multisample)...................1076

N(Nodata–Notenoughsongmemory) ......1077

O(Obeycopyrightrules–Oscillator)..........1078

P(Pattern–Program) .......................1079

xi

R(Rearsample–Root) ..................... 1079

S(Sample–Source)........................

1079

T(Theclock–Track)....................... 1080

U(Unabletocreatedirectory–USBHub) ..... 1081

W(Wave)............

.................... 1081

Y(You) .............................

..... 1081

Disk mode information . . . . . . . . . . . . . . . . 1083

AIFFandWAVEformatdetails:importing ... 1083

AIFFandWAVEformatdetails:exporting... 1083

AboutKORGformatfiles .................. 1084

CD‐R/RWdisksontheOASYS:UDFandpacket‐

writing.

................................. 1086

EXB-DI option board, additional memory, &

calendar battery . . . . . . . . . . . . . . . . . . . . . 1089

Safetyprecautions........................ 1089

Overview:user‐installablehardware........ 1090

Installinganoptionboard,memory/calendar

battery ......

............................ 1090

EXB‐DIoption....................

........ 1094

Updating the system . . . . . . . . . . . . . . . . . . 1096

Using the included Restore CDs to restore the

system and factory sounds . . . . . . . . . . . . . 1097

Voice Name List . . . . . . . . . . . . . . .1099

Combinations . . . . . . . . . . . . . . . . . . . . . . . 1099

Programs . . . . . . . . . . . . . . . . . . . . . . . . . . 1102

Drum Kits . . . . . . . . . . . . . . . . . . . . . . . . . . 1114

GM Drum Kits . . . . . . . . . . . . . . . . . . . . . . . 1114

KARMA GEs . . . . . . . . . . . . . . . . . . . . . . . . 1115

External Setups . . . . . . . . . . . . . . . . . . . . . . 1148

Multisamples . . . . . . . . . . . . . . . . . . . . . . . 1153

Drumsamples . . . . . . . . . . . . . . . . . . . . . . . 1159

Wave Sequences. . . . . . . . . . . . . . . . . . . . . 1170

Preset Patterns . . . . . . . . . . . . . . . . . . . . . . 1171

Template Songs. . . . . . . . . . . . . . . . . . . . . . 1171

Demo Songs . . . . . . . . . . . . . . . . . . . . . . . . 1172

*KARMA

®

(KayAlgorithmicRealtimeMusicArchitec‐

ture)TechnologyhasbeenlicensedfromStephenKay,

andisprotectedbyU.S.Patents5,486,647,5,521,327,

6,084,171,6,087,578,6,103,964,6,121,532,6,121,533,

6,326,538,and6,639,141.Otherpatentspending.

*KARMA

®

andtheKARMALogoareregisteredtrade‐

marks,andGeneratedEffect™(GE),MelodicRepeat™,

DirectIndex™,ManualAdvance™,SmartScan™,

FreezeRandomize™,RandomCapture™,Random

FF/REW™andSceneMatrix™aretrademarksof

StephenKay,KarmaLabLLC.Thismanualcopyright©

1994‐2004byKORGInc.andStephenKay.Allrights

reserved.

* ScreenshotsfromtheKARMAsoftwarethatappear

throughoutthisguideare©1994‐2004byStephenKay,

KarmaLabLLC.Usedbypermission.Allrights

reserved.

*KARMATechnologycanbelocatedontheinternetat:

www.karma‐lab.com.

*LinuxisatrademarkorregisteredtrademarkofLinus

Torvaldsin theUnited

Statesandinothercountries.

*Thisproductwasdevelopedunderlicenseofphysical

modelingtonegeneratorpatents(http://www.sondius‐

xg.com)ownedbyStanfordUniversityUSAand

YamahaCorporation.

