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Parameter Guide

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5

Contents
Program mode: HD-1 . . . . . . . . . . . . . . . . . 1
HD-1 Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Program P0: Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2
01:Main ................................... 2
02:PerformanceMeters...................... 7
06:KARMAGE............................. 9
07:ControllerView/Effect................... 13
08:AudioInput/Sampling .................. 14
09:ControlSurface ......................... 21

Program P1: Basic/Vector . . . . . . . . . . . . . . . . . . . . 36


11:ProgramBasic .......................... 36
13:DrumTrack ............................ 42
15:VectorControl ......................... 46
16:VectorEnvelope ........................ 50
18:SetUpControllers...................... 53
19:Pads .................................. 54

Program P2: OSC/Pitch . . . . . . . . . . . . . . . . . . . . . . 57


21:OSC1Basic ............................ 57
22:OSC1Pitch............................. 62
25:OSC2Basic ............................ 65
26:OSC2Pitch............................. 65
29:PitchEG .............................. 65

Program P3: Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . 69


31:Filter1 ................................. 69
32:Filter1Modulation ...................... 72
33:Filter1LFOModulation.................. 76
34:Filter1EG............................. 77
35:Filter2 ................................. 80
36:Filter2Modulation ...................... 80
37:Filter2LFOModulation.................. 80
38:Filter2EG............................. 81

Program P4: Amp/EQ . . . . . . . . . . . . . . . . . . . . . . . . 82


41:Amp1/Driver1.......................... 82
42:Amp1Modulation...................... 84
43:Amp1EG ............................. 87
45:Amp2/Driver2.......................... 89
46:Amp2Mod. ............................ 90
47:Amp2EG ............................. 90
49:EQ .................................... 90

Program P5: LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92


51:OSC1LFO1............................ 92
52:OSC1LFO2............................ 95
55:OSC2LFO1............................ 95
56:OSC2LFO2............................ 95
59:CommonLFO ......................... 96

Program P6: AMS Mixer/Common Key Track . . 98


61:OSC1AMSMixer ...................... 98
65:OSC2AMSMix....................... 104
69:CommonKeyboardTrack............... 105

Program P7: KARMA. . . . . . . . . . . . . . . . . . . . . . . . 107


71:GESetup/KeyZones................... 107
72:MIDIFilter/CCOffset .................. 110
73:ModuleParametersControl............. 112

74:ModuleParametersTrigger..............117
75:GERealTimeParameters/Scenes.........120
76:PerfRealTimeParameters...............123
77:DynamicMIDI .........................128
78:RandomSeeds.........................129
79:Name/NoteMap .......................132

Program P8: Insert Effect . . . . . . . . . . . . . . . . . . . 134


81:Routing...............................134
85:InsertFX ..............................137
86:TrackView............................139
87:IFX112...............................140
89:CommonFXLFO.......................141

Program P9: Master/Total Effect. . . . . . . . . . . . . 143


91:Routing...............................143
92:MFX1 .................................145
93:MFX2 .................................146
94:TFX1..................................146
95:TFX2..................................146

Program: Page Menu Commands . . . . . . . . . . . . 147

Program mode: EXi . . . . . . . . . . . . . . . . .165


EXi Program P0: Play . . . . . . . . . . . . . . . . . . . . . . . 165
01:Main..................................166
02:PerformanceMeters ....................167
06:KARMAGE ...........................167
07:ControllerView/Effects..................167
08:AudioInput/Sampling..................167
09:ControlSurface ........................167

EXi Program P4: Basic/Vector . . . . . . . . . . . . . . . 169


41:ProgramBasic..........................169
42:EXiAudioInput........................174
43:DrumTrack............................175
45:VectorControl.........................175
46:VectorEnvelope........................175
48:SetUpControllers ......................175
49:Pads..................................176

EXi Program P5: Modulation . . . . . . . . . . . . . . . . 177


51:CommonStepSeq......................177
52:CommonLFO.........................180
53:CommonKeyboardTrack ...............180

EXi Program: Page Menu Commands . . . . . . . . 181

EXi: AL-1 Analog Synthesizer . . . . . . . .183


AL-1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
EXi Program P0: Play . . . . . . . . . . . . . . . . . . . . . . . 184
01:Main..................................184

Program P4: OSC Pitch . . . . . . . . . . . . . . . . . . . . . . 186


41:OSCBasic .............................186
42:Sub/Noise/RingMod....................189
43:Mixer.................................190
44:PitchCommon.........................192

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45:PitchEG/Mod ......................... 194

CX-3: Tone Adjust . . . . . . . . . . . . . . . . . . . . . . . . . . 244

Program P5: Filter. . . . . . . . . . . . . . . . . . . . . . . . . . 196

Changes from the original CX-3 . . . . . . . . . . . . . 245

51:FilterBasic ............................ 196


52:MultiFilter ........................... 199
53:FilterModulation ...................... 200
54:FilterLFOMod........................ 203

CX-3: Page Menu Commands. . . . . . . . . . . . . . . . 246

Program P6: Amp . . . . . . . . . . . . . . . . . . . . . . . . . . 204


61:Amp/Driver........................... 204
62:AmpModulation ...................... 206
63:AmpEG............................. 208

EXi: STR-1 Plucked String . . . . . . . . . . . 247


STR-1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
EXi Program P0: Play . . . . . . . . . . . . . . . . . . . . . . . 249
01:Main.................................. 249

Program P7: EG 1-4. . . . . . . . . . . . . . . . . . . . . . . . . 211

Program P4: String . . . . . . . . . . . . . . . . . . . . . . . . . 251

71:EG1(Filter).......................... 211
72:EG2(Pitch) .......................... 214
73:EG3 ................................. 214
74:EG4 ................................. 214

41:PluckandNoise........................251
42:PCMOscillator ......................... 253
43:PCMOscillatorPitch ....................256
44:ExcitationMixer ........................ 259
45:StringMain............................ 261
46:DampingandDispersion................265
47:StringPitch ............................ 267
48:PickupsandFeedback ...................270
49:Mixer ................................. 272

Program P8: Step Seq/LFO . . . . . . . . . . . . . . . . . . 215


81:StepSequencer........................ 215
82:LFO1................................ 217
83:LFO2................................ 220
84:LFO3................................ 220
85:LFO4................................ 220

Program P5: Filter . . . . . . . . . . . . . . . . . . . . . . . . . . 274

AL-1: Tone Adjust . . . . . . . . . . . . . . . . . . . . . . . . . . 222

51:FilterBasic .............................274
52:MultiFilter ............................ 277
53:FilterModulation .......................279
54:FilterLFOMod ......................... 281

AL-1: Page Menu Commands . . . . . . . . . . . . . . . 224

Program P6: Amp . . . . . . . . . . . . . . . . . . . . . . . . . . 283

EXi: CX-3 Tonewheel Organ . . . . . . . . . 225

61:Amp..................................283
62:AmpModulation....................... 284
63:AmpEG .............................. 286

CX-3 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Program P7: EG 1-4. . . . . . . . . . . . . . . . . . . . . . . . . 289

EXi Program P0: Play . . . . . . . . . . . . . . . . . . . . . . . 226

71:EG1(Filter) ...........................289
72:EG2(Pitch) ...........................289
73:EG3 .................................. 289
74:EG4 .................................. 289
81:LFO1................................. 289
82:LFO2................................. 289
83:LFO3................................. 289
84:LFO4................................. 289

Program P9: AMS Mixer . . . . . . . . . . . . . . . . . . . . 221


91:AMSMixer........................... 221

01:Main ................................. 226

Program P4: Basic. . . . . . . . . . . . . . . . . . . . . . . . . . 228


41:Basic ................................. 228
42:Controllers............................ 229

Program P5: Split & Drawbars. . . . . . . . . . . . . . . 231


51:KeyboardSplit........................ 231
52:Drawbars ............................. 232
53:EXDrawbars.......................... 233

Program P6: Percussion . . . . . . . . . . . . . . . . . . . . 235


61:Percussion ............................ 235
62:EXPercussion ......................... 237

Program P9: AMS Mixers and String Track . . . 290


91:AMSMixers12 ........................ 290
92:AMSMixers34 ........................ 290
99:StringTrack...........................290

STR-1: Tone Adjust . . . . . . . . . . . . . . . . . . . . . . . . . 292

Program P7: Amp, V/C, Rotary Speaker . . . . . . 238


71:Amp&V/C ........................... 238
72:RotarySpeaker ........................ 240

EXi: MS-20EX. . . . . . . . . . . . . . . . . . . . . . . 295

Program P9: AMS Mixer . . . . . . . . . . . . . . . . . . . . 243

MS-20EX Overview . . . . . . . . . . . . . . . . . . . . . . . . . 295

91:AMSMixer........................... 243

Onscreenknobsandswitches
and the Parameter Details area...............296

EXi Program P0: Play . . . . . . . . . . . . . . . . . . . . . . . 297


01:Main.................................. 297

Program P4: Oscillators & Filters . . . . . . . . . . . . 299


41:Oscillators&Filters..................... 299

Program P5: MG, EG, & Modulation . . . . . . . . . . 303


51:MG,EG,&Modulation .................. 303

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Program P6: Patch Panel. . . . . . . . . . . . . . . . . . . . 307


61:PatchPanel............................ 307
71:EG3................................. 317
72:EG4.................................. 317
73:EG5................................. 317
74:EG6................................. 317
81:LFO1................................ 317
82:LFO2................................ 317
83:LFO3................................ 317
84:LFO4................................ 317
91:AMSMixers12........................ 318
92:AMSMixers34........................ 318

MS-20EX: Tone Adjust . . . . . . . . . . . . . . . . . . . . . . 319

EXi: PolysixEX . . . . . . . . . . . . . . . . . . . . . .323


PolysixEX Overview . . . . . . . . . . . . . . . . . . . . . . . . 323
Onscreenknobsandswitches
and the Parameter Details area .............. 324

EXi Program P0: Play . . . . . . . . . . . . . . . . . . . . . . . 325


01:Main ................................. 325

Program P4: Main . . . . . . . . . . . . . . . . . . . . . . . . . . 327


41:Main ................................. 327

Program P5: Modulation & Arpeggiator . . . . . 332


51:Modulation&Arpeggiator.............. 332
71:EG2................................. 334
72:EG3................................. 334
81:LFO1................................ 334
82:LFO2................................ 334
91:AMSMixers12....................... 334
92:AMSMixers34....................... 334

PolysixEX: Tone Adjust . . . . . . . . . . . . . . . . . . . . . 335

EXi: MOD-7 Waveshaping VPM


Synthesizer . . . . . . . . . . . . . . . . . . . . . . . .337

56:VPMOscillator3.......................375
57:VPMOscillator4.......................375
58:VPMOscillator5.......................375
59:VPMOscillator6.......................375

Program P6: Filter . . . . . . . . . . . . . . . . . . . . . . . . . . 376


61:FilterBasic.............................376
62:MultiFilter ............................376
63:FilterModulation.......................376
64:FilterLFOMod.........................376

Program P7: Amp . . . . . . . . . . . . . . . . . . . . . . . . . . 377


71:Mixers13.............................377
72:MainMixer ............................378
73:Amp ..................................379
74:AmpModulation .......................379
75:AmpEG..............................379

Program P8: EG 19 . . . . . . . . . . . . . . . . . . . . . . . . 380


81:EG1..................................380
82:EG2..................................383
83:EG3..................................383
84:EG4..................................383
85:EG5..................................383
86:EG6..................................383
87:EG7..................................383
88:EG8..................................383
89:EG9..................................383

Program P9: Step Sequencer, LFO 1-4,


and AMS Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384
91:StepSequencer ........................384
92:LFO1 ................................384
93:LFO2 ................................384
94:LFO3 ................................384
95:LFO4 ................................384
96:AMSMixers12........................384
97:AMSMixers34........................384
98:AMSMixers56........................384
99:AMSMixers78........................384

MOD-7: Tone Adjust . . . . . . . . . . . . . . . . . . . . . . . . 385

MOD-7 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . 337


UsingtheParameterDetailsarea ............ 339
LoadingDXsounds ........................ 339

EXi: SGX-1 Premium Piano. . . . . . . . . . .387

Synthesis with the MOD-7: a guided tour . . . . 341

SGX-1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Overview ................................. 341


Individualoscillatorsandsubtractivesynthesis 342
VPM(akaFM)............................. 343
FilteredVPM.............................. 344
PCMasaVPMmodulator .................. 345
Waveshaping ............................. 346
RingModulation .......................... 348

EXi Program P0: Play . . . . . . . . . . . . . . . . . . . . . . . 388

EXi Program P0: Play . . . . . . . . . . . . . . . . . . . . . . . 350

01:Main..................................388

Program P4: Main . . . . . . . . . . . . . . . . . . . . . . . . . . 390


41:Main..................................390

SGX-1: Tone adjust . . . . . . . . . . . . . . . . . . . . . . . . . 393

01:Main ................................. 350

EXi: EP-1 MDS Electric Piano . . . . . . . . .395

Program P4: Patch Panel. . . . . . . . . . . . . . . . . . . . 352

EP-1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

41:PatchPanel ........................... 352

Onscreenknobs,sliders&switches
and the Parameter Details area...............396

Program P5: Oscillators. . . . . . . . . . . . . . . . . . . . . 356


51:OscMain............................. 356
52:PCMOsc ............................. 360
53:PCMMod ............................ 362
54:VPMOsc1 ............................ 365
55:VPMOscillator2 ...................... 375

EXi Program P0: Play . . . . . . . . . . . . . . . . . . . . . . . 397


01:Main..................................397

Program P4: Basic/Oscillator . . . . . . . . . . . . . . . . 399


P41Basic.................................399

P42Oscillator............................ 401

Combination P9: Master/Total Effect . . . . . . . . 498

Program P5: Panel/IFX/Amp & Cabinet . . . . . . 403


P51Common ............................ 403
TineEP................................... 405
ReedEP.................................. 407
InsertEffects .............................. 408

91:Routing............................... 498
92:MFX1 ................................. 499
93:MFX2 ................................. 500
94:TFX1.................................. 500
95:TFX2.................................. 500

Program P9: AMS Mixers . . . . . . . . . . . . . . . . . . . 412

Combination: Page Menu Commands. . . . . . . . 501

P9AMSMixers............................ 412

EP-1: Tone Adjust . . . . . . . . . . . . . . . . . . . . . . . . . . 413

Sequencer mode . . . . . . . . . . . . . . . . . . . 509


Sequencer Overview . . . . . . . . . . . . . . . . . . . . . . . 509

Combination mode. . . . . . . . . . . . . . . . . 415


Combination P0: Play . . . . . . . . . . . . . . . . . . . . . . 415
01:ProgramSelect/Mixer .................. 415
02:PerformanceMeters.................... 421
06:KARMAGE .......................... 422
07:ControllerView/Effect.................. 425
08:AudioInput/Sampling ................. 426
09:ControlSurface........................ 428

Combination P1: EQ/Vector/Controller . . . . . . 440


11:TimbreEQ ............................ 440
13:DrumTrack........................... 441
15:VectorVolumeControl ................. 442
16:VectorCCControl..................... 446
17:VectorEnvelope ....................... 448
18:SetUpControllers..................... 451
19:Pads................................. 452

Combination P2: Timbre Parameters . . . . . . . . 454


21:MIDI................................. 454
22:OSC ................................. 455
23:Pitch ................................. 457
24:Delay ................................ 458
25:WaveSequence/KARMA............... 459
26:EXiAudioInput ....................... 461

Combination P3: MIDI Filter/Zones . . . . . . . . . . 462


31:MIDIFilter1........................... 462
32:MIDIFilter2........................... 464
33:MIDIFilter3........................... 465
35:KeyboardZones ....................... 466
36:VelocityZones ........................ 468

Combination P7: KARMA . . . . . . . . . . . . . . . . . . . 470


71:GESetup/KeyZones................... 470
72:MIDIFilter/CCOffset.................. 474
73:ModuleParametersControl............. 475
74:ModuleParametersTrigger ............. 476
75:GERealTimeParameters/Scenes........ 478
76:PerfRealTimeParameters .............. 481
77:DynamicMIDI........................ 482
78:RandomSeeds ........................ 484
79:Name/NoteMap ...................... 486

Combination P8: Insert Effect . . . . . . . . . . . . . . . 488


81:Routing1 ............................. 488
82:Routing2 ............................. 491
85:InsertFX ............................. 492
86:TrackView ........................... 494
87:IFX112 .............................. 495
89:CommonFXLFO ...................... 497

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MIDIsequencer............................ 509
Setupparameters&Musicaldata .............511
Tip: ...................................... 512

Sequencer P0: Play/REC. . . . . . . . . . . . . . . . . . . . . 513


01:MIDITrackProgSelect/Mixer ............513
02:AudioTrackMixer ..................... 519
03:MIDITrackLoop .......................524
04:PerformanceMeters .................... 525
05:Preferences............................ 525
06:KARMAGE...........................529
07:ControllerView/Effect .................. 531
08:AudioIn/Sampling..................... 532
09:ControlSurface ........................534

Sequencer P1: EQ/Vector/Controller . . . . . . . . . 546


11:MIDITrackEQ......................... 546
12:AudioTrackEQ ........................ 548
13:DrumTrack ...........................549
15:VectorVolumeControl.................. 551
16:VectorCCControl ......................554
17:VectorEnvelope........................ 557
18:SetUpControllers ......................560
19:Pads .................................. 562

Sequencer P2: Track Parameters . . . . . . . . . . . . 564


21:MIDI ................................. 564
22:OSC..................................566
23:Pitch .................................. 568
24:Delay................................. 570
25:WaveSequence/KARMA ................ 571
26:EXiAudioInput ........................ 573
27:AudioTrackDelay ..................... 574

Sequencer P3: MIDI Filter/Zones . . . . . . . . . . . . 576


31:MIDIFilter1 ...........................576
32:MIDIFilter2 ...........................578
33:MIDIFilter3 ...........................579
35:KeyboardZones........................ 580
36:VelocityZones.........................582

Sequencer P4: Track Edit. . . . . . . . . . . . . . . . . . . . 584


41:TrackEdit............................. 584
42:MIDITrackName...................... 586
43:AUDIOTrackName ....................587

Sequencer P5: Pattern/RPPR . . . . . . . . . . . . . . . . 588


51:PatternEdit............................ 588
52:PatternName .......................... 590
53:RPPRSetup............................ 591

Sequencer P7: KARMA . . . . . . . . . . . . . . . . . . . . . . 594


71:GESetup/KeyZones ....................595

72:MIDIFilter/CCOffset .................. 599


73:ModuleParametersControl............. 600
74:ModuleParametersTrigger ............. 601
75:GERealTimeParameters/Scenes ........ 602
76:PerfRealTimeParameters .............. 604
77:DynamicMIDI ........................ 605
78:RandomSeeds ........................ 606
79:Name/NoteMap....................... 607

Sequencer P8: Insert Effect . . . . . . . . . . . . . . . . . 609


81:MIDIRouting1........................ 609
82:MIDIRouting2........................ 611
83:AudioRouting1 ....................... 612
84:AudioRouting2 ....................... 614
85:InsertFX.............................. 615
86:TrackView ........................... 616
87:IFX112 .............................. 618
89:CommonFXLFO ...................... 620

49:Pads..................................709

Sampling P5: Audio CD . . . . . . . . . . . . . . . . . . . . . 711


51:Ripping...............................711

Sampling P8: Insert Effect . . . . . . . . . . . . . . . . . . . 714


81:Routing...............................714
85:InsertFX ..............................716
86:TrackView............................718
87:IFX112...............................719
89:CommonFXLFO.......................720

Sampling P9: Master/Total Effect . . . . . . . . . . . . 722


91:Routing...............................722
92:MFX1 .................................724
93:MFX2 .................................725
94:TFX1..................................725
95:TFX2..................................725

Sampling: Page Menu Commands . . . . . . . . . . . 726

Sequencer P9: Master/Total Effect. . . . . . . . . . . 621


91:Routing .............................. 621
92:MFX1 ................................ 622
93:MFX2 ................................ 623
94:TFX1 ................................. 623
95:TFX2 ................................. 623

Sequencer: Page Menu Commands . . . . . . . . . . 624


System Exclusive events supported
in Sequencer mode. . . . . . . . . . . . . . . . . . . . . . . . . 661

Global mode . . . . . . . . . . . . . . . . . . . . . . .753


Global P0: Basic Setup . . . . . . . . . . . . . . . . . . . . . . 753
01:BasicSetup ............................753
02:AudioInput ...........................759
03:KSCAutoLoad........................762
04:SampleManagement....................765
05:Network ..............................767

Global P1: MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 770

Set List mode . . . . . . . . . . . . . . . . . . . . . . .663


Overview ................................. 663

Set List P0: Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664


01:Play.................................. 664

Set List P1: Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . 667


11:Edit .................................. 667

11:MIDI..................................770
12:External1 .............................777
13:External2 .............................779

Global P2: Controllers/Scales. . . . . . . . . . . . . . . . 781


21:Controllers ............................781
22:UserScale.............................783

Global P3: Category Name . . . . . . . . . . . . . . . . . . 785

91:ControlSurface ........................ 670

31:ProgramCategory ......................785
32:CombiCategory ........................786
33:KARMACategory ......................786

Set List: Page Menu Commands . . . . . . . . . . . . . 673

Global P4: Wave Sequence . . . . . . . . . . . . . . . . . . 787

Set List P9: Control Surface . . . . . . . . . . . . . . . . . 670

Sampling mode. . . . . . . . . . . . . . . . . . . . .675


Sampling Overview . . . . . . . . . . . . . . . . . . . . . . . . 675

41:SequenceParameters....................787
42:PerStepParameters ....................792

Global P5: Drum Kit. . . . . . . . . . . . . . . . . . . . . . . . . 796

SamplingtoRAM,ordirecttodisk........... 675
Samplingfeatures.......................... 676

51:SampleSetup..........................797
52:SampleParameters .....................800
53:VoiceAssign/Mixer .....................801

Sampling P0: Recording . . . . . . . . . . . . . . . . . . . . 679

Global P6: Options Info . . . . . . . . . . . . . . . . . . . . . 803

01:Recording ............................ 679


08:AudioInput........................... 685
09:ControlSurface ........................ 690

Global: Page Menu Commands . . . . . . . . . . . . . . 806

Sampling P1: Sample Edit. . . . . . . . . . . . . . . . . . . 697

Disk mode. . . . . . . . . . . . . . . . . . . . . . . . . .815

11:SampleEdit ........................... 697

Sampling P2: Loop Edit . . . . . . . . . . . . . . . . . . . . . 700

Disk P0: File . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 817

31:MultisampleEdit...................... 703

01:Load ..................................817
02:Save..................................819
03:Utility.................................821
09:MediaInformation......................822

Sampling P4: EQ/Controller . . . . . . . . . . . . . . . . . 706

Disk P1: Audio CD . . . . . . . . . . . . . . . . . . . . . . . . . . 823

41:EQ ................................... 706


48:SetUpControllers..................... 707

11:MakeAudioCD ........................823
12:PlayAudioCD .........................825

21:LoopEdit ............................. 700

Sampling P3: Multisample Edit . . . . . . . . . . . . . . 703

vii

19:MediaInformation..................... 827

Disk: Page Menu Commands. . . . . . . . . . . . . . . . 828

025:PianoBody/Damper.................... 916
026:Vocoder ...............................916

Overdrive, Amp models, and Mic models . . . . 918

Effect Guide . . . . . . . . . . . . . . . . . . . . . . . 857


Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 857
Effectsineachmode ....................... 857
Dynamicmodulation(Dmod)andTempo
Synchronization ........................... 859
CommonFXLFOs ......................... 860
FXControlBuses.......................... 860
EffectI/O................................. 862

Insert Effects (IFX1IFX12) . . . . . . . . . . . . . . . . . 864


In/Out.................................... 864
Routing .................................. 865
Mixer.................................... 874
ControllingtheInsertEffectsviaMIDI ....... 876

Master Effects (MFX1, 2) . . . . . . . . . . . . . . . . . . . . 877


In/Out.................................... 877
Routing .................................. 878
Mixer.................................... 881
ControllingtheMasterEffectsviaMIDI ...... 882

Total Effects (TFX1, 2) . . . . . . . . . . . . . . . . . . . . . . 883


In/Out.................................... 883
Routing .................................. 883
Mixer.................................... 884
UsingMIDItocontroltheTotalEffects....... 884

Outputs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 885
MainOutputs ............................. 885
IndividualOutputs ........................ 885

Effect/Mixer Block Diagrams . . . . . . . . . . . . . . . . 886


Dynamics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 889
000:NoEffect............................. 889
001:StereoDynaCompressor ............... 889
002:StereoCompressor..................... 890
003:StereoExpander ....................... 893
004:St.MultibandCompressor............... 894
005:StereoLimiter ......................... 896
006:MultibandLimiter..................... 897
007:StereoMultibandLimiter............... 898
008:StereoMasteringLimiter ............... 899
009:StereoGate ........................... 900
010:StereoNoiseReduction ................. 901

EQ and Filters. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 902


011:StereoParametric4EQ.................. 902
012:StereoGraphic7EQ.................... 903
013:StereoMaster3EQ..................... 904
014:StereoExciter/Enhncr .................. 905
015:StereoIsolator ......................... 906
016:StereoWah/AutoWah ................. 906
017:St.Vintage/CustomWah................ 908
018:StereoRandomFilter................... 909
019:MultiModeFilter...................... 910
020:StereoSubOscillator................... 911
021:TalkingModulator..................... 912
022:StereoDecimator...................... 913
023:StereoAnalogRecord.................. 914
024:StereoWaveShaper .................... 914

viii

027:OD/HiGainWah.......................918
028:OD/HyperGainWah ....................919
029:StereoGuitarCabinet................... 920
030:GuitarAmpModel+P4EQ............... 920
031:GuitarAmpModel+Cabinet .............921
032:StereoBassCabinet .....................922
033:BassAmpModel....................... 922
034:BassAmpModel+Cabinet............... 923
035:BassAmpTubeDrive+Cab ..............924
036:TubePreAmpModeling................. 925
037:St.TubePreAmpModeling .............. 925
038:MicModeling+PreAmp ................. 926
039:St.MicModeling+PreAmp..............926

Chorus, Flanger, and Phaser . . . . . . . . . . . . . . . . 927


040:StereoChorus .......................... 927
041:StereoHarmonicChorus ................928
042:St.BiphaseModulation ................. 929
043:MultitapCho/Delay4Taps............... 930
044:MultitapCho/Delay6Taps............... 930
045:BiChorus ............................. 931
046:Ensemble..............................933
047:PolysixEnsemble.......................933
048:StereoFlanger.......................... 934
049:StereoRandomFlanger .................935
050:StereoEnvelopeFlanger................. 935
051:StereoPhaser ..........................936
052:StereoRandomPhaser.................. 937
053:StereoEnvelopePhaser .................938
054:BiPhaser ..............................939

Modulation and Pitch Shift . . . . . . . . . . . . . . . . . 940


055:StereoVibrato.......................... 940
056:StereoAutoFadeMod. .................. 941
057:2VoiceResonator...................... 942
058:Doppler ...............................943
059:Scratch ................................944
060:GrainShifter ........................... 944
061:StereoTremolo ......................... 945
062:StereoEnvelopeTremolo ................ 946
063:StereoAutoPan ........................ 947
064:StereoPhaser+Tremolo .................. 948
065:StereoRingModulator .................. 949
066:StereoFrequencyShifter................. 950
067:Detune ................................951
068:PitchShifter ...........................951
069:StereoPitchShifter ..................... 952
070:PitchShifterBPM.......................953
071:StereoPitchShifterBPM................. 954
072:PitchShiftMod. ........................ 955
073:OrganVibrato/Chorus .................. 956
074:RotarySpeaker......................... 957
075:RotarySpeakerProOD .................958
076:RotarySpeakerProCX .................. 959

Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 961
077:L/C/RDelay ...........................961
078:L/C/RLongDelay...................... 961
079:Stereo/CrossDelay ..................... 962

080:Stereo/CrossLongDelay................ 963
081:StereoMultitapDelay.................. 963
082:StereoModulationDelay ............... 964
083:StereoDynamicDelay .................. 965
084:StereoAutoPanningDelay ............. 966
085:TapeEcho ............................ 967
086:MultibandMod.Delay ................. 968
087:ReverseDelay ......................... 969
088:HoldDelay ........................... 970
089:AutoReverse.......................... 971
090:SequenceBPMDelay ................... 972
091:L/C/RBPMDelay ...................... 973
092:L/C/RBPMLongDelay ................. 974
093:StereoBPMDelay...................... 975
094:StereoBPMLongDelay ................ 976
095:StereoBPMMultitapDelay ............. 977
096:StereoBPMMod.Delay ................ 978
097:St.BPMAutoPanningDly .............. 979
098:TapeBPMEcho........................ 980
099:ReverseBPMDelay.................... 981

Reverb and Early Reflections . . . . . . . . . . . . . . . . 983


100:Overb................................ 983
101:ReverbHall ........................... 984
102:ReverbSmoothHall.................... 984
103:ReverbWetPlate ...................... 984
104:ReverbDryPlate ...................... 984
105:ReverbRoom.......................... 985
106:ReverbBrightRoom ................... 985
107:EarlyReflections....................... 986
108:EarlyReflectionsHiDens ............... 986

Mono-Mono Serial . . . . . . . . . . . . . . . . . . . . . . . . . 988


109:P4EQExciter ......................... 991
110:P4EQWah ........................... 991
111:P4EQChorus/Flanger................. 991
112:P4EQPhaser ......................... 992
113:P4EQMultitapDelay ................. 992
114:CompWah .......................... 992
115:CompAmpSim...................... 993
116:CompOD/HiGain.................... 993
117:CompP4EQ ......................... 993
118:CompChorus/Flanger................. 994
119:CompPhaser ........................ 994
120:CompMultitapDelay ................. 995
121:LimiterP4EQ ........................ 995
122:LimiterChorus/Flanger ............... 995
123:LimiterPhaser ....................... 996
124:LimiterMultitapDelay ................ 996
125:ExciterComp ........................ 997
126:ExciterLimiter ....................... 997
127:ExciterChorus/Flanger ................ 997
128:ExciterPhaser ........................ 998
129:ExciterMultitapDelay ................ 998
130:OD/HiGainAmpSim ................. 998
131:OD/HiGainCho/Flanger.............. 999
132:OD/HiGainPhaser................... 999
133:OD/HiGainMultitapDly.............. 999
134:WahAmpSim ...................... 1000
135:DecimatorAmpSim................. 1000
136:DecimatorComp.................... 1000
137:AmpSimTremolo ................... 1001

138:Cho/FlangerMultitapDly.............1002
139:PhaserChorus/Flanger ................1002
140:ReverbGate .........................1002

Mono/Mono Parallel . . . . . . . . . . . . . . . . . . . . . . .1004


141:P4EQ//P4EQ.........................1007
142:P4EQ//Comp.........................1007
143:P4EQ//Limiter .......................1008
144:P4EQ//Exciter ........................1008
145:P4EQ//OD/HiGain ...................1008
146:P4EQ//Wah ..........................1008
147:P4EQ//Chorus/Flanger................1009
148:P4EQ//Phaser........................1009
149:P4EQ//MultitapBPMDly ..............1009
150:Comp//Comp........................1009
151:Comp//Limiter.......................1010
152:Comp//Exciter .......................1010
153:Comp//OD/HiGain ...................1010
154:Comp//Wah .........................1010
155:Comp//Chorus/Flanger................1011
156:Comp//Phaser........................1011
157:Comp//MultitapBPMDly .............1011
158:Limiter//Limiter ......................1011
159:Limiter//Exciter ......................1012
160:Limiter//OD/HiGain ..................1012
161:Limiter//Wah ........................1012
162:Limiter//Chorus/Flanger...............1012
163:Limiter//Phaser.......................1013
164:Limiter//MtapBPMDly...............1013
165:Exciter//Exciter .......................1013
166:Exciter//OD/HiGain..................1013
167:Exciter//Wah .........................1014
168:Exciter//Chorus/Flanger...............1014
169:Exciter//Phaser .......................1014
170:Exciter//MtapBPMDly................1014
171:OD/HiGain//OD/HiGain .............1015
172:OD/HiGain//Wah....................1015
173:OD/HiGain//Cho/Flanger .............1015
174:OD/HiGain//Phaser ..................1015
175:OD/HiGain//MtBPMDly.............1016
176:Wah//Wah ...........................1016
177:Wah//Chorus/Flanger.................1016
178:Wah//Phaser .........................1016
179:Wah//MultitapBPMDly...............1017
180:Cho/Flange//Cho/Flanger ..............1017
181:Cho/Flange//Phaser ...................1017
182:Cho/Flange//MtBPMDly ..............1017
183:Phaser//Phaser.......................1018
184:Phaser//MtapBPMDly ................1018
185:Mt.BPMDly//Mt.BPMDly .............1018

KARMA GE guide . . . . . . . . . . . . . . . . . 1019


About the KARMA GE guide . . . . . . . . . . . . . . . .1019
HowtoreadtheGEGuide................1019
HowGEparameternamesaredisplayed .....1019

About KARMA. . . . . . . . . . . . . . . . . . . . . . . . . . . . .1021


Overview.................................1021
TheoryOfOperation .......................1021
KARMAArchitecture(Diagram) ............1022

ix

GE (Generated Effect) Group . . . . . . . . . . . . . . . 1023


Overview................................ 1023
GEGlobalParameters ..................... 1023

Note Series Group. . . . . . . . . . . . . . . . . . . . . . . . . 1026


Overview................................ 1026
Parameters .............................. 1026

Phase Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1030


Overview................................ 1030
AboutPhasePatterns ..................... 1030
GeneralParameters....................... 1030
PhaseSpecificParameters.................. 1032
EndLoopParameters ..................... 1033
PatternParameters........................ 1033

Rhythm Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1035


Overview................................ 1035
AboutRhythmPatterns ................... 1035
GlobalParameters........................ 1035
PatternGrid&AssociatedParameters ....... 1036
RandomWeightingParametersPools...... 1037
RandomWeightingParametersTies ....... 1038
AssociatedParameters .................... 1038

Duration Group . . . . . . . . . . . . . . . . . . . . . . . . . . . 1040


Overview................................ 1040
AboutDurationPatterns................... 1040
PatternGrid&AssociatedParameters ....... 1040
AssociatedParameters .................... 1040
RandomWeightingParametersPools...... 1042
RandomWeightingParametersTies ....... 1042
AssociatedParameters .................... 1042

Index Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1043


Overview................................ 1043
AboutIndexPatterns...................... 1043
PatternGrid&AssociatedParameters ....... 1043
AssociatedParameters .................... 1043
RandomWeightingParameters............. 1044
AssociatedParameters .................... 1044

Cluster Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1047


Overview................................ 1047
AboutClusterPatterns.................... 1047
PatternGrid&AssociatedParameters ....... 1047
RandomWeightingParameters............. 1048
AssociatedParameters .................... 1048

Velocity Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . 1049


Overview................................ 1049
AboutVelocityPatterns ................... 1049
GlobalParameters........................ 1049
PatternGrid&AssociatedParameters ....... 1050
RandomWeightingParameters............. 1050
AssociatedParameters .................... 1050

CCs/Pitch Group . . . . . . . . . . . . . . . . . . . . . . . . . . 1052


Overview................................ 1052
AboutCC/Bend/PitchPatterns ............. 1052
PatternGrid&AssociatedParameters ....... 1052
RandomWeightingParameters............. 1053
GlobalParameters........................ 1054
AssociatedParameters .................... 1054

WaveSeq Group . . . . . . . . . . . . . . . . . . . . . . . . . . 1056


Overview................................ 1056

AboutWaveSeqPatterns................... 1056
GlobalParameters ......................... 1056
PatternGrid&AssociatedParameters........ 1057
RandomWeightingParameters .............1058
AssociatedParameters..................... 1058

Envelope Group. . . . . . . . . . . . . . . . . . . . . . . . . . .1059


Overview ................................ 1059
AboutEnvelopes .......................... 1059
Parameters ............................... 1059
LevelCombinations .......................1062
TimeCombinations ........................ 1062

Repeat (Melodic Repeat) Group . . . . . . . . . . . .1063


Overview ................................ 1063
GeneralParameters ........................ 1063
RangeParameters.........................1066
GEMode=RealTimeParameters ........... 1067

Bend Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1069


Overview ................................ 1069
GeneralParameters ........................ 1069
GEMode=RealTimeParameters ........... 1071

Drum Group . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1073


Overview ................................ 1073
AboutDrumPatterns...................... 1073
PatternEditingGrid&AssociatedParameters 1073
AssociatedParameters..................... 1074
RandomWeightingParametersPools....... 1075
RandomWeightingParametersRests ....... 1076
AssociatedParameters..................... 1076

Direct Index Group . . . . . . . . . . . . . . . . . . . . . . . .1080


Overview ................................ 1080
GeneralParameters ........................ 1080
DurationParameters ....................... 1081
RepeatParameters......................... 1082
BendParameters..........................1082

Appendices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1084
UsingAutoBend .......................... 1084
RandomWeightingCurves ................. 1086

Appendices . . . . . . . . . . . . . . . . . . . . . . . 1089
Alternate Modulation Sources (AMS) . . . . . . .1089
AlternateModulationOverview............. 1089
AlternateModulationSource(AMS)List .....1091
AlternateModulationsettings............... 1095

Dynamic Modulation Sources (Dmod) . . . . . .1101


Overview ................................ 1101
DynamicModulationSourceList ............1101

Controller Assignments. . . . . . . . . . . . . . . . . . . .1104


SW1/2Assignments........................ 1104
RealtimeKnobs58Assignments ............1105
FootSwitchAssignments ...................1106
FootPedalAssignments ....................1108

Dynamic MIDI Sources & Destinations . . . . . .1109


DynamicMIDISources.....................1109
DynamicMIDIDestinations ................1111

MIDI transmission from KRONOS controllers 1116


KRONOS and MIDI CCs. . . . . . . . . . . . . . . . . . . . . 1120
ResponsestostandardMIDIcontrollers ..... 1120
ParameterscontrolledbyMIDICCs#7079 ... 1123

MIDI applications . . . . . . . . . . . . . . . . . . . . . . . . . 1127


AboutMIDI.............................. 1127
ConnectingMIDIdevices&computers...... 1127
USBMIDIcontrollers...................... 1128
Messagestransmittedandreceivedbythe
KRONOS ................................ 1129

MIDI Implementation. . . . . . . . . . . . . . . . . . . . . . 1142


Disk mode and file format information . . . . . 1146
AIFFandWAVEformatdetails:importing ... 1146
AIFFandWAVEformatdetails:exporting... 1146
Korgformatsamplefiles................... 1147
OASYS.SNGfilecompatibility............. 1152
CDR/RWdisksontheKRONOS:UDF and packet
writing.................................. 1153
Notice:UseofGPLandLGPLsoftware ...... 1154

Updating the system . . . . . . . . . . . . . . . . . . . . . . 1155


Restoring the system and factory sounds . . . 1156

xi

xii

Program mode: HD-1


HD-1 Overview
Flagship sampling & Wave Sequencing
synth

Main Features
Korgsproprietaryultrahighqualitysample
interpolationprovidesminimalaliasing,crystal
clearhighfrequencies,andsoundthatissmooth,
rich,anddetailedacrosstheentireaudiospectrum.

WenamedtheHD1HighDefinitionbecauseofits
superiorsound,startingwithKorgsproprietarylow
aliasingsampleplaybackoscillators,fullbandwidth
multimoderesonantfilters,andextraordinarilyfast&
smoothenvelopesandLFOs.

GigabytesofROMandEXssamplelibraries
UserSampleBanksallowmultiplegigabytesized
customlibraries

VirtualMemoryTechnology(VMT)givestheHD1
accesstogigabytesofonboardsamplescoveringevery
meatandpotatoessoundinexquisitedetail,from
orchestraltoclassicrocktohiphop,allinstantly
available.

Dualoscillatorstructure,providingtwocomplete
voicechainsforlayersandsplits
Withineachoscillator,uptoeightwayvelocity
splitsandcrossfades(includingtwowaylayers)

Wave Sequencing

WaveSequencing,forcreatingrhythmicpatternsor
complex,evolvingtimbres

WaveSequencesplayaseriesofsamplesovertime,
creatingdistinctiverhythmictimbresorsmooth,
complexevolvingsounds.Additionally,step
sequencermodulationoutputsallowWaveSequences
tocontrolanymodulatableProgramparameter.

VectorSynthesis

IntheHD1,WaveSequencescanbeused
interchangeablywithstandardMultisamples.Wave
SequencesareeditedinGlobalmode;formore
information,seeGlobalP4:WaveSequenceon
page 787.

Threeenvelopes,twoLFOs,andtwoAMSMixers
perOSC,plusacommonLFO,Vectorenvelope,
andKARMAfortheProgramasawhole

Dualmultimoderesonantfilters
DriveandLowBoost,foraddingpervoicegrit,
girthanddistortion

TwocomplexkeytrackinggeneratorsperOSC,
plustwomorefortheProgramasawhole
Extensiverealtimemodulationcapabilities

HD-1 Program Structure

Common
LFO

Vector

Drum
Track

KARMA

Key
Track 1
2

OSC1

Mixer
& EQ

Effects

OSC2

HD-1 OSC Structure


LFO 1

Pitch EG

Filter EG

LFO 2

AMS
Mixer 1

AMS
Mixer 2

Amp
EG

Filter
Key Track

Amp
Key Track

Serial/
Parallel
Filter A

Osc

Drive

Amp

Filter B
Serial/
Parallel

OSC1
OSC2

Program mode: HD-1

Program P0: Play


ThisisthemainpageofProgrammodeforHD1
Programs.Amongotherthings,youcan:
SelectPrograms
Jumpdirectlytothemaineditingpages
MakebasiceditstoKARMA

Ifinspirationforaphraseorsongstrikesyouwhile
youreplaying,youcanusethisfunctiontostart
recordingimmediately.Todoso:
1. HolddowntheENTERkeyandpressthe
SEQUENCERREC/WRITEkey.