*Companynames,productnames,andnamesofformats

etc.arethetrademarksorregisteredtrademarksoftheir

respectiveowners.

xii

1

Program mode: HD-1

HD-1 Overview

TheHD‐1HighDefinitionSynthesizerisKorg’snew

flagshipPCMsynthesisengine,featuringoutstanding

soundquality,uniquesound‐designtools,andarich

arrayofmodulationpossibilities,including:

•Ultra‐high‐qualitysampleinterpolation,basedon

new,proprietarytechnology,forminimalaliasing

andcrystal‐clearhighfrequencies

•OveragigabyteofROM

andEXssamplelibraries

•Dual‐OSCstructure,providingtwocompletevoice

chainsforlayersandsplits

•WithineachOSC,uptofour‐wayvelocitysplits

andcrossfades(includingtwo‐waylayers)

• WaveSequencing,forcreatingrhythmicpatternsor

complex,evolvingtimbres

•VectorSynthesis

•Dualmulti‐moderesonantfilters

•DriveandLowBoost,for

addingper‐voicegrit,

girthanddistortion

•Threeenvelopes,twoLFOs,andtwoAMSMixers

perOSC,plusacommonLFO,Vectorenvelope,

andKARMAfortheProgramasawhole

•TwocomplexkeytrackinggeneratorsperOSC,

plustwomorefortheProgramasawhole

•Extensivereal‐timemodulationcapabilities

OSC2

OSC1

Common

LFO

HD-1 Program Structure

Vector

OSC1

OSC2

KARMA

Effects

Mixer

& EQ

2

Key

Track 1

Filter B

Pitch EG Filter EG

LFO 1 LFO 2

AMS

Mixer 1

AMS

Mixer 2

Filter

Key Track

Amp

Key Track

Amp

EG

HD-1 OSC Structure

Osc

Serial/

Parallel

Serial/

Parallel

Filter A

Drive Amp

+

Program mode: HD-1

2

Program P0: Play

ThisisthemainpageofProgrammodeforHD‐1

Programs.Amongotherthings,youcan:

• SelectPrograms

•Jumpdirectlytothemaineditingpages

• MakebasiceditstoKARMA

•Setuptheaudioinputsandresamplingoptions

•Usethecontrolsurface

Auto Song Setup

TheAutoSongSetupfeaturecopiesthecurrent

ProgramorCombinationintoaSong,andthenputs

theOASYSinrecord‐readymode.

Ifinspirationforaphraseorsongstrikesyouwhile

you’replaying,youcanusethisfunctiontostart

recordingimmediately.Todoso:

1. HolddowntheENTERkey

andpressthe

SEQUENCERREC/WRITEkey.

TheSetuptoRecorddialogboxwillopenandask“Ar e 

yousure?”

2. PressOK.

YouwillautomaticallyenterSequencermode,andwill

beintherecord‐readystate.

3. PresstheSTART/STOPkeytostartthesequencer

andbeginrecording.

0–1: Main

ThisisthemainpageforselectingPrograms,whichare

thebasicsoundsoftheOASYS.Italsoincludesan

interactiveoverviewofthemostimportantProgram

parameters‐justtouchaparameter,andyou’lljumpto

thecorrespondingeditpage.

Tip:WhereveryouareintheProgrammodepages,

pressingEXIT

threetimes(orfewer)willtakeyouback

tothispage,andselecttheProgramname.Youcan

thenimmediatelyusethenumerickeysor / 

switchestoselectadifferentProgram.

Forinstance,ifyou’reonanypageotherthanP0:Play:

•Pressitoncetogotothepreviously‐selected

tabon

themainP0page,suchasControlSurfaceorAudio

In/Sampling.

•PressitagaintogotothefirsttabonthemainP0

page–themainProgramPlaypage.Ifyouhad

previouslyselectedaparameteronthispage,that

parameterwillbeselected.

•Pressitathirdtime

toselectthemainProgram

nameparameter.

0–1a: Program Select

Bank [INT–A…F, GM, g(1…9), g(d), USER–A…G]

ThisistheBankofthecurrentProgram.

YoucanchangetheBankeitherviatheon‐screen

menu,orbyusingthefront‐panelBankbuttons.

Banks GM, g(1…9), and g(d): General MIDI

TheGMbankcontainsafullsetofGeneralMIDI2

Programs,aswellasvariationsub‐banksg(1)–g(9)

(GM2variationprograms),andbankg(d)(drums).

Eachtimeyoupressthefront‐panelINT‐Gbutton,

you’llstepthroughthesevariationbanksinthe

followingorder:GM→g(1)→g(2)…g(8)→g(9)→GM…

0

–1a

0

–1b

0–1PMC

Program P0: Play 0–1: Main

3

Ifavariationbankdoesn’thaveadifferentversionof

thecurrentProgram,thebasicGMsoundwillbe

recalledinstead.Inthiscase,anasterisk*willbeadded

tothebeginningoftheProgramname.