Setuptheaudioinputsandresamplingoptions

TheSetuptoRecorddialogboxwillopenandaskAre
yousure?

Usethecontrolsurface

2. PressOK.

Auto-Song Setup

YouwillautomaticallyenterSequencermode,andwill
beintherecordreadystate.

ThisfeaturecopiesthecurrentProgramor
CombinationintoaSong,andthenputstheKRONOS
inrecordreadymode.

3. PresstheSTART/STOPkeytostartthesequencer
andbeginrecording.

01: Main
01PMC

01a

01b

ThisisthemainpageforselectingPrograms,whichare
thebasicsoundsoftheKRONOS.Italsoincludesan
interactiveoverviewofthemostimportantProgram
parameters,suchasenvelopes,LFOs,Multisamples,
filters,andsoon.Justtouchanyoftheseoverview
areas,andyoulljumptothecorrespondingeditpage.
Tip:WhereveryouareintheProgrammodepages,
pressingEXITthreetimes(orfewer)willtakeyouback
tothispage,andselecttheProgramname.Youcan
thenimmediatelyusethenumerickeysor /
switchestoselectadifferentProgram.
Forinstance,ifyoureonanypageotherthanP0:Play:
Pressitoncetogotothepreviouslyselectedtabon
themainP0page,suchasControlSurfaceorAudio
In/Sampling.
PressitagaintogotothefirsttabonthemainP0
pagethemainProgramPlaypage.Ifyouhad

previouslyselectedaparameteronthispage,that
parameterwillbeselected.
PressitathirdtimetoselectthemainProgram
nameparameter.

01a: Program Select


Bank

[INTAF, GM, g(19), g(d),


USERAG and AAGG]

ThisistheBankofthecurrentProgram.Youcan
changetheBankeitherviatheonscreenmenu,orby
usingthefrontpanelBankbuttons.
ToselectbanksINTAGorUSERAG,simply
pressandreleasethecorrespondingBANKbutton.
ToselectbanksUSERAAGG,pressandholdapair
ofIandUBANKbuttonstogether.Forexample,to
selectbankUSERCC,pressandholdtheICbutton,

Program P0: Play 01: Main

Bank

Bank Type

Program Select Popup

Category Popup

Program Select

Favorite

andthenpresstheUCbutton.Ifyouprefer,youcan
alsopressthemintheoppositeorder:firstUC,and
thenIC.

Banks GM, g(19), and g(d): General MIDI


TheGMbankcontainsafullsetofGeneralMIDI2
Programs,aswellasvariationsubbanksg(1)g(9)
(GM2variationprograms),andbankg(d)(drums).
EachtimeyoupressthefrontpanelINTGbutton,
youllstepthroughthesevariationbanksinthe
followingorder:GMg(1)g(2)g(8)g(9)GM
Ifavariationbankdoesnthaveadifferentversionof
thecurrentProgram,thebasicGMsoundwillbe
recalledinstead.Inthiscase,anasterisk*willbeadded
tothebeginningoftheProgramname.
YoucaneditGMPrograms,butyoumustthensave
themtoadifferentBank;theGMProgramsthemselves
cannotbeoverwritten.

Program Bank Contents


Asshippedfromthefactory,thecontentsofthe
ProgramBanksareasfollows:
Programbankcontents
Bank

Tempo

Bank
Type

Contents

INTA

SGX-1, EP-1,
and best of all other EXi

EXi

INTBF

HD-1 Programs

HD-1

GM (I-G)

GM2 main Programs

g(1)g(9)

GM2 variation Programs

g(d)

GM2 drum Programs

USERA

HD-1, including Ambient Drums


and Sound Effects

USERB

AL-1

USERC

AL-1 and CX-3

USERD

STR-1

USERE

MS-20EX & PolysixEX

USERF

MOD-7

USERG

Initialized HD-1 Programs

USERAACC

Programs for EXs trial versions *

USERDDEE

Initialized EXi Programs *

USERFFGG

Initialized HD-1 Programs *

Bank Type

[HD-1, EXi]

ThisshowswhetherthecurrentBankcontainsHD1
ProgramsorEXiPrograms.ThetwoProgramtypes
cantbemixedinasinglebank.
HD1:TheBankcontainsHD1Programs.
EXi:TheBankcontainsEXiPrograms.

Changing the Bank Type for USER Banks


BankscancontaineitherHD1ProgramsorEXi
Programs,butnotboth.Thisassignmentisfixedfor
theINTbanks,butcanbesetseparatelyforeachofthe
USERbanks.
TochangethetypeofaUSERbank:
1. PressthefrontpanelGLOBALbuttontoenter
Globalmode.
2. SelecttheBasictab.
3. Pressthepagemenubutton,andselectSet
ProgramUserBankType.
4. ChangetheTypeforthedesiredbanks.Leaveall
oftheotherbankssettoNoChange.
SettingabankstypewillerasealloftheProgramdata
inthebanksomakesurethatyourenoterasingany
Programsyouwanttokeep!
5. PresstheOKbutton.
Anareyousure?dialogappears.
6. Ifyourecertainofthechange,pressOKagain.

GM

Theselectedbankswillnowbeinitializedtousethe
newProgramtypes.

Program Select

[0127 (INT and USER Banks),


1128 (GM Banks)]

ThisisthecurrentProgram.Whenthisparameteris
selected,youcanselectprogramsusingtheInc and
Dec buttons,numericbuttons09(followedby
ENTER),ortheValuedial.
Bank type
can be set
to either
HD-1 or EXi

*BankcontentsmaydifferdependingontheKRONOS
model.
FordetailsonthefactoryPrograms,pleaseseethe
separateVoiceNameList(VNL).

YoucanalsochangeProgramsviaMIDIProgram
Changemessage,orbypressingafootswitch.Formore
information,seeFootSwitchAssignmentson
page 1106.
StandardProgramsarenumberedfrom0to127,while
GMProgramsusetherangefrom1to128,asperthe
GMspecification.
Note:Onthispageonly,theVALUEsliderfunctionsas
amodulationsourcewhichmeansthatyoucantuse
ittoselectPrograms.
PressthepopupbuttontocalluptheBank/Program
Selectmenu,asdescribedbelow.Thisshowsallofthe
Programsinmemory,organizedbyBank.

Bank/Program Select
1. PressthepopupbuttonattheleftofProgram
SelecttoopentheBank/ProgramSelectmenu.

Program mode: HD-1

2. Pressoneofthetabsonthelefttoselectaspecific
bank.
Therearemorebanksthancanbeshownatonetime,
sothebanksaredividedintotwogroupsoftabs:INT
AUSERGandUSERAAUSERGG.
3. Ifnecessary,usetheMorebuttonsbelowthe
tabstoswitchbetweenshowingthetabsforINT
AUSERGandUSERAAUSERGG.
4. Selectaprogramfromthelist.Youcantoucha
Programsnamedirectly,orusetheInc andDec
buttons.
Thepopupshows16Programsatatime.Tobrowse
throughalloftheProgramsinthecurrentbank,use
thescrollbaratthebottomofthewindow.

WhenyouselectBankINTG,theVariationbutton
appearsatthebottomleftofthedialog.Thisbutton
cyclesthroughtheGMvariationbanks,justlike
repeatedlypressingthefrontpanelINTGBank
button,asdescribedunderBanksGM,g(19),and
g(d):GeneralMIDI,above.
TheFavoritebuttontrimsthelisttoshowonly
Programsyouvemarkedasfavorites.Iftheselected
BankcontainsnoProgramsmarkedasFavorites,the
boxcantbechecked.
Formoreinformation,seeFavorite,below.
5. PresstheOKbuttontoconfirmyourchoice,or
presstheCancelbuttontoexitwithoutchanging
theProgram.

Tab

Scroll bar

Category

[0018, Name]

Allprogramsareclassifiedintooneofeighteen
categories,suchasKeyboard,Organ,Strings,etc.Each
ofthesecategoriesmayalsohaveuptoeightsub
categories.

Category tab
Sub-category tab

Scroll bar

SelectingbyCategoryletsyousearchforaspecifictype
ofsound(likeanelectricbass,forexample),without
concernforwhatBanksthesoundsarestoredin.
PresstheCategorypopupbutton,andthe
Category/ProgramSelectmenuwillappear,as
describedbelow.

Program P0: Play 01: Main

Category/Program Select
1. PresstheCategorypopupbutton(abovethe
ProgramSelectparameter)toopenthe
Category/ProgramSelectmenu.
2. Pressoneofthetabsonthelefttoselectthe
desiredcategory.
IfnoProgramsareassignedtoaparticularcategoryor
subcategory,youwontbeabletoselectitstab.
3. Pressatabinthesecondfromleftcolumntoselect
asubcategory.
All:Allprogramsinthecategorywillbeshown.
Choosethiswhenyoudontneedtousesubcategories.
07:Theprogramswillbeshownbysubcategory.
4. Selectaprogramfromthelist.
YoucantouchaProgramsnamedirectly,orusetheInc
andDec buttons.
IftherearemoreProgramsthancanbeshownonthe
screenatonetime,usethescrollbartobrowsethrough
theentireCategory.

01b: Overview and Page Jump


Thissectionshowsanoverviewofthemostimportant
Programsettings,suchastheselectedMultisamplesor
WaveSequencesandtheirvelocityranges,filter
settings,EGsandLFOs,andsoon.
Thegraphicsgiveyouaquickwaytocheckallofthese
settingsataglance.Theyalsoletyoujumpinstantlyto
anyofthedisplayedparameters.Justtouchoneofthe
graphics,andyoulljumptothepagecontainingits
parameters.Forinstance,ifyoutouchtheFilterEG
graphic,youllgototheFilterEGpage.

OSC1
OSC1 Graphic or Multisample/Wave
Sequence/Drum Kit names
ThisareaeithershowsthenamesoftheMultisamples,
WaveSequences,orDrumKitassignedtoOSC1,ora
graphicrepresentingthetypeofsound.

TheFavoritecheckboxtrimsthelisttoshowonly
Programsyouvemarkedasfavorites.Iftheselected
CategorycontainsnoProgramsmarkedasFavorites,
theboxcantbechecked.

Whethernamesorthegraphicaredisplayedis
controlledbytheShowMS/WS/DKitGraphicsmenu
command.Formoreinformation,seeShow
MS/WS/DKitGraphicsonpage 148and11h:Play
PageMS/WS/DKitDisplayonpage 41.

5. PresstheOKbuttontoconfirmyourchoice,or
presstheCancelbuttontoexitwithoutchanging
theProgram.

Ifnamesareshown,colorsandabbreviationsareused
todistinguishbetweenvariouspossibilities,asdetailed
below:

YoucanassignacategorytoaProgramintheWrite
Programdialog.Formoreinformation,seeSaving
youreditsonpage 42oftheOperationGuide,and
WritingProgramsandCombinationsonpage 182of
theOperationGuide.

Red:ROM,EXs,andUserSampleBank
Multisamples

Favorite

[Off, On]

Thischeckbox,rightundertheTempoparameter,
markstheProgramasafavorite,whichmakesit
easytofindintheBank/ProgramSelectand
Category/ProgramSelectdialogs.
Important:youmustwritethePrograminorderto
savechangestotheFavoritestatus.

Tempo ( q )

[040.00300.00, EXT]

ThisisthetempoforthecurrentProgram,which
appliestotemposyncedLFOsandWaveSequences,
theVectorEG,KARMA,andtemposyncedeffects.
EXTmeansthatthetempowillsynctoexternalMIDI
clocks.YoullseethisiftheGlobalMIDIpageMIDI
ClockparameterissettoExternalMIDIorUSB,orif
itssettoAutoMIDIorUSBandtheKRONOSis
currentlyreceivingMIDIclocks.Formoreinformation,
pleaseseeMIDIClock(MIDIClockSource)on
page 772.
040.00300.00allowyoutosetaspecifictempoin
BPM,with1/100BPMaccuracy.Inadditiontousing
thestandarddataentrycontrols,youcanalsojustturn
theTEMPOknob,orbyplayingafewquarternoteson
theTAPTEMPObutton.

Green:SamplingModeMultisamples
Blue:WaveSequences
Orange:DrumKits
Grey:Off
Mn:Mono
St:Stereo
TouchthisareatojumptothecorrespondingProgram
P2OSC1Basicpage.

Key Zone
ThisindicatesthekeyzoneinwhichOSC1willsound.
The61,73or88notekeyboardregionisalsoshown.
TouchthisareatojumptothecorrespondingProgram
P1ProgramBasicpage.

MS18, Velocity Zone Graphic


ThisshowsthevelocityzonesforOSC1multisamples
14.
TouchthisareatojumptothecorrespondingProgram
P2OSC1Basicpage.

OSC1 LFO1, OSC1 LFO2 Graphic


ThisshowsthewaveformsofOSC1LFO1andOSC1
LFO2.IfMIDI/TempoSyncisselected,thiswill
indicateMIDI.
TouchthisareatojumptothecorrespondingProgram
P5OSC1LFO1pageorOSC1LFO2page.

Program mode: HD-1

Filter 1
Filter Routing & Type
Thisshowsthefilter1routingandfiltertype.
TouchthisareatojumptothecorrespondingProgram
P3Filter1page.

Filter Page Graphic


Thisshowsthecutofffrequency.
TouchthisareatojumptotheProgramP3Filter1
page.

Filter EG Graphic
Thisshowstheshapeofthefilter1EG.
TouchthisareatojumptothecorrespondingProgram
P3Filter1EGpage.

Amp 1
Drive, Low Boost, Pan, Amp Level
ThisareashowstheAmp1Driver,LowBoost,Pan,
andAmpLevelvalues.
IfBypassison,DriveandLowBoostarenotshown.
TouchthisareatojumptothecorrespondingProgram
P4Amp1/Drive1page.

Amp EG Graphic
Thisshowstheshapeoftheamp1EG.
TouchthisareatojumptothecorrespondingProgram
P4Amp1EGpage.

Common
Voice Assign Mode
Thisshowsthevoiceassignmodeoftheprogram
eitherPOLYorMONO.
TouchthisareatojumptothecorrespondingProgram
P1ProgramBasicpage.

Pitch EG Graphic
ThisshowstheshapeofthePitchEG.
TouchthisareatojumptotheProgramP2PitchEG
page.

Common LFO Graphic


ThisshowsthewaveformoftheCommonLFO.Also,if
MIDI/TempoSyncisenabled,thewordMIDIwill
appear.
TouchthisareatojumptotheProgramP5Common
LFOpage.

3Band EQ Graphic
ThisshowstheMIDsweepablethreebandEQ.
TouchthisareatojumptotheProgramP4EQpage.

IFX
TouchthisareatojumptotheProgramP8Routing
page.

MFX/TFX
TouchthisareatojumptotheProgramP9Routing
page.

KARMA
ThisshowsthenameoftheselectedKARMAGE.
TouchthisareatojumptotheProgramP7GE
Setup/KeyZonespage.

t 01: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:ShowMS/WS/DKitGraphics.Formore
information,seeShowMS/WS/DKitGraphicson
page 148.
3:AddtoSetList.Formoreinformation,seeAdd
ToSetListonpage 148.

Program P0: Play 02: Performance Meters

02: Performance Meters


02PMC

02a

Thispageletsyoulookattherealtimeperformanceof
theKRONOS,includingvoiceusage,voicestealing,
andeffects.

02a: CPU
Voice CPUs
ThismetershowstheamountofCPUpowerbeing
usedforplayingvoices.Itusestwodifferentcolorsto
showtherelativecostsofvoicesandEXifixed
resources(seebelow).Therelativepercentageofeach
isshownnumericallytotherightofthemetergraphic.
Thefiguresshownarearealtimeviewoftheactual
CPUusage.Becauseofthis,theymayvaryslightly
evenifyouarentchanginganything.Also,duetothe
complexwayinwhichtheKRONOSusestheCPU,the
figuresmaysometimesnotchangebymuch(oratall)
whenthenumberofvoiceschangesbyasmallamount,
orwhenyouaddorremoveEXiwithfixedresources.
EXiFixed:Thisshowstheamountofpowerusedfor
EXifixedresources,inyellow.Fixedmeansthatpart
oftheEXistartsusingprocessingpowerassoonasthe
EXiisloaded,beforeplayinganynotes.Theseinclude
effectsbuiltintotheEXi,suchastheampsandeffects
intheCX3andEP1,aswellasfeaturessharedbyall
voices,suchastheMS20EXsexternalsignalprocessor.
Formoreinformation,seeCX3&otherEXi:
LimitationsonEXifixedresourcesonpage 420.
Voices:Thisshowstheamountofpowerusedfor
currentlysoundingvoices,ingreen.Thisincludesall
HD1andEXivoices.

Voice Stealing
Sometimes,ifalotofvoicesarealreadysounding,
therewontbeenoughfreepowertoplayanewvoice.
Whenthishappens,thesystemstopsolderorlower
priorityvoicestofreeenoughCPUpowerforthenew
voice.Thisiscalledvoicestealing.Thismetershows
theamountofvoicestealing,inrealtime.
TheKRONOSusesacomplex,sophisticatedsystemfor
voicestealing,whichcanstopvoicesfromonesynth
(suchastheHD1)tomakeroomforanother(suchas
thePolysixEX).Italsomakessurethatyouneverhave
toworryaboutdropoutsfromCPUovers,asyoudo
onmostsoftwaresystems.
Inmostcases,voicestealingwillsoundnatural.
Sometimes,however,youmaynoticethatvoicesseem
tobecuttingofftooearly.Ifthisoccurs:
1. Checkthismetertoseewhetheralotofvoice
stealingishappening.
Ifthemeterdoesntshowvoicestealing,thenthe
problemisbeingcausedbysomethingelse.Ifthe
meterdoesshowalotofstealing,thenyoucanaddress
thisinseveraldifferentways.Notethatthesesolutions
applyprimarilytoCombinationandSequencermodes.
2. InCombinationandSequencermodes,usethe
Track/TimbrePrioritysettingtoprotectcritical
soundsfromvoicestealing.
Formoreinformation,seeTimbrePriorityon
page 454.
3. UsetheMax#ofNotessettingtolimitthe
polyphonyofspecificTimbresorTracks,leaving
morepowerforothersounds.

Program mode: HD-1

Formoreinformation,seeMax#ofNoteson
page 456.
4. InSequencermode,bouncehighpolyphony
MIDITrackstoAudioTracks,andthenmutethe
MIDITracks.

Number of Sounding Voices


Thisshowsthetotalnumberofcurrentlysounding
voices.VoiceswillhavedifferentCPUcostsdepending
onwhichofthesynthenginestheyuse.Withdouble
Programs,variousHD1options(seebelow),and
layersandcrossfadesinCombinationandSequencer
modes,asinglekeyonthekeyboardmayplayalarge
numberofvoices.
IntheHD1,stereosamplesusetwovoiceseach,Wave
Sequencesdoublethenumberofvoices(twoformono,
fourforstereo),layeredOscillators(normalDouble
Programs,forinstance)useseparatevoicesforeach
Oscillator,andvelocitycrossfadesbetweenMSusethe
totalnumberofvoicesforbothofthecrossfaded
sounds.

Effects CPU
TheKRONOSusesmultipleCPUsforplaying
synthesizervoices,andaseparateCPUforeffects
processingincludingIFX,MFX,andTFX.Notethat
effectsintegratedintoEXiusethevoiceCPUsinstead,
andshowuponthemetersasEXifixedresources,as
describedabove.
Thismetermayalsoshowactivityreflectingthemixer
infrastructure.
Notethateffectscontinuetotakeupprocessing
resourcesevenwhentheyareturnedOfforbypassed.
Ifyouwanttofreeuptheprocessingresources,change
theeffectselectionto000:NoEffect.

Smooth Sound Transition


Thisshowswhetherornotthesystemiscurrentlyin
themiddleofaSmoothSoundTransition(SST).While
anSSTisoccurring,theEffectsCPUmeterwill
generallyshowhigherlevelsofactivitythannormal.
Formoreinformation,seeSmoothSoundTransitions
onpage 120oftheOperationGuide.
IdlemeansthatSSTisnotcurrentlyhappening.
ActivemeansthatSSTisinprogress.

t 02: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:ShowMS/WS/DKitGraphics.Formore
information,seeShowMS/WS/DKitGraphicson
page 148.
3:AddtoSetList.Formoreinformation,seeAdd
ToSetListonpage 148.

Program P0: Play 06: KARMA GE

06: KARMA GE
06PMC

06a
06b

06c

ThispageletsyoumakebasicadjustmentstoKARMA.
FormoredetailededitingofKARMAparameters,see
ProgramP7:KARMAonpage 107.

1. PresstheLoadGEOptionsbuttontoopenthe
LoadGEOptionsdialogbox.

ToenableordisableKARMAfortheselectedProgram,
usetheKARMAON/OFFswitch.
ThestatesoftheKARMAON/OFFandLATCH
buttons,theselectedKARMASCENE,andKARMA
SWITCHES18andSLIDERS18aresaved
independentlyforeachProgram.

06a: Program Select, Load GE Options,


KARMA T.Sig, Tempo
Bank
Bank Type
Program
q (Tempo)

[INTAF, GM, g(19), g(d),


USERAG and AAGG]
[HD-1, EXi]
[0127 (INT and USER Banks),
1128 (GM Banks)]
[040.00300.00, EXT]

Thesearethecurrentbank,Program,andTempo.For
moreinformation,see01a:ProgramSelecton
page 2.

Load GE Options

[Dialogue]

Theseoptionsletyouspecifywhetherthevaluesand
assignmentsfortheKARMASLIDERSandSWITCHES
willbesetautomatically,beinitialized,orbepreserved
whenyouselectaGE.
TheseoptionsrelatetotheconceptofRTCModels;for
moreinformation,seeRTCModelonpage 214ofthe
OperationGuide.

2. SpecifyhowyouwanttheKARMAcontrollers
andscenesettingstochange(orbepreserved)
whenyouselectadifferentGE.
AutoRTCSetup:WhenyouselectaGE,thesettings
fortheKARMASLIDERSandSWITCHESwillbe
madeautomatically.Thismeansthatwhenyou
selectaGE,youwillbeabletousetheslidersand
switchestocontrolthephrasesoreffectvariations
withouthavingtoreassignthesettingsyourself.
ClearRTCSetup:WhenyouselectaGE,all
KARMAcontrollerandscenesettingswillbe
cleared(initialized).TheControlSurfaceSlidersand
SwitcheswillhavenoeffectontheGE.
KeepRTCSetup:EvenifyouselectaGE,the
currentKARMAcontrollerandscenesettingswill
bepreserved.Usethissettingifyouwantto
preservethecurrentKARMAcontrollerandscene
settingsbecauseyouareselectingaGEwhose
assignedGEparametersareexactlythesame(using
thesameRTCModel),orifyouwanttokeepthe

Program mode: HD-1

currentKARMAcontrollersettingsandeditthem
yourselfasnecessary.
3. IfyouchoosetheAutoRTCSetupOnsetting,
checkorunchecktheUseRTCModeloption
boxtospecifyhowtheautomaticsettingswillbe
made.
On(checked):ThecurrentKARMAcontroller
assignmentsandvalueswillbecleared,andnew
settingswillbemadeaccordingtotheRTCModel
specifiedforeachGE.HoweverifyouselectaGE
whoseRTCModelisCustom,allKARMA
controllerandscenesettingswillbeinitialized(the
sameasifyouveselectedClearRTCSetupOn).
Normallyyouwillleavethison.
Off(unchecked):ThecurrentKARMAcontroller
assignmentsandvalueswillbepreservedasmuch
aspossible.Forexample,youmightselectadrum
patternGEwiththissettingturnedOn(checked),
editsomeoftheKARMAScenesettings
appropriatelyforthatGE,andthenturnthisOff
(unchecked)whentryingoutadifferentdrum
patternGE,therebyapplyingthesettingsyoumade
tothenewGE.
Note:IfyouturnonAutoRTCSetupandturnoff
UseRTCModel,thecurrentKARMAcontroller
settingswillbepreservedasmuchaspossible,
relativetothestateoftheGERealTimeParameters.
Howeverif(forexample)thenewlyselectedGE
doesnothavethesamerealtimeparameters,some
oftheKARMAcontrollersettingswillbecleared.
4. IfyouturnedUseRTCModelOn(checked),use
ResetScenestospecifywhetherscenesettings
willberesetorpreservedwhenyouselectaGE.
On(checked):WhenyouselectaGE,thecurrent
settingsofscenes18willberesettothestoredGE
settings.
Off(unchecked):ThecurrentsettingsofScenes18
willbepreserved.Choosethisifyouintendtoselect
adifferentGEthathasthesameRTCModeland
wanttocontinueusingthesamescenesettings.
EvenifthisisOff(unchecked),thesettingswillbe
resetifyouselectaGEforwhichadifferentRTC
Modelisspecified.
IfUseRTCModelisOff(unchecked),theReset
Sceneoptionisunavailable.
5. ClicktheOKbuttontoapplythesettingsofthe
dialogbox,orclicktheCancelbuttontoreturnto
thesettingsbeforeyouopenedthedialogbox.
Note:TheRTCModelassociatedwithaGEcanbe
viewedontheControlSurfacepagewhenitissetto
R.TimeKnobs/KARMA,andintheVNL.

KARMA T.Sig (Time Signature)


[GE/TS, 1/416/4, 1/816/8, 1/1616/16]
Thisspecifiesthetimesignatureofthephrasesor
patternsgeneratedbytheKARMAModules.The
internaltimesignatureofthephraseorpatternis
determinedbytheGE,butyoucansetthisparameter
tochangethetimesignature.
GE/TS:Theinitialtimesignaturespecifiedbyeach
KARMAModulewillbeused.

10

1/416/16:Specifythedesiredtimesignature.In
CombinationandSequencermodes,thiswillchange
thetimesignatureforallfourKARMAModules.

Tempo ( q )

[040.00300.00, EXT]

ThisisthetempoforthecurrentProgram,which
appliestotemposyncedLFOsandWaveSequences,
KARMA,andtemposyncedeffects.
EXTmeansthatthetempowillsynctoexternalMIDI
clocks.YoullseethisiftheGlobalMIDIpageMIDI
ClockparameterissettoExternalMIDI,orifitssetto
AutoandtheKRONOSiscurrentlyreceivingMIDI
clocks.Formoreinformation,pleaseseeMIDIClock
(MIDIClockSource)onpage 772.
040.00300.00allowyoutosetaspecifictempoin
BPM,with1/100BPMaccuracy.Inadditiontousing
thestandarddataentrycontrols,youcanalsojustturn
theTEMPOknob,orbyplayingafewquarternoteson
theTAPTEMPObutton.

06b: GE Select
ThephrasesandpatternsproducedbyaKARMA
ModulearegeneratedbyaGE(GeneratedEffect).
Basedoninputnotedatafromthekeyboard,theGE
createsphrasesandpatternsusingnumerousinternal
parametersettingstocontrolthedevelopmentofthe
notedata,therhythm,thechordstructure,thevelocity
etc.MIDIcontrolchangesandpitchbendetc.canalso
begeneratedinsynchronizationwiththephraseor
pattern.Inthiswayyoucanproducephrasesand
patternsinwhichtheGEfreelyvariesthetoneorpitch.
TheGEcanbeselectedindependentlyforeach
KARMAModule.
InProgrammodeyoucanuseoneKARMAModule
(ModuleA).InCombinationandSequencermodes,
youcanusefourKARMAModules:A,B,C,andD.

Module A
GE Select

[Preset 0000...2047,
USERAL 000...127]

ThisselectstheGEfortheKARMAmodule.Thereare
atotalof3,584tochoosefrom:2,048presetGEs,and
1,536rewritableUserGEs(12banksof128each).
PresetGEsarepartofthesystemsoftware.
UserGEsmaybeincludedwithnewbanksofsounds,
andcanalsobecreatedusingKARMAKRONOS
software(dedicatedsoftwarefortheKRONOS*).For
moreinformationonloadingUserGEs,seeLoad
.KGEonpage 843.
*MadebyKarmaLa1b(http://www.karmalab.com).
MacintoshandWindowsaresupported.English
versiononly.

GE Bank Select

[Preset...USER-L]

ThisselectstheGEbank.ThePresetbankispartofthe
systemsoftware;Userbankscanbeloadedfromdisk.
Formoreinformation,seeGESelect,above.

GE Category Select

[ArpeggioReal-Time]

ThisletsyouselectaGEbycategory,fromArpeggio
throughRealTime.

Program P0: Play 06: KARMA GE

Tab
Preset
GE Bank

User
GE Bank

RTC Model
Name

RTC Model

[List of RTC Models]

(Module ID)

[A, P]

ThisshowstheGEsRTCModel,asspecifiedinternally
foreachpresetGE.

Thisshowsthetypeofparameterassignedtotheslider
orswitch.

RTCstandsforRealTimeControl.RTCmodels
providealevelofstandardizationforcontrollingthe
over200internalparametersofaGE.Formore
information,seeRTCModelonpage 214ofthe
OperationGuide.

A:KARMAModuleAisbeingcontrolled.Inthiscase,
youarecontrollingaGERealTimeParameter.

(Parameter Number)

KARMA Module Info


Chord

[Chord name]

Thisshowsthenameofthechorddetectedbythe
KARMAModule.
Note:Chorddetectionisaffectedbythefollowing
parameters:
TheKARMAmodulesKeyZone.SeeKeyZone
onpage 108.
TheKARMAmodulesTranspose.SeeTranspose
onpage 113.
TheDestination(DynamicMIDIDestination).See
Destinationonpage 129.
TheChordScanandSmartScansettings.

KARMA Value
WhenyoumoveorpressaKARMASLIDERor
SWITCH,thisareashowsthenumberandvalueofthe
GERealTimeParametersorPerfRealTime
Parametersassignedtothecontrol.Thisletsyousee
whichparametersarebeingcontrolledbytheslideror
switch,andhow.
Displayexample

P:ThesliderorswitchiscontrollingaPerfRealTime
Parameter.

[0132]

WhenModuleIDisA,thisshowsthenumberofthe
assignedGERealTimeParameter(0132).These
parametersareassignedtocontrolsonthe75:GE
RealTimeParameterspage.
IfModuleIDisP,thisshowsthenumberofthe
assignedPerfRealTimeParameter(0108).These
parametersareassignedtocontrolsonthe76:Perf
RealTimeParameterspage.

Parameter Value
ThisareashowsthecurrentvalueoftheGERealTime
ParameterorPerfRealTimeParameter.Thiswill
changeasyoumovetheslideroroperatetheswitch.
Asliderorswitchcanhavemanyparameters
assignedtoit.Amaximumoffiveassigned
parameterscanbedisplayedhereintheavailable
space.Theywillstillfunctionwhenthecontrolis
activated,eventhoughyoucantviewtheirvalues
directly.

Note/CC Activity
A (Module A)
S (Scene)

[18]

Thebluesquareintheupperleftofthesectionshows
thecurrentsceneoftheselectedKARMAmodule.

Parameter Value

Module ID

ThenumberinparenthesesisthedefaultScene,as
storedintheProgram.

Parameter No.

11

Program mode: HD-1

CCs/Notes
Thisisarealtimedisplayofthenoteon/offorMIDI
controlchangemessagesgeneratedbytheKARMA
module(ModuleA).

Scan Zone
TheKeyZoneoftheKARMAModuleisdisplayedasa
solidbluelineunderthenotesdisplay.Formore
information,seeKeyZoneonpage 108.
Scene

Module CCs

3:InitializeKARMAModule.Formore
information,seeInitializeKARMAModuleon
page 156.
4:CopyScene.Formoreinformation,seeCopy
Sceneonpage 157.
5:SwapScenes.Formoreinformation,seeSwap
Sceneonpage 157.
6:CaptureRandomSeed.Formoreinformation,
seeCaptureRandomSeedonpage 157.

Notes

Scan Zone

06c: RealTime Controls


Thisdisplaysthevalues,names,andstoredsettingsof
KARMASLIDERS18andKARMASWITCHES18.
NotethateachScenecanhaveseparatevaluesand
storedsettingsforeachoftheslidersandswitches.

KARMA SWITCHES 18
Current Value 18
ThisshowsthecurrentsettingoftheKARMA
SWITCH.Youcancontrolthiseitherbyusingthe
physicalfrontpanelswitch,orbytouchingtheon
screenswitch.

Stored Value 18
ThisshowsstoredvalueoftheKARMASWITCHfor
thecurrentScene,aswrittenintotheCombination.

Name 18
ThisshowsthenameoftheKARMASWITCH.Youcan
assignthisnameinProgram79:Name/Map.

KARMA SLIDERS 18
Current Value 18
ThisshowsthecurrentsettingoftheKARMASLIDER.
Youcanchangethiseitherbyusingthephysicalfront
panelslider,orbytouchingtheonscreensliderand
thenusinganyofthedataentrycontrols.

Stored Value 18
ThisshowsstoredvalueoftheKARMASLIDERfor
thecurrentScene,aswrittenintotheCombination.

Name 18
ThisshowsthenameoftheKARMASLIDER.Youcan
assignthisnameinProgram79:Name/Map.

t 06: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

12

2:CopyKARMAModule.Formoreinformation,
seeCopyKARMAModuleonpage 155.

7:AutoAssignKARMARTCName.Formore
information,seeAutoAssignKARMARTC
Nameonpage 148.
8:AddtoSetList.Formoreinformation,seeAdd
ToSetListonpage 148.

Program P0: Play 07: Controller View/Effect

07: Controller View/Effect


07PMC

07a

07b

07c

Thispageshowsthefunctionsassignedtothephysical
controllers,includingthevectorjoystick,SW1and2,
andknobs58.Italsoincludesanoverviewofallofthe
effects,andletsyouadjusttheWet/DryBalances
separatelyfortheIFX,MFX,andTFX.

SW1, SW2, Knob58

07a: Program Select

Theseindicatethefunctionsassignedtoknobs58.
(See18:SetUpControllersonpage 53)

Bank

[INTAF, GM, g(19), g(d),


USERAG and AAGG]

Bank Type
Program

[HD-1, EXi]
[0127 (INT and USER Banks),
1128 (GM Banks)]

q (Tempo)

[040.00300.00, EXT]

Thesearethecurrentbank,Program,andTempo.For
moreinformation,see01a:ProgramSelecton
page 2.

SW1&2

[Assignment]

TheseindicatethefunctionsassignedtoSW1and2.

Knobs 58

[Assignment]

07c: Effects
IFX112, MFX1&2, TFX1&2

[Effect]

Thisareashowstheeffectassignedtoeachinserteffect,
mastereffect,andtotaleffect,anditson/offstatus.

FX Balance
IFX

[-100+10]

07b: Controller View

ThiscontrolstheWet/Drybalanceofallinsert
effects.Asettingof+10isWetorWet,asettingof+0
leavesthesettingsoftheprogramunmodified,anda
settingof10isDry.

VJS

MFX

Thisareashowsinformationaboutthevectorjoystick.

ThiscontrolstheMFX1and2Return.Asettingof
+10is127,asettingof+0leavesthesettingsofthe
programunmodified,andasettingof10is000.

XMode,YMode:Theseindicatethebehaviorofthe
vectorCCfortheXaxisandYaxis.Formore
information,seeVJSXModeonpage 48.
VJS+X,VJSX,VJS+Y,VJSY:Theseindicatethe
controllertransmittedbythe+X,X,+Y,andY
vectors.Formoreinformation,see+Xonpage 48.

TFX

[-100+10]

[-100+10]

ThiscontrolstheWet/DrybalanceofTFX1and2.A
settingof+10isWetorWet,asettingof+0leavesthe
settingsoftheprogramunmodified,andasettingof
10isDry.

13

Program mode: HD-1

Whenyoueditthesesettings,thechangewilloccur
immediatelyinthesound,butthevaluesofthe
originalprogramparameterswillnotchangeuntil
yousavetheprogram.Whenyousavetheprogram,
thevalueswillbeupdatedandthesesliderswillbe
resetto0.

t 07: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:ShowMS/WS/DKitGraphics.Formore
information,seeShowMS/WS/DKitGraphicson
page 148.
3:AddtoSetList.Formoreinformation,seeAdd
ToSetListonpage 148.

08: Audio Input/Sampling


08PMC

07a
08b
08a

08c

08d

Thispageletsyouadjustthevolume,pan,effects
sends,andbussingfortheaudioinputs,including
analoginputs1&2,USB1&2,andS/P DIFL&R.It
alsocontrolsthesamplingrelatedsettingsforProgram
mode.

Youcancombineanyandallofthesefeaturesatonce.
Forinstance,youcansamplealiveguitarrifffromthe
audioinputs,processedthroughKRONOSeffects,
whilelisteningtoandeitherrecordingornotrecording
aKARMAgeneratedphrase.

TheKRONOScansampleexternalaudioanyofthe
inputs,at48 kHz16bitresolution(or24bitwhen
samplingtodisk),inmonoorstereo.Youcanrecord
samplesintoRAMforuseinSamplingMode,or
sampledirectlytodisk.

Using the control surface with the Audio Inputs


Youcanusethecontrolsurfacetoadjustmostofthe
AudioInputmixerparameters,includingPlay/Mute,
Solo,Pan,Level,andSends1and2.

Youcanalsodigitallyresamplethecompletesoundof
aProgram,playedpolyphonically,liveorsequenced,
includinganyeffectsandKARMAgeneratedevents.

Formoreinformation,see09c:AudioInputson
page 25,andAdjustingvolume,Pan,EQ,andFX
sendsonpage 39oftheOperationGuide.

Finally,youcanalsousetheKRONOSasa6in,6out
audioprocessor.Youcanprocesstheinputsthrough
theIFX,MFX,andTFX,orthroughthesynthesis
functionsofEXisuchastheMS20EXandMOD7.

08a: Audio Input


Use Global setting

[Off, On]

EachProgramcaneitherusethesingle,Globalaudio
inputmixersetup,orhaveitsowncustomsettings.
TheGlobalsettingsaredescribedunder02:Audio
Input,onpage 759.

14

Program P0: Play 08: Audio Input/Sampling

WhenUseGlobalSettingsisOn,theProgramusesthe
Globalsettings.Thisisthedefault,andletsyouchange
freelybetweendifferentPrograms,Combis,andSongs
withoutaffectingtheaudioinputs.
Also,anyeditsmadeonthispagewillaffecttheGlobal
setting,alongwithanyotherPrograms,Combis,or
SongswhichusetheGlobalsetting.
Ontheotherhand,itmaysometimesbeconvenientto
saveaparticularmixersetupwithanindividual
Program,Combi,orSong,tosetupspecialsubmixer
settingsoreffectsprocessingforparticularinputs.For
example,youcansetupaProgramtouseamicinput
withavocoder,asdescribedunderVocoder(Program
mode)onpage 861.

UsingtheRECbusses,youcanisolateoneormore
soundsforrecordingorsamplingevenifthesounds
arealsobeingmixedintothemainoutputs.For
example,youcanplayaguitarthroughKRONOSIFX
whilelisteningtoaKARMAdrumphrase,andrecord
theprocessedguitarwithoutrecordingthedrums.
IndividualPrograms,CombiTimbres,Sequencer
Tracks(bothMIDIandAudio),audioinputs,and
InsertEffectscanallberoutedtotheRECbusses,in
additiontotheirmainoutput/IFXbussettings.
Youcansamplethesesignalsbysettingthesampling
SourceBus(08c)toRECbus.
Formoreinformation,seethediagramSourceBus=
RECBus1/2onpage 18.

Inthiscase,setUse/EditGlobalSetuptoOff,andthe
audioinputswillusetheProgramscustomsettings.

Off:Theexternalaudiosignalwillnotbesenttothe
RECbusses.NormallyyouwillusetheOffsetting.

Input1 & 2

1,2,3,4:Theexternalaudioinputsignalwillbesentto
thespecifiedRECbus.ThePansettingisignored,and
thesignalissentinmonaural.

Thesearesettingsfortheanaloginputs.

USB1 & 2

1/2,3/4:Theexternalaudioinputsignalwillbesentin
stereotothespecifiedpairofRECbusses.ThePan
settingsendsthesignalinstereotobusses1and2or
busses3and4.

ThesearesettingsfortheUSBinputs.

S/P DIF L & R


ThesearesettingsfortheS/P DIFdigitalaudioinput,
forconnectingexternalA/Dconverters,computer
audiosystems,DATmachines,orotherdigitalaudio
gear.
KRONOSsupportsS/P DIFinputat48kHz.
WhenusingS/P DIF,makesurethattheGlobal
modesSystemClockparameterisset
appropriately.Formoreinformation,seeSystem
Clockonpage 756.

Bus Select (IFX/Indiv.)