YoucaneditGMPrograms,butyoumustthensave

themtoadifferent

Bank;theGMProgramsthemselves

cannotbeover‐written.

Program Bank Contents

Asshippedfromthefactory,thecontentsofthe

ProgramBanksareasfollows:

Programbankcontents

FordetailsonthefactoryPrograms,pleaseseethe

“VoiceNameList”onpage 1099.

Optional EXi and demo mode

TheMOD‐7,MS‐20EXandPolysixEXareoptionalEXi.

Initially,theywillbeindemomode.You’llbeableto

play,edit,andsavePrograms,Combis,andSongs

whichusetheseEXi–butuntilyoupur chasean

authorizationcode,theirsoundwillfadeout

periodically.

Topurchaseauthorizationcodes,

andtodownload

additional,freebanksofsounds,goto

www.korguser.net.Oncepurchased,youcanenterthe

authorizationcodeonthePlug‐InInfopageinGlobal

mode.

Formoreinformation,see“GlobalP6:Plug‐inInfo”on

page 738oftheParameterGuide.

Bank Type [HD-1, EXi]

ThisshowswhetherthecurrentBankcontainsHD‐1

ProgramsorEXiPrograms.ThetwoProgramtypes

can’tbemixedinasinglebank.

HD‐1:TheBankcontainsHD‐1Programs.

EXi:TheBankcontainsEXiPrograms.

Changing the Bank Type for USER-A…G

BankscancontaineitherHD‐1ProgramsorEXi

Programs,butnotboth.Thisassignmentisfixedfor

theINTbanks,butcanbesetseparatelyforeachofthe

USERbanks.

TochangethetypeofaUSERbank:

1. Pressthefront‐panelGLOBALbuttontoenter

Globalmode.

2. Selectthe

Basictab.

3. Pressthepagemenubutton,andselectSet

ProgramUser‐BankType.

4. ChangetheTypeforthedesiredbanks.Leaveall

oftheotherbankssetto“NoChange.”

Settingabank’stypewillerasealloftheProgramdata

inthebank‐somakesurethatyou’ renoterasing

any

Programsyouwanttokeep!

5. PresstheOKbutton.

An“areyousure?”dialogappears.

6. Ifyou’recertainofthechange,pressOKagain.

Theselectedbankswillnowbeinitializedtousethe

newProgramtypes.

Program Select [(0…127 (INT and USER Banks),

1…128 (GM Banks)]

ThisisthecurrentProgram.Whenthisparameteris

selected,youcanselectprogramsusingtheIncand

Decbuttons,numericbuttons0‐9(followedby

ENTER),ortheValuedial.

YoucanalsochangeProgramsviaMIDIProgram

Changemessage,orbypressingafootswitch.Formore

information,see“Foot

SwitchAssignments”on

page 1035.

StandardProgramsarenumberedfrom0to127,while

GMProgramsusetherangefrom1to128,asperthe

GMspecification.

Note:Onthispageonly,theVALUEsliderfunctionsas

amodulationsource‐whichmeansthatyoucan’tuse

ittoselectPrograms.

Pressthe

popupbuttontocallupthe“Bank/Program

Select”menu,asdescribedbelow.Thisshowsallofthe

Programsinmemory,organizedbyBank.

Bank Contents Bank Type

INT-A…D HD-1Programs

HD-1

INT-E

HD-1Programs; requires the

EXs1 ROM Expansion PCM

INT-F AL-1 and CX-3 Programs EXi

GM (INT-G) GM2 main Programs

GMg(1)…g(9) GM2 variation Programs

g(d) GM2 drum Programs

USER-A,

000…007

HD-1 Programs; requires the

EXs2 Concert Grand Piano

PCM.

Bank type

can be set to

either HD-1

or EXi

USER-A,

009…010

HD-1 Vocoder and demo song

Programs

USER-A,

11…127

Initialized HD-1 Programs

USER-B Initialized HD-1 Programs

USER-C MOD-7 Programs

USER-D

MS-20EX and PolysixEX

Programs

USER-E STR-1 Programs

USER-F AL-1 and CX-3 Programs

USER-G Initialized HD-1 Programs

Bank

Program Select Popup Program Select Favorite

Bank Type Category Popup Tempo

Program mode: HD-1

4

Bank/Program Select

1. Pressthepopupbuttonattheleftof“Program

Select”toopentheBank/ProgramSelectmenu.

2. Pressoneofthetabsonthelefttoselectaspecific

bank.