[L/R, IFX112, 14,


1/23/4, Off]

Thissetstheoutputbusfortheexternalaudioinput
signal.Youcansendtheaudiodirectlytophysical
outputs,ortotheinserteffects.
L/R:Theexternalaudioinputsignalwillbesenttothe
L/Rbus.
IFX112:Theexternalaudioinputsignalwillbesent
totheIFX112bus.Chooseoneofthesesettingsifyou
wanttoapplyaninserteffectwhilesampling.
14:Theexternalaudioinputsignalwillbesentin
monotoINDIVIDUALoutputs14.Pandoesnotapply
inthiscase.
1/23/4:Theexternalaudioinputsignalwillbesentto
theselectedpairofoutputsinstereo,withthestereo
positioncontrolledbythePanparameter
Off:Theexternalaudiosignalwillnotbeused.

FX Ctrl Bus (FX Control Bus)

[Off, 1, 2]

Thisletsyousendtheaudioinputtooneofthetwo
stereoFXControlbusses.SeeFXControlBuseson
page 860.

REC Bus

[Off, 14, 1/2, 3/4]

ThissendstheexternalaudioinputsignaltotheREC
busses(fourmonochannels;1,2,3,4).

Send1 (to MFX1)

[000127]

Send2 (to MFX2)

[000127]

Theseadjustthelevelsatwhichtheexternalaudio
inputsignalissenttothemastereffects.
Send1(toMFX1):Sendthesignaltomastereffect1.
Send2(toMFX2):Sendthesignaltomastereffect2.
IfBusSelect(IFX/Indiv.OutAssign)issettoIFX112,
thesendlevelstothemastereffectsaresetbythepost
IFX112Send1andSend2(82a).Formore
information,SeeAnalog,USB,andS/P DIFinputson
page 872.
Tip:Youcanusethecontrolsurfacetocontrolthis
parameter.Formoreinformation,seeUsingthe
controlsurfacewiththeAudioInputsonpage 14.

PLAY/MUTE

[Play, Mute]

ThisshowswhethertheinputisinPLAYorMUTE
status.
YoucanusetheMIXPLAY/MUTE16switchesto
changethis.
Mute:Theinputsoundwillbemuted(silent).
Play:Theinputsoundwillbeheard.
Tip:Youcanusethecontrolsurfacetocontrolthis
parameter.Formoreinformation,seeUsingthe
controlsurfacewiththeAudioInputsonpage 14.

SOLO On/Off
SololetsyouisolateoneormoreOscillatorsoraudio
inputs,sothatyouhearthembythemselves.Itdoes
thisbytemporarilymutingallnonsoloedOscillators
andaudioinputs.
ThewayinwhichSolooperatesdependsonthesetting
oftheExclusiveSolomenucommand.Formore
information,seeExclusiveSolomenuparameteron
page 24.

15

Program mode: HD-1

TheSOLOsettingisnotstoredwhenyouWritea
Program.

ADC OVERLOAD!
Ifthesignallevelfromtheanalogaudioinputsistoo
high,theADCOVERLOAD!indicationwillappear.
YoullneedtoadjusttheMIC/LINEgainselect
switchesand/orLEVELknobs,ortheoutputlevelof
yourexternalaudiosource.

Tip:YoucanusethecontrolsurfaceMIXSELECT16
switchestocontrolthisparameter.Formore
information,seeUsingthecontrolsurfacewiththe
AudioInputsonpage 14.

Pan

[L000C064R127]

08b: Recording Level [dB]

Thisspecifiesthepanningoftheaudioinput.When
usingtwoinputsforastereoaudiosource,youll
normallysettheinputstoL000andR127respectively.

Recording Level

Tip:Youcanusethecontrolsurfacetocontrolthis
parameter.Formoreinformation,seeUsingthe
controlsurfacewiththeAudioInputsonpage 14.

Level

[Inf, 72.0+0.0+18.0]

Thisadjuststhesignallevelatthefinalstageof
sampling.
TheRecordingLevelsettingismadeforProgram
modeasawhole,andisnotsavedindependentlywith
eachProgram.

[000127]

Thiscontrolstheleveloftheexternalaudiosignal.The
defaultis127.

Level Meter
Thisshowsthesignallevelatthefinalstageof
sampling,afteranyadjustmentsontheAudioInputs
page,anyeffects,etc.Themeterisactiveonlyduring
standbymodeandrecording.

TheanalogaudiosignalsfromAUDIOINPUTS14are
convertedintodigitalformbyanA/Dconverter.This
parametersetsthelevelofthesignalimmediatelyafter
thisconversion.

CLIP!

Ifthesoundisdistortedeventhoughthislevelsetting
isverylow,seeTipsforeliminatingdistortionwhen
usingtheanaloginputs,below.

If0dBisexceeded,thedisplaywillindicateCLIP!
Thismeansthatthelevelofthesamplingsignalistoo
high;inthiscase,adjusttheRecordingLevel,andif
necessaryfollowtheinstructionsunderTipsfor
eliminatingdistortionwhenusingtheanaloginputs,
below.

Tip:Youcanusethecontrolsurfacetocontrolthis
parameter.Formoreinformation,seeUsingthe
controlsurfacewiththeAudioInputsonpage 14.

Avoiding extraneous noise

Setting levels

IfaudiocablesareconnectedtoAUDIOINPUTS1
4,anynoisecarriedbythecableswillenterintothe
KRONOSmixerstructure.Similarly,theS/P DIF
inputmaycarrynoisefromexternaldevices.This
mayincludehiss,hum,andotheraudionoise.

Forthebestresults,setthelevelsasdescribedbelow:
1. PresstheSAMPLINGRECswitch.
KRONOSwillentersamplingstandbymode,andthe
LevelMeterbecomesactive.

Toavoidnoisefromunusedaudioinputs,either:

2. Initially,settheRecordingLevelto0.0dB.

SettheinputsLevelto0

3. Adjusttheleveloftheinputsignalsothatitisas
highaspossiblewithoutactivatingtheCLIP!or
ADCOVERLOAD!messages.

or
SetallofthebusassignmentstoOff,includingBus
Select(IFX/Indiv.OutAssign),RECBus,andFX
ControlBus

IfyoureusingAUDIOINPUTS1and/or2,adjustthe
volumeusingrearpanelMIC/LINEswitchesand
LEVELknobs.

IfnoaudiocablesareconnectedtoAUDIOINPUTS
14,theinputsignalsareforcedtozero,preventing
anyadditionalnoise.

IfyoureusingAUDIOINPUT3and/or4,orthe
S/P DIFinput,adjusttheoutputlevelofyourexternal
audiosource.

Audioinput/output
"Audio Input" (08a)

ADC OVERLOAD !
AUDIO INPUT 1, 2

Bus(IFX/Indiv.)
= L/R or IFX1-12

"Source Bus" (0-8c)


= L/R

Insert
Effects

ADC
LEVEL
(MIC/LINE)
(MIN...MAX)

Analog to
Digital
Converter

CLIP !!

Total
Effects
"Level" "Pan"
[127=0dB]

Sampling
L-Mono
R-Mono Stereo
REC Sample Setup
"Mode" (08c)

Insert
Effects

Master
Effects

USB 1, 2
"Level" "Pan"
[127=0dB]

"Recording Level" (08b)


[inf ... 0.0dB ... +18.0dB]
Insert
Effects

S/P DIF IN (L, R)


"Level" "Pan"
[127=0dB]

16

L/MONO
R

AUDIO
OUTPUT

Program P0: Play 08: Audio Input/Sampling

Ifyouresamplingexternalaudiothroughtheinternal
effects,youmayalsoneedtoadjusttheindividual
effectsinputand/oroutputlevelparameters.
Ifyoureusinginternalsounds,adjustthelevelsusing
thecontrolsurface,effectsinput/outputtrim,etc.
4. Ifthelevelisstillnothighenough,increasethe
RecordingLevelusingtheonscreenslider.
Again,thegoalistogetthelevelashighaspossible
withoutactivatingtheCLIP!orADCOVERLOAD!
messages.

Whensamplinginstereo,theoddnumberedchannel
(suchas1or3)correspondstotheleftchannel,andthe
evennumberedchannel(suchas2or4)correspondsto
theright.
L/R:Thisletsyousamplethesignalheardatthemain
L/Routputs,includinganyprocessingbyTFX1/2.This
isthedefaultsetting.Formoreinformation,seethe
diagramSourceBus=L/Ronpage 17.

Tips for eliminating distortion when using the


analog inputs
Ifsoundfromtheanaloginputsisdistorted,butthe
CLIP!messagedoesntappear,itspossiblethat
distortionisoccurringattheanaloginputstage,orthat
distortionisbeingcausedbythesettingsoftheinternal
effects.
IftheADCOVERLOAD!messageappearsabovethe
RecordingLevelmeters,thedistortionisdueto
excessivelevelsattheinput.Inthiscase,eitherlower
theoutputleveloftheexternalaudiosource,or(for
inputs1and2only)adjusttheMIC/LINEgainselect
switchandLEVELknobsothatthismessagedoesnot
appear.
Ifthereisdistortion,buttheADCOVERLOAD!
messagedoesnotappear,itspossiblethatthe
distortionisbeingcausedbythesettingsoftheinternal
effects.Tosolvethisproblem,eitherlowertheinput
Level(seeLevel,above),oradjusttheeffectssettings
(suchaschangingtheindividualeffectInputTrim
parameters).

08c: Sampling Setup


Source Bus

WhenyousamplefromanoutputpairorRECbus,
youllrecordallaudiosenttotheoutputorbus,
includinginternalProgramsorCombis,effects,audio
inputs,andHDRaudio.

[Audio Input1/2, USB 1/2,


S/P DIF L/R, L/R,
REC1/23/4, Indiv.1/23/4]

Youcansampleinstereofromanypairofaudio
inputs,fromthetwostereoRECbusses,orfromthe
signalatanyofthe6outputs(L/RandIndividual1/2
3/4).

REC1/2,REC3/4:Theseletyousamplethesignalssent
totheREC1/2orREC3/4busses.
UsingtheRECbusses,youcanisolateoneormore
soundsforrecordingorsamplingevenifthesounds
arealsobeingmixedintothemainoutputs.For
example,youcanplayaguitarthroughKRONOSIFX
whilelisteningtoaKARMAdrumphrase,andrecord
theprocessedguitarwithoutrecordingthedrums.
IndividualPrograms,CombiTimbres,Sequencer
Tracks(bothMIDIandAudio),audioinputs,and
InsertEffectscanallberoutedtotheRECbusses,in
additiontotheirmainoutput/IFXbussettings.
Formoreinformation,seethediagramSourceBus=
RECBus1/2onpage 18.
AudioInput1/2,S/P DIFL/R,USB:Theseletyou
sampledirectlyfromtheanalog,S/P DIF,orUSB
audioinputs,respectively,withoutanyother
processingbyKRONOS.ThesettingsontheAudio
Inputsmixer,includingvolume,pan,busses,sends,
mute,andsolo,willhavenoeffectontherecorded
audio.
Formoreinformation,seethediagramSourceBus=
AudioInput1/2onpage 18.
Formoreinformation,seethediagramSourceBus=
USB1/2onpage 18.
Indiv.1/23/4:Thisletsyousampletheindividual
outputbusses.Formoreinformation,seethediagram
SourceBus=Indiv.1/2onpage 19.

SourceBus=L/R
Source Bus = L/R

L/R
Bus

REC REC
1/2 3/4

Indiv.
1/2 3/4

Master
Effects

CLIP !!
Total
Effects

Sampling
L-Mono
R-Mono Stereo

Insert
Effects
Audio Inputs
Level

Monitor

Pan

L/MONO
R

AUDIO OUTPUT
HEADPHONES

Insert
Effects
OSC
Bus = L/R or IFX1-12

17

Program mode: HD-1

SourceBus=RECBus1/2
Source Bus = REC Bus 1/2

L/R
Bus

REC REC
1/2 3/4

Indiv.
1/2 3/4

REC Bus = 1/2


CLIP !!

Sampling
L-Mono
R-Mono Stereo

Insert
Effects
Audio Inputs

Master
Effects
Level

Monitor

Pan

L/MONO
R

Total
Effects

AUDIO OUTPUT
HEADPHONES

[x] Source Direct Solo

Insert
Effects
OSC
Bus = L/R or IFX1-12

SourceBus=AudioInput1/2
Source Bus = Audio Input Bus 1/2

L/R
Bus

REC REC
1/2 3/4

Indiv.
1/2 3/4

CLIP !!

Sampling
L-Mono
R-Mono Stereo

Insert
Effects
Audio Input 1

Master
Effects
Level

Monitor

Pan

L/MONO
R

Total
Effects

Insert
Effects

AUDIO OUTPUT
HEADPHONES

[x] Source Direct Solo

Audio Input 2
Level

Pan
Insert
Effects

OSC
Bus = L/R or IFX1-12

SourceBus=USB1/2
Source Bus = USB 1/2

L/R
Bus

REC REC
1/2 3/4

Indiv.
1/2 3/4

CLIP !!

Sampling
L-Mono
R-Mono Stereo

Insert
Effects
USB-B L

Master
Effects
Level

Monitor

Pan

L/MONO
R

Total
Effects

Insert
Effects

AUDIO OUTPUT
HEADPHONES

[x] Source Direct Solo

USB-B R
Level

Pan
Insert
Effects

OSC
Bus = L/R or IFX1-12

SourceBus=S/P DIFL/R
Source Bus = S/P DIF L/R

L/R
Bus

REC REC
1/2 3/4

Indiv.
1/2 3/4

CLIP !!

Sampling
L-Mono
R-Mono Stereo

Insert
Effects
S/P DIF L

Master
Effects
Level

Insert
Effects

L/MONO
R

Total
Effects
[x] Source Direct Solo

S/P DIF R
Level

Pan
Insert
Effects

OSC
Bus = L/R or IFX1-12

18

Monitor

Pan

AUDIO OUTPUT
HEADPHONES

Program P0: Play 08: Audio Input/Sampling

SourceBus=Indiv.1/2
Source Bus = Indiv.1/2

L/R
Bus

REC REC
1/2 3/4

Indiv.
1/2 3/4

CLIP !!

Sampling
L-Mono
R-Mono Stereo

Insert
Effects
Audio Inputs

Master
Effects
Level

Monitor

Pan

L/MONO
R

Total
Effects

AUDIO OUTPUT
HEADPHONES

[x] Source Direct Solo


INDIV.1
INDIV.2

AUDIO OUTPUT

Insert
Effects
OSC
Bus = Indiv.1/2 or IFX1-12

Source Direct Solo

[Off, On]

ThisselectswhatisheardthroughtheL/Routputsand
headphoneswhenSamplingRECisenabled.
On(checked):OnlythesignaloftheselectedSource
Buswillbeheard.Thisletsyouhearonlythesound
thatwillbesampled.
Off(unchecked):ThesignaloftheselectedSourceBus
willbemergedwiththemainL/Rsignal.Thisisthe
default.
Note:IfSourceBusissettoL/R,thissettingisignored
sincethatsignalisnormallyheardattheL/Routputs
already!

Trigger

[Sampling START SW, Note On]

Specifieshowsamplingwillbeinitiated.
SamplingSTARTSW:PressingtheSAMPLINGREC
switchwillcausetheKRONOStoentersampling
standbymode,andsamplingwillbeginwhenyou
presstheSAMPLINGSTART/STOPswitch.
NoteOn:PresstheSAMPLINGRECswitchandthen
presstheSAMPLINGSTART/STOPswitchtoenter
samplingstandbymode.Samplingwillbeginwhen
youplaythekeyboard.
SamplingwillalsobeginifaMIDInoteonis
received(insteadofplayingthekeyboard).
Regardlessofthesettingsyoureusing,pressthe
SAMPLINGSTART/STOPswitchonceagainwhen
youvefinishedsampling.Alternatively,samplingwill
endautomaticallyifthespecifiedSamplingTime
elapses.

Metronome Precount

[Off, 4, 8, 3, 6]

Theoutputdestinationandlevelofthemetronome
soundarespecifiedbyMetronomeSetup(08d).If
Bus(Output)SelectissettoL/R,themetronomewill
stopsoundingtheinstantsamplingactuallybegins.

Save to

[RAM, DISK]

Specifiesthedestinationtowhichthedatawillbe
writtenduringsampling.
RAM:ThesoundwillbesampledintoRAMforusein
Samplingmode.TheSelectSampleNo.menu
commandletsyouspecifytheSamplenumberstouse,
enableAuto+12dB,andmakesettingsforautomatic
conversiontoaProgram.Formoreinformation,see
SelectSampleNo.onpage 149.
Note:TheamountofRAMavailableforSampling
modeisshownbyFreeSampleMemory/Locations
(Sampling01f).TheamountofRAMavailablewill
varydependinguponboththeamountofphysical
RAMinstalled,andthesizeofthecurrentlyloadedEXs
andUserSampleBanks.Formoreinformation,see
SamplingandRAMonpage 675.
SamplessavedtoRAMwillbelostwhenthepower
isturnedoff,soyoumustsavethemifyouwantto
keepthem.
DISK:Sampleswillberecordedtotheinternaldiskor
aUSBstoragedevice.
Whenyousample,aWAVEfileiscreatedonthedisk.
UsetheSelectDirectory/FileforSampletoDiskpage
menucommandtospecifythewritingdestinationdisk
anddirectory.
Toopentheresultingsample,youcaneitheruseDisk
modetoloadthesampleintoSamplingMode,oruse
SelectDirectoryetc.toselectthefileandthenpressthe
PlaybuttonortheSAMPLINGSTART/STOPswitch.

Thisspecifieswhetherthemetronomewillsounda
countdownbeforesamplingbegins.Thiscanbeset
onlyifTriggerissettoSamplingSTARTSW.

Mode (Sampling Mode) [L-Mono, R-Mono, Stereo]

Off:Samplingwillbeginimmediatelywhenyoupress
theSAMPLINGSTART/STOPswitchfromrecording
standbymode.

Specifiesthechannel(s)thatyouwanttosample,and
specifywhetheramonoorstereosamplewillbe
created.

4,8,3,6:WhenyoupresstheSAMPLING
START/STOPswitchfromrecordingstandbymode,
themetronomewillcountthespecifiednumberof
beatsatthesystemtempo,andthensamplingwill
begin.Ifyousetthisto4,samplingwillbeginonthe
countof0afteraprecountof43210.

TheLandRchannelsofthebusspecifiedbySource
Bus(08c)willbesampled.
LMono:TheleftchanneloftheSourceBuswillbe
sampledinmono.
RMono:TherightchanneloftheSourceBuswillbe
sampledinmono.

19

Program mode: HD-1

Stereo:TheLandRchannelsofthebusspecifiedby
SourceBuswillbesampledinstereo.Thiswillcreatea
stereomultisampleandsamples.Formore
information,seeAboutstereomultisamplesand
stereosamplesonpage 681.

Sample Time

[min sec]

Thissetstheamountoftimethatyouwishtosample.
Thiscanbesetin0.001secondincrements.
Immediatelyafterthepoweristurnedon,this
parametershowsthemaximumavailablesampling
time,equivalenttotheentireamountoffreeRAM.
EachtimeyoupressSTOPaftersamplingtoRAM,the
changeinremainingsampletimewillbedisplayed
automatically.
IfSavetoissettoDISK,themaximumvalueis
determinedbythefreespaceonthecurrentdisk,as
specifiedbytheSelectDirectory/FileforSampleto
Diskmenucommand.
Tips:IfyouhavesufficientRAMmemory,itsagood
ideatosetagenerousamountofSampleTime.After
yousample,youcanthenusetheTruncatemenu
commandtodeleteunwantedportionsofthesample,
andreduceittotheminimumsizenecessary.Formore
information,seeTruncate(forSampleEdit)on
page 734andTruncate(forLoopEdit)onpage 740.
YoucanalsopresstheSAMPLINGSTART/STOP
switchtomanuallystopsamplingafteryouhave
recordedthedesiredmaterial.Formoredetailson
sampling,seePreparationsforsamplingonpage 126
oftheOperationGuide.
IfSavetoissettoRAM,andyoucontinuesampling
withtheAutoOptimizeRAM(Global01d)option
unchecked,wastedspacewilldevelopinmemory,
decreasingtheamountofavailableRAM.Inthis
case,usetheOptimizeRAMmenucommandto
recoverthewastedspace.
Note:FreeSampleMemory/Locations(Sampling0
1f)inSamplingmodeletsyouchecktheremaining
amountofRAM.
Note:ThevariousRecordingSetupsettingsarenot
madeindependentlyforeachprogram;theyapplyto
theentireProgrammode.

Sample to Disk

[16-bit, 24-bit]

Thissetsthebitdepthforsamplingtodisk.Notethat
thisdoesnotaffectsamplingtoRAM.Thissame
parameterappearsonthesamplingsetuppagesin
Program,Combination,Sequencer,andSampling
modes;changesinoneplacearereflectedeverywhere.
Theresulting24bitfilescanbeusedatfullresolution
inaudiotracks.YoucanalsoloadthemintoSampling
Mode,atwhichtimetheywillbeautomatically
convertedto16bitdata.

08d: Metronome Setup


Hereyoucanspecifytheoutputdestinationand
volumeofthemetronome,assetupinbyMetronome
Precount(02c).Themetronomeisavailableonlyif
TriggerissettoSamplingSTARTSW.

20

Bus (Output) Select

[L/R, L, R, 14]

Thissetstheaudiooutputforthemetronomesound.
L/R:Themetronomewillbeheardinthemainstereo
outputs(L/MonoandR),theS/P DIFoutput,andthe
headphones.
14:Themetronomewillbeheardonlyintheselected
individualoutput.

Level

[000127]

Thiscontrolsthevolumeofthemetronomesound.

t 08: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:OptimizeRAM.Formoreinformation,see
OptimizeRAMonpage 148.
3:SelectSampleNo.ThisappliesonlywhenSave
toissettoRAM.Formoreinformation,seeSelect
SampleNo.onpage 149.
3:SelectDirectory.ThisappliesonlywhenSaveto
issettoDisk.Formoreinformation,seeSelect
Directoryonpage 149.
4:AutoSamplingSetup.Formoreinformation,see
AutoSamplingSetuponpage 150.
5:AddtoSetList.Formoreinformation,seeAdd
ToSetListonpage 148.

Program P0: Play 09: Control Surface

09: Control Surface


09PMC

09b
09a
09c

09d
09e
09f

TheControlSurfaceisthesetof9sliders,8knobs,and
16switchestotheleftoftheLCDdisplay.Itlookslikea
mixer,butitcandootherthingsaswell,including
editingsounds,controllingKARMA,andsending
MIDImessagestoexternaldevices.

Formoreinformation,seeLocalControlandthe
ControlSurfaceonpage 771.

Thispageshowsyouthecurrentvaluesforeachofthe
sliders,knobs,andbuttons,alongwithinformation
aboutwhattheyarecontrolling.Forinstance,youcan:

Control Assign Switches and Tabs

RegardlessoftheLocalControlsetting,youcan
alwayseditControlSurfaceparametersviathe
touchscreen.

ModulatesoundsandeffectsusingtheRealTime
Knobs

YoucanswitchtheControlSurfacebetweenits
differentfunctionsusingeitherthetabsontheleftside
oftheLCDdisplay,orthefrontpanelControlAssign
switches.Thetabsandthefrontpanelswitchesmirror
oneanother;whenyouchangeoneofthem,theother
changesaswell.

ControlKARMA,andselectKARMAscenes,using
theslidersandswitches

InProgrammode,youcanselectoneoffivedifferent
functions:

EditsoundsusingToneAdjust

TIMBRE/TRACKletsyouadjust
thevolume,pan,andsendlevels
forOscillators1and2,alongwith
theProgramEQ.InCombiand
Sequencermodes,youcanalsouse
thistoselecttwodifferentbanksof
TimbresorTracks,asshownbythe
LEDstotherightoftheswitch.

AdjustthevolumeandpanforOscillators1and2
ControltheProgramsEQsettingsandMaster
EffectsSendlevels

Assignsliders,knobs,andswitchestodifferent
ToneAdjustparameters

Local Control On/Off and the Control Surface


TheControlSurfacegeneratesandreceivesMIDICCs
andSystemExclusivemessages,sothatyoucanrecord
knob,switch,andslidermovementsintoasequencer.
ThismeansthattheGlobalmodeLocalControlsetting
isimportant:
IfLocalControlisOn,thephysicalControlSurface
willworkproperlyaslongasMIDIisnotbeing
loopedbackintotheKRONOS.
IfLocalControlisOff,youmustloopbackMIDI
intotheKRONOSinorderforthephysicalControl
Surfacetoworkproperly.

AUDIOINPUTSletsyouadjust
thevolume,pan,andsendlevels
fortheanalog,USB,andS/P DIF
audioinputs.InSequencermode,
youcanalsousethistoselecttwo
banksofharddiskrecording
tracks,asshownbytheLEDstothe
rightoftheswitch.
EXTERNALletsyousendMIDImessagestoexternal
MIDIdevices.UsetheGlobalP1External1pageto
specifytheMIDImessagethatwillbetransmitted.

21

Program mode: HD-1

R.TIMEKNOBS/KARMAletsyoumodulatesounds
andeffectswiththeknobs,andcontrolKARMAwith
theslidersandswitches.
TONEADJ./EQgivesyouhandsonaccesstosound
editing,usingthesliders,knobs,andswitches.
Youcanfreelychangebackandforthbetweenthe
differentfunctions,withoutlosinganyofyouredits.

Jump/Catch
WhenyouchangetheControlAssignsettingorselecta
newProgram,Combination,orSong,thephysical
positionsoftheknobsandsliderswilloftenbe
differentfromtheirparametervalues.
TheKnob/SliderModeparameter,underSystem
PreferencesontheGlobalmodeBasicpage,determines
howandwhenmovingthephysicalsliderorknobwill
starttoedittheparametervalue.
WhenitissettoJump,theparameterwillsnaptothe
physicalpositionassoonasyoustarttomovetheknob
orslider.Usethisifyoudlikeparameterstorespond
instantlytocontrollermovements,anddontmindif
thissometimescausesasuddenchangeintheaudio.
WhenitissettoCatch,youneedtomovetheslideror
knobsothatitcatchestheparameter,bypassing
throughitscurrentvalue.Untilthevalueiscaught,
movingthesliderorknobhasnoeffectonthe
parameter.Oncethecatchhappens,theparameter
startstochangefromitscurrentvalue.Usethisifyoud
likeparameterchangestobeassmoothaspossible,
anddontmindifyouhavetomoveacontrollersome
distancebeforeitstartstoaffectthesound.

RESET CONTROLS
ThefrontpanelRESETCONTROLSbuttonletsyou
recallthestoredsettingsforanyslider,knob,orswitch
onthecontrolsurface.Youcanalsouseittoresetthe
VectorJoysticktothecenterposition,ortoresetallof
theparametersinthecurrentKARMAModule,orto
unsoloallchannelsatonce.

Resetting a single control


Toresetasingleknob,slider,orswitch:
1. HolddowntheRESETCONTROLSbutton.
2. WhileholdingdownRESETCONTROLS,movea
sliderorknob,orpressoneofthecontrolsurface
switches.
3. Whenyouredone,releasetheRESET
CONTROLSbutton.
Theslider,knob,orswitchwillberesettothevalue
storedintheProgramorCombi.Ifthevalueisnot
stored(suchaswiththeREALTIMEKNOBS),the
controlisresettoitsdefaultvalue.
InSequencermode,controlswillberesettothestatein
whichtheywereimmediatelyafteryouentered
Sequencermode,selectedtheSong,executedCopy
FromCombi,etc.

22

Resetting a group of controls


Toresetagroupofcontrolsatonce:
1. MakesurethattheControlSurfaceisshowingthe
parametersyouwanttoreset.
Asasafetyprecaution,youcanonlyresetthe
parameterscurrentlydisplayedontheControlSurface.
ThistakesintoaccountboththecurrentControlAssign
setting,andtheMIXERKNOBSbutton.
Forinstance,ifyouwanttoresetthevolumeandpan
forbothOscillators,makesurethatControlAssignis
settoTIMBRE/TRACK,andthatMIXERKNOBSisset
toINDIVIDUALPAN.
2. HolddowntheRESETCONTROLSbutton.
3. WhileholdingdownRESETCONTROLS,press
thecurrentControlAssignbuttonagain.
Allofthesliders,knobs,andswitchesshownonthe
ControlSurfacewillberesettothevaluesstoredinthe
Program.

Resetting the Vector Joystick


ToresettheVectorJoysticktothecenterposition,hold
downRESETCONTROLSandthenmovetheVector
Joystick.

Resetting KARMA Module parameters


ToresetalloftheslidersandswitchesintheKARMA
Module:
1. HolddowntheRESETCONTROLSbutton.
2. WhileholdingdownRESETCONTROLS,press
theKARMAMODULECONTROLbutton.
Similarly,toresetasingleKARMAScenetoitsstored
values,holdRESETCONTROLSandpressthedesired
SCENEbutton.

Clearing all solos


ToturnoffSoloforallMIDITracks,AudioTracks,and
AudioInputsatonce:
1. PressandholdtheRESETCONTROLSbutton.
2. WhileholdingRESETCONTROLS,pressthe
SOLObutton.

Resetting Tone Adjust


ThewaythatToneAdjustisresetdependsonboththe
currentmode,andwhethertheparameterisRelative
orAbsolute.(Formoreinformation,seeAbsolute,
Relative,andMetaparametersonpage 30.)
InProgrammode,Absoluteparameterswillberesetto
thestoredvalue,andRelativeparameterswillbereset
tothecenter(whichmeansnodeviationfromthe
storedvalue).
InCombinationmode,theywillberesettothevalues
storedintheCombination.
InSequencermode,theywillberesettothestatein
whichtheywereimmediatelyafteryouentered
Sequencermode,selectedtheSong,executedCopy
FromCombi,etc.

Program P0: Play 09: Control Surface

09a: Program Select & Tempo


Bank

[INTAF, GM, g(1)g(9), g(d),


USERAG and AAGG]

Bank Type
Program

[HD-1, EXi]
[0127 (INT and USER Banks),
1128 (GM Banks)]

q (Tempo)

[040.00300.00, EXT]

Thisareadisplaysinformationabouttheprogram
selectedforeditingtheprogrambank/number/
name,andthetempousedtocontrolKARMAetc.(See
01a:ProgramSelectonpage 2)

ThisControlAssignsettingletsyouadjustthevolume,
pan,andFXsendsettingsforOscillators1and2,along
withtheProgramEQsettings.

[Channel Strip, Individual Pan]

TheMixerKnobsswitchisonthefront
panel,immediatelytotherightofthe
knobs,andisalsoduplicatedintheon
screendisplay.Theeightknobscan
controltwodifferentsetsofparameters,
dependingonthesettingofthisswitch.

[18.00+18.00dB]

Thiscontrolsthegainofthe80HzLowShelfEQ,in
incrementsof0.5dB.

MID FREQ

[100Hz10.00kHz]

ThissetsthecenterfrequencyfortheMidsweepEQ.

MID GAIN

[18.00+18.00dB]

ThiscontrolsthegainoftheMidSweepEQ,in
incrementsof0.5dB.

HIGH EQ

[18.00+18.00dB]

SEND 1

[000127]

ThiscontrolsthesendlevelintoFXSend1.Ifthe
ProgramsOutputBusparameterissettoL/RorOFF,
itscalestheOscillatorsendlevels.IftheOutputBusis
settoIFX112,itdirectlycontrolsthepostIFXsend
levels.

SEND 2

[000127]

ThiscontrolsthesendlevelintoFXSend2.Formore
details,seeSEND1,above.

ChannelStrip:Withthissetting,theeightknobswill
controlthePan,EQ,andFXSendsettingsforthe
selectedOscillator.UsetheSELECTbuttonstochoose
betweenOscillators1and2.
IndividualPan:Withthissetting,thefirstknobwill
controlthePanforOscillator1,andthesecondknob
willcontrolthePanforOscillator2.Theremaining
knobsareunused.

Knobs 18, Channel Strip


WhentheMixerKnobsswitchissettoChannelStrip,
theknobsprovidequickaccesstothePan,EQ,andFX
Sendparameters.ThePanandEQparameters
duplicatethesimilarlynamedparametersfoundon
theProgrameditingpages;changingthemherewill
changethemintheeditingpages,andviceversa.
FXSendwillbereflectedbythecorrespondingMFX
Send1and2.

PAN

LOW EQ

Thiscontrolsthegainofthe10kHzHighShelfEQ,in
incrementsof0.5dB.

09b: OSC 1/2

MIXER KNOBS

Note:iftheEQpageEQBypassparameteristurned
On,thennoneoftheEQparametersherewillhave
anyeffect.

[Random, L001C064R127]

Knobs 12, Individual Pan


WhentheMixerKnobsswitchissettoIndividualPan,
knobs1and2controlthepansettingsforOscillators1
and2,respectively.Theother6knobshavenoeffect.
TheseduplicatethePanparametersoftheOscillators1
and2Amppages;changingthemherewillchange
themintheeditingpages,andviceversa.
TheDrumTrackspaniscontrolledseparately,inthe
DrumKitandDrumTrackProgram.

Pan (1)

[Random, L001C064R127]

ThiscontrolsthestereopanofOscillator1.Asettingof
L001placesthesoundatthefarleft,C064inthecenter,
andR127tothefarright.
RandomisavailableonlyviatheLCD.(Otherwise,it
wouldbedifficulttousetheknobtosweepsmoothly
fromlefttoright.)WiththeRandomsetting,thepan
positionwillbedifferentforeachnoteon.

Pan (2)

[Random, L001C064R127]

ThiscontrolsthestereopanoftheselectedOscillator,
andmirrorstheAmppagePanparameter.Asettingof
L001placesthesoundatthefarleft,C064inthecenter,
andR127tothefarright.

ThiscontrolsthestereopanofOscillator2.Formore
details,seePan(1),above.

RandomisavailableonlyviatheLCD.(Otherwise,it
wouldbedifficulttousetheknobtosweepsmoothly
fromlefttoright.)WiththeRandomsetting,thepan
positionwillbedifferentforeachnoteon.

ThetoprowofswitchesallowyoutoturnOscillator1,
Oscillator2,andtheDrumTrackProgramonandoff,
whichcanbeconvenientwheneditingsounds.

EQ TRIM

[0099]

ThiscontrolsthevolumelevelgoingintotheEQ.
ExtremesettingsoftheLow,Mid,andHighGain
controlscancausesubstantialincreasesintheoverall
level.Youcancompensateforthisbyturningdownthe
inputtrim.

Play/Mute switches 13

Play/Mute (1)

[Play, Mute]

Whenthisswitchison(LED=on),Oscillator1will
play.Whentheswitchisoff(LED=off),Oscillator1
willbemuted.

23

Program mode: HD-1

Play/Mute (2)

[Play, Mute]

Whenthisswitchison,Oscillator2willplay.Whenthe
switchisoff,Oscillator2willbemuted.

Play/Mute (3)

[Play, Mute]

Whenthisswitchison,theDrumTrackProgramwill
play.Whentheswitchisoff,theDrumTrackProgram
willbemuted.

SOLO switch and SELECT switches 13


Solo

[Off, On]

SololetsyouisolateoneormoreOscillatorsorAudio
Inputs,sothatyouhearthembythemselves.Itdoes
thisbytemporarilymutingallnonsoloedOscillators
andAudioInputs.
SolousestheSELECTswitches.Theseswitchescan
showandcontroleitherwhichOscillatoriscurrently
selected,orwhichOscillatorsorinputsaresoloed.The
mainSolobuttonletsyouswitchbackandforth
betweenthetwoviews.

Drum Track Select/Solo

MIX VOLUMES Sliders 13


Theseslidersadjusttheoveralloutputlevelof
Oscillators1and2.Theseareseparatevolumecontrols,
whichscalethemainAmplevelparameter.

OSC 1 Volume

[000127]

ThisslideradjuststhevolumelevelofOscillator1.

OSC 2 Volume

[000127]

ThisslideradjuststhevolumelevelofOscillator2.

Drum Track Volume

Master Volume Slider


Master Volume

WhenSoloisOn,andoneormoreOscillatorsor
AudioInputsaresoloed,theSOLOLEDwillblinkon
andofftoremindyouthatsoloisinuse.

MasterVolume

[000127]

Thiscontrolsthevolumeofthemainstereooutputs,
aftertheTotalEffects.ItdoesnotaffectIndividual
Outputs14.

Control Surface
Master Volume
Slider

Clearing all solos


ToturnoffSoloforallOscillatorsandAudioInputsat
once:

[000127]

ThisslideradjuststhevolumeleveloftheDrumTrack
Program.

WhenSoloisOff(LED=Off),theSELECTswitches
selectthecurrentOscillator;whenSoloisOn(LED=
Onorblinking),theSelectswitchesletyousolooneor
bothOscillators,and/orAudioInputs.

Note:ThemainSOLObuttonmerelychangesthe
functionsoftheSELECT/SOLOswitches.Itdoesnot
enableorcleartheindividualsolostates.

[Off, On]

ThisswitcheitherselectsorsolostheDrumTrack
Program,dependingontheSoloswitch.Formore
details,seeSolo,above.

TFX 2

Universal Exclusive
Master Volume
(Fom Knobs, Pedals,
MIDI, or Sequencer)

Front Panel
Analog Volume
Knob

Headphone
& Main L/R
Outputs

1. PressandholdtheRESETCONTROLSbutton.
2. WhileholdingRESETCONTROLS,pressthe
SOLObutton.

Exclusive Solo menu parameter


ThemenusExclusiveSoloparameteralsoaffectsthe
waythatSoloworks.WhenExclusiveSoloisOff
(unchecked),youcansolomultipleoscillatorsand
inputsatonce.
WhenExclusiveSoloisOn(checked),onlyone
oscillatororinputcanbesoloedatatime.Inthismode,
pressingaSoloswitchautomaticallydisablesany
previoussolos.
YoucanalsotoggleExclusiveSolobyholdingENTER
andpressing1onthenumerickeypad.

OSC1 Select/Solo

[Off, On]

ThisswitcheitherselectsorsolosOscillator1,
dependingontheSoloswitch.Formoredetails,see
Solo,above.

OSC2 Select/Solo

[Off, On]

ThisswitcheitherselectsorsolosOscillator2,
dependingontheSoloswitch.Formoredetails,see
Solo,above.

24

S/PDIF & USB


Outputs

Program P0: Play 09: Control Surface

ControlSurfaceAudioIn

09c

Mixer Knobs

09c: Audio Inputs


ThisControlAssignsettingletsyouadjustthevolume,
pan,andFXsendsettingsforeachofthesixaudio
inputs:Analog1/2,USB1/2,andS/P DIFleft&right.
Youcanusethispagetomixsoundsfromother
sourcesintotheKRONOSoutputsasanonstage
submixer,forinstance.

[Channel Strip, Individual Pan]

Thisswitchcontrolswhethertheknobsshowthepan
settingsforall6inputsatonce(IndividualPan),orthe
panandFXSendlevelsfortheselectedinput(Channel
Strip).Formoreinformation,pleaseseeMixerKnobs
onpage 25.

Knobs 18, Channel Strip

Eachaudioinputcanbeassignedtouptothreebusses:

WhentheMixerKnobsswitchissettoChannelStrip,
theknobsprovidequickaccesstotheselectedinputs
PanandFXSendparameters.

AnOutput/IFXBus

Pan

AnFXControlBus

Thiscontrolsthestereopanoftheselectedinput.A
settingofL000placesthesoundatthefarleft,C064in
thecenter,andR127tothefarright.

Other Audio Input settings

ARECBus
YoucansetupthesebusassignmentsontheAudio
In/Samplingpage.Formoreinformation,see08:
AudioInput/Samplingonpage 14.

Use/Edit Global Setup

[Off, On]

Programscanusethesingle,Globalaudioinputmixer
setup,orcaninsteadhavetheirowncustomsettings.
WhenUse/EditGlobalSetupisOn,theProgramuses
theGlobalsettings.Thisisthedefault,andletsyou
changefreelybetweendifferentProgramsand
Combinationswithoutaffectingtheaudioinputs.
Also,anyeditsmadeonthispagewillaffecttheGlobal
setting,alongwithanyotherPrograms,Combis,or
SongswhichusetheGlobalsetting.
Ontheotherhand,itmaysometimesbeconvenientto
saveaparticularmixersetupwithanindividual
Program,tosetupspecialsubmixersettingsoreffects
processingforparticularinputs.Inthiscase,set
Use/EditGlobalSetuptoOff,andtheaudioinputs
willusetheProgramscustomsettings.

Send 1

[L000C064R127]

[000127]

ThiscontrolsthesendlevelintoFXSend1.Ifthe
inputsOutputBusparameterissettoL/RorOFF,it
scalestheprogrammedsendlevel.IftheOutputBusis
settoIFX112,itdirectlycontrolsthepostIFXsend
levels,overwritinganyprevioussetting.

Send 2

[000127]

ThiscontrolsthesendlevelintoFXSend2.Formore
details,seeSend1,above.

Knobs 16, Individual Pan


WhentheMixerKnobsswitchissettoIndividualPan,
knobs16controlpanforeachoftheaudioinputs.
Knobs7and8havenoeffect.

Audio Input Pan (16)

[L000C064R127]

Knobs1and2controlthepansettingsforanalog
inputs1&2,knobs3and4controlthepanforUSB
inputs1&2,andknobs56controlthepanfortheleft

25

Program mode: HD-1

andrightS/P DIFinputs.AsettingofL000placesthe
soundatthefarleft,C064inthecenter,andR127tothe
farright.

Play/Mute switches 16
Thetoprowofswitchesallowyoutomuteanyorallof
theaudioinputs.

Play/Mute (16)

[Off, On]

Whenthisswitchison(LED=on),theinputwillbe
enabled.Whentheswitchisoff(LED=off),theinput
willbemuted.

SOLO switch and SELECT switches 16


Solo

[Off, On]

SololetsyouisolateoneormoreOscillatorsoraudio
inputs,sothatyouhearthembythemselves.Itdoes
thisbytemporarilymutingallnonsoloedOscillators
andaudioinputs.
TheSelectswitchescanshowandcontroleitherwhich
audioinputiscurrentlyselected,orwhichinputsare
soloed.ThemainSolobuttonletsyoucanswitchback
andforthbetweenthetwoviews.
WhenSoloisOff(LED=Off),theSelectswitchesselect
thecurrentinput;whenSoloisOn(LED=Onor
blinking),theSelectswitchesletyousolooneormore
inputs.
WhenSoloisOn,andoneormoreOscillatorsoraudio
inputsaresoloed,theSoloLEDwillblinkonandoffto
remindyouthatsoloisinuse.
Note:ThemainSolobuttonmerelychangesthe
functionsoftheSelect/Soloswitches.Itdoesnotenable
orcleartheindividualsolostates.
Formoreinformation,seeClearingallsoloson
page 24,andExclusiveSolomenuparameteron
page 24.

Select/Solo (16)

[Off, On]

Thisswitcheitherselectsorsolostheinput,depending
ontheSoloswitchsetting.Formoredetails,seeSolo,
above.

Sliders 16
Audio Input Volume (16)

[000127]

Theseslidersadjustthevolumelevelsoftheaudio
inputs.

Master Volume Slider


Master Volume

[000127]

Thiscontrolsthevolumeofthemainstereooutputs,
aftertheTotalEffects.ItdoesnotaffectIndividual
Outputs14.Formoreinformation,seethediagram
MasterVolumeonpage 24.

26

Program P0: Play 09: Control Surface

ControlSurfaceExternal

09d

09d: External
ThisControlAssignsettingletsyousendMIDI
messagestoexternaldevices.Eachslider,knob,and
switchcanbeassignedtoaseparateMIDIcontroller
andMIDIchannel.Theeightpadsalsohaveseparate
assignmentswhichapplyonlywhenControlAssignis
settoExternal.
Forinstance,youmightmakeonesetupforcontrolling
severaldifferentpiecesofMIDIgearonstage,another
forcontrollingasoftwaresynthesizer(suchasoneof
KorgsLegacyCollectionsynths),andsoon.
Theseassignmentsaredeterminedbytheselected
ExternalSetup.TheKRONOShas128ExternalSetups,
whichcanbeeditedinGlobalmode(see12:External
1onpage 777).
WhenyouselectanExternalSetup,itstaysselected
evenwhenyouchangeProgramsorswitchtoanother
mode.ThismakesiteasytoselectdifferentKRONOS
soundswithoutdisruptingexternalMIDIcontrol,and
viceversa.
YoucanthinkofExternalmodeasbeingaseparate
controlsurfacewhichjusthappenstoshareKRONOSs
sliders,knobs,switches,andpads.

Setup

[000127]

ThisselectstheExternalSetupfortheknobs,sliders,
switches,andpads.
Note:thisselectionispersistentfortheentire
KRONOS;isnotstoredwiththeProgram.

Knobs 18
MIDI Channel (18)

GchmeansthattheknobwilltransmitontheGlobal
MIDIChannel,assetinGlobalmode.Thisallowsyou
toredirectanynumberofsliders,knobs,switches,and
onscreenpadstoadifferentchannelatonce,without
editingtheindividualcontrols.

CC# Assign (18)

[Off, 000119]

ThisreadonlyparametershowstheMIDICCsentby
theknob.
Note:tochangethemappingofCCstocontrols,edit
theExternalSetupsinGlobalP12:External1.For
moreinformation,see12:External1onpage 777.

Value (18)

[000127]

ThisisthecurrentvalueoftheknobsMIDICC.

Switches 116
MIDI Channel (116)

[0116, Gch]

ThisreadonlyparametershowstheMIDIChannelfor
theswitch.Eachcansendonadifferentchannel,if
desired.
GchmeansthatthesliderwilltransmitontheGlobal
MIDIChannel,assetinGlobalmode.

CC# Assign (116)

[Off, 000119]

ThisreadonlyparametershowstheMIDICCsentby
theswitch.

Switch Off/On (116)

[Off, On]

Whentheswitchisturnedon,itsendsavalueof127;
whenitisturnedoff,itsendsavalueof0.

Sliders 18 & Master Slider


[0116, Gch]

ThisreadonlyparametershowstheMIDIChannel
assignedtotheknob.Eachcansendonadifferent
channel,ifdesired.

MIDI Channel (18)

[0116, Gch]

ThisreadonlyparametershowstheMIDIChannelfor
theslider.Eachcansendonadifferentchannel,if
desired.

27

Program mode: HD-1

GchmeansthatthesliderwilltransmitontheGlobal
MIDIChannel,assetinGlobalmode.

CC# Assign (18)

Value (18)

[000127]

ThisisthecurrentvalueoftheslidersMIDICC.

[Off, 000119]

ThisreadonlyparametershowstheMIDICCsentby
theslider.
ControlSurfaceRT/KARMA

Selected
Parameter
Information

09e

followingnumberidentifiesthespecificparameter
withinthemodule.Forinstance,A22isparameter22
ofModuleA.

09e: RT/KARMA (Real Time


Knobs/KARMA)
ThisControlAssign(labeledR.TimeKnobs/KARMA
onthefrontpanel)settingletsyoumodulateProgram
andEffectsparameterswiththeeightknobs,and
controlKARMAwiththeswitchesandsliders.

Selected parameter information


WhenyouselectaKARMASliderorSwitch,thisarea
showsdetailedinformationaboutitsKARMA
parameterassignments.

Control

[SW18, SL18]

ThisshowswhichSwitchorSlideriscurrently
selected.

Assignment

[Name]

EachKARMASliderorSwitchcancontrolmultiple
internalparameterssimultaneously.Thegroupof
parameterscanbegivenasinglename,whichisshown
here.
Youcanselectdifferentnames,ifdesired.Formore
information,see79:Name/NoteMaponpage 132

Module and Parameter

[A 0132, P 0108]

ThisreadonlydisplayshowstheKARMA
parameter(s)assignedtotheSliderorSwitch.
AmeansthatthesliderorswitchcontrolsaGEReal
TimeParameterfromKARMAModuleA.(Notethatin
Programmode,onlyModuleAisavailable.)The

28

PmeansthattheswitchiscontrollingaPerformance
RealTimeParameter.
Youcanassignmanyparameterstoasingleslideror
switch,ifdesired.Duetospacelimitations,however,
onlythefirstfiveparameterswillbeshownhere.
Tochangetheparameterassignments,usetheKARMA
GERTPandPerfRTPpages.Formoreinformation,
pleasesee75:GERealTimeParameters/Sceneson
page 120,and76:PerfRealTimeParameterson
page 123.

Parameter Value

[Depends on parameter]

ThisshowsthevalueoftheGEorPerformanceReal
TimeParametersassignedtotheselectedSlideror
Switch.Therangecanvary,dependingonthe
individualparameters.

Knobs 18
Knobs14allhavededicatedfunctionswhich
correspondtoMIDICCs.Knobs58canbeassignedto
awidevarietyoffunctions,manyofwhichalsohave
correspondingMIDICCs.
Whenyoumoveaknob,itsendsoutthecorresponding
MIDICC.Also,whentheCCisreceivedviaMIDIor
generatedbyKARMA,theknobvaluechangesto
matchtheCCvalue.

Program P0: Play 09: Control Surface

Unlessotherwisenoted,scalingmeansthatthe
parametersareattheirprogrammedvalueswhenthe
controllerisat64,attheirminimumwhenthe
controllerisat0,andattheirmaximumwhenthe
controllerisat127.Foranotherlookatthis,seethe
diagrambelow.
CCparameterscaling

KARMA SLIDERS 18
ThesesliderscontrolKARMAPerformanceorGE
(GeneratedEffect)parameters,asassignedonthe
KARMAPerfRTPandGERTPpages.
Formoreinformation,seeKARMASWITCHES18,
above.

Master Volume Slider


99

Master Volume
Parameter
Value

[000127]

Thiscontrolsthevolumeofthemainstereooutputs,
aftertheTotalEffects.ItdoesnotaffectIndividual
Outputs14.Formoreinformation,seethediagram
MasterVolumeonpage 24.

As Programmed

00
0

64

127

CC Value

Knob 1: CUTOFF (CC#74)

[000127]

ThisknobscalesthecutofffrequenciesofFiltersAand
B,andtransmitsandreceivesMIDICC#74.

Knob 2: RESONANCE (CC#71)

[000127]

ThisknobscalestheresonanceofFiltersAandB,and
transmitsandreceivesMIDICC#71.

Knob 3: Filter EG Intensity (CC#79)

[000127]

ThisknobscalestheeffectoftheFilterEGonthecutoff
frequenciesofFiltersAandB.Italsotransmitsand
receivesMIDICC#79.

Knob 4: EG Release (CC#72)

[000127]

ThisknobscalesthereleasetimeoftheFilterandAmp
EGs,andtransmitsandreceivesMIDICC#72.

Knob 58

[000127]

ThisisthecurrentvalueoftheknobanditsMIDICC.
Youcansetknobs58toawidevarietyofmodulation
functions,usingtheControllerSetuppage(P18).
ManyofthefunctionsscaleaparticularsetofProgram
parameters.AllofthesettingsalsocorrespondtoMIDI
messagesusuallyCCs.
Notethat,aswithAMSmodulationingeneral,on
screenknobsandgraphicparameterdisplays(suchas
filtergraphics,envelopegraphics,etc.)donotchange
toreflectmodulationfromCCs.

KARMA SCENES 18
AKARMASceneincludesthesettingsforallofthe
KARMASlidersandSwitches.EachCombicancontain
uptoeightScenes.
ToselectaScene,justpressitsswitchyoullseeallof
theKARMASlidersandSwitchesupdateinstantlyto
theirnewvalues.

KARMA SWITCHES 18
TheseswitchescontrolKARMAPerformanceorGE
(GeneratedEffect)parameters,asassignedonthe
KARMAPerfRTPandGERTPpages.

29

Program mode: HD-1

ControlSurfaceToneAdjust

09f

09f: Tone Adjust


ToneAdjustletsyouuseallofthesliders,knobs,and
switchesontheControlSurfacetoeditProgram
parameters,liketheknobsonananalogsynth.Each
physicalcontrolcanbeassignedtoanyoneofa
numberofProgramparameters.
Tip:InCombiandSequencermodes,ToneAdjustalso
letsyoueditProgramparameterswithoutneedingto
saveadifferentversionoftheoriginalProgram.For
moreinformationonToneAdjustinthesemodes,see
09f:ToneAdjustonpage 436.

Saving Tone Adjust Edits


ToneAdjusteditsaresavedintwodifferentways,
dependingonwhethertheparameterisRelativeor
Absolute.(Formoreinformation,seeAbsolute,
Relative,andMetaparameters,below.)
EditstoRelativeparametersaffectthesound
immediately,butdontchangetheunderlyingProgram
parametersettingsuntiltheProgramissaved.When
theProgramissaved,theKRONOScalculatesthe
combinedeffectsofToneAdjustanddedicatedCC
modulation(fromtheRealTimeKnobs,forinstance),
andsavestheresultsintotheProgramparameters
directly.Atthatpoint,alloftheRelativeparametersare
resetto0.
EditstoAbsoluteparametersareimmediately
reflectedinthecorrespondingonscreenparameters,
andviceversa.

Tone Adjust and MIDI SysEx


TheToneAdjustsliders,knobs,andswitchesallsend
andreceiveMIDISystemExclusivemessages.Youcan
usethistorecordandplaybackToneAdjusteditswith
asequencer,includingthebuiltinsequencer.

30

NOTE:TheSysExmessagesaretiedtothephysical
controls,andnottothefunctionstowhichtheyare
assigned.Forinstance,letssaythatslider1isassigned
tocontrolFilterResonance,andmoveslider1while
recordingintoasequencer.Thesequencerwillrecord
thatslider1hasmoved,andnotthatFilterResonance
haschanged.Ifyoulaterchangeslider1tocontrol
LFO1Speed,playingbackthesequencewillaffectthe
LFO,andnotFilterResonance.

Interaction between Tone Adjust and MIDI CCs


AnumberoftheCommonToneAdjustparameters
affectparameterswhicharealsomodulatedby
dedicatedMIDICCs.ThespecificCCnumbersare
notedinthedescriptionsfortheindividualTone
Adjustparameters,below.
ToneAdjustandtheCCsworkseparately.Itspossible,
forinstance,forToneAdjusttoreducethevalueofa
parameter,andthenforaCCtoincreaseitagain.
ToneAdjustscalestheparameterfirst,andthentheCC
scalestheresultoftheToneAdjust.

Absolute, Relative, and Meta parameters


TherearethreekindsofToneAdjustparameters:
Absolute,Relative,andMeta.
AbsoluteparametersusuallycontrolasingleProgram
parameter,suchasOscillator1Transpose.The
ProgramandToneAdjustparametersmirrorone
another;whenyouchangeone,theotherwillchange
tomatch.
Relativeparameterstypicallyadjusttwoormore
Programparameterssimultaneously.Forinstance,
Filter/AmpEGAttackTimeaffectsatotalofsix
Programparameters.ThevalueoftheRelative
parametershowstheamountofchangetothese
underlyingProgramparameters.

Program P0: Play 09: Control Surface

WhentheRelativeparameterisat0(inthecenterofthe
knoborslider),theunderlyingProgramparameters
areunchanged.
Themeaningsofhigherandlowersettingscanvary,
dependingonthespecificparameter.Unlessnoted
otherwise,theyworkasfollows:

(Control)

[Knob18, SW116,
Slider18, Slider M]

ThisisthephysicalcontrollerassignedtotheTone
Adjustparameter.SliderMistheMasterSlider.

(Assignment)

[Full Parameter Name]

WhentheRelativeparameterisat+99(themaximum),
theProgramparametersareallattheirmaximumas
well.Similarly,whentheRelativeparameterisat99
(theminimum),theProgramparametersareatzero.

Thisshowsthefullnameoftheparameterassignedto
thecontroller.YoucanchangethisusingtheAssign
parameter,below.

RelativeToneAdjustparameterscaling

Thisshowsthecurrentvalueoftheparameter.The
rangeofvalueswillvarydependingontheparameter
assignedtothecontrol.

99
Parameter
Value

Value

Type

[Current Parameter Value]

[Relative, Absolute, Meta]

Thisshowsthetypeoftheparameter,whichrelatesto
howeditstotheparameteraresaved.Formore
information,seeAbsolute,Relative,andMeta
parametersonpage 30.

As Programmed

Stored Value

00
99

+99

Relative Tone Adjust Value

AfewoftheProgramparameterscontrolledby
RelativeToneAdjustarebipolar,meaningthatthey
canbeeitherpositiveornegative(insteadofjust
positive).WhentheseProgramparametersaresetto
negativevalues,ToneAdjustmaybehavedifferently
fromthedescriptionabove.
Forinstance,ifEGIntensityissettoanegativevalue,
RelativeToneAdjustwilltakeitfrom0to99,likethe
inverseofthediagramabove.EGSustainworks
differently;ifitssettoanegativevalue,ToneAdjust
takesitfrom0downtotheprogrammedvalue,and
thenupto+99,asshownbelow.
RelativeToneAdjustparameterscaling:EGSustain

[Original Parameter Value]

Thisshowstheoriginalvalueoftheparameter,before
theeffectsofToneAdjust.ItappliesonlytoTone
AdjustparameterswhichcontrolasingleProgram
parameter.
IfyouunassignaRelativeparameterfromacontrol,it
willreverttothisvalue.

Knobs 18
Assign

[List of Tone Adjust assignments]

ThisletsyouassignaToneAdjustparametertothe
knob.Forafulllistoftheavailablechoices,pleasesee
CommonToneAdjustParametersandHD1Tone
AdjustParameters,below.
Assign

99
Parameter
Value

Value

00

PerOscillatorparametersapplytoOSC1and2
individually,andaremarkedassuch:[OSC1]and
[OSC2}.

As Programmed

-99
99

+99

Relative Tone Adjust Value

MetaparametersdontaffectProgramparameters
directly.Instead,theyaffectthewaythatotherTone
Adjustparameterswork.Forinstance,Multisample
Min#andMax#settheminimumandmaximum
valuesoftheToneAdjustMultisampleparameter.

Selected parameter information

Eachcontrollercanbeassignedtoonlyoneparameter,
andeachparametercanbeassignedtoonlyone
controller.
Toswapaparameterfromonecontroltoanother,
youllneedtofirstunassignitfromtheoldcontrol,
andthenassignittothenewcontrol.

Value

[Depends on parameter]

Thisshowsthecurrentvalueoftheparameter.The
rangeofvalueswillvarydependingontheparameter
assignedtothecontrol.

Thisstatuslineshowsdetailed,readonlyinformation
aboutthecurrentlyselectedToneAdjustparameter.

31

Program mode: HD-1

Switches 116
ToneAdjustswitchesactalittledifferentlythanknobs
andsliders.
WhenaswitchisassignedtoaRelativeparameter,or
anAbsoluteparameterwithmorethantwostates:
SwitchOn=OnValue(seebelow)
SwitchOff=theProgramsstoredvalue
WhenaswitchisassignedtoatwostateAbsolute
parameter,suchasHold,theswitchstatusdirectly
reflectstheparametervalue:
SwitchOn=On
SwitchOff=Off

Assign

[List of Tone Adjust assignments]

ThisletsyouassignaToneAdjustparametertothe
switch.Forafulllistoftheavailablechoices,pleasesee
CommonToneAdjustParametersandHD1Tone
AdjustParameters,below.

Filter/AmpEGAttackTime.
(99+99,CC#73)
ThisscalestheattacktimesoftheFilterandAmpEGs,
alongwithotherrelatedparameters.
Whenthevalueis+1ormore,thisalsoaffectstheAmp
EGsStartandAttackLevels,StartLevelAMS,and
AttackTimeAMS,asdescribedbelow:
Betweenvaluesof+1and+25,theStartLevel,Start
LevelAMS,andAttackTimeAMSwillchangefrom
theirprogrammedvaluesto0.Overthesamerange,
theAttackLevelwillchangefromitsprogrammed
valueto99.
Filter/AmpEGDecayTime.
(99+99,CC#75)
ThisscalesthedecayandslopetimesoftheFilterand
AmpEGs.ItinteractswithCC#75.

Theparameterissettothisvaluewhentheswitchis
On.

Filter/AmpEGSustainLevel.
(99+99,CC#70)
ThisscalesthesustainlevelsoftheFilterandAmp
EGs.

WhentheswitchisassignedtoatwostateAbsolute
parameter,suchasHold,thiswillalwaysbethesame
astheSwitchStatus(seebelow).

Filter/AmpEGReleaseTime.
(99+99,CC#72)
ThisscalesthereleasetimesoftheFilterandAmpEGs.

Switch Status

FilterEGAttackTime.(99+99)
ThisscalestheattacktimesoftheFilterEGs.

On Value

[Depends on parameter]

[Off, On]

ThissimplyshowswhethertheswitchisOnorOff.
ThestatusisalsoshownbytheLEDsinthephysical
buttons.

Sliders 18 and Master Slider


TheseworkidenticallytoKnobs18,asdescribed
above.

Common Tone Adjust Parameters


TheseparametersaffectbothOscillators1and2.
Unlessotherwisenoted,alloftheCommonTone
AdjustparametersareRelative.
Off.ThismeansthattheToneAdjustcontrolhasno
effect.

FilterEGDecayTime.(99+99)
ThisscalesthedecayandslopetimesoftheFilterEGs.
FilterEGSustainLevel.(99+99)
ThisscalesthesustainlevelsoftheFilterEGs.
FilterEGReleaseTime.(99+99)
ThisscalesthereleasetimesoftheFilterEGs.
AmpEGAttackTime.(99+99)
ThisscalestheattacktimesoftheAmpEGs.
AmpEGDecayTime.(99+99)
ThisscalesthedecayandslopetimesoftheAmpEGs.
AmpEGSustainLevel.(99+99)
ThisscalesthesustainlevelsoftheAmpEGs.
AmpEGReleaseTime.(99+99)
ThisscalesthereleasetimesoftheAmpEGs.

FilterCutoff.(99+99,CC#74)
Thisscalesthecutofffrequencyofallofthefiltersat
once.Forinstance,intheHD1,itaffectsbothFiltersA
andB.

PitchEGAttackTime.(99+99)
ThisscalestheattacktimesofthePitchEG(orEGs,in
thecaseofsomeEXiinstruments).

FilterResonance.(99+99,CC#71)
Thisscalestheresonanceofallofthefiltersatonce.For
instance,intheHD1,itaffectsbothFiltersAandB.

PitchEGDecayTime.(99+99)
ThisscalesthedecayandslopetimesofthePitchEG
(orEGs,inthecaseofsomeEXiinstruments).

FilterEGIntensity.(99+99,CC#79)
ThisscalestheeffectoftheFilterEGonthecutoff
frequency.Itaffectsallofthefiltersatonce;for
instance,intheHD1,itaffectsbothFiltersAandB.

PitchEGSustainLevel.(99+99)
ThisscalesthesustainlevelsofthePitchEG(orEGs,in
thecaseofsomeEXiinstruments).Note:thisdoesnot
applytotheHD1.

99meansnomodulation.+99meansmaximum
modulationinthesamedirection,positiveornegative,
astheoriginalProgram.Forinstance,iftheoriginal
ProgramsEGIntensitywassetto25,thensettingthe
ToneAdjustto+99movestheEGIntensityto99.

PitchEGReleaseTime.(99+99)
ThisscalesthereleasetimesofthePitchEG(orEGs,in
thecaseofsomeEXiinstruments).

AmpVelocityIntensity.(99+99)
ThisscalestheeffectofvelocityontheAmplevel.

32

99removesthevelocitymodulationentirely.+99
meansmaximummodulationinthesamedirection,
positiveornegative,astheoriginalProgram.

PitchLFO1Intensity.(99+99,CC#77)
ThisscalestheeffectofLFO1onthePitch.

Program P0: Play 09: Control Surface

99removestheLFOmodulationentirely.+99means
maximummodulationinthesamedirection,positive
ornegative,astheoriginalProgram.
LFO1Speed.(99+99,CC#76)
ThisscalesLFO1sfrequency.WhentheLFOisin
MIDI/Tempomode,thisadjuststheBaseNote.For
moreinformation,pleaseseeFrequencyonpage 93.
LFO1Fade.(99+99)
ThisscalesLFO1sfadeintime.Formoreinformation,
pleaseseeFadeonpage 94.

CommonStepSequencerAttackSmoothing.(0099,
Absolute)
ThisAbsoluteparametersetsamountofattack
smoothingfortheCommonStepSequencer.Notethat
thisappliesonlytoEXiPrograms.Formore
information,pleaseseeSmoothingonpage 178.
CommonStepSequencerDecaySmoothing.(0099,
Absolute)
ThisAbsoluteparametersetsamountofdecay
smoothingfortheCommonStepSequencer.Notethat
thisappliesonlytoEXiPrograms.Formore
information,pleaseseeSmoothingonpage 178.

LFO1Delay.(99+99,CC#78)
ThisscalesLFO1sdelaytimethetimebetweennote
onandtheonsetoftheLFO.Formoreinformation,
pleaseseeDelayonpage 94.

HD-1 Tone Adjust Parameters

ThisparameterinteractswithCC#78.

Macro parameters

LFO1Stop.(PROG/Off/On,Absolute)
ThisAbsoluteparametercontrolswhetherLFO1is
stoppedorrunning.Formoreinformation,pleasesee
Stoponpage 93.

ThefollowingthreeparametersaffectbothOscillator1
andOscillator2.

ThePROGsettingrestorestheProgramsoriginal
valuesconvenientifOscillator1sLFOwasstopped,
butOscillator2swasnot.
LFO2Speed.(99+99)
ThisscalesLFO2sfrequency.WhentheLFOisin
MIDI/Tempomode,thisadjuststheBaseNote.For
moreinformation,pleaseseeFrequencyonpage 93.
LFO2Fade.(99+99)
ThisscalesLFO2sfadeintime.Formoreinformation,
pleaseseeFadeonpage 94.
LFO2Delay.(99+99)
ThisscalesLFO2sdelaytimethetimebetweennote
onandtheonsetoftheLFO.Formoreinformation,
pleaseseeDelayonpage 94.
LFO2Stop.(PROG/Off/On,Absolute)
ThisAbsoluteparametercontrolswhetherLFO2is
stoppedorrunning.Formoreinformation,pleasesee
Stoponpage 93.
CommonLFOSpeed.(99+99)
ThisscalestheCommonLFOsfrequency.Whenthe
LFOisinMIDI/Tempomode,thisadjuststheBase
Note.
Unison.(Off/On,Absolute)
ThisAbsoluteparameterturnsUnisononandoff.For
moreinformation,pleaseseeUnisononpage 38.
NumberOfVoices.(216,Absolute)
ThisAbsoluteparametersetsthenumberofUnison
voices.IfUnisonisnotOn,thisparameterhasno
effect.Formoreinformation,pleaseseeNumberof
voicesonpage 38.
Detune.(0.0200.0,Absolute)
ThisAbsoluteparametersetsamountofdetuning
betweentheUnisonvoices.IfUnisonisnotOn,this
parameterhasnoeffect.Formoreinformation,please
seeDetuneonpage 38.
Thickness.(Off/0109,Absolute)
ThisAbsoluteparametersetsthepatternofdetuning
betweentheUnisonvoices.IfUnisonisnotOn,orif
Detuneissetto0,thisparameterhasnoeffect.For
moreinformation,pleaseseeThicknessonpage 39.

*Inthelistbelow,theitemsinparenthesesare
(valuerange,edittype)respectively.
PitchStretch.(12+12,Relative)
ThisspecialcontrolincreasestheOscillatorTune
parameterwhileloweringtheTransposeparameter.
Theresultisthatthepitchstaysthesame,butthe
mappingofthesamplestothekeyschanges.Youcan
usethistocreateinterestingshiftsintimbre.
Hold.(Off/On,Absolute)
ThisletsyouturnHoldonandoff.Formore
informationonthisparameter,seeHoldonpage 39.
Reverse.(PROG/Off/On,Absolute)
ThisprovidesaquickwaytoturnReverseonorofffor
allMultisamplesinbothOscillators.PROGrestores
theProgramsoriginalsettingsconvenientifsome
MultisampleshadbeensettoOff,andotherssettoOn.

Per-Oscillator parameters
TheseparametersaffecteachOscillatorseparately.In
thelist,theparametersforOscillator1appearfirst,
witheachnameprefacedby[OSC1];theparameters
forOscillator2appearnext,prefacedby[OSC2].
*Inthelistbelow,theitemsinparenthesesare
(valuerange,edittype)respectively.
Tune.(1200+1200,Relative)
ThisRelativeparameteraddstoorsubtractsfromthe
OscillatorsTunesetting,asdescribedunderTuneon
page 57.
NOTE:aswithTranspose,below,thisisasimple
additionorsubtraction,asopposedtothemore
complexscalingfunction.
Transpose.(60+60,Relative)
ThisRelativeparameteraddstoorsubtractsfromthe
OscillatorsTransposesetting,asdescribedunder
Transposeonpage 57.
MS/WS/DKitSelect.(PROG/016383,Absolute)
ThisletsyouselectanewMultisampleorWave
SequencefortheOscillator(inSingleorDouble
Programs),oradifferentDrumKit(inDrum
Programs).Youcaneitherusethistoselectdifferent
soundsviaaknoborsliderforinstance,toselectone
outofasetofsynthwavetablesortooverride
ProgramsettingsinaCombinationorSong.

33

Program mode: HD-1

PROGrestorestheProgramsoriginalMultisamples,
WaveSequences,orDrumKits,includingallvelocity
rangesandReverseandStartOffsetsettings.

groupedtogether.Forinstance,thismakesiteasyto
selectbetweenagroupofbells,orasetofelectric
basses.

ThelistofMultisamples,WaveSequences,orDrum
Kitscanbequitelong.Theslidersorknobswillletyou
sweepthroughtheentirerange,butitmaynotbe
possibletoselectalloftheintermediatevalues.Youcan
alwaysselectaspecificvaluebyeditingtheonscreen
parameterviathestandarddataentrycontrols,suchas
theINCandDECbuttons.

IftheSelectparameterisnotused,thissettinghasno
effect.

Youcanalsolimittherangeofthecontrolbyusingthe
Min#andMax#parameters,describedbelow.
ForSingleandDoublePrograms:

StartOffset.(08,Absolute)
ThisallowsyoutochangetheStartOffsetofthe
MultisamplespecifiedbytheMS/WSSelect
parameter.Itappliesonlywhen:

MS/WS/DKitSelectoverridesallofthe
MultisampleVelocityzones,sothatthenewly
selectedMultisampleorWaveSequenceplaysover
theentirevelocityrange.

TheMS/WSSelectparameterisusedtoselecta
Multisample(notaWaveSequence)

Bydefault,iftheoriginalProgramsMS1isa
Multisample,youcanselectMultisamples;ifMS1is
aWaveSequence,youcanselectWaveSequences.
YoucanusetheMS/WSTypeparameter,described
below,tochangebetweenMultisamplesandWave
Sequencesasdesired.

Drive.(099,Absolute)
ThiscontrolstheOscillatorsDriveparameter,as
describedunderDriveonpage 82.

ForMultisamplesonly:
Bydefault,youcanselectfromthesameBankas
theoriginalProgramsMS1.Toselectadifferent
Bank,usetheMSBankparameterdescribedbelow.
(NotethatMSBankcannotbeusedtochangeto
UserSampleBanksorEXsnumbered126and
higher.)
YoucanusetheToneAdjustReverseandStart
Offsetparameterstomodifythenewlyselected
Multisample.Bydefault,ReverseissettoOff,and
StartOffsetissetto0.
ForWaveSequencesandDrumKits:

TheProgramisaSingleorDouble(notaDrumKit)

FormoreinformationonStartOffsets,seeStart
Offsetonpage 60.

LowBoost.(099,Absolute)
ThiscontrolstheOscillatorsLowBoostparameter,as
describedunderLowBoostonpage 83.
PitchSlope.(1.02.0,Absolute)
ThiscontrolstheOscillatorsPitchSlopeparameter,as
describedunderPitchSlopeonpage 63.
LFO1Waveform.(TriangleRad6,Absolute)
ThisselectsthewaveformfortheOscillatorsLFO1,as
describedunderWaveformonpage 92.
LFO2Waveform.(TriangleRad6,Absolute)
ThisselectsthewaveformfortheOscillatorsLFO2,as
describedunderWaveformonpage 92.

WaveSequenceandDrumKitBanksareignored;
allitemsinallbanksareavailableinacontinuous
listviatheSelectparameter.

AmpLFO1Intensity.(99+99,Absolute)
ThiscontrolsthedepthanddirectionofAmp
modulationfromLFO1,asdescribedunder42c:LFO
1/2onpage 86.

MS/WSType.(Off/MS/WavSeq,Meta)
ThisMetaparametermodifiestheMS/WSSelect
parameter,sothatyoucanspecificallychoosetoselect
eitherMultisamplesorWaveSequences.

AmpLFO2Intensity.(99+99,Absolute)
ThiscontrolsthedepthanddirectionofAmp
modulationfromLFO2,asdescribedunder42c:LFO
1/2onpage 86.

IftheSelectparameterisnotused,orifthecurrent
soundisaDrumProgram,MS/WSTypehasnoeffect.

FilterLFO1IntensitytoA.(99+99,Absolute)
ThiscontrolsthedepthanddirectionofFilterAcutoff
modulationfromLFO1,asdescribedunder33a:LFO
1/2onpage 76.

MSBank.(ROMmono/stereo,Smp:OldRAM
mono/stereo,EXs1monoEXs125stereo,Meta)
ThisMetaparametermodifiestheMS/WS/DkitSelect
parameter,sothatyoucanchooseMultisamplesfroma
BankotherthantheoneselectedintheProgram.You
cannotuseMSBanktochangetoUserSampleBanks
orEXsnumbered126andhigher.
IftheSelectparameterisnotused,thissettinghasno
effect.MSBankdoesnotapplytoWaveSequences
andDrumKits,asdescribedabove.
MS/WS/DKitMin#.(016383,Meta)
ThisMetaparametersetsaminimumvalueforthe
MS/WS/DkitSelectparameter.Youcanusethisin
conjunctionwiththeMS/WS/DKitMax#parameter,
below,sothataknoborsliderselectsonlyfromasmall
setofchoices.Thisisparticularlyconvenientwiththe
internalROM,inwhichsimilarMultisamplesare

34

MS/WS/DKitMax#.(016383,Meta)
ThisMetaparametersetsamaximumvalueforthe
MS/WS/DkitSelectparameter.Pleasesee
MS/WS/DKitMin#,above,formoreinformation.

FilterLFO1IntensitytoB.(99+99,Absolute)
ThiscontrolsthedepthanddirectionofFilterBcutoff
modulationfromLFO1,asdescribedunder33a:LFO
1/2onpage 76.
FilterLFO2IntensitytoA.(99+99,Absolute)
ThiscontrolsthedepthanddirectionofFilterAcutoff
modulationfromLFO2,asdescribedunder33a:LFO
1/2onpage 76.
FilterLFO2IntensitytoB.(99+99,Absolute)
ThiscontrolsthedepthanddirectionofFilterBcutoff
modulationfromLFO2,asdescribedunder33a:LFO
1/2onpage 76.
PitchLFO1AMSIntensity.(12.00+12.00,Absolute)
YoucanuseanAMSsource,suchasaftertouch,to
modulatethedepthofpitchmodulation(vibrato)from

Program P0: Play 09: Control Surface

LFO1.ThiscontrolstheintensityofthatAMS
modulation.Formoreinformation,see42c:LFO1/2
onpage 86.
PitchLFO2AMSIntensity.(12.00+12.00,Absolute)
ThisissimilartoPitchLFO1AMSIntensity,above.
Formoreinformation,see42c:LFO1/2onpage 86.

Default Tone Adjust Settings


ToneAdjustprovidesanelegantphysicalinterfaceto
theHD1sparameters.Mostofthefactorysoundsuse
thedefaultlayout,asshownbelow.Youcanalso
customizethelayoutforindividualsounds,ifdesired.

HD1ToneAdjust,DefaultSettings
OSC1
Filter LFO1 Intensity to A
Switch 3: OSC2

OSC1
Amp LFO1 Intensity
Switch 4: OSC2

OSC1
LFO1 Waveform
LFO1 Speed

Pitch LFO1 Intensity

Amp Velocity
Intensity

OSC1 Drive

Pitch Stretch
Switch 1: Reverse
Switch 2: OSC2 Tune
Switch 8:
OSC2 Drive
Switch 7:
Multisample/Wave Seq
/Drum Kit

Switches 9-11:
Filter Cutoff,
Filter Resonance,
Filter EG Intensity

Switches 5 & 6:
OSC1 Transpose,
OSC2 Transpose

Filter EG ADSR

Amp EG ADSR

t 09: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:AddtoSetList.Formoreinformation,seeAdd
ToSetListonpage 148.
3:CopyToneAdjust.Thisisavailableonlywhen
ControlAssignissettoToneAdjust.Formore
information,seeCopyToneAdjustonpage 152.
4:ResetToneAdjust.Thisisavailableonlywhen
ControlAssignissettoToneAdjust.Formore
information,seeResetToneAdjustonpage 153.
3:CopyScene.ThisisavailableonlywhenControl
AssignissettoRTKNOBS/KARMA.Formore
information,seeCopySceneonpage 157.
4:SwapScene.ThisisavailableonlywhenControl
AssignissettoRTKNOBS/KARMA.Formore
information,seeSwapSceneonpage 157.

35

Program mode: HD-1

Program P1: Basic/Vector


11: Program Basic
11PMC

11a

11b

11h

11c

11d

11e

11f

11g

Thispagecontainsallofthebasicsettingsforthe
Program.Amongotherthings,youcan:
SetupthebasicProgramtype:Single,Double,
Drum,orDoubleDrum

TheDrumandDoubleDrummodesareaspecial
variationsofSingleandDoublemodes,respectively,
usingDrumKits(ascreatedinGlobalmode)insteadof
Multisamples.

SettheProgramtoplaypolyphonicallyor
monophonically

Single:TheProgramwilluseoneoscillator,fora
maximumof140notepolyphony.

CreateakeyboardsplitbetweenOSC1andOSC2

Double:TheProgramwillusetwooscillators,fora
maximumof70notepolyphony.

SelecttheProgramsscale
MakebasicWaveSequenceSettings

11a: Program Name and Tempo


Bank

[INTAG, USERAG and AAGG]

Program Name

[000127/001128: Name]

Thesetworeadonlyparametersshowthebank,
number,andnameofthecurrentProgram.

Tempo ( q )

[040.00300.00, EXT]

DoubleDrums:TheProgramwillusetwooscillators
toplaytwoDrumKits.InthiscasetheProgramwill
normallyhaveamaximumof70notepolyphony.
Note:whenplayingdrumkits,itsoftenusefultoturn
ontheHoldparameter.Formoreinformation,see
Hold,onpage 39.

A note about polyphony

ThisisthetempousedforWaveSequences,LFOs,
effects,andKARMA.Formoreinformation,pleasesee
Tempoonpage 5.

Polyphonymeansthenumberofnotesthatyoucan
playatatime.Thisnumberwillvarydependingonthe
particularsoundbeingplayed,andhowthatsoundis
produced.Generallyspeaking:

11b: Oscillator Mode

DoubleProgramsusetwiceasmanyvoicesas
SinglePrograms.

Oscillator Mode

[Single, Double,
Drums, Double Drums]

HD1SingleProgramshaveoneoscillator,andDouble
Programshavetwooscillators.Eachoscillatorincludes
acompletesynthesisvoice,withvelocityswitched
multisamples,dualfilters,EGs,LFOs,andsoon.

36

Drums:TheProgramwilluseoneoscillatortoplaya
DrumKit.InthiscasetheProgramwillnormallyhave
amaximumof140notepolyphony.

AWaveSequenceusestwiceasmanyvoicesasa
Multisample.AstereoWaveSequenceusestwiceas
manyvoicesasamonoWaveSequence.
StereoMultisamplesusetwiceasmanyvoicesas
MonoMultisamples.
IftheVectorEGisenabled,thenumberofvoices
usedincreasesslightly.

Program P1: Basic/Vector 11: Program Basic

Polyphonyalsodependsontheeffectsbeingused,and
onwhichsynthesistypesarebeingused(HD1,AL1,
CX3etc.).Formoreinformation,see02:
PerformanceMetersonpage 7.

TheModeparameter,below,switchesbetweentwo
differentMonoLegatoeffects,eachofwhichachieves
thissmoothnessinadifferentway.Seethedescription
ofthatparameterformoredetails.

11c: Voice Assign Mode

On(checked):Whenyouplaywithlegatophrasing,
thenoteswithinalegatophrasewillsoundsmoother,
accordingtothesettingoftheModeparameter,below.

Voice Assign Mode

[Poly, Mono]

Theseradiobuttonsselectthebasicvoiceallocation
mode.Dependingonwhichoneyouselect,various
otheroptionswillappear,suchasPolyLegato(Poly
modeonly)andUnison(Monomodeonly).
Poly:Theprogramwillplaypolyphonically,allowing
youplaychords.
Mono:Theprogramwillplaymonophonically,
producingonlyonenoteatatime.

Poly
Poly Legato

[Off, On]

PolyLegatoisavailablewhentheVoiceAssignMode
issettoPoly.

Off(unchecked):Legatophrasingwillproducethe
samesoundasdetachedplaying.

Mode

[Normal, Use Legato Offset]

ThisparameterisavailableonlywhenMonoLegatois
On.
Normal:Whenyouplaylegato,themultisample,
envelopes,andLFOswillnotbereset;onlythepitchof
theoscillatorwillchange.Thissettingisparticularly
effectiveforwindinstrumentsandanalogsynth
sounds.
Withthisoption,thepitchmayoccasionallybe
incorrect,dependingonwhichmultisampleyou
play,andwhereonthekeyboardyouplay.

Legatomeanstoplaynotesothattheyaresmoothand
connected;thenextnoteisplayedbeforethelastnote
isreleased.Thisistheoppositeofplayingdetached.

UseLegatoOffset:Whenyouplaylegato,thesecond
andsubsequentnoteswillusethelegatostartpoint
specifiedforeachmultisample,ratherthantheStart
Offset(21c)setting.

On(checked):Whenyouplayalegatophrase,onlythe
firstnoteofthatphrase(andnoteswithin30msecof
thefirstnote)willusethenormalmultisamplestart
pointspecifiedbyStartOffset(21c);allsubsequent
noteswillusethelegatostartpointspecifiedforeach
multisample.

Thisiseffectivewhenusedwithamultisamplefor
whichyouveassignedaspecificlegatooffsetpoint.
Forexample,youmightuseittocontroltheattackofa
breathy,slowattacksaxsound.Onsome
multisamples,thiswillhavenoeffect.

Note:Thisisausefulwaytosimulatethepercussive
attackofatonewheeltypeorgan.
Off(unchecked):Noteswillalwaysusethesettingof
theStartPointOffset,regardlessofwhetheryouplay
legatoordetached.
WithsomeMultisamples,PolyLegatomaynothave
anyeffect.