3. Selectaprogramfromthelist.Youcantoucha

Program’snamedirectly,orusetheIncandDec

buttons.

Thepopupshows

16Programsatatime.Tobrowse

throughalloftheProgramsinthecurrentbank,use

thescrollbaratthebottomofthewindow.

WhenyouselectBankINT‐G,theVariationbutton

appearsatthebottomleftofthedialog.Thisbutton

cyclesthroughtheGMvariationbanks,

justlike

repeatedlypressingthefront‐panelINT‐GBank

button,asdescribedunder“BanksGM,g(1…9),and

g(d):GeneralMIDI,”above.

TheFavoritebuttontrimsthelisttoshowonly

Programsyou’vemarkedasfavorites.Iftheselected

BankcontainsnoProgramsmarkedasFavorites,the

buttoncan’tbeturned

on.

Formoreinformation,see“Favorite,”below.

4. PresstheOKbuttontoconfirmyourchoice,or

presstheCancelbuttontoexitwithoutchanging

theProgram.

Category [00…18, Name]

Allprogramsareclassifiedintooneofeighteen

categories,suchasKeyboard,Organ,Strings,etc.Each

ofthesecategoriesmayalsohaveuptoeightsub‐

categories.

SelectingbyCategoryletsyousearchforaspecifictype

ofsound(likeanelectricbass,forexample),without

concernforwhatBanksthe

soundsarestoredin.

PresstheCategorypopupbutton,andthe

“Category/ProgramSelect”menuwillappear,as

describedbelow.

Category/Program Select

1. PresstheCategorypopupbutton(abovethe

ProgramSelectparameter)toopenthe

Category/ProgramSelectmenu.

2. Pressoneofthetabsonthelefttoselectthe

desiredcategory.

IfnoProgramsareassignedtoaparticularcategoryor

sub‐category,youwon’ tbeabletoselectitstab.

3. Pressatab

inthesecondfromleftcolumntoselect

asub‐category.

All:Allprogramsinthecategorywillbeshown.

Choosethiswhenyoudon’tneedtousesub‐categories.

0…7:Theprogramswillbeshownbysub‐category.

4. Selectaprogramfromthelist.

YoucantouchaProgram’snamedirectly,

orusetheInc

andDecbuttons.

IftherearemoreProgramsthancanbeshownonthe

screenatonetime,usethescrollbartobrowsethrough

theentireCategory.

TheFavoritebuttontrimsthelisttoshowonly

Programsyou’vemarkedasfavorites.Iftheselected

Categorycontains

noProgramsmarkedasFavorites,

thebuttoncan’tbeturnedon.

5. PresstheOKbuttontoconfirmyourchoice,or

presstheCancelbuttontoexitwithoutchanging

theProgram.

YoucanassignacategorytoaPrograminthe“Write

Program”dialog.Formoreinformation,see“Saving

youredits”onpage 59

oftheOperationGuide,and

“Writingaprogramorcombination”onpage 170of

theOperationGuide.

Favorite [Off, On]

ThisbuttonmarkstheProgramasa“favorite,”which

makesiteasytofindintheBank/ProgramSelectand

Category/ProgramSelectdialogs.

Tab

S

croll bar

Bank/ProgramSelectmenu

Program P0: Play 0–1: Main

5

NotethatyoumustwritethePrograminordertosave

changestothissetting.

Tempo ( q ) [040.00…240.00, EXT]

ThisisthetempoforthecurrentProgram,which

appliestotempo‐syncedLFOsandWaveSequences,

theVectorEG,KARMA,andtempo‐syncedeffects.

EXTmeansthatthetempowillsynctoexternalMIDI

clocks.You’llseethisiftheGlobalMIDIpageMIDI

ClockparameterissettoExternal

MIDI,orifit’ssetto

AutoandtheOASYSiscurrentlyreceivingMIDI

clocks.Formoreinformation,pleasesee“MIDIClock

(MIDIClockSource)”onpage 710.

040.00…240.00allowyoutosetaspecifictempoin

BPM,with1/100BPMaccuracy.Inadditiontousing

thestandarddataentrycontrols,you

canalsojustturn

theTEMPOknob,orbyplayingafewquarter‐noteson

theTAPTEMPObutton.

0–1b: Overview and Page Jump

Thissectionshowsanoverviewofthemostimportant

Programsettings,suchastheselectedMultisamplesor

WaveSequencesandtheirvelocityranges,filter

settings,EGsandLFOs,andsoon.