Single Trigger

[Off, On]

SingleTriggerisavailablewhentheVoiceAssign
ModeissettoPoly.
On(checked):Whenyouplaythesamenote
repeatedly,thepreviousnotewillbesilencedbefore
thenextnoteissounded,sothatthetwodonot
overlap.

EnvelopesandLFOswillstillbereset,astheyarewith
detachedplaying.

Priority

[Low, High, Last]

PriorityisavailablewhentheVoiceAssignModeisset
toMono.
Thisparameterdetermineswhathappenswhenmore
thanonenoteisbeinghelddown.
Low:Thelowestnotewillsound.Manyvintage,
monophonicanalogsynthsworkthisway
High:Thehighestnotewillsound.
Last:Themostrecentlyplayednotewillsound.

Max # of Notes
Max # of Notes

[Dynamic, 116]

Off(unchecked):Whenyouplaythesamenote
repeatedly,thenoteswilloverlap.

Dynamicisthedefault.Withthissetting,youcanplay
asmanynotesasthesystemallows.

Mono

116letsyoulimitthemaximumnumberofnotes
playedbytheProgram.Voiceswillstillbeallocated
dynamically,uptothismaximumnumber.Youcanuse
thisto:

Mono Legato

[Off, On]

ThisisavailablewhentheVoiceAssignModeissetto
Mono.
Legatomeanstoplaynotesothattheyaresmoothand
connected;thenextnoteisplayedbeforethelastnote
isreleased.Thisistheoppositeofplayingdetached.
WhenMonoLegatoisOn,thefirstnoteinalegato
phrasewillsoundnormally,andthensubsequentnotes
willhaveasmoothersound,formoregentle
transitionsbetweenthenotes.

Modelthevoiceleadingofvintagesynthesizers,
suchasthePolysix
Controltheresourcesrequiredbyindividual
ProgramsinCombinationandSequencermodes
Max#ofNotesappliesonlywhenthemainVoice
AssignModeissettoPoly.IfMonoisselected,thisis
grayedout.

37

Program mode: HD-1

ThissettingdoesnotlimittheUnisonNumberof
Voicesparameter.Forinstance,ifMax#ofNotesisset
to6,andUnisonNumberofVoicesissetto3,youcan
playupto6notes,eachwith3Unisonvoices.
IftheProgramissettoDouble,theMax#ofNotes
appliesequallytobothOscillators.Forinstance,ifMax
#ofNotesissetto4,youcanplayupto4notesoneach
OSC.

Chord
Chord

[Off, Bsc, Adv]

OffdisablestheChordfunction.
Bsc(Basic)recreatesthechordmodeoftheKorg
Polysix.Eachtimeyouplayanewchord,itwillcutoff
thepreviouschord.ThisoptionignorestheVoice
Assignsettings.
Adv(Advanced)usestheProgramsVoiceAssign
settings,asifeachnoteinthechordwasatransposed
setofoscillatorslayeredwithintheProgram.
Poly,PolyLegato,SingleTrigger,Mono,MonoLegato,
LegatoOffset,MonoPriority,andMonoandPoly
Unisonallapply.
YoucanachievethesameeffectasBsc,above,by
settingChordtoAdvanced,VoiceAssigntoMono,
PrioritytoLastNote,andLegatotoOff.
Formoreinformation,seeUsingChordmodeon
page 36oftheOperationGuide.

Source Pad

[1...8]

Chordmodeusesthechordsassignedtotheonscreen
pads,andthisselectswhichonetouse.Youcanalso
choosechordsusingtheonscreenpadsthemselves;for
moreinformation,seeSelectingchordsonpage 38of
theOperationGuide.

Unison
Unison

[On, Off]

UnisoncanbeusedinbothMonoandPolymodes.
On(checked):WhenUnisonison,theProgramuses
twoormorestacked,detunedvoicestocreateathick
sound.
UsetheNumberofVoicesandDetuneparametersto
setthenumberofvoicesandamountofdetuning,and
theThicknessparametertocontrolthecharacterofthe
detuning.
Off(unchecked):TheProgramplaysnormally.If
UnisonisOff,thenallofitsassociatedparametersare
grayedout.

Number of voices

[216]

Thiscontrolsthenumberofdetunedvoicesthatwillbe
playedforeachnotewhenusingUnison.Itapplies
onlywhenUnisonisOn.

Stereo Spread

Ifthereisanoddnumberofvoices,onevoicewillbe
pannedtothecenter.
Ifthevoicesaretruestereo,StereoSpreadsteersthe
stereoimageofeachvoice,similartoMIDIPan
(CC#10)andtheControlSurfacePanknobs.Inthis
case,intermediatesettingsofStereoSpreadmaybe
themosteffective,sincetheywillstillpreservesomeof
theoriginalstereoimage.
Unisondetuningisspreadasevenlyaspossibleacross
theleftandrightchannels.Thelowestvoicewillbeon
theleft,andthehighestontheright;thenextloweston
theleft,andthenexthighestontheright,etc.,as
below:
14cents:L
+14cents:R
10cents:L
+10cents:Retc.
DependingontheThicknesssetting,thedetuning
mayleanslightlytooneside.

Detune

[0200 cents]

DetuneisavailablewhenUnisonisOn.
ThisparametersetsthetuningspreadfortheUnison
voices,incents(1/100ofasemitone).TheThickness
parameter,below,controlshowthevoicesare
distributedacrossthedetuneamount.When
ThicknessisOff,thevoicesaredistributedevenly,
centeredaroundthebasicpitch.
Forinstance,letssaythattheNumberofvoices
parameterissetto3,Detuneissetto24,and
ThicknessisOff:
Voiceonewillbedetuneddownby12cents,voicetwo
willnotbedetuned,andvoicethreewillbedetunedup
by12cents.
Voice

Detune

12

+12

Asanotherexample,letssaythatDetuneisstillsetto
24andThicknessisstillOff,butNumberofvoicesis
setto4:
Voiceonewillstillbedetuneddownby12cents,voice
twowillbedetuneddownby4cents,voicethreewill
bedetunedupby4cents,andvoice4willbedetuned
upby12cents.
Voice

Detune

[0...100]

12

StereoSpreadletsyoucreateawiderstereofieldwhen
usingUnison.ItappliesonlywhenUnisonisOn.

+4

+12

ThisfeatureseparatesthedifferentUnisonvoicesinto
twogroups.Onegroupispannedtotheleft,andthe
othertotheright.At0,bothgroupswillbeinthe

38

center;at100,thetwogroupswillbehardpannedleft
andright,respectively;atintermediatevalues,they
willbepannedtointermediateleftandrightpositions.

Program P1: Basic/Vector 11: Program Basic

Thickness

[Off,0109]

ThicknessisavailablewhenUnisonisOn.
Thisparametercontrolsthecharacterofthedetuning
fortheunisonvoices.
Off:Unisonvoiceswillbeevenlydistributedacross
theDetunerange,asshownabove.
0109:Unisonvoiceswillbedetunedinanasymmetric
way,increasingthecomplexityofthedetune,and
changingthewayinwhichthedifferentpitchesbeat
againstoneanother.Thiscreatesaneffectsimilarto
vintageanalogsynthesizers,inwhichoscillatorswere
frequentlyslightlyoutoftune.Highernumbers
increasetheeffect.

11d: Key Zone


Youcancreatekeyboardsplitsbysettingtopand
bottomkeysforOscillators1and2.Also,youcan
controlthekeyboardrangeoverwhichtheHold
parametertakeseffect.

Setting Key Zones from the keyboard


Inadditiontousingthestandarddataentrycontrols,
youcanalsosetallkeyboardzonesparametersdirectly
fromthekeyboard.Justdothefollowing:
1. Selectthekeyzoneparameteryoudliketoedit.
2. PressandholdtheENTERbutton.
3. Playanoteonthekeyboardtosettheparameter.
4. ReleasetheENTERbutton.
Youcanusethisshortcutforallkeyandvelocity
parametersintheKRONOS.

Osc 1 Bottom

[C1G9]

ThissetsthehighestkeyonwhichOscillator1will
play.

Osc 2 Bottom

Holdcanbeespeciallyusefulfordrumprograms,
sinceitletsthesamplesringoutnaturally.Ingeneral,
whenyousettheOscillatorModetoDrums,itsgood
tosetHoldtoOn.
OnceyouveturnedonHoldforadrumprogram,the
functioniscontrolledonanotebynotebasis
accordingtosettingswithintheselectedDrumKit.
IfakeysEnableNoteOffReceiveparameter(onthe
VoiceMixertaboftheDrumKitpage)isunchecked,
thenotewillbeheld.
IfthekeysEnableNoteOffReceiveparameteris
checked,itwillnotbeheld.
IfyouturnoffHoldintheProgram,nokeyswillbe
heldregardlessoftheirEnableNoteOffReceive
setting.

Using Hold with Acoustic Pianos


Holdisalsousefulforsimulatingthetopoctavesofan
acousticpiano,inwhichnotesalwayssustainuntil
theyfadeoutnaturally,regardlessofhowlongyou
holdthekey.
TheHoldBottomandHoldTopparametersare
designedforexactlythispurpose.Theyletyoulimit
theeffectoftheHoldparametertoaspecificrangeof
thekeyboard.

Hold Bottom

[C1G9]

ThissetsthelowestkeyaffectedbytheHoldfunction.

Hold Top

[C1G9]

ThissetsthehighestkeyaffectedbytheHoldfunction.

[C1G9]

ThissetsthelowestkeyonwhichOscillator1willplay.

Osc 1 Top

Using Hold with Drum Kits

[C1G9]

11e: Wave Sequence


TheSwing,KeySync,andQuantizeTriggersettings
inthissectionaffecthowtheProgramplaysitsWave
Sequences.Thesesettingsarestoredwithinthe
Program,anddonotchangetheoriginalWave
Sequencedata.

ThissetsthelowestkeyonwhichOscillator2willplay.

Swing

Osc 2 Top

ThisparameterappliesonlywhentheProgramis
usingoneormoreWaveSequencessettoTempomode.

[C1G9]

ThissetsthehighestkeyonwhichOscillator2will
play.

[300%+300%]

[On, Off]

UseSwingtoaddasenseofswingtotherhythm.For
example,Swingprovidesaneasywaytoturna
squarerhythmintoashufflegroove.

Holdislikepermanentlypressingdownonthesustain
pedal.Inotherwords,notescontinuetosoundasif
youwereholdingdownthekeyevenafteryoulift
yourfingersfromthekeyboard.

Swingworksbyadjustingthepositionoftheupbeats,
relativetotheWaveSequencesResolutionsetting.For
instance,iftheResolutionissetto1/8,Swingaffects
everyother8thnote.

UnlesstheSustainLevelissetto0inAmpEG1(and
AmpEG2inaDoubleProgram),thesoundwillplay
fortheentirelengthofthesample(s).

WhenSwingissetto+100%,thesenoteswillbemoved
onethirdofthewaytowardthenextdownbeat.Ifthe
Resolutionis1/8,forexample,+100%changesstraight
8thnotesinto8thnotetriplets.

Hold

On(checked):TheHoldfunctionisenabledforthe
rangesetbytheHoldBottomandHoldTop
parameters,below.
Off(unchecked):Noteswillplaynormally.Thisisthe
defaultsetting.

WhenSwingissetto+300%,upbeatswillbemoved
allthewaytothenextdownbeat.Atthispoint,the
notesontheupbeatswillnotbeheardatall.
Positivevaluesmaketheupbeatslater,andnegative
valuesmakethemearlier.

39

Program mode: HD-1

WaveSequenceSwing

How Quantize Trigger works


TheQuantizeTriggerfeaturetriestomakeagood
guessatwhereyouintendedthenotetobe.Ifyouplay
thenotejustabitlatewithina32ndnoteofthe8th
noteitwillassumethatyoumeantthenotetosound
onthebeatthatjustpassed.Inthiscase,thenotewill
playimmediately.

Swing Resolution =
Beat 1

Beat 2
3

Swing %
0%

+100
+100%

100

Ontheotherhand,ifyouplaythenoteuptothree
32ndnotesearly,itwillassumethatyoureintending
thenotetosoundonthenextbeat.Inthiscase,the
noteonisdelayeduntilthenext8thnote.

100%

+200
+200%

+300%

+300

Swing uses the Wave Sequences Resolution


setting
SincetheprogrammedrhythmsofTempoWave
Sequencescanvarywidely,eachhasitsownSwing
Resolutionsetting,from1/32notetripletsto1/4note.
IftheProgramcontainstwoormoreWaveSequences
withdifferentSwingResolutionsettings,theProgram
willusethefinestvalue.Forexample,ifoneissetto1/8
andtheotherissetto1/16,theProgramwilluse1/16
notes.

Key Sync

[On, Off]

On(checked):WhenKeySyncisOn,eachnotesWave
Sequence(s)willprogressindependently,sothateach
onecanbeonadifferentstep,ormovingatadifferent
rate.
Off(unchecked):WhenKeySyncisOff,allofthe
WaveSequenceswillbesynchronizedonthesame
step.Thereisoneexceptiontothis,however:if
Durationismodulatedwithvelocityornotenumber,
theWaveSequencescanstillprogressatdifferentrates.

Quantize Trigger

[On, Off]

ThisparameterappliesonlywhentheProgramis
usingoneormoreWaveSequencessettoTempomode.
ItallowsyoutoforcemostTempomodeWave
Sequencenoteonstobeinsync,makingiteasierto
playalongwithotherrhythmicelements.
WhenQuantizeTriggersisOn,noteonsarequantized
to8thnotesusingthecurrenttemporeference.(See
belowforafewmoredetails.)
Thetemporeferencecancomefromdifferentsources,
dependingonthecurrentmode,andwhetherornot
KARMAison:

Ahalfdamperpedalisaspecialtypeofcontinuous
footpedal,suchastheKorgDS1H.Incomparisontoa
standardfootswitch,halfdamperpedalsoffermore
subtlecontrolofsustain,whichcanbeespeciallyuseful
forpianosounds.
TheKRONOSwillautomaticallysensewhenahalf
damperisconnectedtotherearpanelDAMPERinput.
Forproperoperation,youwillalsoneedtocalibrate
thepedal,usingtheCalibrateHalfDampercommand
intheGlobalpagemenu.
Theoffandfullonpositionsofthehalfdamperwork
justlikeastandardfootswitch.Inconjunctionwiththe
EnableHalfDamperparameter,below,intermediate
positionsallowagraduatedcontrolofsustain,similar
tothedamperpedalofanacousticpiano.

Enable Half-Damper

[On, Off]

WhenthisisOn(checked),HalfDamperpedals,
normalsustainpedals,andMIDICC#64willall
modulatetheAmpEG,asdescribedbelow.
WhenthisisOff(unchecked),thepedalsandMIDI
CC#64willstillholdnotesasusual,butwillnot
modulatetheAmpEG.

Half-Damper Pedal and Release Time


Theamountofmodulationdependsonwhetherthe
AmpEGSustainLevelissetto0(asisthecasewith
mostacousticpianosounds),orsetto1ormore.The
modulationiscontinuous,from1x(nochange)to55
timeslonger;thetablebelowshowsaselectionof
representativepoints.
HalfDampermodulationofAmpEGReleaseTime
CC#64
Value

Multiply Amp EG Release Time by


If Sustain = 0

If Sustain = 1 or more

1x

1x

32

2.1x

2.1x

64

3.2x

InSequencermodeduringplaybackorrecording,
noteonsaresynchronizedwiththesequence.

80

5.9x

96

22.3x

InSequencermode,whilethesequencerisstopped,
noteonsaresynchronizedwithRPPRand
KARMA.

127

55x

InProgramandCombimodes,ifKARMAisoff,
noteonsaresynchronizedwiththesounding
TempomodeWaveSequence,ifany.
InProgramandCombimodes,ifKARMAison,
noteonsaresynchronizedwithKARMA.

On(checked):Noteonswillbequantized.
Off(unchecked):Noteonswillbeplayedinstantly,the
momentthatyouplaythekeyboard.

40

11f: Half-Damper Control

3.2x

Program P1: Basic/Vector 11: Program Basic

11g: Scale
Type [Equal TemperamentUser Octave Scale15]
SelectsthebasicscalefortheProgram.
Notethatformanyofthescales,thesettingoftheKey
parameter,below,isveryimportant.
EqualTemperament:Thisisthemostwidelyused
scalebyfar,inwhicheachsemitonestepisspacedat
equalpitchintervals.
EqualTemperamentallowseasymodulation,sothata
chordprogressionplayedinthekeyofCsounds
roughlythesameasthesameprogressionplayedinF#.
Sacrificed,however,issomeofthepurityofindividual
intervalsofferedbythescalesbelow.
PureMajor:Inthistemperament,majorchordsofthe
selectedkeywillbeperfectlyintune.
PureMinor:Inthistemperament,minorchordsofthe
selectedkeywillbeperfectlyintune.
Arabic:Thisscaleincludesthequartertoneintervals
usedinArabicmusic.

UserOctaveScale0015:Theseareuserprogrammed
scaleswithsettingsforeachofthe12notesinan
octave.YoucansetthemupinGlobalmode(Global3
1a).

Key (Scale Key)

[CB]

Selectsthekeyofthespecifiedscale.
ThissettingdoesnotapplytotheEqualTemperament,
Stretch,andUserAllNotesscales.
IfyoureusingascaleotherthanEqual
Temperament,thecombinationoftheselectedscale
andtheKeysettingmayskewthetuningofthe
note.Forexample,AabovemiddleCmightbecome
442Hz,insteadofthenormal440Hz.Youcanuse
theGlobalModesMasterTuneparametertocorrect
this,ifnecessary.

Random

[07]

Thisparametercreatesrandomvariationsinpitchfor
eachnote.Atthedefaultvalueof0,pitchwillbe
completelystable;highervaluescreatemore
randomization.

Pythagoras:ThisscaleisbasedonancientGreek
musicaltheory,andisespeciallyeffectiveforplaying
melodies.Itproducescompletelypurefifths,withone
exception,attheexpenseofdetuningotherintervals
thirdsinparticular.

Thisparameterishandyforsimulatinginstruments
thathavenaturalpitchinstabilities,suchasanalog
synths,tapemechanismorgansoracoustic
instruments.

AsmuchasPythagorasmighthaveliketodoso,its
notpossibletomakeallthefifthspurewhilealso
keepingtheoctaveintune.Forthesakeoftheoctave,
oneofthefifthstheintervalfromthesharpfourth
degreetothesharpfirstdegreeismadequiteflat.

11h: Play Page MS/WS/DKit Display

Werkmeister(WerkmeisterIII):Thisscalewasoneof
themanytemperamentsystemsdevelopedtowards
theendoftheBaroqueperiod.TheseWellTempered
tuningswereaimedatallowingrelativelyfree
transpositionalthoughyoullstillnoticethatthe
differentkeysmaintaintheirowndistinct
characteristics,unlikeEqualTemperament.
J.S.Bachwasreferringtothesenewscalesinhistitle,
TheWellTemperedClavier.Assuch,thisgroupare
particularlyappropriateforlatebaroqueorganand
harpsichordmusic.

OSC1

[MS/WS/DK Names, (List of Graphics)]

ThisworksinconjunctionwiththeP0Playpages
ShowMS/WS/DKitGraphicsmenucommand(andits
correspondingGlobalparameter)tocontrolwhether
themainP0Playpageshowstheoverview/jump
parameters(thegraphicalenvelopes,LFOs,etc.),orthe
selectedgraphics.
IftheShowMS/WS/DKitGraphicsmenucommandis
notenabled,thentheoverview/jumpparameterswill
beshownregardlessofthesettinghere.
IfShowMS/WS/DKitGraphicsisenabled(checked),
thenthisparametertakeseffect.SeealsoShow
MS/WS/DKitGraphicsonpage 148.

Kirnberger(KirnbergerIII):ThisisasecondWell
Temperedtuning,datingfromtheearly18thcentury.

MS/WS/DKNamesshowsthenamesofOsc1s
Multisamples,WaveSequences,orDrumKitaspartof
theoverview/jumpparameters.

Slendro:ThisisanIndonesiangamelanscale,withfive
notesperoctave.

Ifagraphicisselected,thenthegraphicwillbeshown
insteadofthenormaloverview/jumpparameters.

WhenKeyissettoC,usetheC,D,F,GandAnotes.
Otherkeyswillplaythenormalequaltempered
pitches.

OSC2

Pelog:ThisisanotherIndonesiangamelanscale,with
sevennotesperoctave.
WhenKeyissettoC,usethewhitekeys.Theblack
keyswillplaytheequaltemperedpitches.
Stretch:Thistuningisusedforacousticpianos.
UserAllNotesScale:Thisisauserprogrammedscale
withdifferentsettingsforall128MIDInotes.Youcan
setupthisscaleinGlobalmode(Global31b).

[MS/WS/DK Names, (List of Graphics)]

ThiscontrolstheP0PlaypagedisplayforOsc2.It
worksthesameasOSC1,above.

t 11: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

41

Program mode: HD-1

2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.

3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.

13: Drum Track


13PMC

13a

13b

13c

13e

13d

13f

Pattern

Overview
TheDrumTrackisabuiltindrummachine,fueledby
theKRONOSshighqualitydrumsounds.
TherearehundredsofpresetDrumTrackpatterns
coveringawiderangeofmusicalstyles,andyoucan
alsocreateyourown(aswellexplorelaterinthis
chapter).
ThereareoptionstocontrolhowtheDrumTrack
patternstarts,suchasstartingimmediatelywhenyou
presstheDRUMTRACKbutton,orwaitinguntilyou
starttoplaythekeyboard.Ifyourestartingthepattern
byplayingthekeyboard,youhavetheoptionof
startingitbyusingaspecificrangeofnotesor
velocities.
YoucanalsolinktheDrumTrackwithKARMA,so
thattheyplayinsyncandstartandstoptogether.
InProgrammode,theDrumTrackhasitsownmixer
channel(includingEQ)andseparateeffectsrouting,
forindependentcontrolofthesound.
Formoreinformation,seeUsingtheDrumTrackon
page 237oftheOperationGuide.

13a: Drum Pattern


Bank

42

[Preset, User]

[(Preset): P000...P697,
(User): U000...U999]

ThischoosesthePatternfromtheselectedBank.

Shift

[-24+24]

ShiftletsyoutransposetheDrumTrackpatternin
semitonesteps,causingdifferentinstrumentsofthe
drumkittoplay.Thiswillgenerallycauseunexpected
results,whichmayoftenbeinterestingexperiment
andsee!

13b: Drum Track Program


Thisareacontainsafewparametersforadjustingthe
basicsoundoftheDrumTrack.

Program

[List of Programs]

ThisselectsasoundfortheDrumTrack,viathe
Category/ProgramSelectdialog.Bydefault,theDrum
categorywillalreadybeselected.
Youcanactuallyselectanysound,evenoutsideofthe
Drumcategorybuttheingeneral,thepatternswill
onlymakesensewhenplayingaDrumProgram.
Note:GMDrumProgramsuseadifferentmappingof
soundstoMIDInotes,andsotheDrumTrackPatterns
maynotalwayssoundasexpected.Insomecases,
settingShiftto12maycorrectthemapping.

ThisselectsbetweenPresetandUserPatterns.

Volume

ThePatternsinthePresetbankarefromthefactory,
andcantbechanged.

ThiscontrolsthevolumeleveloftheDrumTrack
Program,separatelyfromthemainProgram.

TheUserbankPatternsareeditable;youcanloadthem
fromdisk,orcreatenewonesinSequencermode.

YoucanalsoadjustthisfromtheControlSurface,
usingslider3inTimbre/Trackmode.

[0127]

Program P1: Basic/Vector 13: Drum Track

Detune

[-1200+1200]

ThisadjuststheoverallpitchoftheDrumProgramin
onecentincrements.Onecentis1/100thofasemitone.
Youcanadjustthepitchofindividualdrumsamples
byeditingDrumKitsinGlobalmode.

Play/Mute

[Mute, Play]

ThisdetermineswhetherornottheDrumTrack
Programwillsound.Thesettingwillalternateeach
timeyoupressthePlay/Mutebutton.
Mute:Thetimbrewillnotsound.
Play:Thetimbrewillsound.
YoucanalsoadjustthisfromtheControlSurface,
usingMixPlay/Mutebutton3inTimbre/Trackmode.

13c: Trigger
Mode

[Start Immediately, Wait KBD Trig]

Thiscontrolshowthepatternwillstartandstop.
StartImmediately:WhenyouturnontheDrumTrack
bypressingtheDRUMTRACKswitch,theLEDwill
lightandtheDrumTrackpatternwillstartaccording
totheSyncsetting.Itwillstopwhenyouturnoffthe
switch.
WaitKBDTrig:WhenyoupresstheDRUMTRACK
switchtoturniton,theLEDwillblinkandtheDrum
Trackpatternwillwaittostart.Whenyouplaythe
keyboardorreceiveaMIDInoteon,theDrumTrack
patternwillstartaccordingtotheSyncsetting.
TheModesettingalsoaffectsthewayinwhichthe
on/offstatusoftheDRUMTRACKswitchisstored.
WithWaitKBDTrig,theon/offstatusoftheDRUM
TRACKswitchisalsosavedwhenyousavethe
Program.
WithStartImmediately,theswitchstatusisalways
savedasOff,regardlessofthewhethertheswitchison
oroffwhenyouWrite.

Latch

[On, Off, Use KARMA Latch Switch]

Sync

TriggerSyncOn:TheDrumTracksstartwill
synchronizetothecurrentlyplayingKARMApattern,
quantizedtothenearestbeat.InSequencermode,
triggeringwillsynchronizetothecurrentlyplaying
song,patternorRPPRperformance,quantizedtothe
nearestmeasure.
Note:IfyouwanttosynchronizeKARMAtotheDrum
Track,enabletheQuantizeTriggerparameter(Prog
P7:KARMATrigger,Combi/SeqP7:KARMA
TriggerA/B/C/D).
Note:InSequencermode,ifyouwanttosynchronize
theRPPRpatternperformancetothecurrently
runningDrumTrack,settheSyncparametertoBeator
Measure.
TriggerSyncOff:IftheTriggerModeissettoStart
Immediately,theDrumTrackpatternwillbetriggered
themomentyoupresstheDRUMTRACKswitch.If
thisissettoWaitKBDTrig,theDrumTrackpattern
willbetriggeredthemomentyouplaythekeyboard.It
willnotsynchronizetothecurrentlyplayingKARMA
patternor(inSequencermode)tothecurrently
playingsong,pattern,orRPPR.

13d: Keyboard Trigger Zone


Thesesettingsspecifytherangeofkeysandvelocities
thatwilltriggertheDrumTrackpatternwhenyouplay
thekeyboard(orthesystemreceivesanoteonvia
MIDI).

Keyboard Top

[C1G9]

SpecifiesthehighestnotethatwilltriggertheDrum
TrackPattern.

Bottom

[C1G9]

SpecifiesthelowestnotethatwilltriggertheDrum
TrackPattern.

LatchcontrolswhethertheDrumTrackpatternwill
continueplayingevenafteryoutakeyourhandsoffof
thekeyboard.ThisapplieswhentheTriggerModeis
settoWaitKBDTrig.

Velocity Top

Off:IftheDRUMTRACKswitchison,theLEDwill
blink,andthepatternwillstartwhenyouplaythe
keyboard.Whenyoustopplaying,theDrumTrack
willstopaswell.

Bottom

On:IftheDRUMTRACKswitchison(theLEDwill
blink),thepatternwillstartwhenyouplaythe
keyboard(noteon).Thepatternwillcontinuewhen
youreleasethekeyboard(noteoff).Thepatternwill
stopwhenyouturntheDRUMTRACKswitchoff(the
LEDwillgodark).

[On, Off]

IfyouwanttheDrumTrackpatterntoplayinsync
withKARMA(orwiththeSequencer,inSequencer
mode),turnTriggerSyncon.

[1127]

Specifiesthemaximumvelocityvaluethatwilltrigger
theDrumTrackPattern.

[1127]

Specifiestheminimumvelocityvaluethatwilltrigger
theDrumTrackPattern.
KeyandVelocitysettingscanalsobeeditedby
holdingdowntheENTERswitchandplayingonthe
keyboard.
TheKeyboardandVelocityTopsettingsmustbe
higherthantheirrespectiveBottomsettings.

UseKARMALatchSwitch:Theon/offstatusofthe
KARMALATCHswitchwillcorrespondtotheabove
OffandOnmodesofoperation.Youwillprobably
wanttousethisinconjunctionwithKARMAsLatch
operation.

43

Program mode: HD-1

13e: EQ
This3bandEQisdedicatedtotheDrumTrack
Program,andiscompletelyseparatefromthemain
ProgramsEQ.

Auto Load Program EQ

[On, Off]

On(checked):Whenyouchangethedrumtrack
Program,thenewProgramsEQvalueswillbecopied
automatically.Thissettingisthedefault.
AftertheProgramisloaded,youcanstilledittheEQ
settingsasdesired.
Off(unchecked):NewlyselectedDrumTrack
ProgramsEQsettingswillnotreplacethecurrentEQ
settings.UsethisifyouveeditedtheEQsettings,and
wanttokeepthemconstantwhilelisteningtodifferent
DrumTrackPrograms.

Bypass

[On, Off]

Use Dkit

[Off, On]

On(checked):DrumKitscanhavedifferentBus
Select,FXControlBus,Send1,andSend2settings
(Global53b)foreachkey.WhenUseDkitisOn,these
perkeysettingswillbeused.Youcanusethistoapply
individualinserteffectstospecificdruminstruments,
ortosendspecificdruminstrumentstoindividual
outputs.
Tip:MostofthefactoryDrumKitsusestandardBus
Selectsettings,asdetailedbelow:
SnaresIFX1
KicksIFX2
TomsIFX3

WhenBypassischecked,alloftheEQwillbedisabled,
includingtheInputTrim.

CymbalsIFX4

Bypasscanbeconvenientforcomparingtheresultsof
theEQwiththeoriginalsignal.

ForflexibilityinassigningthesoundstodifferentIFX
busses,youcanusetheIFXPatchparameters,below.

Input Trim

Off(unchecked):TheBusSelect,(81c)FXControl
Bus,(81d),81f:OSCMFXSendOSCMFXSend
settingswillbeused.Alldruminstrumentswillbesent
tothespecifiedbus.

[0099]

ThiscontrolsthevolumelevelgoingintotheEQ.
HighsettingsoftheLow,Mid,andHighGaincontrols
cancausesubstantialincreasesintheoveralllevel.You
cancompensateforthisbyturningdowntheinput
trim.

Low Gain

[18.0+18.0dB]

Thiscontrolsthegainofthe80HzLowShelfEQ,in
incrementsof0.5dB.

Mid Frequency

[100Hz10.00kHz]

ThissetsthecenterfrequencyfortheMidsweepEQ.

Mid Gain

[18.0+18.0dB]

ThiscontrolsthegainoftheMidSweepEQ,in
incrementsof0.5dB.

High Gain

[18.0+18.0dB]

Percussion,etc.IFX5

FX Control Bus

[Off, 1, 2]

ThissendstheoutputoftheDrumTrackProgramtoan
FXControlbus(twochannelstereoFXCtrl1or2).
UsetheFXControlbusseswhenyouwantaseparate
soundtocontroltheaudioinputofaneffect.Youcan
usetwoFXControlbusses(eachisatwochannel
stereobus)tocontroleffectsinvariousways.
Formoreinformation,pleaseseeFXControlBuses
onpage 860.

Rec Bus

[Off, 14, 1/2, 3/4]

ThesesettingssendtheoutputoftheDrumTrack
ProgramtotheRECbusses(fourmonochannels:1,2,
3,4).

Thiscontrolsthegainofthe10kHzHighShelfEQ,in
incrementsof0.5dB.

TheRECbussesarededicatedinternalbussesfor
recording,usedforsamplinginthevariousmodesor
forrecordingaudiotracksinSequencermode.

13f: Bus

Formoreinformation,seeRECBusonpage 138.

Theseparameterscontroltheoutputandeffects
routingfortheDrumTrackProgram.

Off:ThesignalwillnotbesenttoaRECbus.Thisis
thedefault.

Bus Select

14:TheDrumProgramwillbesent,inmono,tothe
correspondingRECbus.ThePansettingwillbe
ignored.

[L/R, IFX112, 14, 1/23/4, Off]

ThisspecifiestheoutputbusfortheDrumTrack
Program.
L/R:TheProgramwillgototheL/Rbus.Thisisthe
defaultsetting.
IFX112:TheProgramwillgotothespecifiedIFX
bus.
14:TheProgramwillberoutedinmonotothe
specifiedAUDIOOUTPUT(INDIVIDUAL).
1/23/4:TheProgramwillberoutedinstereo,using
thePansetting,tothespecifiedAUDIOOUTPUT
(INDIVIDUAL)pair.

44

Off:TheProgramwillnotgotoanyoftheoutputs
directly.Youcanusethistoroutethesoundcompletely
throughtheMFX.UseSend1(toMFX1)andSend2(to
MFX2)tospecifythesendlevels.

1/2,3/4:TheDrumProgramwillbesentinstereotothe
selectedpairofRECbusses.

Send1 (to MFX1)

[000127]

Setsthevolume(sendlevel)atwhichtheoutputofthe
DrumProgramwillbesenttomastereffect1.This
appliesonlywhenBusSelect(81c)issettoL/Ror
Off.

Program P1: Basic/Vector 13: Drum Track

IfBusSelectissettoIFX1IFX12,thesendlevelsto
mastereffects1and2aresetbySend1andSend2(8
5a)afterpassingthroughIFX112.

Send2 (to MFX2)

[000127]

Setsthevolume(sendlevel)atwhichtheoutputofthe
DrumProgramwillbesenttomastereffect2.

IFX Patch
Asnotedabove,DrumKitscanhavedifferentBus
Selectsettingsforeachkey,assetontheGlobalP53
VoiceAssign/Mixerpage.SincetheDrumProgram
sharestheeffectswiththemainProgram,these
routingsmayormaynotmakesense;forinstance,
whiletheDrumProgrammayhaveoriginallyhada
compressorinIFX1,themainProgrammayhavea
vocoder.
ThisgroupofparametersletsyouredirecttheDrum
ProgramsindividualBusSelectsettings.Continuing
fromtheabove,ifsomeofthekeysweresettogoto
IFX1,youcanroutethemtoanunusedIFXinstead
maybeIFX9,forinstance.AddacompressorinIFX9,
andyourenowgoodtogo.
SeeUseDkit,above,fornotesonthetypicalroutings
forthefactoryDrumKits.
ThissectionappearsonlyifUseDkitisOn.Notealso
thatiftheDrumKitdoesntuseroutingtotheIFX
busses,theseparameterswillhavenoeffect.

IFX1

[L/R, IFX112, 14, 1/23/4, Off]

ThisreroutetheDrumProgramsoundsassignedto
IFX1,andreroutesthemtotheselectedbus.

IFX212

[L/R, IFX112, 14, 1/23/4, Off]

TheseworkthesameasIFX1,above.
Note:Ifyouwanttoreturnthedrumkittoitsprevious
state,changethesesettingstoIFX1=IFX1,IFX2=IFX2,
andsoon.

t 13: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyDrumTrack.Formoreinformation,see
CopyDrumTrackonpage 163.
3:EraseDrumTrackPattern.Formore
information,seeEraseDrumTrackPatternon
page 635.

45

Program mode: HD-1

15: Vector Control


15PMC

15a

15b

15c

VectorSynthesisletsyoucontrolProgramandEffects
parametersbymovingtheVectorJoystick,byusingthe
programmableVectorEnvelope,orbythecombination
ofthetwo.

Inadditiontomovingthepointdirectlywiththe
VectorJoystick,youcanalsousetheVectorEnvelope
tomoveitspositionautomaticallyovertime,asshown
below.

What does Vector mean?

VectorEnvelopemovingtheVectorPoint

Modulationgenerallyworksbymovingasingle
control.likeaslider,inastraightline.Atoneendofthe
control,themodulationisatitsminimum;attheother
end,itsatitsmaximum.

+127

Y-Axis

VectorSynthesisisalittledifferent.Itworksby
movingaroundapointonatwodimensionalplane,
bothleftrightandupdown.
VectorPointandXandYaxisvalues

127

Vector Point

YoucanmovetheVectorpointusingthecombination
oftheVectorJoystickandtheVectorEnvelope.Thetwo
worktogether,althoughyoudontnecessaryhaveto
usethembothatthesametime.

Y value: +50
0

127

+127

X-Axis
X value: 90

Youcanthinkofthispointasbeingpositionedontwo
differentlinesatonce:aleftrightline(theXaxis),and
anupdownline(theYaxis).
Inotherwords,insteadofjusthavingonevalue(likea
slider),eachVectorpointhastwovalues:oneforX,
andoneforY.SeethegraphicVectorPointandXand
Yaxisvaluesforanexample.

46

+127

Vector Joystick and Vector Envelope

+127

Y-Axis

0
X-Axis

WhentheVectorJoystickisinitscenterposition,the
VectorEnvelopehascompletecontroloverthepoints
position.Likewise,whentheVectorEnvelopeisinthe
center,theVectorJoystickhascompletecontrol.
WhentheVectorEnvelopeismoving,theVector
Joystickscalesitseffect.RegardlessoftheEnvelopes
position,theVectorJoystickcanalwaysmovethe
Vectorpointallthewaytoanyoftheextremeedges.
Tip:toquicklyresettheVectorJoysticktoitscenter
value,holddownthefrontpanelControlResetbutton
andmovethejoystick.

Program P1: Basic/Vector 15: Vector Control

Vector Volume Control and CC Control


TheVectordoestwomainthings:itcancontrolthe
relativevolumeofthetwoOscillatorsinProgram
mode(orofupto16ProgramsatonceinCombi
mode),anditcangenerateCCsforcontrolling
ProgramandEffectsparameters.

Vector and MIDI


TheVectorfeaturesinteractwithMIDIintwodifferent
ways:throughtheVectorJoystick,andthroughthe
VectorCCControl.
TheVectorJoysticksendsandreceivestwoMIDI
controllers:onefortheXaxis,andtheotherfortheY
axis.InGlobalmode,youcanassignthesetoanyMIDI
CCnumbersyoulike.ThedefaultsareCC#118forthe
Xaxis,andCC#119fortheYaxis.
TheVectorJoystickanditsCCscontroltheVector
position,inconjunctionwiththeVectorEG.
TheVectorCCControl,ontheotherhand,isgenerated
bytheVectorposition.Normally,thiswillonlyaffect
internalsoundsandeffects.Ifyoulike,however,you
canuseaGlobalparametertosendthesegenerated
CCstoexternalMIDIdevices;formoreinformation,
seeVectorMIDIOutonpage 773.

Enable Volume Control

VectorVolumeControlletsyouadjusttherelative
volumesofOscillators1and2bymovingtheVector
Joystick(ortheVectorEnvelope)fromlefttorighton
theXaxis.TheDrumTrackisnotaffected.
TheEqualPowercheckboxmakestheVectorcreatea
smoothfadebetweenthetwoOscillators,whilethe
OSC1/2CenterVolumeparametersallowyoutocreate
morecomplexfadeshapes.

Whenthisboxisnotchecked,theVectorpositionwill
notdirectlyaffectvolume.However,itsstillpossible
fortheVectortocontrolvolumeviaVectorCCsand
AMS.

Equal Power

[Off, On]

ThisappliesonlywhenEnableVolumeControlis
turnedOn.
WhenEqualPowerisOn,theVectorwillfadebetween
Oscillators1and2usinganequalpowervolume
curve.Thisprovidesasmoothfadebetweenthetwo
sounds,andisthetypeofvolumecontrolusedby
classicvectorsynths.
Also,whenthisischecked,theOSC1andOSC2
CenterVolumeparameterswillbegrayedout,since
EqualPowersetsthecentervolumesautomatically.

OSC1 Center Volume

[0, 25, 50, 75, 100%]

ThissetsthevolumeofOscillator1atthecenterofthe
Xaxis.ItappliesonlywhenEqualPower,above,isset
toOff.
ThevolumesattheextremeendsoftheXaxisare
fixed.Attheleftside,Osc1isalwaysat100%volume;
attherightside,Osc1isalwaysat0%.

Vector CC MIDI Output

Global switch:
Vector MIDI Out
Vector Joystick

Global Controllers
MIDI CC Assignments
Defaults: X=118, Y=119

Vector Joystick

[Off, On]

Whenthisboxischecked,theVectorpositionwill
controlthevolumesofOscillators1and2.

WhenEqualPowerisOff,theOSC1andOSC2
CenterVolumeparametersdeterminethewayin
whichVectorpositionaffectsvolume.

15a: Vector Volume Control

Vector Synthesis System

InCombimode,youcanusethistocontroltherelative
volumesofupto16Programsatonce,usingboththeX
andYaxes.Formoredetails,seetheVectorControl
sectionofCombimode.