Thegraphicsgiveyouaquickwaytocheckallofthese

settingsataglance.Theyalsoletyou

jumpinstantlyto

anyofthedisplayedparameters.Justtouchoneofthe

graphics,andyou’lljumptothepagecontainingits

parameters.Forinstance,ifyoutouchtheFilterEG

graphic,you’llgototheFilterEGpage.

OSC1

OSC1 Multisample/Wave Sequence/Drum Kit

ThisareashowsOSC1’sfourMultisamplesorWave

Sequences.Colorsandabbreviationsareusedto

distinguishbetweenthevariouspossibilities,as

detailedbelow.

•Red:ROMMultisamples

•Green:RAMMultisamples

•Blue:WaveSequences

•Orange:DrumKits

•Grey:Off

•Mn:Mono

•St:Stereo

TouchthisareatojumptothecorrespondingProgram

P2–OSC1Basicpage.

Key Zone

ThisindicatesthekeyzoneinwhichOSC1willsound.

The76‐or88‐notekeyboardregionisalsoshown.

TouchthisareatojumptothecorrespondingProgram

P1–ProgramBasicpage.

MS1…4, Velocity Zone Graphic

ThisshowsthevelocityzonesforOSC1multisamples

1–4.

TouchthisareatojumptothecorrespondingProgram

P2–OSC1Basicpage.

OSC1 LFO1, OSC1 LFO2 Graphic

ThisshowsthewaveformsofOSC1LFO1andOSC1

LFO2.If“MIDI/TempoSync”isselected,thiswill

indicate“MIDI.”

TouchthisareatojumptothecorrespondingProgram

P5–OSC1LFO1pageorOSC1LFO2page.

Filter 1

Filter Routing & Type

Thisshowsthefilter1routingandfiltertype.

TouchthisareatojumptothecorrespondingProgram

P3–Filter1page.

Category tab

S

ub-category tab

Scroll bar

Category/ProgramSelectmenu

Program mode: HD-1

6

Filter Page Graphic

Thisshowsthecutofffrequency.

TouchthisareatojumptotheProgramP3–Filter1

page.

Filter EG Graphic

Thisshowstheshapeofthefilter1EG.

TouchthisareatojumptothecorrespondingProgram

P3–Filter1EGpage.

Amp 1

Drive, Low Boost, Pan, Amp Level

ThisareashowstheAmp1Driver,LowBoost,Pan,

andAmpLevelvalues.

IfBypassison,DriveandLowBoostarenotshown.

TouchthisareatojumptothecorrespondingProgram

P4–Amp1/Drive1page.

Amp EG Graphic

Thisshowstheshapeoftheamp1EG.

TouchthisareatojumptothecorrespondingProgram

P4–Amp1EGpage.

Common

Voice Assign Mode

Thisshowsthevoiceassignmodeoftheprogram–

eitherPOLYorMONO.

TouchthisareatojumptothecorrespondingProgram

P1–ProgramBasicpage.

Pitch EG Graphic

ThisshowstheshapeofthePitchEG.

TouchthisareatojumptotheProgramP2–PitchEG

page.

Common LFO Graphic

ThisshowsthewaveformoftheCommonLFO.Also,if

MIDI/TempoSyncisenabled,thewordMIDIwill

appear.

TouchthisareatojumptotheProgramP5–Common

LFOpage.

3Band EQ Graphic

ThisshowstheMID‐sweepablethree‐bandEQ.

TouchthisareatojumptotheProgramP4–EQpage.

IFX

TouchthisareatojumptotheProgramP8–Routing

page.

MFX/TFX

TouchthisareatojumptotheProgramP9–Routing

page.

KARMA

ThisshowsthenameoftheselectedKARMAGE.

TouchthisareatojumptotheProgramP7–GE

Setup/KeyZonespage.

t 0–1: Page Menu Commands

Thenumberbeforeeachcommandshowsits ENTER+

number‐keyshortcut.Formoreinformationonthese

shortcuts,see“ENTER+0‐9:shortcutsformenu

commands”onpage 142.

•0:WriteProgram.Formoreinformation,see“Write

Program”onpage 142.

•1:ExclusiveSolo.Formoreinformation,see

“ExclusiveSolo”onpage 142.