Vector CC MIDI Output


Vector CC Control

Vector Joystick
MIDI In

Vector CC Control

Vector EG

scale

VJS X and Y modes

X+/ and Y+/


CC Assignments

Vector CC Modulation of
Program and FX Parameters
Program switch:
Enable CC control

Vector Volume Control

Osc 1/2 Center Volume


and Equal Power settings

Program switch:
Enable Volume control

Vector Modulation of
Oscillator Volume

47

Program mode: HD-1

OSC2 Center Volume

[0, 25, 50, 75, 100%]

ThissetsthevolumeofOscillator2atthecenterofthe
Xaxis.
ThevolumesattheextremeendsoftheXaxisare
fixed,intheoppositedirectionofOscillator1s.Atthe
leftside,Osc2isalwaysat0%volume;attheright
side,Osc2isalwaysat100%.
OscCenterVolumeandXAxisPosition
100%

Volume 50%

VJS X Mode

[Positive, Negative, Xfade, Split]

YoucansetuptheVectortosendoutCCsinseveral
differentpatterns,asshowninthegraphicbelow.This
controlsthepatternfortheXaxis.Notethatthissetting
affectsonlyCCControl;ithasnoeffectonVolume
Control.
VectorCCModes
Positive

Negative

Generates only +X,


increasing from left to right.

Generates only X,
increasing from right to left.

+X CC

127

127

X CC

0%
-127

+127

Vector X-axis position

127

+127

127

X-Axis
Center Volume Values:

+127

100
75
50
25
0

15b: Vector CC Control

Xfade

Split

Generates both +X and X.


One increases as the other
decreases.

Generates both +X and -X.


Both are 0 in the center.
+X increases to the right;
X increases to the left.

VectorCCControlletsyouusethecombinationofthe
VectorJoystickandtheVectorEGasAMSsources,for
modulatingProgramparameters,andasDMod
sources,formodulatingEffects.
EachofthefourdirectionsoftheVectorcansenda
differentCC,includingleft(X),right(+X),up(+Y),
anddown(Y).Youcanchoosebetweenseveral
differentpatternscombiningthesefourdirectionsby
usingtheVJSXModeandVJSYModeparameters.
YoucaneitherusetheVectorCCstoautomateexisting
modulationroutings,suchasthefrontpanelknobs,or
asdistinctmodulationsources.ThevectorCCis
transmittedasMIDIcontrolchangemessagesonthe
globalMIDIchannel.Thismeansthatitcontrolsall
voicesoftheprogram,notindividualvoices.
Note:AGlobalparameterallowsyoutoenableor
disableMIDIoutputfortheCCControl.Bydefault,
thisisdisabled.Thissettingdoesnotaffecttheinternal
Programs,whichcanalwaysreceivetheVectorCCs.

Enable CC Control

0
X-Axis

[Off, On]

Whenthisboxischecked,theVectorpositionwill
controltheCCsassignedto+X,X,+Y,andY,asset
below.
Whenthisboxisnotchecked,theVectorpositionwill
notaffecttheseCCs.However,thejoystickwillstill
sendandreceiveitsdedicatedMIDICCs,justlike
otherphysicalcontrollers.SeeVectorandMIDI,
above,formoreinformation.

127

+X CC

X CC

0
X-Axis

+X CC

127

127

+127

127

127
0
X CC

127

+127

X-Axis

Positivesendsoutonly+X,startingat0atthefarleft,
andincreasingto127atthefarright.Xisdisabledin
thismode.
NegativesendsoutonlyX,startingat0atthefarleft,
andincreasingto127atthefarright.Inthismode,+X
isgrayedout.
Xfadesendsoutboth+XandX,overlapping
throughouttheXaxis.Asoneincreases,theother
decreases.
Splitsendsoutboth+XandX,withasplitinthe
center.+Xissentwhenthepointmovestotherightof
thecenter,andXissentwhenthepointmovestothe
leftofcenter.

+X

[OffMIDI CC#119]

Thisassignsthecontrollersentbythe+Xvector.You
canusethisasanAMSsourcetocontrolProgram
parameters,orasaDModsourcetocontrolEffects
parameters.ItwillbegrayedoutiftheVJSXMode,
above,issettoNegative.
InadditiontothestandardlistofMIDIcontrollers,you
canalsoassignthe+Xvectortoduplicatethefunction
ofseveralfrontpanelcontrollers,includingJSX,JS+X,
JSX,Knobs58,andSW12.
Forinstance,ifyouassign+XtoKnob6,thevectors+X
willusethecontrollerassignedtoKnob6onthe
ControllerAssignpage.

48

Program P1: Basic/Vector 15: Vector Control

Finally,youcanalsoassign+XtocontroltheMaster
Volume.

2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.

3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.

[OffMIDI CC#119]

ThisassignsthecontrollersentbytheXvector.Itwill
begrayedoutiftheVJSXMode,above,issetto
Positive.
Theselectionsarethesameasfor+X,above.

VJS Y Mode

[Positive, Negative, Xfade, Split]

ThiscontrolstheVectorCCpatternfortheYaxis.For
moreinformation,seethedescriptionunderVJSX
Mode,above.

+Y

[OffMIDI CC#119]

Thisassignsthecontrollersentbythe+Yvector.Itwill
begrayedoutiftheVJSYMode,above,issetto
Negative.
Theselectionsarethesameasfor+X,above.

[OffMIDI CC#119]

Thisassignsthecontrollersentbythe+Yvector.Itwill
begrayedoutiftheVJSYMode,above,issetto
Positive.
Theselectionsarethesameasfor+X,above.

15c: Vector Graphic


Vector Graphic
Thisisadiagramofthevectorspace,includingthefive
pointsoftheVectorEG(labeled04)andthecurrent
positionoftheVectorJoystick(labeledJ).
ThetransitionsbetweentheEGspointsareshownby
blacklines,andthelooptransitionisshownbyagray
line.

Show Volume Image

[Off, On]

Thevectorgraphicincludesanimagerepresentingthe
currentVectorVolumeControlsettings.Youcanuse
theShowVolumeImagecheckboxtotogglethispart
ofthegraphiconandoff.

Show Point

[Vector Joystick,
Vector Envelope Point 04]

YoucanviewthevolumeandCCvaluesforthecurrent
positionoftheVectorJoystick,orforanyoftheEGs
fivepoints.

Oscillator Volume & CC Display


ThisreadonlydisplayshowsthevolumeandCC
valuesforthecurrentVectorpoint,asselectedbythe
ShowPointparameter,above.

t 15: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

49

Program mode: HD-1

16: Vector Envelope


16PMC

16a

16b

16c

TheVectorEnvelopeworkstogetherwiththeVector
JoysticktocontroltheVectorposition.Itsalsospecial
becauseitstheonlyprogrammablemodulationsource
whichletsyoumodulatebothProgramandEffects
parameters.
TheVectorEnvelopeisdifferentfromtheother
envelopesinseveralways:
EachpointhastwolevelsonefortheXaxis,and
onefortheYaxis.
Theenvelopetimescanbebasedonsecondsand
milliseconds,orsyncedtotempo.
Eachpointhasaholdtime,aswellasatransition
timetothenextpoint.
Theenvelopecanloopbetweentwopoints,for
eitheraspecifiednumberofrepeats,oraslongas
youholdthenote.

Vector Volume and CC control use separate EGs


ThereareactuallytwodifferentVectorEGs,which
sharethesameparameters:oneforVolumeControl,
andtheotherforCCControl.
AllofthenotesintheProgramshareasingleCC
ControlEG,sincetherecanonlybeonesetofCCsfor
eachMIDIchannel.ThisEGstartswhenyoufirstplay
anote,andcontinuesaslongasanynotesareheld
downonthekeyboard.Whenyoureleaseallofthe
notes,theEGgoesintoitsreleasephase.

50

WhenKeySyncisOn,eachnotesVolumeControlEG
willstartatnoteon,andgointoreleaseatnoteoff.All
thenoteswillstillshareasingleCCControlEG.

16a: Basic
Vector Envelope On

[Off, On]

On(checked):Whenthisboxischecked,theVectorEG
willworkwiththeVectorJoysticktocontrolthevector
position.
Off(unchecked):Whenthisboxisnotchecked,the
VectorEGwillnotrun.Thevectorpositionwillbe
controlledsolelybytheVectorJoystick.

Key Sync

[Off, On]

TheKeySyncparameterappliesonlytoVectorVolume
control.AsdescribedunderVectorVolumeandCC
controluseseparateEGs,above,VectorCCcontrol
alwaysactsasifKeySyncwereOff.
On(checked):WhenKeySyncisOn,theVector
VolumeEGstartseachtimeyoupressakey,andan
independentEGrunsforeachnote.Thisisthenormal
setting.
Off(unchecked):WhenKeySyncisOff,theVector
VolumeEGstartsfromthephasedeterminedbythe
firstnoteinthephrase,sothattheEGsforallnotes
beingheldaresynchronizedtogether.

Eachnotethenhasitsown,additionalVolumeControl
EG.TheKeySyncparameterappliesonlytothisper
noteEG.

Mode

[Time, Tempo]

WhentheKeySyncparameterisOff,theCCControl
andVolumeControlEGsarecompletelysynchronized.

Tempo:WhentheModeissettoTempo,theVectorEG
willsynchronizetothesystemtempo,assetbyeither
theTempoknoborMIDIClock.Insteadofusing

Time:WhentheModeissettoTime,youcansetthe
EGsegmenttimesinsecondsormilliseconds.

Program P1: Basic/Vector 16: Vector Envelope

secondsandmilliseconds,youcanspecifytheEG
timesasrhythmicvalues,usingtheBaseNoteand
Multiplierparameters.

VectorEGtimes,LoopType=1>3
Note-on or reset

Note-off
Loop

16b: Vector Envelope Loop


TheVectorEGcanloopbetweentwopoints,andcan
continuetoloopeitherforaslongasyouholdthenote,
orforaspecifiednumberofrepeats.Youcanalsoturn
theloopoffcompletely,ifyoulike.

Loop Type

Change to
Y-Axis

Time

Hold 0

[0->3, 1->3, 2->3, 0<->3, 1<->3]

Thisselectsthestartandendpointsoftheloop,and
whethertheloopisforwardsonlyorforwards
backwards.
Thefirstthreeselections,0>3,1>3,and2>3,loop
forwardsonly.Forinstance,whenLoopTypeissetto
1>3,theEGwillplayasfollows:0,1,2,3,1,2,3,1,2,3
etc.
Thelasttwoselections,0<>3and1<>3,areforwards
backwards.Forinstance,withthe1<>3setting,theEG
willplayasfollows:0,1,2,3,2,1,2,3etc.

Loop Repeat

H1

T1

H2

T2 H3 T3 H1

T4
(Release)

Transition 0

ThetransitionfromPoint3intotheloopalwaysuses
Point3sTransitiontime,regardlessoftheLoopType.
Points0,1,and2sTransitiontimes,however,workin
reversewhenmovingbackwardsduringaforwards
backwardsloop.ItsasifyouwereretracingtheEG
shapeinreverse.
Forinstance,inthebackwardssectionofaloop,
movingfromPoint2toPoint1usesPoint1sTransition
time.
ForwardsBackwardsLoop,LoopType=1<>3

[Off, 1126, Inf]


Loop Type = 1<>3

Off:WhenthisissettoOff,theEGwillnotloopatall.
1126:TheEGwillloopthespecifiednumberoftimes,
andthenholdatpoint3untilthenoteisreleased.
Inf:TheEGwillloopaslongasthenoteisheld,and
thenmovetopoint4whenthenoteisreleased.

Change to
Y-Axis

H1

16c: Vector Envelope


LiketheFilter,Amp,andPitchEGs,theVectorEGhas
atotaloffivepoints.SincetheVectorEGcanloop,
however,thepointsarelabeleddifferently;insteadof
nameslikeattackanddecay,theyaresimply
numbered04.

Sustain and Release


WhentheEGisinthemiddleofaloop,thereisno
sustainpointperse.However,iftheEGhasalready
completedthespecifiednumberofLoopRepeats,orif
LoopRepeatisOff,itwillsustainatPoint3until
release.
Atrelease,theEGalwaysmovestoPoint4.

Hold and Transition times


TheHoldTimesetshowlongtheEGlingersateach
point,andtheTransitiontimesetshowlongittakesto
gofromtheselectedpointtothenext.
Forinstance,thegraphicbelowshowsthesuccession
ofHoldandTransitiontimeswhentheLoopTypeisset
to1>3.Forclarity,onlytheYaxispositionsareshown.

Time
T1

H2

T2 H3 T3

H2

T1

VJS

H1

[Off, 04]

Thishorizontalrowofradiobuttonsletsyoueditthe
selectedpointsXYpositionusingtheVectorJoystick.
Justpressthepointsradiobutton,movetheVector
Joysticktothedesiredlocation.Whenyourefinished,
presstheOffradiobuttonagain.
WhenyouarenoteditingtheEGsXYpositions,you
shouldleavethissettoOff,toavoidinadvertent
changestotheEG.

Point 0
Position
InadditiontoeditingtheXandYparameterswiththe
standarddataentrycontrols,youcanalsosimplyuse
theVectorJoysticktosettheposition,asdescribed
underVJS,above.

[127+127]

ThissetsthepointspositionontheXaxis.

[127+127]

ThissetsthepointspositionontheYaxis.

Hold Time
ThissetsthelengthoftimethattheEGwillstayon
Point0,beforemovingtoPoint1.YoucansettheHold
Timeineitherseconds/millisecondsorrhythmic
values,dependingonthesettingoftheEGsMode
parameter.

51

Program mode: HD-1

Time

[0ms60sec]

ThisparameterletsyousettheHoldTimeinseconds
andmilliseconds.ItappliesonlywhentheModeisset
toTime.

(Base Note)

[Off, r w ]

Loop
Thissetsthelengthoftimethatittakestomovefrom
Point3tothefirstPointintheloop.Youcansetthisin
eitherseconds/millisecondsorrhythmicvalues,
dependingonwhethertheModeissettoTimeor
Tempo.

ThismenusetsabasicrhythmicvaluefortheHold
Time,relativetothesystemtempo.Thevaluesrange
froma32ndnotetoawholenote,includingtriplets.

TheTime,BaseNote,andMultiplierparameterswork
justlikethoseforPoint0,asdescribedunder
Transitiononpage 52.

ThisparameterappliesonlywhentheModeissetto
Tempo.

Point 4

x (Multiply Base Note by)

[0132]

ThismultipliesthelengthoftheBaseNote.For
instance,iftheBaseNoteissettoasixteenthnote,and
themultiplierissetto3,theHoldTimewilllastfora
dottedeighthnote.

Transition
ThissetsthelengthoftimethattheEGtakestomove
fromPoint0toPoint1.
WhentheLoopTypeissetto0<>3,thisalsosetsthe
timethatittakestomovefromPoint1toPoint0
duringthebackwardssectionoftheloop.

Time

[0ms60sec]

ThisparameterletsyousettheTransitiontimein
secondsandmilliseconds.Itappliesonlywhenthe
ModeissettoTime.

(Base Note)

[r w ]

ThissetsabasicrhythmicvaluefortheHoldTime,
relativetothesystemtempo.Thevaluesrangefroma
32ndnotetoawholenote,includingtriplets.
ThisparameterappliesonlywhentheModeissetto
Tempo.

x (Multiply Base Note by)

[0132]

ThismultipliesthelengthoftheBaseNote.For
instance,iftheBaseNoteissettoasixteenthnote,and
themultiplierissetto3,theEGwillmovefromPoint0
toPoint1overadottedeighthnote.

Points 1 and 2
Points1and2workexactlylikePoint0,asdescribed
above.

Point 3
Point3alsoworksmuchlikePoints02,withtwomain
differences:
Point3alwaysusesitsownTimewhenmovinginto
theloop,regardlessofthedirectionoftheloop.
IfLoopRepeatissettoOff,orifthenumberisset
between1126andhasalreadyplayedthespecified
numberoftimes,thentheEGwillstayatPoint3until
theEGeithergoesintorelease,orisresetbyKARMA.

Hold Time
ThisworksjustliketheHoldTimeforPoint0,as
describedunderHoldTimeonpage 51.

Point4istheVectorEGsreleasedestination.Itstime
settingisdifferentfromthoseoftheotherPoints.
InsteadofsettingthetimeittakestomovefromPoint4
tothenextPoint,itsetshowlongittakestogofromthe
previousPointtoPoint4.
TheEGmovestoPoint4assoonasitreleases,
regardlessofwhereitwasbeforetherelease.For
instance,letssaythattheEGisinthemiddleofPoint
2sHoldTimeatnoteoff.TheEGwillimmediately
begintomovetoPoint4,withoutwaitingfortheHold
Timetocomplete.

Release
Thissetsthelengthoftimethatittakestomoveto
Point4afternoteoff.Youcansetthisineither
seconds/millisecondsorrhythmicvalues,depending
onwhethertheModeissettoTimeorTempo.
TheTime,BaseNote,andMultiplierparameterswork
justlikethoseforPoint0,asdescribedunder
Transitiononpage 52.

KARMA and Vector EG interaction


KARMAcancontroltheVectorEGsinvariousways,as
describedbelow.

CC Control EG
WhenKARMAisOn,italwaysstartsandrestartsthe
CCControlEG,accordingtotheKARMAtrigger
settings.ThisletsKARMAcontrolsoundsoreffectsin
synchronizationwiththeKARMAGE.

Volume Control EGs


WhenKeySyncisOff,andKARMAisOn,KARMA
willstartandrestarttheVolumeControlEGsaswell
astheCCControlEG.Thismeansthattheresulting
changesinoscillatorvolumeswillbesynchronized
withtheKARMAGE.
WhenKeySyncisOn,KARMAdoesnotaffectVector
VolumeControl.Eachnotewillhaveitsown,
independentVolumeControlEG,justasifKARMA
wasturnedoff.

Entering the EGs release stage


AssumingthatKARMAisOn:
WhentheKARMALATCHswitchisOff,the
KARMAcontrolledVectorEG(s)willstarttorelease
whenyouremoveyourhandfromthekeyboard(and
whenKARMAisnolongerreceivinganyinputnotes
fromothersources).
WhentheKARMALATCHswitchisOn,the
KARMAcontrolledVectorEG(s)willstarttorelease
onlywhenKARMALatchisturnedOffagain.

52

Program P1: Basic/Vector 18: Set Up Controllers

t 16: Page Menu Commands

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.
4:CopyVectorEnvelope.Formoreinformation,
seeCopyVectorEnvelopeonpage 153.

18: Set Up Controllers


18PMC

18a

18b

Thispageletsyousetupthefunctionalityofswitches1
and2(SW1/2)andRealTimeKnobs58.These
settingsaremadeindependentlyforeachProgram.

18a: Panel Switch Assign


ThesesettingscontrolthefunctionalityofSW1and
SW2.

SW1

[Off, , After Touch Lock]

ThisassignsafunctiontotheSW1switch.Theon/off
statuscanalsobememorized.Whenyouchangethe
assignment,theswitchissettotheOffcondition.
Foracompletelistofthepossibleassignments,please
seeSW1/2Assignmentsonpage 1104.

Mode

[Toggle, Momentary]

SW2
Mode

[Off, , After Touch Lock]


[Toggle, Momentary]

ThisassignsafunctiontoSW2.Thefunctionsthatyou
canassigntoSW2arethesameasforSW1,withthe
exceptionthattheSW1switchsSW1Mod.:CC#80
assignmentisreplacedbySW2Mod.:CC#81.

18b: Modulation Knob Assign


Thesesettingsassignfunctions(mainlyMIDIcontrol
changes)torealtimemodulationknobs58.Fora
completelistofthepossibleassignments,pleasesee
RealtimeKnobs58Assignmentsonpage 1105.

Knob 5

[Off, , MIDI CC#119]

Knob 6

[Off, , MIDI CC#119]

Thisspecifiesthemodeofon/offwhentheSW1switch
ispressed.

Knob 7

[Off, , MIDI CC#119]

Toggle:ThestatewillalternatebetweenOnandOff
eachtimeyoupresstheSW1switch.

Knob 8

[Off, , MIDI CC#119]

Momentary:ThestatewillremainOnonlywhileyou
continueholdingdowntheSW1switch.

53

Program mode: HD-1

t 18: Page Menu Commands

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.
3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

19: Pads
19PMC

19b

19a

Toavoiddamagingthedisplay,usecarewhen
playingtheonscreenpads.Donotpressstrongly
onthedisplayorstrikeforcefully;instead,usea
lightandprecisetouch.Velocityiscontrolledby
position,andnotbyforce.

Overview
Thispagefeatures8virtualpads,whichcanbe
playedbytouchingthescreen,fromMIDIinput,or
fromcompatibleUSBMIDIpaddevices.Youcanuse
thepadsfor:
StoringandselectingchordsforChordmode
Selectingandtriggeringchords,especiallyforuse
withKARMA
Playingdrumsounds,especiallyinconjunction
withacompatibleUSBMIDIpaddevice
Thepadscanplayuptoeightnotechordsandthey
evenrememberthevelocitiesoftheindividualnotes
withinthechord.
Inadditiontoplayingsoundsdirectly,thepadsare
alsousedtoselectchordsforChordmode.Formore
information,seeUsingChordmodeonpage 36of
theOperationGuide.

54

Playing the pads


Playing the pads from the screen
Youcanplaythepadsdirectlyfromthescreen.
Velocityiscontrolledbywhereyoutouchthepad;
lowerissofter,andhigherislouder.(Youcanalso
enableFixedVelocitymode;seeFixedVelocityon
page 55.)
Ifindividualnotesinthechordhavedifferentstored
velocities,thesearescaledbytheoverallvelocity.
Note:fromthescreen,onlyonepadcanbeplayedata
time.

Playing the pads from MIDI or the keyboard


PadscanbetriggeredbyincomingMIDInotesorCCs,
orfromthelocalkeyboard.Todoso:
1. GototheGlobalP2:Controllerspage.
2. UnderMIDICC#AssignVectorJoystick/Pads,
setPads18tothedesiredMIDInotes.
YoucanalsouseMIDICCs,ifyouprefer.WithCCs,
thevalueoftheCCisusedasthepadsvelocity.
Itsassimpleasthat;thepadswillnowrespondtothe
specifiednotesorCCsontheGlobalchannel.

Program P1: Basic/Vector 19: Pads

Beaware,however,thatthiswillcompletelydedicate
thesenotestotriggeringthepads;theywillnolonger
triggersoundsnormally.Forthisreason,youmaywish
toassignnoteseitherbeloworabovethestandard
keyboardrange(forinstance,C1throughG1).
AllofthisalsoappliestonotesplayedontheGlobal
Channelfromthelocalkeyboard,withthesame
restriction:theassignednotesbecomededicatedto
playingthepads.

19b: Control buttons


Chord Assign

[Off, On]

Thisbuttonletsyouassignsinglenotesandchordsto
thepadsbyplayingonthekeyboard.Youcanusethis
intwodifferentways,asdescribedbelow.

Play the notes, and then press Chord Assign


1. Playasinglenote,orachordofupto8notes.

Playing the pads from Korg USB MIDI controllers

2. PresstheChordAssignbutton.

YoucanalsoplaythepadsusingKorgUSBMIDI
controllersequippedwithdrumpads,including:

3. Pressthepadtowhichyoudliketoassignthe
notes.

nanoPADandnanoPAD2

Thatsit!Thenotesarenowassignedtothepad.

microKONTROL

Press Chord Assign, and then play notes

padKONTROL

Thismethodletsyoucreateachordoutofwidely
spacednotes,evenifyoucantplayallofthenotes
simultaneously.

KONTROL49
TouseanyoftheseKorgcontrollers,simplyconnect
thecontrollertooneoftheKRONOSstwoUSBA
ports.TheKRONOSwillautomaticallydeterminethe
MIDIassignmentsofthecontrollerspads18,and
mapthemdirectlytotheKRONOSpads.

1. PresstheChordAssignbutton.
2. Playasinglenote,orachordofupto8notes.
Youcanplayasinglenote,orasimplechord.

19a: Pads

Ifyoulike,youcanalsoplayupto8notesasalegato
phrase.Aslongasyoutakecarethatthenotesoverlap
eachother,theentirephrasewillberecordedasa
singlechord.Youcantakeaslongasyouliketoplay
thephrase.

Pad 1

3. Touchthepadtowhichyoudliketoassignthe
notes.

Formoredetails,seeUSBMIDIcontrollerson
page 1128.

Notes 18

[Off, C1G9 / 001127]

Theseparametersletyoueditthe8notesassignedto
eachpad,alongwithaseparatevelocityforeachnote.
Toplayfewerthan8notes,justsettheunwantednotes
toOff.
Off:Selectthistodisablethenote.
C1G9:Thissetsthenotenumber.
001127:Thissetsthenotesvelocityvalue.Formore
informationonpadsandvelocity,pleaseseeFixed
Velocity,below.

Afterpressingthepad,youredone!

Enable Pad Play

[Off, On]

Thepadsplayeverytimeyoutouchwithintheir
boundaries.Ifyoureeditingthestorednotesand
velocitiesmanually,youmaywishtotemporarily
disablethisfeature.Todoso:
1. TouchthePadPlaybuttonatthetopofthedisplay,
toturnitoff.
Thebuttonslightwillgodark,toshowthatitis
disabled.

Assigning notes to the pads

Onceyourefinishedediting,turnitonagain:

Youcanassignnotestothepadsdirectlyfromthe
keyboard,orenternotesandvelocitiesmanually.
Regardlessofhowthenoteswerefirstassigned,you
canedittheirvalueshere.

2. TouchthePadPlaybuttonagain,toturniton.

Formoreinformation,includingstepbystep
instructionsandusagetips,seeUsingtheChord
Padsonpage 35oftheOperationGuide.

Copying Pads
Justasyoucanassignnotestoapadbyplayingthem
onthekeyboard,youcantouchapadtocopyits
assignednotestoanotherpad.
Simplytouchthepadthatyouwanttocopy,andthen
touchtheChordAssignswitch.Finally,touchthe
copydestinationpad;theassignmentswillbecopied.
Formoredetailedinstructions,pleaseseeUsingthe
ChordPadsonpage 35oftheOperationGuide.

Pads 28
ThesearethesameasforPad1,asdescribedabove.

Thebuttonslightwillgoon,toshowthatitisenabled.
Note:EnablePadPlayappliesonlytotheonscreen
pads,anddoesnotaffectpadtriggeringfromMIDI,
thelocalkeyboard,orUSBMIDIdevices.

Fixed Velocity

[Off, On]

Eachpadstoresavelocitylevelforeachofits8notes.
TheFixedVelocitybuttoncontrolswhetherornotthe
padsrespondtohowhardyouplay.Itssettingis
storedwitheachProgram,Combi,andSong.
WhenFixedVelocityison(LEDlit),thepadsalways
usetheirstoredvelocitysettings.
WhenFixedVelocityisoff,thevelocitiesarescaled
accordingtohowyouplay.
Withtheonscreenpads,touchingthetopofthepad
producesthepresetvelocities.Whenyouplaytowards
thebottomofthepad,thepresetvelocitiesarescaled
downaccordingly,maintainingthebalancebetween
thenotesinthechord.

55

Program mode: HD-1

WithUSBpadsorMIDIinput,themaximuminput
velocity(127)producesthepresetvelocities.Whenyou
playsofterthepresetvelocitiesarescaleddown
accordingly,maintainingthebalancebetweenthenotes
inthechord.

t 19: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.
3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.
4:CopyPadSetup.Formoreinformation,see
CopyPadSetuponpage 154.

56

Program P2: OSC/Pitch 21: OSC1 Basic

Program P2: OSC/Pitch


Thesepagescontrolthefirstandmostbasicelements
ofHD1ssounds:theMultisamplesthattheoscillators
play,andthepitchatwhichitplaysthem.Forinstance,
youcan:
SelectMultisamplesandWaveSequencesforSingle
andDoublePrograms,orDrumKitsforDrum
Programs.
Setupvelocitysplits,crossfades,andlayersfor
SingleandDoublePrograms.

Setthebasicpitchofthesound,includingthe
octave,finetuning,andsoon.
Controlpitchmodulationfromawidevarietyof
sources,suchasJSX,theribbon,LFOs,andthe
PitchEG.
NotethatwhentheOscillatorModeissettoSingleor
Drums,onlyOscillator1sfiltersareactive;thepages
forOscillator2sfilterswillbegrayedout.

21: OSC1 Basic


21PMC

21a

21b

21d

21c

HD1ssoundsarebasedonsamples,andthispagelets
yousetupallofthebasicsamplerelatedsettings.
Amongotherthings,youcan:
SelectMultisamplesand/orWaveSequencesforthe
Oscillator(inaSingleorDoubleProgram),orselect
theDrumKitforaDrumProgram

Tune

[1200+1200]

Thisadjuststhepitchincents,overarangeof1
octave.Acentis1/100ofasemitone.

Frequency Offset

[10.0Hz +10.0Hz]

Createvelocitysplitsandcrossfadesbetween
Multisamplesand/orWaveSequences

Thisadjuststhepitchbyincrementsof0.1Hz.
FrequencyOffsetisdifferentfromTuneinthat,when
usedtodetunethetwooscillators,itcancreatea
constantbeatfrequencyacrosstherangeofthe
keyboard.

21a: OSC1 Frequency

21b: Note-On Control

Octave

Delay

SettheOscillatorsbasicpitch

[2[32], 1[16], +0[8], +1[4]]

ThissetsthebasicpitchoftheOscillator,inoctaves.
Thedefaultis+0[8].Thestandardoctaveofa
multisampleis+0[8].

Transpose

[12+12]

[0000ms5000ms, KeyOff]

Usethistocreateadelaybetweenthetimethatyou
pressakey,andthetimethatthenoteactuallysounds.
ThisismostusefulinDoublePrograms,fordelaying
oneoscillatorinrelationtotheother.

Thisadjuststhepitchinsemitones,overarangeof1
octave.

57

Program mode: HD-1

KeyOffisaspecialsetting.Insteadofdelayingthe
soundbyaparticularamountoftime,thesoundwill
playassoonasyoureleasethekey.Youcanusethisto
createtheclickheardwhenaharpsichordnoteis
released,forinstance.
Ingeneral,whenyouusetheKeyOffsetting,itsalso
besttosettheoscillatorsAmpEGSustainLevelto0.

Mode

[Key, Key + Damper]

Normally,youplaynotessimplybypressingkeyson
thekeyboard.Inspecialcases,however,youcanset
thisparametersothatyoumustfirstbeholdingdown
thedamperpedal,andthenpressakey,inorderto
playanote.Forinstance,thiscanbeusefulwhen
modelingthebehaviorofapianosoundboard.
Keyisthenormalmode.
WhenyouselectKey+Damper,noteswillonlysound
ifthedamperpedalisbeinghelddown.Whenthe
damperpedalisreleased,allnoteswillbestopped
eveniftheyarestillbeinghelddown.

21c: OSC1 Multisample/Wave Sequence


Theparametersinthissectionwillchangedepending
onthesettingoftheOscillatorModeparameter.
InSingleandDoublemodes,eachOscillatorcanplay
uptofourMultisamplesorWaveSequences.InDrum
mode,thereisoneOscillator,anditplaysasingle
DrumKit.

Multisamples, Wave Sequences, and Drum Kits


Multisamples,DrumKits,andWaveSequencesallow
youtoplaysamplesindifferentways.
Multisampleslayoutoneormoresamplesacross
thekeyboard.Forinstance,averysimpleguitar
Multisamplemighthavesixsamplesoneforeach
string.
WaveSequencesplaybackaseriesofdifferent
Multisamplesovertime.TheseMultisamplesmay
crossfadetocreatesmooth,evolvingtimbres,or
changeabruptlytocreaterhythms.
Asthenamesuggests,DrumKitsareoptimizedfor
playingdrumsamples.

Velocity splits, crossfades, and layers


Asmentionedabove,unlessyoureinDrummode,
eachOscillatorhaseightvelocityzones,namedMS1
(High)throughMS8(Low).Eachofthesezonescan
playeitheraMultisampleoraWaveSequence,andhas
separatesettingsforLevel,StartOffset,andsoon.
Eachofthezonescanfadeintothenext,tocreate
smoothervelocitytransitions.Zonescanevenbe
layeredtogether,twoatatime.

MS1 (High)
Thesearethesettingsforthefirstandhighestvelocity
zone.
Ifyouwanttocreateasimplesetupwithonlyasingle
MultisampleorWaveSequence,justsetupMS1as
desired,andthensettheBottomVelocityto1andthe
XfadeRangeto0.

58

Type

[Off, Multisample, Wave Sequence]

ThisselectswhetherMS1willplayaMultisample,a
WaveSequence,ornothingatall.
TheTypeselectionaffectsthechoicesshowninthe
BankandMultisamplemenus.

Bank (Multisample)

[List of Multisample Banks]

ThismenuwillappearonlyiftheTypeissetto
Multisample.
TherearefourtypesofMultisampleBanks:ROM,
SamplingMode,EXs,andUserSampleBanks.For
eachtype,youcanalsochoosebetweenlookingat
monoandstereoMultisamples.Notethatstereo
Multisampleswillrequiretwiceasmanyvoicesas
monoMultisamples.
ROMMultisamplesarethebuiltinfactorysounds,
andarealwaysavailable.
Smp(SamplingMode)Multisamplesaretheonesthat
youcanseeandeditinSamplingMode.Thesemay
includeAkai,SoundFont2.0,AIFForWAVfilesloaded
fromdisk,ornativeKRONOSsamples(including
thirdpartysoundlibrariesandsamplesthatyoucreate
yourself).AnythingthatcanbeusedinSampling
ModecanalsobeloadedasaUserSampleBank.
AftertheabbreviationSmp,severaldifferentthings
mayappear,asdescribedbelow.
Smp:OldRAMprovidescompatibilitywitholder
KRONOSsounds;itwillappearinoldPrograms
whichusedRAMsamples,butcannotbeselectedfor
newPrograms.InsteadofpointingtoaspecificUser
SampleBank,itwillusewhateverMultisampledatais
loadedintoSamplingMode.Thisensuresthatolder
Programsandsampledatawillcontinuetoworkas
theydidpreviously.Updatingtothenewformatis
easy;formoreinformation,seeConvertingolder
soundsonpage 155oftheOperationGuide.
Smp:NewSamplingSessionwillappearwhentheres
datainSamplingModewhichhasntyetbeensavedto
diskasaUserSampleBank.Forinstance,thismight
happenifyouveloadedanoldKSCfile,loaded
individualSamplesorMultisamples,orrecordedsome
newsamples.OncetheKSCissavedtodisk,thename
willupdatetoshowthefilepath(asdescribedbelow).
Smp:[filename]willappearwhenaUserSample
BankhasbeenloadedintoSamplingMode.Thename
isthefilenameitselfalongwiththoseofallits
enclosingfolders.
EXsMultisamplebanksarePCMexpansionsets
createdespeciallyfortheKRONOS.Eachhasitsown
uniquenumber;forinstance,theROMExpansionis
EXs1,andtheConcertGrandPianoexpansionisEXs2.
OnlythecurrentlyloadedEXsbankswillappearon
thismenu.
UserSampleBanksbringthebenefitsofEXstoyour
ownsamplelibraries.Youcanloadandplaygigabytes
ofyourcustomorconvertedsamplesatonce,using
VirtualMemory.Thenameisshownasapathtothe
KSCfile,includingthefilenameandthenamesofall
enclosingdirectories.OnlythecurrentlyloadedUser
SampleBankswillappearinthismenu.

Program P2: OSC/Pitch 21: OSC1 Basic

IfasoundreferstoaUserSampleBankwhichisnoton
theinternaldrive(s),thenamewillappearas
UnknownSampleBank[number]whenthebank
selectdialogisopen,shortenedto??[number]when
thedialogisclosed.

Tab

Formoreinformation,seeUserSampleBankson
page 154oftheOperationGuide.

Bank (Wave Sequence) [INT, UAG, UAAGG]


ThismenuwillappeariftheTypeissettoWave
Sequence.
INTWaveSequencesarethebuiltinfactorysounds.
Youcanoverwritethemifyouwish,butdoingsomay
changethesoundsoftheProgramsandCombisin
BanksINTAE.
UAthroughUGGareuserbanks,forstoringsounds
thatyoucreateyourself,optionalsoundbanksfrom
Korg,orthirdpartysoundlibraries.

Multisample/Wave Sequence Select

[List]

ThisparameterletsyouselectaMultisampleorWave
Sequence,dependingontheTypesetting.
SomeMultisamplesmayhaveanupperlimitto
theirkeyboardrange,overwhichtheymaynot
produceanysound.
ToselectaMultisampleorWaveSequence:
1. PresstheMultisample/WaveSequenceSelect
popupbuttontoopenthemenu.
Withinthewindow,ROMMultisamplesareorganized
bycategories;WaveSequencesareorganizedbybank;
andEXs,UserSampleBank,andSamplingMode
Multisamplesappearasacontinuouslist.
2. ForROMMultisamplesorWaveSequences,use
thetabstoselectacategoryorbank.
3. SelectaMultisampleorWaveSequencefromthe
list.

Mono and Stereo Multisample lists for Sampling


Mode and User Sample Banks
IfSamplingModemonooranymonoUserSample
Bankisselected,thelistshowsallofthemono
MultisamplesintheBank.IftheBankcontainsstereo
Multisamples,youllalsoseetheleftandright
channelsasseparate,monoMultisamples,withLand
Rappendedtotheendofthename.
IfSamplingModestereooranystereoUserSample
Bankisselected,onlythestereoMultisampleswill
appear.However,theywillstillbelistedasseparate
leftandrightMultisamples.Selectingeithertheleftor
rightchannelswillselectthestereopair.

Wave Sequence Select menu


Usethetabstoselectabank,andthenselectaWave
Sequence.PresstheOKbuttontoconfirmyour
selection,orpresstheCancelbuttontoreverttothe
previoussetting.
Tab

4. PresstheOKbuttontoconfirmyourselection,or
presstheCancelbuttontoexitwithoutmakinga
change.
Note:ifthestoredselectionusesEXs,UserSample
Bank,andSamplingModedatawhichisnotcurrently
loaded,itwillnotmakeanysound.Asanindicationof
this,thenamewillbeshowninred.Themessage
SamplesNotLoadedwillalsoappearatthetopof
thedisplay.Tofixthis,loadtherequiredsampledata.

Mono and Stereo Multisample lists for ROM and


EXs
IfROMmonooranyEXsmonoBankisselected,the
listshowsallofthemonoMultisamplesintheBank.If
theBankcontainsstereoMultisamples,youllalsosee
theleftandrightchannelsasseparate,mono
Multisamples,withLandRappendedtotheendof
thename.
IfROMStereooranyEXsStereoBankisselected,only
stereomultisampleswillbeshown.

Reverse

[Off, On]

Thisletsyouplaytheselectedmultisamplebackwards,
withoutlooping.Reverseappliesonlyto
Multisamples;whentheTypeissetWaveSequence,
thisisgrayedout.
Note:IftheindividualsampleswithinaMultisample
arealreadysettoReverse,theywillstillplayin
reverse,regardlessofthissetting.

59

Program mode: HD-1

Note:ReverseisnotavailableforEXsorUserSample
BankMultisamplesloadedusingVirtualMemory.To
usereversewiththisdata,settheLoadMethodto
RAM.Formoreinformation,seeChangeload
methodonpage 766.

WhenvelocitiesarewithintheXfadeRange,the
Oscillatorwillusetwiceasmuchpolyphonyasit
wouldnormally.
Note:Youcanonlyfadebetweentwozonesatonce.

On(checked):TheMultisamplewillplaybackin
reverse.
Off(unchecked):TheMultisamplewillplayback
normally.

Level

[0127]

Thissetsthebasicvolumelevelofthemultisample.
TheAmpsectioncanmodifythisbasiclevel
extensivelywithenvelopes,LFOs,keyboardtracking,
andothermodulation;formoreinformation,see
ProgramP4:Amp/EQ,onpage 82.
Dependingonthemultisample,highLevelsettings
maycausedistortionwhenplayingmanynotesata
time.Ifthisoccurs,lowertheLevel.
WithSamplingModeMultisamples,eachSamplealso
hasa+12dBoption,configuredinSamplingMode.If
thisisturnedon,theSamplewillplayback
approximately12dBlouder.Formoreinformation,see
+12dBonpage 701.

Start Offset

[Off, 1st8th]

Inadditiontosimplystartingplaybackfromthe
beginning,ROMandEXsMultisamplescanhaveupto
8differentpreprogrammedalternatestartingpoints.
Similarly,SamplingModeandUserSampleBank
Multisamplescanplayeitherfromthebeginningofthe
waveform,orfromtheloopstartpoint.
StartOffsetappliesonlytoMultisamples;whenthe
TypeissetWaveSequence,thisisgrayedout.

Select

Xfade Range = 20
Curve = Linear
Bottom Velocity = 64

Curve

CrossfadeCurves
Linear

SomeROMandEXsMultisamplesmayhavefewer
than8preprogrammedpoints,inwhichcaseonlythe
availablepointscanbeselected.

MS1
Volume
Xfade

Power

WithSamplingModeandUserSampleBank
Multisamples,onlyOffand1stareavailable.Offuses
thenormalstartpoint,and1stusestheloopstart
instead.2ndthrough8thwillbegrayedout.

MS2
MS1

Volume
Xfade

Start Offsets: Sampling Mode and User Sample


Banks

Velocity

Layer

MS2

[1127]

ThissetsthelowestvelocityatwhichtheMultisample
orWaveSequencewillsound.MS1sBottomVelocity
canbeequalto,butnotlowerthan,thanthatofMS2.

MS1
Volume
Xfade

Velocity

[Off, 1127]

ThissetstherangeofvelocitiesoverwhichMS1will
fadeintoMS2,goingupfromtheBottomVelocity.
Forinstance,iftheBottomVelocityissetto64,andthe
XfadeRangeissetto20,MS2willstarttofadeinat
velocitiesof84andbelow.