Program P0: Play 0–6: KARMA GE

7

0–6: KARMA GE

ThispageletsyoumakebasicadjustmentstoKARMA.

FormoredetailededitingofKARMAparameters,see

“ProgramP7:KARMA”onpage 100.

ToenableordisableKARMAfortheselectedProgram,

usetheKARMAON/OFFswitch.

ThestatesoftheKARMAON/OFFandLATCH

buttons,theselectedKARMASCENE,andKARMA

SWITCHES1–8andSLIDERS1–8aresaved

independentlyforeachProgram.

0–6a: Program Select, Load GE Options,

KARMA T.Sig, Tempo

Bank [INT–A…F, GM, g(1…9), g(d), USER–A…G]

Bank Type [(HD-1, EXi)]

Program [(0…127 (INT and USER Banks),

1…128 (GM Banks)]

q (Tempo) [040.00…240.00, EXT]

Thesearethecurrentbank,Program,andTempo.For

moreinformation,see“0–1a:ProgramSelect”on

page 2.

Load GE Options [Dialogue]

Theseoptionsletyouspecifywhetherthevaluesand

assignmentsfortheKARMASLIDERSandSWITCHES

willbesetautomatically,beinitialized,orbepreserved

whenyouselectaGE.

TheseoptionsrelatetotheconceptofRTCModels;for

moreinformation,see“RTCModel”onpage 198ofthe

OperationGuide.

1. Press

theLoadGEOptionsbuttontoopenthe

LoadGEOptionsdialogbox.

2. SpecifyhowyouwanttheKARMAcontrollers

andscenesettingstochange(orbepreserved)

whenyouselectadifferentGE.

AutoRTCSetup:WhenyouselectaGE,thesettings

fortheKARMASLIDERSandSWITCHESwill

be

madeautomatically.Thismeansthatwhenyou

selectaGE,youwillbeabletousetheslidersand

switchestocontrolthephrasesoreffectvariations

withouthavingtoreassignthesettingsyourself.

ClearRTCSetup:WhenyouselectaGE,all

KARMAcontrollerandscenesettingswillbe

cleared(initialized).TheControlSurfaceSlidersand

SwitcheswillhavenoeffectontheGE.

KeepRTCSetup:EvenifyouselectaGE,the

currentKARMAcontrollerandscenesettingswill

bepreserved.Usethissettingifyouwantto

preservethecurrentKARMAcontrollerandscene

settingsbecauseyou

areselectingaGEwhose

assignedGEparametersareexactlythesame(using

thesameRTCModel),orifyouwanttokeepthe

currentKARMAcontrollersettingsandeditthem

yourselfasnecessary.

0

–6a

0

–6c

0

–6b

0–6PM

C

Program mode: HD-1

8

3. IfyouchoosetheAutoRTCSetupOnsetting,

checkoruncheckthe“UseRTCModel”option

boxtospecifyhowtheautomaticsettingswillbe

made.

On(checked):ThecurrentKARMAcontroller

assignmentsandvalueswillbecleared,andnew

settingswillbemadeaccordingtotheRTCModel

specified

foreachGE.HoweverifyouselectaGE

whoseRTCModelisCustom,allKARMA

controllerandscenesettingswillbeinitialized(the

sameasifyou’veselected“ClearRTCSetupOn”).

Normallyyouwillleavethison.

Off(unchecked):ThecurrentKARMAcontroller

assignmentsandvalueswillbepreserved

asmuch

aspossible.Forexample,youmightselectadrum

patternGEwiththissettingturnedOn(checked),

editsomeoftheKARMAScenesettings

appropriatelyforthatGE,andthenturnthisOff

(unchecked)whentryingoutadifferentdrum

patternGE,therebyapplyingthesettingsyoumade

tothenewGE.

Note:IfyouturnonAutoRTCSetupandturnoff

UseRTCModel,thecurrentKARMAcontroller

settingswillbepreservedasmuchaspossible,

relativetothestateoftheGEReal‐TimeParameters.

Howeverif(forexample)thenewlyselectedGE

doesnothave

thesamerealtimeparameters,some

oftheKARMAcontrollersettingswillbecleared.

4. Ifyouturned“UseRTCModel”On(checked),use

“ResetScenes”tospecifywhetherscenesettings

willberesetorpreservedwhenyouselectaGE.

On(checked):WhenyouselectaGE,thecurrent

settingsofscenes

1–8willberesettothestoredGE

settings.