60

MS2

Velocity

WithROMandEXsMultisamples,theStartOffset
specifieswhethertousethenormalstartpoint(Off),or
touseoneofthealternatestartpoints(1st8th).

Xfade Range

[Linear, Power, Layer]

Thiscontrolsthevolumecurveofthecrossfade.Linear
andPower(shortforEqualPower)letyoufinetune
thewaythatthetwoMultisamplesmixtogether;one
ortheothermaybemoreappropriateforagivenpair
ofMultisamples.Layer,truetoitsname,letsyoulayer
thetwoMultisamplestogetherwithoutany
crossfading.

Start Offsets: ROM and EXs

Bottom Velocity

84

Linearmeansthatthetwosampleswilleachbeat50%
oftheirfullvolumeinthemiddleofthecrossfade.
Sometimes,thismaycreateadipinthevolumelevel;if
so,tryusingPowerinstead.

Program P2: OSC/Pitch 21: OSC1 Basic

Power,shortforEqualPower,meansthatthetwo
sampleswilleachbeataround70%oftheirfull
volumeinthemiddleofthecrossfade.Sometimes,this
maycreateabumpinthevolumelevel,inwhichcase
youmighttryselectingLinearinstead.
LayermeansthatthetwoMultisampleswillbelayered
together,bothatfullvolume,fortheentirerangeofthe
crossfade.

Thesevelocityzonestakeprecedenceoverthevelocity
settingsfortheindividualMS14.

Top

[001127]

ThissetsthehighestvelocityatwhichtheOscillator
willsound.
Note:TheTopvelocitymustbegreaterthantheBottom
velocity.

MS27 and MS8 (Low)

Bottom

Thesearethesettingsfortheremainingvelocityzones.
TheparametersforMS27areexactlythesameas
thoseforMS1(High),above.

ThissetsthelowestvelocityatwhichtheOscillator
willsound.

TheparametersforMS8(Low)arealsosimilartothose
forMS1,exceptthatMS8hasnosettingsforBottom
Velocity(whichisalwaysfixedat1),XfadeRange,or
Curve.

[001127]

Entering velocity values from the keyboard


Youcanentervelocityvaluesdirectlybyplayingthem
onthekeyboard.Todoso:
1. SelectoneoftheKeyparameters.
2. HolddowntheENTERkey.

21d: OSC 1 Velocity Zone


Inadditiontosettingthevelocityzonesforeachofthe
fourMultisamplesinasingleOscillator,youcanalso
sethighandlowvelocitiesforeachofthetwo
Oscillatorsasawhole.

3. WhileholdingENTER,playanoteonthe
keyboardatthedesiredvelocity.

OSC1BasicDrumKit
21PMC

21e

21b

21d

21f

TheseparametersappearwhentheOscillatorModeis
settoDrumKit.

21e: Drum Kit Frequency


Octave

[2[32], 1[16], +0[8], +1[4]]

Thisadjuststhepitchinoctaveunits.Whenusinga
drumkit,settheOctaveto8.

Wheneditingadrumprogram,youmustsetthis
parameterto8.Withothersettings,thesoundsof
thedrumkitwillbeassignedtothewrongnotesof
thekeyboard.

Transpose

[12+12]

Thisadjuststhelocationoftheinstrumentsinthe
selecteddrumkit.Unlessyouneedtochangethis,
leaveitat0.

Tune

[1200+1200]

Thisadjuststhepitchinonecentunits.

61

Program mode: HD-1

ThepitchofeachdrumkitcanbeadjustedinGlobal
P5:Drumkit.

t 21: Page Menu Commands

Delay

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

[0ms5000ms, KeyOff]

Usethistocreateadelaybetweenthetimethatyou
pressakey,andthetimethatthenoteactuallysounds.
KeyOffisaspecialsetting.Insteadofdelayingthe
soundbyaparticularamountoftime,thesoundwill
playassoonasyoureleasethekey.
Ingeneral,whenyouusetheKeyOffsetting,itsalso
besttosettheoscillatorsAmpEGSustainLevelto0.

21f: Drum Kit


Drum Kit

[I0039, UAG 0015,


GM08, UAAGG 0015]

ThisselectsadrumkitfortheOscillator.DrumKits
alloweachnotetohaveupto8differentvelocity
crossfadedDrumSamples,alongwithpernote
settingsforvolume,pan,effectsrouting,andmore.

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.
3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.
4:SampleParameters.Formoreinformation,see
SampleParametersonpage 154.
5:RemapMS/SampleBanks.Formore
information,seeRemapMS/SampleBankson
page 163.

DrumKitsareeditedinGlobalmode.Formore
information,seeGlobalP5:DrumKitonpage 796
andUsingDrumKitsonpage 176oftheOperation
Guide.

22: OSC1 Pitch


22PMC

22a

22b

22d

22c

ThispagecontainsallofthesettingsforOscillator1s
pitchmodulation.Forexample,youcan:
SetuppitchbendfrombothJoystickX(with
separatesettingsforbendingupandbending
down)andtheribboncontroller.
UsePitchSlopetocontrolhowthepitchchanges
whenyouplayupanddownthekeyboard.
SetupPortamento.

62

AssignAMSmodulationforpitch.
Setupinitialamountsofpitchmodulationfromthe
PitchEGandLFO1/2,aswellasAMSmodulation
ofLFOandEGamounts.

Program P2: OSC/Pitch 22: OSC1 Pitch

AMS (Pitch)

22a: Pitch
Pitch Slope

[1.0+2.0]

Normally,thisshouldbesettothedefaultof+1.0.

[List of AMS Sources]

Thisselectsamodulationsourcetocontrolthepitch.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Positive(+)valuescausethepitchtoriseasyouplay
higheronthekeyboard,andnegative()valuescause
thepitchtofallasyouplayhigheronthekeyboard.

Intensity

[12.00+12.00]

Whenthisissetto0,playingdifferentnotesonthe
keyboardwontchangethepitchatall;itwillbeasif
yourealwaysplayingC4.Thiscanbeusefulforspecial
effectssounds,forinstance.

ForexampleifyousetAMStoAfterTouchandthen
pressdownonthekeyboard,thepitchwillriseifthis
parameterissettoapositive(+)value,orfallifthis
parameterissettoanegative()value.

Thiscontrolsthedepthanddirectionofthepitch
modulation,insemitones.

PitchSlope,pitch,andnote

22b: Pitch EG

+2

Pitch

Intensity

ThiscontrolstheinitialeffectofthePitchEGon
Oscillators1sfrequency,inhalfsteps,beforeanyAMS
modulation.

+1
2oct

1oct
1oct

ThePitchEGsshapecanswingallthewayfrom+99to
99.WhentheIntensityissettoapositive(+)value,
positivevaluesfromtheEGraisethepitch,and
negativevalueslowerthepitch.

1
C4 C5

Ribbon

Note on keyboard

[12+12]

Youcanusetheribboncontrollerforpitchbend.This
parametersetstherangeoftheribbonspitchbend,in
semitones.
Positive(+)valuesmakethepitchrisewhenyoupress
theribboncontrollertotherightofcenter,and
negative()valueswillcausethepitchtofall.
Forexample,withasettingof+12,pressingthefar
rightedgeoftheribboncontrollerwillraisethepitch
oneoctave,andpressingthefarleftedgewilllowerthe
pitchbyoneoctave.
Withasettingof12,theeffectisreversed;pressingon
therightedgewilllowerthepitch,andpressingonthe
leftwillraisethepitch.
Whenyouliftoffoftheribbon,thepitchwillsnapback
tothecenter(unlessyoureusingtheSW1/2Ribbon
Lockfeature).So,bytappingontherightedgeofthe
ribbonandthenreleasingquickly,youcancreate
guitarhammeroneffects.

JS (+X)

[60+12]

Thissetsthemaximumamountofpitchbend,in
semitones,whenyoumovethejoysticktotheright.For
normalpitchbend,setthistoapositivevalue.
Forexample,ifyousetthisto+12andmovethe
joystickallthewaytotheright,thepitchwillriseone
octaveabovetheoriginalpitch.

JS (X)

[12.00+12.00]

WhentheIntensityissettoanegative()value,the
effectoftheEGisreversed;positiveEGvaluesmean
lowerpitches,andnegativeEGvaluesmeanhigher
pitches.

AMS (Pitch EG)

[List of AMS Sources]

ThisselectsanyAMSmodulationsourcetoscalethe
amountofthePitchEGappliedtothepitch.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[12.00+12.00]

ThiscontrolsthedepthanddirectionofthepitchEG
AMSmodulation.TheAMSmodulationandtheinitial
IntensityareaddedtogethertodeterminethePitch
EGsfinaleffect.
Withpositive(+)values,greatermodulationwill
increasetheeffectofthePitchEG,asshowninexample
Bbelow.
PitchEGAMS
A. Original EG

B. Intensity = +12.00

Change
to Pitch

C. Intensity = 3.00

D. Intensity = 12.00

Change
to Pitch

[60+12]

Thissetsthemaximumamountofpitchbend,in
semitones,whenyoumovethejoysticktotheleft.For
normalpitchbend,setthistoanegativevalue.
Forexample,ifyousetthisto60andmovethe
joystickallthewaytotheleft,thepitchwillfallfive
octavesbelowtheoriginalpitch.Youcanusethisto
createguitarstyledownwardswoops.

Withnegative()values,greatermodulationwill
introducetheoppositeeffectofthePitchEGlike
invertingthepolarityoftheenvelope.Youcanusethis
inseveraldifferentways:
Youcansetaninitialpositiveamountwiththe
Intensityparameter,andthenreducethisamount
withAMS.Inthiscase,thefinaleffectoftheEGis

63

Program mode: HD-1

simplydiminished,andnotactuallyinverted,as
showninexampleC.
YoucanalsosettheAMSIntensityamounttobe
greaterthantheinitialIntensity.Inthiscase,theEG
willhaveapositiveeffectwithlowmodulation
amounts,andaninvertedeffectathigher
modulationamountsasshowninexampleD.

22c: LFO1/2
LFO1andLFO2canbothmodulatethepitch.Youcan
controlthestrengthofeachLFOsmodulationinthree
differentways:
SetaninitialamountofLFOmodulation,usingthe
LFO1/2Intensityparameters.
UseJS+YtoscaletheamountoftheLFO.
UseanyAMSsourcetoscaletheamounttheLFO.
Youcanuseeachofthesemethodsforeachofthetwo
LFOs.Theresultsareaddedtogethertoproducethe
totalLFOeffect.

LFO1
LFO1 Intensity

[12.00+12.00]

LFO2
TheparametersforLFO2areidenticaltothosefor
LFO1.Formoreinformation,seethedescriptions
underLFO1,above.

22d: Portamento
Portamentoletsthepitchglidesmoothlybetween
notes,insteadofchangingabruptly.

Enable

[Off, On]

On(checked):TurnsonPortamento,sothatpitch
glidessmoothlybetweennotes.
Off(unchecked):TurnsoffPortamento.Thisisthe
defaultstate.

Fingered

[Off, On]

ThisparameterallowsyoutocontrolPortamento
throughyourplayingstyle.Whenitsenabled,playing
legatowillturnonPortamento,andplayingdetached
willturnitoffagain.

ThiscontrolstheinitialeffectoftheLFOonthepitch,
insemitones,beforeanyJS+YorAMSmodulation.

ThisoptionisonlyavailablewhenPortamentoEnable
isturnedon.

Negative()settingswillinvertthephaseoftheLFO.

On(checked):TurnsonFingeredPortamento.

JS+Y Intensity (LFO1 JS+Y Int.) [12.00+12.00]

Off(unchecked):TurnsoffFingeredPortamento.

Movingthejoystickupfromthecenterdetent
position,awayfromyourself,producestheJS+Y
controller.Youcanusethistoscaletheamountofthe
LFOappliedtothepitch.Thisparametersetsthe
maximumamountofLFOmodulationaddedbyJS+Y,
insemitones.

Mode

Asthisvalueisincreased,movingthejoystickinthe
+YdirectionwillcausetheOSC1LFO1toproduce
deeperpitchmodulation.
Negative()settingswillinvertthephaseoftheLFO.
Youcanalsousethistoreducetheinitialamountofthe
LFO,assetbyLFO1Intensity,above.Forexample:
1. SetLFO1Intensityto+7.00.
TheLFOwillnowhaveafairlystrongeffectonthe
pitch,bendingitbyaperfect5th.
2. SetJS+YIntensityto7.00.
Now,ifyoumovethejoystickup,theeffectoftheLFO
willfadeaway.Whenthejoystickisallthewayatthe
topofitsrange,theLFOwillbecompletelycancelled
out.

AMS (LFO1)

[List of AMS Sources]

[Constant Rate, Constant Time]

ConstantRatemeansthatPortamentowillalwaystake
thesameamountoftimetoglideagivendistancein
pitchforinstance,onesecondperoctave.Putanother
way,glidingseveraloctaveswilltakemuchlongerthan
glidingahalfstep.
ConstantTimemeansthatPortamentowillalwaystake
thesameamountoftimetoglidefromonenoteto
another,regardlessofthedifferenceinpitch.Thisis
especiallyusefulwhenplayingchords,sinceitensures
thateachnoteinthechordwillenditsglideatthe
sametime.

Time

[000127]

Thiscontrolstheportamentotime.Highervaluesmean
longertimes,forslowerchangesinpitch.
ThisoptionisonlyavailablewhenPortamentoEnable
isturnedon.

Assigning SW1 or SW2 to Portamento On/Off


Youcanusethetwoassignableswitches,SW1and
SW2,toturnportamentoonandoff.
Todoso:

ThisselectsanyAMSmodulationsourcetoscalethe
amountoftheLFOappliedtopitch.

1. GototheProgramP1SetUpControllerspage.

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

2. UnderPanelSwitchAssign,seteitherSW1orSW2
toPortamentoSW(CC#65).

Intensity

[12.00+12.00]

ThiscontrolsthedepthanddirectionoftheLFOAMS
modulationforpitch.

64

Forexample,ifAMSissettoAfterTouch,positive
settingsmeanthataftertouchwillincreasetheamount
ofpitchmodulationfromLFO1.

Now,theselectedswitchwillenableanddisable
Portamento.ItwillalsosendtheMIDIPortamento
controller,CC#65.
EvenifyoudontassignSW1/2toPortamento,you
canstilluseMIDIController#65toturnPortamento
onandoff.

Program P2: OSC/Pitch 25: OSC2 Basic

t 22: Page Menu Commands

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.
3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

25: OSC2 Basic


ThispagecontrolsthebasicsettingsforOscillator2.It
isavailableonlywhentheOscillatorModeissetto
Double;ifnot,thepagewillbegrayedout.

TheparametersareidenticaltothoseforOscillator1,
asdescribedunder21:OSC1Basic,onpage 57.

26: OSC2 Pitch


ThispagecontrolsthepitchsettingsforOscillator2.It
isavailableonlywhentheOscillatorModeissetto
Double;ifnot,thepagewillbegrayedout.

TheparametersareidenticaltothoseforOscillator1,
asdescribedunder22:OSC1Pitch,onpage 62.

29: Pitch EG
29PMC

29a

29b

29c

29d

ThePitchEG,orEnvelopeGenerator,letsyoucreate
complex,timevaryingchangestothepitchof
Oscillators1and2.Theparametersonthispage
controltheshapeoftheEG.Forinstance,youcan:
CreatethebasicEGshapebysettingthelevelsand
timesofeachsegment.
ControlthecurvatureofeachEGsegment,for
subtlecontroloverthesoundoftheEG.
SetupcomplexmodulationofEGlevelsandtimes.
SetupanAMSsource,suchasanLFO,torestart
theEG.

TocontrolhowmucheffecttheEGhasonthepitch,
usethePitchEGparametersonthePitchModpage,as
describedunder22b:PitchEG,onpage 63.

Differences from the other EGs


ThePitchEGisdifferentfromtheFilterandAmpEGs
inseveralways:
ThesinglePitchEGissharedbybothOscillator1
andOscillator2.
TheSustainlevelisalways0.

65

Program mode: HD-1

TheLevelmodulationhastwoAMSsourcesinstead
ofone,andtheTimemodulationhasoneAMS
sourceinsteadofthree.

Level

Pitch EG is also an AMS source

Positivelevelswillmakethepitch(orotherAMS
destination)goupfromitsprogrammedvalue;
negativelevelswillmakeitgodown.

YoucanusethePitchEGasanAMSsourceto
modulateotherparameters,justlikethekeyboard
trackingandLFOs.SimplyselectthePitchEGinthe
AMSlistforthedesiredparameter.

Eachofthefourlevelscanbeeitherpositiveor
negative.

Notethat,unliketheFilterandAmpEGs,thePitch
EGsSustainLevelisalways0.

Start

29a: EG Reset
AMS (EG Reset AMS)

[List of AMS Sources]

ThisselectsanAMSsourcetoresettheEGtothestart
point.Forinstance,youcanuseatemposyncedLFO
totriggertheEGinarepeatingrhythm.Thisresetisin
additiontotheinitialnoteon,whichalwayscausesthe
EGtostart.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Threshold

[99+99]

ThissetstheAMSlevelwhichwilltriggertheEGreset.
Amongotherthings,youcanusethistoadjustthe
exactpointinanLFOsphaseatwhichtheEGwillbe
reset,effectivelycontrollingitsgrooveagainstother
rhythmiceffects.
Whenthethresholdispositive,theEGtriggerswhen
passingthroughthethresholdmovingupwards.When
thethresholdisnegative,theEGtriggerswhen
passingthroughthethresholdmovingdownwards.
Note:withsomeLFOshapes,andwithfasterLFO
speeds,theLFOmaynotalwaysreachtheextreme
valuesof+99or99.Inthiscase,settingtheThreshold
tothesevaluesmaycauseinconsistentbehavior,or
maymeanthattheEGdoesntresetatall.Ifthis
happens,reducetheThresholduntiltheEGtriggers
consistently.

29b: Envelope
PitchEG

Attack

Break
Level

Break

Release
Level

Change to
Pitch

Break,shortforBreakPoint,setsthelevelattheendof
theDecaytime.

Release

Note-on or reset

Slope
Time

[99+99]

ThissetsthelevelattheendoftheReleasetime.

Time
Highervaluesmeanlongertimes,asshownbelow:
EG Value

Actual Time

00

0.667 ms

10

10 ms

20

44 ms

30

104 ms

40

224 ms

50

464 ms

60

944 ms

70

1.8 seconds

80

3.8 seconds

90

10.9 seconds

99

87.3 seconds

[0099]

Theminimumattacktimeis2/3ofamillisecondas
fastasthemostpunchyofclassicanalogsynths.
Time

Decay
Time

[99+99]

ThissetshowlongtheEGtakestomovefromtheStart
leveltotheAttacklevel.

Sustain Level
(Always 0)

Start
Level

Attack
Time

[99+99]

ThissetsthelevelattheendoftheAttacktime.

Attack
Attack
Level

[99+99]

ThissetstheinitialEGlevel,atnoteon.

Release
Time
Note-off

Anenvelopecreatesamodulationsignalbymoving
fromoneleveltoanotheroveraspecifiedtime,and
thenmovingtoanotherleveloveranotherperiodof
time,andsoon.
Theparametersbelowletyousetfourlevels,the
amountoftimeittakestogofromeachofthelevelsto
thenext,andtheshape(fromlineartocurved)ofeach
transition.

Forthefastestpossibleattacktime,youcansetthe
Startlevelto+99;inthiscase,theEGwillstart
instantaneouslyatitsmaximumvalue.

Decay

[0099]

ThissetsthetimeittakestomovefromtheAttacklevel
totheBreaklevel.

Slope

[0099]

ThissetshowlongtheEGtakestomovefromthe
BreakleveltotheSustainlevel(whichforthePitchEG
isalways0).OnceitreachestheSustain,theEGwill
staythereuntilnoteoff,unlessitisresetviaAMS.

Release

[0099]

ThissetshowlongittakestheEGtomovefromthe
SustainleveltotheReleaselevel.

66

Program P2: OSC/Pitch 29: Pitch EG

Curve
Forthesakeofsimplicity,mostofthediagramsinthis
manualshowenvelopesasbeingmadeoutofstraight
lines.Inactuality,though,envelopesaremorelikelyto
bemadeoutofcurves.
Inotherwords,eachsegmentslevelwillchange
quicklyatfirst,andthenslowdownasitapproaches
thenextpoint.Thistendstosoundbetterthanstraight,
linearsegments.
Classicanalogsynthenvelopesmadethesecurved
shapesnaturally.TheKRONOSgoesastepfurther
thanvintagesynths,however,andletsyoucontrolthe
amountofcurvatureseparatelyforeachofthefour
envelopesegments.
Whenyouchangethecurvature,theEGtimesremain
thesame.However,greatercurvaturewilltendto
soundfaster,becausethevaluechangesmorequicklyat
thebeginning.

29c: Level Modulation


ThesesettingsletyouusetwodifferentAMSsourcesto
controltheLevelparametersoftheEG.Foreachofthe
twoAMSsources,theStart,Attack,Decay,andBreak
levelseachhavetheirownmodulationintensities.
Byusingdifferentsettingsforeachofthethreelevels,
youcancausebothsubtleanddramaticchangestothe
EGshape,asshownbelow.
PitchEGLevelModulation

Original Shape

Positive AMS on Start,


Attack, and Break

Negative AMS on Start,


Attack, and Break

Positive AMS on Start and Break,


Negative AMS on Attack

PitchEGCurve

Curve = 0 (Linear)
Curve = 10 (Exp/Log)

Note:OncetheEGhasstartedasegmentbetweentwo
points,thatsegmentcannolongerbemodulated.This
includesboththetimeofthesegment,andthelevel
reachedattheendofthesegment.
Curve = 0 (Linear)

Curve = 10 (Exp/Log)

Different curve settings for up and down


Youmayfindthatdifferentamountsofcurvatureare
suitableforsegmentswhichgoupandsegments
whichgodown.
Forinstance,acurveof3isagooddefaultsettingfor
upwardsegments,suchasAttack.Ontheotherhand,a
curveof6ormoreisgoodfordownwardsegments,
suchasDecayandRelease.

Attack

[0 (Linear), 19, 10 (Exp/Log)]

Forinstance,iftheEGisinthemiddleoftheDecay
time,youcannolongermodulateeithertheDecay
timeortheBreaklevel.
ThisalsomeansthatmodulatingtheStartlevel,Attack
level,orAttacktimewillnotaffectnotesthatare
alreadysounding,unlesstheEGisthenrestartedvia
EGReset.

AMS1

[List of AMS Sources]

ThisselectsthefirstAMSsourcetocontroltheEGs
Levelparameters.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

ThissetsthecurvatureoftheAttacksegmentthe
transitionfromtheStartleveltotheAttacklevel.

Start

Decay

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheStartlevel.

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheDecaysegmentthe
transitionfromtheAttackleveltotheBreaklevel.

Slope

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheSlopesegmentthe
transitionfromtheBreakleveltotheSustainlevel
(whichforthePitchEGisalways0).

Release

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheReleasesegmentthe
transitionfromtheSustainleveltotheReleaselevel.

[99+99]

Forexample,ifyousettheAMSsourcetoVelocityand
setStartto+99,theStartlevelwillincreaseasyouplay
harder.IfyouinsteadsetStartto99,theStartlevel
willdecreaseasyouplayharder.

Attack

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheAttacklevel.

Break

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheBreaklevel.

67

Program mode: HD-1

AMS2
ThisselectsthesecondAMSsourceforcontrollingthe
EGsLevelparameters.TheStart,Attack,Decay,and
Breaklevelssharethissource,buteachhasitsown
modulationintensity.TheparametersofAMS2are
identicaltothoseofAMS1,above.

29d: Time Modulation


ThesesettingsletyouuseanAMSsourcetocontrolthe
TimeparametersoftheEG.TheAttack,Decay,Slope,
andReleasetimessharethisAMSsource,buteachhas
itsownmodulationintensity.
PitchEGTimeModulation
AMS=Velocity, Intensity = a positive (+) value

Note-on

Note-off

Note-on

Note-off

Note-on

Note-off

Attack= +
Decay= +
Slope= +

Attack= +
Decay= +
Slope= +

Attack=
Decay=
Slope=

Softly played note.


Original Shape.

Strongly played note.


Times are longer.

Strongly played note.


Times are shorter.

Reaches Sustain
more slowly.

Reaches Sustain
more quickly.

AMS

[List of AMS Sources]

ThisselectstheAMSsourcetocontroltheEGsTime
parameters.VelocityandKeyboardTrackcanbothbe
usefulhere,forinstance.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Attack

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheAttacktime.
Forexample,ifyousettheAMSsourcetoVelocityand
setAttackto+99,theAttacktimewillgetmuchlonger
athighervelocities.IfyouinsteadsetAttackto99,the
Attacktimewillgetmuchshorterathighervelocities.
WhentheAMSsourceisatitsmaximumvaluefor
instance,whenVelocityisat127asettingof+8will
maketheAttacktimealmosttwiceaslong,anda
settingof8willcuttheAttacktimealmostinhalf.

Decay

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheDecaytime.

Slope

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheSlopetime.

t 29: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

68

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.
3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.

Program P3: Filter 31: Filter1

Program P3: Filter


Filteringcanmakesubtleordramaticchangestothe
oscillatorstimbre.Eachoscillatorhastwomultimode
resonantfilters,AandB,aswellasadedicatedfilter
envelopeandkeyboardtrackinggenerator.
Thesepagesletyoucontrolallaspectsofthefilters.
Amongotherthings,youcan:

Setupfiltermodulation,includingkeyboard
tracking,thefilterenvelope,LFOmodulation,and
AMScontrol.
NotethatwhentheOscillatorModeissettoSingle,
onlyOscillator1sfiltersareactive;thepagesfor
Oscillator2sfilterswillbegrayedout.

Makebasicsettingsforeachoscillatorsfilters,
includingrouting,modes,cutoff,resonance,etc.

31: Filter1
31PMC

31a

31b

31c

Thispagecontainsallofthebasicsettingsfor
Oscillator1sFilterAandFilterB.Forexample,you
can:

Serial.ThisusesbothFilterAandFilterB.The
oscillatorfirstgoesthroughFilterA,andthenthe
outputofFilterAisprocessedthroughFilterB.

Setupthefilterstoproduceasingle12dB/octfilter,
dual12dB/octfiltersineitherserialorparallel
routing,orasingle24dB/octfilter.

Parallel.ThisalsousesbothFilterAandFilterB.The
oscillatorfeedsbothfiltersdirectly,andtheoutputsof
thetwofiltersarethensummedtogether.

SeteachofthetwofilterstoLowPass,HighPass,
BandPass,orBandRejectmodes.

24dB/oct.Thismergesbothfilterstocreateasingle4
pole,24dB/octavefilter(12dBforBandPassandBand
Reject).IncomparisontoSingle,thisoptionproducesa
sharperrolloffbeyondthecutofffrequency,aswellas
aslightlymoredelicateresonance.Manyclassicanalog
synthsusedthisgeneraltypeoffilter.

Setthecutoff,resonance,andinputandoutput
levelsofeachfilter,includingmodulationof
resonanceandoutputlevel.

31a: Filter Routing


Filter Routing

When24dB/octisselected,onlythecontrolsforFilter
Aareactive;thecontrolsforFilterBwillbegrayedout.

[Single, Serial, Parallel, 24dB/oct]

Eachoscillatorhastwofilters,FilterAandFilterB.
Thisparametercontrolswhetheroneorbothofthe
filtersareused,andifbothareused,itcontrolshow
theyareconnectedtoeachother.
Single.ThisusesonlyFilterAasasingle2pole,
12dB/octavefilter(6dBforBandPassandBandReject).
Whenthisoptionisselected,thecontrolsforFilterB
willbegrayedout.

69

Program mode: HD-1

SerialandParallelRouting

Oscillator

Withlowresonancesettings,youcanusetheBand
Passfiltertocreatetelephoneorvintagephonograph
sounds.Withhigherresonancesettings,itcancreate
buzzyornasaltimbres.

Filter A (Low Pass)

Filter B (High Pass)

BandReject.Thisfiltertypealsocalledanotchfilter
cutsonlythepartsofthesounddirectlyaroundthe
cutofffrequency.Trymodulatingthecutoffwithan
LFOtocreatephaserlikeeffects.
FilterTypesandCutoffFrequency

Filter A (Low Pass)

Low Pass

Oscillator
Filter B (High Pass)

High Pass

12db/oct/24db/oct
Band Pass

Low Pass:
12dB/oct
Band Reject

Low Pass:
24dB/oct
Cutoff Frequency

Bypass

31b: Filter A
Filter Type

IfBypassisOff,FilterAfunctionsnormally.

[Low Pass, High Pass,


Band Pass, Band Reject]

Thefilterwillproduceverydifferentresults
dependingontheselectedfiltertype.Theselections
willchangeslightlyaccordingtotheselectedFilter
Routing,toshowthecorrectcutoffslopeindBper
octave.
LowPass.Thiscutsoutthepartsofthesoundwhich
arehigherthanthecutofffrequency.LowPassisthe
mostcommontypeoffilter,andisusedtomakebright
timbressounddarker.
HighPass.Thiscutsoutthepartsofthesoundwhich
arelowerthanthecutofffrequency.Youcanusethisto
maketimbressoundthinnerormorebuzzy.
BandPass.Thiscutsoutallpartsofthesound,both
highsandlows,exceptfortheregionaroundthecutoff
frequency.Sincethisfiltercutsoutbothhighandlow
frequencies,itseffectcanchangedramatically
dependingonthecutoffsettingandtheoscillators
multisample.

70

[Off, On]

ThisletsyoubypassFilterAcompletely.
WhenBypassisOn,FilterAhasnoeffectontheinput
signal.

Frequency

[0099]

ThiscontrolsthecutofffrequencyofFilterA,in
incrementsof1/10ofanoctave.Thespecificeffectof
thecutofffrequencywillchangedependingonthe
selectedFilterType,asdescribedabove.

Input Trim

[0099]

Thisadjuststhevolumelevelattheinputtothefilter.If
younoticethatthesoundisdistorting,especiallywith
highResonancesettings,youcanturntheleveldown
here,orattheOutputLevel.
Note:thefilterwillnotclipinternally,sothereisno
differencebetweenadjustingtheInputTrimandthe
OutputLevel.Eitherofthesecontrolswillallowyouto
minimizeclippinglaterinthesignalchain,suchas
mayoccurintheDrivesectionandinsomeeffects.

Program P3: Filter 31: Filter1

Resonance

Low resonance value

Resonance

High resonance value

[0099]

Resonanceemphasizesthefrequenciesaroundthe
cutofffrequency.
Whenthisissetto0,thereisnoemphasis,and
frequenciesbeyondthecutoffwillsimplydiminish
smoothly.
Atmediumsettings,theresonancewillalterthetimbre
ofthefilter,makingitsoundmorenasal,ormore
extreme.
Atveryhighsettings,theresonancecanbeheardasa
separate,whistlingpitch.
Tomaketheresonancetrackthekeyboardpitch,see
KeyFollow,onpage 74.

AMS (Resonance)

[List of AMS Sources]

31c: Filter B
FilterBisavailablewhentheFilterRoutingissetto
SerialorParallel.Otherwise,theparametersinthis
sectionwillbegrayedout.
TheparametersforFilterBareidenticaltothosefor
FilterA.Formoreinformation,seethedescriptions
underFilterA,above.

t 31: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

Thisselectsamodulationsourcetocontrolthe
Resonanceamount.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

Intensity

2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.

[99+99]

ThiscontrolsthedepthanddirectionoftheResonance
modulation.

3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.

Forexample,ifVelocityhasbeenselected,changesin
keyboardvelocitywillaffecttheresonance.With
positive(+)values,theresonancewillincreaseasyou
playmorestrongly,andasyouplaymoresoftlythe
resonancewillapproachthelevelspecifiedbythe
Resonancesetting.Withnegative()values,the
resonancewilldecreaseasyouplaymorestrongly,and
asyouplaymoresoftlytheresonancewillapproach
thelevelspecifiedbytheResonancesetting.
Theresonancelevelisdeterminedbyaddingthe
ResonanceandIntensityvalues.

Output Level

[0099]

ThiscontrolstheoutputlevelofFilterA.Youcanuse
thistobalancethevolumesofFiltersAandBwhenthe
RoutingissettoParallel,ortoturndownthevolume
toavoidclippinglaterinthesignalchain.

AMS (Output Level)

[List of AMS Sources]

Thisselectsamodulationsourcetocontroltheoutput
levelofFilterA.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

Intensity

[99+99]

Thiscontrolsthedepthanddirectionoftheoutput
levelmodulation.

71

Program mode: HD-1

32: Filter1 Modulation


32PMC

32a

32b

32c

ThispagecontainsthesettingsforOscillator1sfilter
modulation.Amongotherthings,youcan:
Setupcomplexkeyboardtrackingshapes,and
controlhowthetrackingaffectsfiltercutoff.
ControltheeffectoftheFilterEnvelopeonfilter
cutoff.
AssignAMSmodulationforfiltercutoff.
FilterBisavailablewhentheFilterRoutingissetto
SerialorParallel.Otherwise,theparametersforFilter
Bwillbegrayedout.

32a: Keyboard Track


Mostacousticinstrumentsgetbrighterasyouplay
higherpitches.Atitsmostbasic,keyboardtrackingre
createsthiseffectbyincreasingthecutofffrequencyof
alowpassfilterasyouplayhigheronthekeyboard.
Usually,someamountofkeytrackingisnecessaryin
ordertomakethetimbreconsistentacrosstheentire
range.

FilterKeyboardTracking

At the Center Key, key tracking does not affect the filter
Ramp values
+99

+99

+50
00

Ramp values
Change to
Filter Cutoff

Ramp = +99

+99
Ramp = 50
99

99

Low Break: C2

72

Center: F3

High Break: F#5

50
99

Program P3: Filter 32: Filter1 Modulation

TheKRONOSkeyboardtrackingcanalsobemuch
morecomplex,sinceitallowsyoutocreatedifferent
ratesofchangeoveruptofourdifferentpartsofthe
keyboard.Forinstance,youcan:

Entering notes from the keyboard

Makethefiltercutoffincreaseveryquicklyoverthe
middleofthekeyboard,andthenopenmore
slowlyornotatallinthehigheroctaves.

1. SelectoneoftheKeyparameters.

Makethecutoffincreaseasyouplayloweronthe
keyboard.
Createabruptchangesatcertainkeys,forsplitlike
effects.

Youcanenternotenumbersdirectlybyplayingthem
onthekeyboard.Todoso:
2. HolddowntheENTERkey.
3. WhileholdingENTER,playanoteonthe
keyboard.
KeyboardTrackShapeandIntensity

Intensity = +99 (Original Shape)

How it works: Keys and Ramps


Thekeyboardtrackingworksbycreatingfourramps,
orslopes,betweenfivekeysonthekeyboard.The
bottomandtopkeysarefixedatthebottomandtopof
theMIDIrange,respectively.Youcansettheother
threekeysnamedLowBreak,Center,andHigh
Breaktobeanywhereinbetween.
ThefourRampvaluescontroltherateofchange
betweeneachpairofkeys.Forinstance,iftheLow
CenterRampissetto0,thevaluewillstaythesame
betweentheLowBreakkeyandtheCenterkey.
Youcanthinkoftheresultingshapeasbeingliketwo
foldingdoorsattachedtoahingeinthecenter.Atthe
Centerkey(themainhinge),thekeyboardtrackinghas
noeffect.Thetwofoldingdoorsswingoutfromthis
centerpointtocreatechangesinthehigherandlower
rangesofthekeyboard.

Intensity to A

Withpositivevalues(+),theeffectwillbeinthe
directionspecifiedbykeyboardtracking;iftheramp
goesup,thefiltercutoffwillincrease.
Withnegativevalues(),theeffectwillbeinthe
oppositedirection;iftherampgoesup,thefiltercutoff
willdecrease.

[99+99]

Thiscontrolshowmuchthekeyboardtrackingwill
affectFilterBscutofffrequency.

Key
Low Break

[C1G9]

Thissetsthebreakpointnotebetweenthetwolower
rampsthehingeofthelowerdoor.

Center

[C1G9]

Thissetsthecenterofthekeyboardtrackingthemain
hinge.Atthiskey,thekeyboardtrackinghasno
effectonthefiltercutoff,oronanyAMSdestinations.

High Break

Intensity = 0 (No Effect)

Intensity = 99 (Inverted)

[99+99]

Thiscontrolshowmuchthekeyboardtrackingwill
affectFilterAscutofffrequency.Theoveralleffectof
theKeyboardTrackisacombinationofthisIntensity
valueandtheoverallKeyboardTrackshape.

Intensity to B

Intensity = +50 (Less Effect)

[C1G9]

Thissetsthebreakpointnotebetweenthetwohigher
rampsthehingeoftheupperdoor.

Low Break Key

Center Key

High Break Key

Ramp
Positiverampvaluesmeanthatthekeyboardtracking
outputincreasesasyouplayfartherfromtheCenter
Key;negativerampvaluesmeanthatitdecreases.
Becauseofthis,themeaningsofpositiveandnegative
rampsettingswillchangedependingonwhetherthe
rampistotheleftorrightoftheCenterKey.
BottomLowandLowCenter:negativerampsmake
thekeyboardtrackingsoutputgodownasyouplay
loweronthekeyboard,andpositiverampsmakethe
outputgohigher.
CenterHighandHighTop:negativerampsmakethe
keyboardtrackingsoutputgodownasyouplayhigher
onthekeyboard,andpositiverampsmaketheoutput
goup.
Theeffectonthefiltercutoffisacombinationofthe
rampvalues,assetbelow,andtheIntensitytoAandB
parameters.WhenIntensityissetto+99,arampof50
changesthefilterfrequencyby1octaveforevery
octaveofthekeyboard,andarampof+99changesthe
frequencyby2octavesforeveryoctaveofthe
keyboard.

Bottom-Low

[Inf, 99+99, +Inf]

ThissetstheslopebetweenthebottomoftheMIDI
noterangeandtheLowBreakkey.Fornormalkey
track,usenegativevalues.

73

Program mode: HD-1

Low-Center

[Inf, 99+99, +Inf]

ThissetstheslopebetweentheLowBreakandCenter
keys.Fornormalkeytrack,usenegativevalues.

32b: Filter EG

[Inf, 99+99, +Inf]

TheFilter1EGmodulatestheFilterAandBcutoff
frequenciesovertime.Youcancontrolhowstrongly
theEGwillaffectthefiltersinthreedifferentways:

ThissetstheslopebetweentheCenterandHighBreak
keys.Fornormalkeytrack,usepositivevalues.

SetaninitialamountofEGmodulation,usingthe
IntensitytoAandBparameters.

High-Top

UsevelocitytoscaletheamountoftheEGapplied
tothefilter.

Center-High

[Inf, 99+99, +Inf]

ThissetstheslopebetweentheHighBreakkeyandthe
topoftheMIDInoterange.Fornormalkeytrack,use
positivevalues.

UseanyAMSsourcetoscaletheamountoftheEG
appliedtothefilter.

+Inf and Inf ramps

Youcanuseallthreeoftheseatonce,andtheresults
areaddedtogethertoproducethetotalEGeffect.

+InfandInfarespecialsettingswhichcreateabrupt
changesforsplitlikeeffects.Whenarampissetto+Inf
orInf,thekeyboardtrackingwillgotoitsextreme
highestorlowestvalueoverthespanofasinglekey.

TosetuptheEGitself,includingattackandrelease
times,levels,andsoon,see34:Filter1EG,on
page 77.

+InfandInfRamps

Velocity to A

[99+99]

Thisletsyouusevelocitytoscaletheamountofthe
FilterEGappliedtoFilterA.

Ramp = +Inf

VelocitycontrolofFilterEG
In all examples below, Intensity to A = +50
A. Original EG

B. Velocity to A = +50

C. Velocity to A = 25

D. Velocity to A = 99

Original
Filter Cutoff

Ramp = 50
Ramp = Inf
Low Break

Center

High Break

Note:ifyousettheCenterHighrampto+InforInf,
theHighTopparameterwillbegrayedout.Similarly,
ifyousettheLowCenterrampto+InforInf,the
BottomLowrampwillbegrayedout.

Key Follow
TocreatetheclassicKeyFolloweffect,inwhichthe
filterfrequencytracksthepitchofthekeyboard:
1. SettheFilterFrequencyto30.
2. SettheKeyboardTrackIntensityto+99.
3. SettheBottomLowandLowCenterrampsto50.
4. SettheCenterHighandHighToprampsto+50.
5. SettheCenterKeytoC4.
ThesettingsfortheLowBreakandHighBreakkeys
dontmatterinthiscase.

Filter Keyboard Track is also an AMS


source
YoucanusethekeyboardtrackingasanAMSsourceto
modulateotherparameters,justliketheenvelopesand
LFOs.SimplyselectFilterKeytrackintheAMSlistfor
thedesiredparameter.

Original
Filter Cutoff

Withpositive(+)values,playingmorestronglywill
increasetheeffectoftheFilterEG,asshownin
exampleBabove.
Withnegative()values,playingmorestronglywill
introducetheoppositeeffectoftheFilterEGlike
invertingthepolarityoftheenvelope.Youcanusethis
inseveraldifferentways:
Youcansetaninitialpositiveamountwiththe
IntensitytoA/Bparameters,andthenreducethis
amountwithvelocity.Inthiscase,thefinaleffectof
theEGissimplydiminished,andnotactually
inverted,asshowninexampleCabove.
YoucanalsosettheVelocitytoA/Bamountssothat
theyaregreaterthantheinitialamountsof
IntensitytoA/B.Inthiscase,theEGwillhavea
positiveeffectatlowvelocities,andaninverted
effectathighvelocitiesasshowninexampleD.