Off(unchecked):ThecurrentsettingsofScenes1–8

willbepreserved.Choosethisifyouintendtoselect

adifferentGEthathasthesameRTCModeland

wanttocontinueusingthesamescenesettings.

EvenifthisisOff(unchecked),the

settingswillbe

resetifyouselectaGEforwhichadifferentRTC

Modelisspecified.

If“UseRTCModel”isOff(unchecked),the“Reset

Scene”optionisunavailable.

5. ClicktheOKbuttontoapplythesettingsofthe

dialogbox,orclicktheCancelbuttontoreturnto

the

settingsbeforeyouopenedthedialogbox.

Note:TheRTCModelassociatedwithaGEcanbe

viewedontheControlSurfacepagewhenitissetto

R.TimeKnobs/KARMA,andintheVNL.

KARMA T.Sig (Time Signature)

[GE/TS, 1/4…16/4, 1/8…16/8, 1/16…16/16]

Thisspecifiesthetimesignatureofthephrasesor

patternsgeneratedbytheKARMAModules.The

internaltimesignatureofthephraseorpatternis

determinedbytheGE,butyoucansetthisparameter

tochangethetimesignature.

GE/TS:Theinitialtimesignaturespecifiedbyeach

KARMAModulewill

beused.

1/4…16/16:Specifythedesiredtimesignature.In

CombinationandSequencermodes,thiswillchange

thetimesignatureforallfourKARMAModules.

Tempo ( q ) [040.00…240.00, EXT]

ThisisthetempoforthecurrentProgram,which

appliestotempo‐syncedLFOsandWaveSequences,

KARMA,andtempo‐syncedeffects.

EXTmeansthatthetempowillsynctoexternalMIDI

clocks.You’llseethisiftheGlobalMIDIpageMIDI

ClockparameterissettoExternalMIDI,orif

it’ssetto

AutoandtheOASYSiscurrentlyreceivingMIDI

clocks.Formoreinformation,pleasesee“MIDIClock

(MIDIClockSource)”onpage 710.

040.00…240.00allowyoutosetaspecifictempoin

BPM,with1/100BPMaccuracy.Inadditiontousing

thestandarddataentrycontrols,youcanalsojust

turn

theTEMPOknob,orbyplayingafewquarter‐noteson

theTAPTEMPObutton.

0–6b: GE Select

ThephrasesandpatternsproducedbyaKARMA

ModulearegeneratedbyaGE(GeneratedEffect).

Basedoninputnotedatafromthekeyboard,theGE

createsphrasesandpatternsusingnumerousinternal

parametersettingstocontrolthedevelopmentofthe

notedata,therhythm,thechordstructure,thevelocity

etc.MIDIcontrolchangesandpitchbendetc.canalso

begeneratedinsynchronizationwiththephraseor

pattern.Inthiswayyoucanproducephrasesand

patternsinwhichtheGEfreelyvariesthetoneorpitch.

TheGEcanbeselectedindependentlyforeach

KARMAModule.

InProgrammode

youcanuseoneKARMAModule

(ModuleA).InCombinationandSequencermodes,

youcanusefourKARMAModules:A,B,C,andD.

Module A

GE Select [Preset 0000...2047,

USER-A…L 000...127]

ThisselectstheGEfortheKARMAmodule.Thereare

atotalof3,584tochoosefrom:2,048presetGEs,and

1,536rewritableUserGEs(12banksof128each).

PresetGEsarepartofthesystemsoftware.

UserGEsmaybeincludedwithnewbanksofsounds,

andcanalsobe

createdusingKARMAOASYS

software(dedicatedsoftwarefortheOASYS*).For

moreinformationonloadingUserGEs,see“Load

.KGE”onpage 773.

*MadebyKarmaLab(http://www.karma‐lab.com).

MacintoshandWindowsaresupported.English

versiononly.

GE Bank Select [Preset...USER-L]

ThisselectstheGEbank.ThePresetbankispartofthe

systemsoftware;Userbankscanbeloadedfromdisk.

Formoreinformation,see“GESelect,”above.

GE Category Select [Arpeggio…Real-Time]

ThisletsyouselectaGEbycategory,fromArpeggio

throughReal‐Time.

RTC Model [List of RTC Models]

ThisshowstheGE’sRTCModel,asspecifiedinternally

foreachpresetGE.

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Korg OASYS User guide

Korg OASYS User guide

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