Velocity to B

[99+99]

Thisletsyouusevelocitytoscaletheamountofthe
FilterEGappliedtoFilterB.Formoreinformation,see
VelocitytoA,above.

Intensity to A

[99+99]

ThiscontrolstheinitialeffectoftheFilterEGonFilter
Ascutofffrequency,beforeanyvelocityorAMS
modulation.

74

Program P3: Filter 32: Filter1 Modulation

TheFilterEGsshapecanswingallthewayfrom+99to
99.Positivevaluesincreasethecutofffrequency,and
negativevaluesdecreasethecutofffrequency.For
instance,seethegraphicVelocitytoA,above.The
EGshapeinexampleArisesupatfirst,andthenfalls
below0towardstheend.
WhenIntensitytoAissettoapositive(+)value,EGs
effectwillmatchitsshape.WhentheEGrisesabove0,
thecutofffrequencywillincrease.
Withnegative()values,theeffectwillbeinthe
oppositedirection;whentheEGrisesabove0,thefilter
cutoffwilldecrease.

Intensity to B

[99+99]

Filter B
TheparametersforFilterBareidenticaltothosefor
FilterA.Formoreinformation,seethedescriptions
underFilterA,above.

t 32: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

ThiscontrolstheinitialeffectoftheFilterEGonFilter
Bscutofffrequency,beforeanyvelocityorAMS
modulation.Formoreinformation,seeIntensityto
A,above.

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

AMS (Filter EG)

3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.

[List of AMS Sources]

ThisselectsanyAMSmodulationsourcetoscalethe
amountoftheFilterEGappliedtoFiltersAandB.The
twofiltersshareasingleAMSsource,withseparate
intensitysettings.Otherwise,theAMSmodulationwill
workinthesamewayastheVelocitytoAparameter,
describedabove.

2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity to A

[99+99]

ThiscontrolsthedepthanddirectionoftheEGAMS
modulationforFilterA.

Intensity to B

[99+99]

ThiscontrolsthedepthanddirectionoftheEGAMS
modulationforFilterB.

32c: Filter A/B Modulation


ThissectionletsyouassignanytwoAMSsourcesto
controlFilterA,andanothertwoAMSsourcesto
controlFilterB.Thismodulationisaddedtothebasic
FilterAandBcutofffrequencies,assetontheFilter1
page.

Filter A
AMS1

[List of AMS Sources]

Thisselectsthefirstmodulationsourceforcontrolling
FilterAscutofffrequency.ForalistofAMSsources,
seeAlternateModulationSource(AMS)Liston
page 1091.

Intensity (AMS1)

[99+99]

ThiscontrolsthedepthanddirectionofAMS1.

AMS2

[List of AMS Sources]

Thisselectsthesecondmodulationsourcefor
controllingFilterAscutofffrequency.ForalistofAMS
sources,seeAlternateModulationSource(AMS)List
onpage 1091.

Intensity (AMS2)

[99+99]

ThiscontrolsthedepthanddirectionofAMS2.

75

Program mode: HD-1

33: Filter1 LFO Modulation


33PMC

33a

33b

LFO1,LFO2,andtheCommonLFOcanallmodulate
FilterAandBscutofffrequencies.Youcancontrolthe
strengthofeachLFOsmodulationinthreedifferent
ways,independentlyforeachfilter:

Intensity to B (LFO1)

SetaninitialamountofLFOmodulation,usingthe
IntensitytoAandBparameters.

JSY Intensity to A (LFO1)

UseJSYtoscaletheamountoftheLFO.
UseanyAMSsourcetoscaletheamounttheLFO.

ThiscontrolstheinitialeffectoftheLFOonFilterBs
cutofffrequency,beforeanyJSYorAMSmodulation.

[99+99]

Movingthejoystickdownfromthecenterdetent
position,towardsyourself,producestheJSY
controller.Youcanusethistoscaletheamountofthe
LFOappliedtoFilterA.

Youcanuseeachofthesemethodsforeachofthethree
LFOs,anddososeparatelyforbothFilterAandFilter
B.Theresultsareaddedtogethertoproducethetotal
LFOeffect.

Negative()settingswillinvertthephaseoftheLFO.
Youcanalsousethistoreducetheinitialamountofthe
LFO,assetbyIntensitytoA,above.Forexample:

33a: LFO 1/2

TheLFOwillnowhaveafairlystrongeffectonthe
filtercutoff.

LFO1

2. SetJSYIntensitytoAto50.

Intensity to A (LFO1)

[99+99]

ThiscontrolstheinitialeffectoftheLFOonFilterAs
cutofffrequency,beforeanyJSYorAMSmodulation.

1. SetIntensitytoAto+50.

Now,ifyoumovethejoystickdown,theeffectofthe
LFOwillfadeaway.Whenthejoystickisallthewayat
thebottomofitsrange,theLFOwillbecompletely
cancelledout.

Negative()settingswillinvertthephaseoftheLFO.
Youcanproduceinterestingeffectsbyusingthesame
LFOtomodulatetwodifferentparameters(suchas
FilterAandFilterB),butwithonesettoapositive
intensity,andtheothersettoanegativeintensity.

JSY Intensity to B (LFO1)

LFOmodulationofFilterCutoff

ThisselectsanyAMSmodulationsourcetoscalethe
amountoftheLFOappliedtoFiltersAandB.Thetwo
filtersshareasingleAMSsource,butwithseparate
intensitysettings.

Low setting

76

[99+99]

High setting

[99+99]

ThisletsyouuseJSYtoscaletheamountoftheLFO
appliedtoFilterB.

AMS (LFO1)

[List of AMS Sources]

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Program P3: Filter 34: Filter1 EG

Intensity to A

[99+99]

ThiscontrolsthedepthanddirectionoftheLFO1AMS
modulationforFilterA.
Forexample,ifAMSissettoAfterTouch,positive
settingsmeanthataftertouchwillincreasetheamount
ofLFO1appliedtoFilterA.

Intensity to B

[99+99]

ThiscontrolsthedepthanddirectionoftheLFO1AMS
modulationforFilterB.

LFO 2

NotethatwhileLFO1andLFO2areseparateforeach
voice,theCommonLFOissharedbyallvoicesinthe
Program.Thismakesitusefulwhenyouwantallofthe
voicestohaveanidenticalLFOeffect.

t 33: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

TheparametersforLFO2areidenticaltothosefor
LFO1.Formoreinformation,seethedescriptions
underLFO1,above.

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

33b: Common LFO

2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.

TheparametersfortheCommonLFOareidenticalto
thoseforLFO1.Formoreinformation,seethe
descriptionsunderLFO1,above.

3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.

34: Filter1 EG
34PMC

34a

34b

34c

34d

TheFilterEG,orEnvelopeGenerator,letsyoucreate
complex,timevaryingchangestothecutoff
frequenciesofFiltersAandB.Theparametersonthis
pagecontroltheshapeoftheEG.Amongotherthings,
youcan:
CreatethebasicEGshapebysettingthelevelsand
timesofeachsegment.
ControlthecurvatureofeachEGsegment,for
subtlecontroloverthesoundoftheEG.

TocontrolhowmucheffecttheEGhasonthefilters,
usetheFilterEGparametersontheFilterModpage,as
describedunder32b:FilterEG,onpage 74.

Filter EG is also an AMS source


YoucanusetheFilterEGasanAMSsourceto
modulateotherparameters,justlikethekeyboard
trackingandLFOs.SimplyselecttheFilterEGinthe
AMSlistforthedesiredparameter.

SetupcomplexmodulationofEGlevelsandtimes.
SetupanAMSsource,suchasanLFO,torestart
theEG.

77

Program mode: HD-1

Attack

34a: EG Reset
AMS (EG Reset)

[List of AMS Sources]

ThisselectsanAMSsourcetoresettheEGtothestart
point.Forinstance,youcanuseatemposyncedLFO
totriggertheEGinarepeatingrhythm.Thisresetisin
additiontotheinitialnoteon,whichalwayscausesthe
EGtostart.

Break

[99+99]

Break,shortforBreakPoint,setsthelevelattheendof
theDecaytime.

Sustain

[99+99]

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

ThissetsthelevelattheendoftheSlopetime.Onceit
reachestheSustainlevel,theEGwillstaythereuntil
noteoff,unlessitisresetviaAMS.

Threshold

Release

[99+99]

ThissetstheAMSlevelwhichwilltriggertheEGreset.
Amongotherthings,youcanusethistoadjustthe
exactpointinanLFOsphaseatwhichtheEGwillbe
reset,effectivelycontrollingitsgrooveagainstother
rhythmiceffects.
Whenthethresholdispositive,theEGtriggerswhen
passingthroughthethresholdmovingupwards.When
thethresholdisnegative,theEGtriggerswhen
passingthroughthethresholdmovingdownwards.
Note:withsomeLFOshapes,andwithfasterLFO
speeds,theLFOmaynotalwaysreachtheextreme
valuesof+99or99.Inthiscase,settingtheThreshold
tothesevaluesmaycauseinconsistentbehavior,or
maymeanthattheEGdoesntresetatall.Ifthis
happens,reducetheThresholduntiltheEGtriggers
consistently.

34b: Envelope
FilterEG
Attack
Level

Break
Level

Sustain
Level
Release
Level

Change to
filter cutoff

Note-on or reset

Decay
Time

Slope
Time

Release
Time
Note-off

Anenvelopecreatesamodulationsignalbymoving
fromoneleveltoanotheroveraspecifiedtime,and
thenmovingtoanotherleveloveranotherperiodof
time,andsoon.
Theparametersbelowletyousetfivelevels,the
amountoftimeittakestogofromeachofthelevelsto
thenext,andtheshape(fromlineartocurved)ofeach
transition.

Level
Eachofthefivelevelscanbeeitherpositiveor
negative.
Positivelevelswillmakethecutofffrequency(orother
AMSdestination)goupfromitsprogrammedvalue;
negativelevelswillmakeitgodown.

Start
ThissetstheinitialEGlevel,atnoteon.

Time
Highervaluesmeanlongertimes,asshownbelow:
EG Value

Actual Time

00

0.667 ms

10

10 ms

20

44 ms

30

104 ms

40

224 ms

50

464 ms

60

944 ms

70

1.8 seconds

80

3.8 seconds

90

10.9 seconds

99

87.3 seconds

[0099]

ThissetshowlongtheEGtakestomovefromtheStart
leveltotheAttacklevel.
Time

Attack
Time

[99+99]

ThissetsthelevelattheendoftheReleasetime.

Attack

Start
Level

78

[99+99]

ThissetsthelevelattheendoftheAttacktime.

[99+99]

Theminimumattacktimeis2/3ofamillisecondas
fastasthemostpunchyofclassicanalogsynths.
Forthefastestpossibleattacktime,youcansetthe
Startlevelto+99;inthiscase,theEGwillstart
instantaneouslyatitsmaximumvalue.

Decay

[0099]

ThissetsthetimeittakestomovefromtheAttacklevel
totheBreaklevel.

Slope

[0099]

ThissetshowlongtheEGtakestomovefromthe
BreakleveltotheSustainlevel.Onceitreachesthe
Sustainlevel,theEGwillstaythereuntilnoteoff
(unlessitisresetviaAMS).

Release

[0099]

ThissetshowlongittakestheEGtomovefromthe
SustainleveltotheReleaselevel.

Curve
Forthesakeofsimplicity,mostofthediagramsinthis
manualshowenvelopesasbeingmadeoutofstraight
lines.Inactuality,though,envelopesaremorelikelyto
bemadeoutofcurves.

Program P3: Filter 34: Filter1 EG

Inotherwords,eachsegmentslevelwillchange
quicklyatfirst,andthenslowdownasitapproaches
thenextpoint.Thistendstosoundbetterthanstraight,
linearsegments.
Classicanalogsynthenvelopesmadethesecurved
shapesnaturally.TheKRONOSgoesastepfurther
thanvintagesynths,however,andletsyoucontrolthe
amountofcurvatureseparatelyforeachofthefour
envelopesegments.

FilterEGLevelModulation

Original Shape

Positive AMS on Start,


Attack, and Break

Negative AMS on Start,


Attack, and Break

Positive AMS on Start and Break,


Negative AMS on Attack

FilterEGCurve

Curve = 0 (Linear)
Curve = 10 (Exp/Log)

Once an EG segment begins, it cant be


modulated

Curve = 0 (Linear)

Curve = 10 (Exp/Log)

Whenyouchangethecurvature,theEGtimesremain
thesame.However,greatercurvaturewilltendto
soundfaster,becausethevaluechangesmorequicklyat
thebeginning.

OncetheEGhasstartedasegmentbetweentwo
points,thatsegmentcannolongerbemodulated.This
includesboththetimeofthesegment,andthelevel
reachedattheendofthesegment.
Forinstance,iftheEGisinthemiddleoftheDecay
time,youcannolongermodulateeithertheDecay
timeortheBreaklevel.

Youmayfindthatdifferentamountsofcurvatureare
suitableforsegmentswhichgoupandsegments
whichgodown.

Asanotherexample,letssaythatyouveassignedthe
CommonLFOtomodulateBreakLevel.TheLFOmay
bemovingallthetime,buttheBreakLevelisonly
affectedbytheLFOsvalueattheinstantthatthe
Decaysegmentstarts.Afterthat,thelevelisfixed.

Forinstance,acurveof3isagooddefaultsettingfor
upwardsegments,suchasAttack.Ontheotherhand,a
curveof6ormoreisgoodfordownwardsegments,
suchasDecayandRelease.

Finally,thisalsomeansthatmodulatingtheStartlevel,
Attacklevel,orAttacktimewillnotaffectnotesthat
arealreadysounding,unlesstheEGisthenresetvia
AMS.

Attack

AMS

Different curve settings for up and down

[0 (Linear), 19, 10 (Exp/Log)]

[List of AMS Sources]

ThissetsthecurvatureoftheAttacksegmentthe
transitionfromtheStartleveltotheAttacklevel.

SelectsanAMSsourcetocontroltheEGsLevel
parameters.

Decay

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheDecaysegmentthe
transitionfromtheAttackleveltotheBreaklevel.

Start

Slope

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheStartlevel.

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheSlopesegmentthe
transitionfromtheBreakleveltotheSustainlevel.

Release

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheReleasesegmentthe
transitionfromtheSustainleveltotheReleaselevel.

34c: Level Modulation


ThesesettingsletyouuseanyAMSsourcetocontrol
theLevelparametersoftheEG.TheStart,Attack,and
BreaklevelsshareasingleAMSsource,butcaneach
havedifferentmodulationintensities.

[99+99]

Forexample,ifyousettheAMSsourcetoVelocityand
setStartto+99,theStartlevelwillincreaseasyouplay
harder.IfyouinsteadsetStartto99,theStartlevel
willdecreaseasyouplayharder.

Attack

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheAttacklevel.

Break

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheBreaklevel.

Byusingdifferentsettingsforeachofthethreelevels,
youcancausebothsubtleanddramaticchangestothe
EGshape,asshownbelow.

79

Program mode: HD-1

Decay

34d: Time Modulation


ThesesettingsletyouusethreedifferentAMSsources
tocontroltheTimeparametersoftheEG.Foreachof
thethreeAMSsources,theAttack,Decay,Slope,and
Releasetimeseachhavetheirownmodulation
intensities.
FilterEGTimeModulation
Note-on

Note-off

Note-on

Slope

Note-off

Note-on

Note-off

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheSlopetime.

Release

AMS=Velocity, Intensity = a positive (+) value

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheDecaytime.

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheReleasetime.

AMS2 and AMS3


Attack=+, Decay=+,
Slope=+, Release=+

Attack=+, Decay=+,
Slope=+, Release=+

Attack=, Decay=,
Slope=, Release=

Softly played note.


Original Shape

Stongly played note.


Times are longer.
Reaches Sustainmore
slowly.

Stongly played note.


Times are shorter.
Reaches Sustainmore
quickly.

AMS1

[List of AMS Sources]

SelectsthefirstAMSsourcetocontroltheEGsTime
parameters.VelocityandKeyboardTrackcanbothbe
usefulhere,forinstance.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Attack

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheAttacktime.
Forexample,ifyousettheAMSsourcetoVelocityand
setAttackto+99,theAttacktimewillgetmuchlonger
athighervelocities.IfyouinsteadsetAttackto99,the
Attacktimewillgetmuchshorterathighervelocities.
WhentheAMSsourceisatitsmaximumvaluefor
instance,whenVelocityisat127asettingof+8will
maketheAttacktimealmosttwiceaslong,anda
settingof8willcuttheAttacktimealmostinhalf.

TheseselectthesecondandthirdAMSsources,
respectively,forcontrollingtheEGsTimeparameters.
EachhasitsownintensitiesforAttack,Decay,Slope,
andRelease.TheparametersofbothAMS2andAMS3
areidenticaltothoseofAMS1,above.

t 34: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.
3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.
4:SyncBothEGs.Formoreinformation,seeSync
BothEGsonpage 155.

35: Filter2
ThispagecontrolsOscillator2sbasicfiltersettings.It
isavailableonlywhentheOscillatorModeissetto
Double;ifnot,thepagewillbegrayedout.

TheparametersareidenticaltothoseforOscillator1,
asdescribedunder31:Filter1,onpage 69.

36: Filter2 Modulation


ThispagecontrolsOscillator2sfiltermodulation.Itis
availableonlywhentheOscillatorModeissetto
Double;ifnot,thepagewillbegrayedout.

37: Filter2 LFO Modulation


ThispagecontrolsOscillator2sLFOfiltermodulation.
ItisavailableonlywhentheOscillatorModeissetto
Double;ifnot,thepagewillbegrayedout.
TheparametersareidenticaltothoseforOscillator1,
asdescribedunder33:Filter1LFOModulation,on
page 76.

80

TheparametersareidenticaltothoseforOscillator1,
asdescribedunder32:Filter1Modulation,on
page 72.

Program P3: Filter 38: Filter2 EG

38: Filter2 EG
ThispagecontrolsOscillator2sFilterEG.Itis
availableonlywhentheOscillatorModeissetto
Double;ifnot,thepagewillbegrayedout.
TheparametersareidenticaltothoseforOscillator1,
asdescribedunder34:Filter1EG,onpage 77.

81

Program mode: HD-1

Program P4: Amp/EQ


Oscillators1and2haveseparatecontrolsforvolume
(alsocalledamplitude,orampforshort),pan,and
Drive,aswellasdedicatedampenvelopesand
keyboardtrackinggenerators.Additionally,both
OscillatorsshareathreebandEQ.
Thesepagesletyoucontrolalloftheserelated
parameters.Amongotherthings,youcan:
SetuptheDrivercircuit,whichaddssaturationand
bassboosttothetimbre.

Setthepanpositionandpanmodulation.
Controlamplevelandmodulation,including
keyboardtracking,theampenvelope,LFO
modulation,andAMScontrol.
SetupthethreebandTrackEQ.
NotethatwhentheOscillatorModeissettoSingle,
onlyOscillator1samp,pan,anddriveparametersare
active;thepagesforOscillator2willbegrayedout.

41: Amp1/Driver1
41PMC

41a

41b

41c

ThispagecontrolsthebasicsettingsfortheAmp/EQ
section.Here,youcan:
SetuptheDrivercircuit.
Settheinitialvolumelevel.
Controlthepanpositionandpanmodulation.

41a: Driver
TheDriveraddssaturationandoverdrivetothesound,
foreverythingfromsubtlefatteningtodrastic
distortion.Unlikeanoverdriveeffect,theDriver
processeseachvoiceindividually,sothetimbrestays
thesameregardlessofhowmanyvoicesarebeing
played.
Thetwomainparameters,DriveandLowBoost,work
togethertocreatetheoverallDrivereffect.Drive
contributesedgeandbite,andLowBoostprovidesthe
bodyaswellasboostingthebass.

Bypass

[Off, On]

WhenBypassisOn,theDriveriscompletelyremoved
fromthesignalpath.

82

Drive

[0099

Thiscontrolstheamountofedgeandbiteinthe
timbre.Lowsettingswillproducemildsaturation,and
highersettingscreatemoreobviousdistortion.
Often,itsusefultoincreasetheLowBoostalongwith
theDrive.
Note:evenwhentheDriveamountissetto0,the
Drivercircuitstillaffectsthetimbre.Ifyourgoalisa
completelypristinesound,usetheBypasscontrol
instead.

AMS (Drive)

[List of AMS Sources]

ThisselectsanAMSmodulationsourcetocontrolthe
Driveamount.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationforDrive.

Program P4: Amp/EQ 41: Amp1/Driver1

Low Boost

[0099]

ThislowfrequencyEQcontrolsthebodycharacterof
thesound.ThespecificEQfrequenciesaffectedwill
changewiththeDrivesetting.
Higheramountsincreasethebassboost,andwillalso
intensifytheeffectoftheDriveparameter.

AMS (Low Boost)

[List of AMS Sources]

ThisselectsanAMSmodulationsourcetocontrolthe
LowBoostamount.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

Intensity

[99+99]

YoucanalsocontrolpanviaMIDIPan(CC#10).A
CC#10valueof0or1placesthesoundatthefarleft,
64placesthesoundatthelocationspecifiedbythe
Panparameter,and127placesthesoundatthefar
right.
Note:youcanselectRandompanonlyfromtheon
screenUI,andnotfromMIDIortheControlsurface.

AMS (Pan)

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatePan.Foralist
ofAMSsources,seeAlternateModulationSource
(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationforLowBoost.

ThiscontrolsthedepthanddirectionoftheAMS
modulationforPan.

41b: Amp Level

Forexample,ifPanissettoC064andAMSissetto
NoteNumber,positive(+)intensitieswillcausethe
soundtomovetowardtherightasyouplayhigher
thanC4,andtowardtheleftasyouplaylowerthanC4.

Amp Level

[000127]

ThiscontrolsthebasicvolumelevelofOscillator1,
beforekeyboardtracking,velocity,andother
modulation.

The Control Surface and volume


YoucancontroltheOscillatorvolumedirectlyfromthe
ControlSurfacesliders.Thisisaseparateparameter,in
additiontoAmpLevel.Todoso:
1. PresstheControlSurfaceTimbre/Trackbutton.
2. MoveSlider1tosetthevolumeforOscillator1,
andSlider2forOscillator2.

MIDI and volume


YoucancontroltheProgramsoverallvolumevia
MIDIusingbothVolume(CC#7)andExpression
(CC#11).Whenusedoneatatime,thetwo
controllersworkinexactlythesameway:aMIDI
valueof127isequaltotheAmpLevelsetting,and
lowervaluesreducethevolume.
IfbothCC#7andCC#11areusedsimultaneously,
theonewiththelowervaluedeterminesthe
maximumvolume,andtheonewiththehigher
valuescalesdownfromthatmaximum.Thisis
controlledontheglobalMIDIchannel.

Use DKit Setting

[Off, On]

ThisoptionisavailableonlywhentheOscillatorMode
issettoDrumsorDoubleDrums.
UnlikestandardPrograms,DrumKitscanhavea
differentpansettingforeverynote.Thisparameterlets
youchoosewhethertousetheDrumKitpansettings,
ortousetheProgramspansettinginstead.
On(checked):TheProgramwillusetheDrumKits
pernotepansettings;panAMSwillstillapply.Thisis
thedefaultsetting.
Off(unchecked):TheProgramwillignoretheDrum
Kitssettings,andusetheProgrampaninstead.
AllkeysofthedrumkitwillusethePan(41c)setting.

t 41: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

41c: Pan
Pan

Negative()intensitieswillhavetheoppositeeffect.

[Random, L001C064R127]

ThiscontrolsthestereopanofOscillator1.Asettingof
L001placesthesoundatthefarleft,C064inthecenter,
andR127tothefarright.

2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.
3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.

WhenthisissettoRandom,thepanpositionwillbe
differentforeachnoteon.
YoucanalsosetthePandirectlyfromtheControl
Surfaceknobs.Todoso:
1. PresstheControlSurfaceTimbre/Trackbutton.
2. SettheMIXERKNOBSswitchtoINDIVIDUAL
PAN.
3. MoveKnob1tosetthepanforOscillator1,and
Knob2tosetthepanforOscillator2.

83

Program mode: HD-1

42: Amp1 Modulation


42PMC

42a

42b

42c

ThispagecontainsthesettingsforOscillator1sAmp
levelmodulation.Amongotherthings,youcan:
Setupcomplexkeyboardtrackingshapestocontrol
theAmplevel.
AssignAMSmodulationfortheAmplevel.
ControltheeffectoftheLFOsontheAmplevel.
Thetotaleffectsofthemodulationcanincreasethe
volumetoamaximumoftwotimeslouderthanthe
AmpLevelsetting.

42a: Keyboard Track


Keyboardtrackingletsyouvarythevolumeasyou
playupanddownthekeyboard.Usually,some
amountofkeytrackingisnecessaryinordertomake
thevolumeconsistentacrosstheentirerange.
KRONOSskeyboardtrackingcanbefairlycomplex,if
desired.Youcancreatedifferentratesofchangeover
uptofourdifferentpartsofthekeyboard.Forinstance,
youcan:
Makethevolumeincreaseveryquicklyoverthe
middleofthekeyboard,andthenincreasemore
slowlyornotatallinthehigheroctaves.
Makethevolumeincreaseasyouplayloweronthe
keyboard.
Createabruptchangesatcertainkeys,forsplitlike
effects.

How it works: Keys and Ramps


Thekeyboardtrackingworksbycreatingfourramps,
orslopes,betweenfivekeysonthekeyboard.The
bottomandtopkeysarefixedatthebottomandtopof

84

theMIDIrange,respectively.Youcansettheother
threekeysnamedLowBreak,Center,andHigh
Breaktobeanywhereinbetween.
ThefourRampvaluescontroltherateofchange
betweeneachpairofkeys.Forinstance,iftheLow
CenterRampissetto0,thevaluewillstaythesame
betweentheLowBreakkeyandtheCenterkey.
Youcanthinkoftheresultingshapeasbeingliketwo
foldingdoorsattachedtoahingeinthecenter.Atthe
Centerkey(themainhinge),thekeyboardtrackinghas
noeffect.Thetwofoldingdoorsswingoutfromthis
centerpointtocreatechangesinthehigherandlower
rangesofthekeyboard.

Key
Low Break

[C1G9]

Thissetsthebreakpointnotebetweenthetwolower
rampsthehingeofthelowerdoor.

Center

[C1G9]

Thissetsthecenterofthekeyboardtrackingthemain
hinge.Atthiskey,thekeyboardtrackinghasno
effectonthevolume,oronanyAMSdestinations.

High Break

[C1G9]

Thissetsthebreakpointnotebetweenthetwohigher
rampsthehingeoftheupperdoor.

Entering notes from the keyboard


Youcanenternotenumbersdirectlybyplayingthem
onthekeyboard.Todoso:
1. SelectoneoftheKeyparameters.
2. HolddowntheENTERkey.

Program P4: Amp/EQ 42: Amp1 Modulation

3. WhileholdingENTER,playanoteonthe
keyboard.

Center-High

Ramp
Positiverampvaluesmeanthatthekeyboardtracking
outputincreasesasyouplayfartherfromtheCenter
Key;negativerampvaluesmeanthatitdecreases.
Becauseofthis,themeaningsofpositiveandnegative
rampsettingswillchangedependingonwhetherthe
rampistotheleftorrightoftheCenterKey.
BottomLowandLowCenter:negativerampsmake
thekeyboardtrackingsoutputgodownasyouplay
loweronthekeyboard,andpositiverampsmakethe
outputgohigher.
CenterHighandHighTop:negativerampsmakethe
keyboardtrackingsoutputgodownasyouplayhigher
onthekeyboard,andpositiverampsmaketheoutput
goup.

Differences from other Keyboard Tracks


ThereareseveraldifferencesbetweentheAmp
keyboardtrackingandtheFilterandCommon
keyboardtracking.
Forexample,theresultsoftheRampvaluesare
different.AsshowninthegraphicAmpKeyboard
Tracking,below,negativeslopesaremoresteepthan
positiveslopes.
Also,theampdoesnothaveseparatecontrolof
Intensity.Instead,Intensityisalwaysfixedatthe
maximumamount,allowingkeyboardtrackingto
changethevolumefromcompletesilencetotwiceas
loudastheprogrammedlevel.

Bottom-Low

[Inf, 99+99, +Inf]

ThissetstheslopebetweenthebottomoftheMIDI
noterangeandtheLowBreakkey.Fornormalkey
track,usenegativevalues.

Low-Center

[Inf, 99+99, +Inf]

ThissetstheslopebetweentheCenterandHighBreak
keys.Fornormalkeytrack,usepositivevalues.

[Inf, 99+99, +Inf]

ThissetstheslopebetweentheLowBreakandCenter
keys.Fornormalkeytrack,usenegativevalues.

High-Top

[Inf, 99+99, +Inf]

ThissetstheslopebetweentheHighBreakkeyandthe
topoftheMIDInoterange.Fornormalkeytrack,use
positivevalues.
Ramp

Change in level

-Inf

Silent in one half-step

99

Silent in one whole-step

95

Silent in one octave

48

Silent in two octaves

25

Silent in four octaves

00

no change

+25

x2 in four octaves

+50

x2 in two octaves

+99

x2 in one octave

+Inf

x2 in one half-step

+Inf and Inf ramps


+InfandInfarespecialsettingswhichcreateabrupt
changesforsplitlikeeffects.Whenarampissetto+Inf
orInf,thekeyboardtrackingwillgotoitsextreme
highestorlowestvalueoverthespanofasinglekey.
Whenarampissetto+Inf,thekeyboardtrackingwill
gotoitshighestvalue(doubletheprogrammed
volume)overasinglehalfstep.
Similarly,whenarampissettoInf,thekeyboard
trackingwillgotoitslowestvalue(completesilence)
overasinglehalfstep.
Note:ifyousettheCenterHighrampto+InforInf,
theHighTopparameterwillbegrayedout.Similarly,
ifyousettheLowCenterrampto+InforInf,the
BottomLowrampwillbegrayedout.

Amp Keyboard Tracking


+99

+50

+25

Ramp values: 99 97 95

48

25

Ramp values:
Louder x2

Change to
Volume

No change

Silence

Low Break: D1

Center: G2

High Break: C4

85

Program mode: HD-1

Amp Keytrack is also an AMS source

AMS (LFO1)

YoucanusethekeyboardtrackingasanAMSsourceto
modulateotherparameters,justliketheenvelopesand
LFOs.SimplyselectAmpKeytrackintheAMSlistfor
thedesiredparameter.

ThisselectsanAMSmodulationsourcetoscalethe
amountoftheLFO1appliedtotheAmplevel.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

42b: Amp Modulation


YoucanmodulatetheAmplevelbybothvelocityand
anAMSsource.
ThismodulationscalesthebasicAmplevelandAmp
EGlevelparameters.Theresultingvolumeis
determinedbymultiplyingthevolumechangesofthe
ampEGbyothervaluessuchasAMS.Iftheseoriginal
levelsarelow,themaximumvolumeavailablewith
modulationwillalsobereduced.

Velocity Intensity

[99+99]

[99+99]

ThiscontrolsthedepthanddirectionoftheLFO1AMS
modulationfortheAmplevel.
Forexample,ifAMSissettoAfterTouch,positive
settingsmeanthataftertouchwillincreasetheamount
ofLFO1appliedtotheAmplevel.

LFO2
TheparametersforLFO2areidenticaltothosefor
LFO1.Formoreinformation,seethedescriptions
underLFO1,above.

Withpositive(+)values,thevolumewillincreaseas
youplayharder.

t 42: Page Menu Commands

Withnegative()values,thevolumewilldecreaseas
youplayharder.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

VelocitymodulationofAmplevel,withAmpEG

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

Volume
Time

Low velocity

AMS

Time

High velocity

[List of AMS Sources]

ThisselectsanyAMSmodulationsourcetocontrolthe
Amplevel.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[99+99]

Thiscontrolsthedepthanddirectionofthe
modulation.
Forexample,ifAMSissettoAfterTouch,positive(+)
valuesofthisparameterwillmakethevolumeincrease
whenyoupressdownonthekeyboard.
Notethatiftheothermodulationsettingshavealready
raisedthevolumetoitsmaximumlevel(doublethe
AmpLevelandAmpEGlevelsettings),thevolume
cannotbeincreasedanyfurther.
Withnegative()valuesofthisparameter,thevolume
willdecreasewhenpressureisappliedtothe
keyboard.

42c: LFO 1/2


YoucanmodulatetheAmplevelwithbothLFO1and
LFO2.

LFO1
Intensity (LFO1)

[99+99]

ThiscontrolsthedepthanddirectionofLFO1seffect
ontheoscillatorsvolume.
Negative()valueswillinverttheLFOwaveform.

86

[List of AMS Sources]

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.
3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.

Program P4: Amp/EQ 43: Amp1 EG

43: Amp1 EG
43PMC

43a

43b

43c

43d

Theseparametersletyoucreatetimevaryingchanges
inthevolumeofoscillator1.

43b: Envelope

43a: EG Reset

Theseparametersspecifyhowtheamp1EGwill
changeovertime.

AMS (EG Reset)

[List of AMS Sources]

ThisselectsanAMSsourcetoresettheEGtothestart
point.Forinstance,youcanuseatemposyncedLFO
totriggertheEGinarepeatingrhythm.Thisresetisin
additiontotheinitialnoteon,whichalwayscausesthe
EGtostart.

AmpEG
Start
Level

ThissetstheAMSlevelwhichwilltriggertheEGreset.
Amongotherthings,youcanusethistoadjustthe
exactpointinanLFOsphaseatwhichtheEGwillbe
reset,effectivelycontrollingitsgrooveagainstother
rhythmiceffects.
Whenthethresholdispositive,theEGtriggerswhen
passingthroughthethresholdmovingupwards.When
thethresholdisnegative,theEGtriggerswhen
passingthroughthethresholdmovingdownwards.
Note:withsomeLFOshapes,andwithfasterLFO
speeds,theLFOmaynotalwaysreachtheextreme
valuesof+99or99.Inthiscase,settingtheThreshold
tothesevaluesmaycauseinconsistentbehavior,or
maymeanthattheEGdoesntresetatall.Ifthis
happens,reducetheThresholduntiltheEGtriggers
consistently.

Sustain
Level

Time
Attack
Time
Note-on or reset

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

[99+99]

Break
Level

Volume

Note:OncetheAmpEGisinitsReleasesegment,it
cannotbereset.(Otherwise,thesoundmightkeep
playingforever!)

Threshold

Attack
Level

Decay
Time

Slope
Time

Release
Time
Note-off

Level
Start

[0099]

Thissetstheinitialvolumelevelatnoteon.

Attack

[0099]

ThissetsthelevelattheendoftheAttacktime.

Break

[0099]

Break,shortforBreakPoint,setsthelevelattheendof
theDecaytime.

Sustain

[0099]

ThissetsthelevelattheendoftheSlopetime.Onceit
reachestheSustainlevel,theEGwillstaythereuntil
noteoff(unlessitisresetviaAMS).

87

Program mode: HD-1

AmpEGCurve

Time
Highervaluesmeanlongertimes,asshownbelow.
EG Value
00

Curve = 10 (Exp/Log)

0.667 ms

10

10 ms

20

44 ms

30

104 ms

40

224 ms

50

464 ms

60

944 ms

70

1.8 seconds

80

3.8 seconds

90

10.9 seconds

99

87.3 seconds

Attack

Curve = 0 (Linear)

Actual Time

Curve = 0 (Linear)

Different curve settings for up and down


Youmayfindthatdifferentamountsofcurvatureare
suitableforsegmentswhichgoupandsegments
whichgodown.

[0099]

ThissetshowlongtheEGtakestomovefromtheStart
leveltotheAttacklevel.
Theminimumattacktimeis2/3ofamillisecondas
fastasthemostpunchyofclassicanalogsynths.
Forthefastestpossibleattacktime,youcansetthe
Startlevelto+99;inthiscase,theEGwillstart
instantaneouslyatitsmaximumvalue.

Decay

[0099]

Forinstance,acurveof3isagooddefaultsettingfor
upwardsegments,suchasAttack.Ontheotherhand,a
curveof6ormoreisgoodfordownwardsegments,
suchasDecayandRelease.

Attack

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheAttacksegmentthe
transitionfromtheStartleveltotheAttacklevel.

Decay

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheDecaysegmentthe
transitionfromtheAttackleveltotheBreaklevel.

ThissetsthetimeittakestomovefromtheAttacklevel
totheBreaklevel.

Slope

Slope

ThissetsthecurvatureoftheSlopesegmentthe
transitionfromtheBreakleveltotheSustainlevel.

[0099]

ThissetshowlongtheEGtakestomovefromthe
BreakleveltotheSustainlevel.Onceitreachesthe
Sustainlevel,theEGwillstaythereuntilnoteoff
(unlessitisresetviaAMS).

Release

[0099]

ThissetshowlongittakestheEGtomovefromthe
Sustainleveltosilence.

Curve
Forthesakeofsimplicity,mostofthediagramsinthis
manualshowenvelopesasbeingmadeoutofstraight
lines.Inactuality,though,envelopesaremorelikelyto
bemadeoutofcurves.
Inotherwords,eachsegmentslevelwillchange
quicklyatfirst,andthenslowdownasitapproaches
thenextpoint.Thistendstosoundbetterthanstraight,
linearsegments.

Whenyouchangethecurvature,theEGtimesremain
thesame.However,greatercurvaturewilltendto
soundfaster,becausethevaluechangesmorequicklyat
thebeginning.

[0 (Linear), 19, 10 (Exp/Log)]

Release

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheReleasesegmentthe
transitionfromtheSustainleveltotheReleaselevel.

43c: Level Modulation


ThesesettingsletyouuseanyAMSsourcetocontrol
theLevelparametersoftheEG.TheStart,Attack,and
BreaklevelsshareasingleAMSsource,butcaneach
havedifferentmodulationintensities.
Byusingdifferentsettingsforeachofthethreelevels,
youcancausebothsubtleanddramaticchangestothe
EGshape,asshownbelow.
AmpEGLevelModulation
Volume

Volume

Classicanalogsynthenvelopesmadethesecurved
shapesnaturally.TheKRONOSgoesastepfurther
thanvintagesynths,however,andletsyoucontrolthe
amountofcurvatureseparatelyforeachofthefour
envelopesegments.

88

Curve = 10 (Exp/Log)

Time

Time

Original Shape

Positive AMS on Start,


Attack, and Break

Volume

Volume
Time

Negative AMS on Start,


Attack, and Break

Time

Positive AMS on Start and Break,


Negative AMS on Attack

Program P4: Amp/EQ 45: Amp2/Driver2

Once an EG segment begins, it cant be


modulated

AMS1

OncetheEGhasstartedasegmentbetweentwo
points,thatsegmentcannolongerbemodulated.This
includesboththetimeofthesegment,andthelevel
reachedattheendofthesegment.

[List of AMS Sources]

SelectsthefirstAMSsourcetocontroltheEGsTime
parameters.VelocityandKeyboardTrackcanbothbe
usefulhere,forinstance.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Formoreinformation,seeOnceanEGsegment
begins,itcantbemodulatedonpage 79.

Attack

AMS

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheAttacktime.

[List of AMS Sources]

ThisselectsanAMSsourcetocontroltheEGsLevel
parameters.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Start

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheStartlevel.
Forexample,ifyousettheAMSsourcetoVelocityand
setStartto+99,theStartlevelwillincreaseasyouplay
harder.IfyouinsteadsetStartto99,theStartlevel
willdecreaseasyouplayharder.

Attack

[99+99]

[99+99]

Forexample,ifyousettheAMSsourcetoVelocityand
setAttackto+99,theAttacktimewillgetmuchlonger
athighervelocities.IfyouinsteadsetAttackto99,the
Attacktimewillgetmuchshorterathighervelocities.
WhentheAMSsourceisatitsmaximumvaluefor
instance,whenVelocityisat127asettingof+8will
makethesegmenttimealmosttwiceaslong,anda
settingof8willcutthesegmenttimealmostinhalf.

Decay

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheDecaytime.

Slope

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheAttacklevel.

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheSlopetime.

Break

Release

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheBreaklevel.

ThesesettingsletyouusethreedifferentAMSsources
tocontroltheTimeparametersoftheEG.Foreachof
thethreeAMSsources,theAttack,Decay,Slope,and
Releasetimeseachhavetheirownmodulation
intensities.

AMS=Velocity, Intensity = a positive (+) value

Note-on

TheseselectthesecondandthirdAMSsources,
respectively,forcontrollingtheEGsTimeparameters.
EachhasitsownintensitiesforAttack,Decay,Slope,
andRelease.TheparametersofbothAMS2andAMS3
areidenticaltothoseofAMS1,above.

t 43: Page Menu Commands

AmpEGTimeModulation

Note-off

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheReleasetime.

AMS2 and AMS3

43d: Time Modulation

Note-on

[99+99]

Note-off

Note-on

Note-off

Attack= +, Decay= +,
Slope= +, Release= +

Attack= +, Decay= +,
Slope= +, Release= +

Attack=, Decay=,
Slope=, Release=

Softly played note.


Original Shape.

Strongly played note.


Times are longer.
Reaches Sustain
more slowly.

Strongly played note.


Times are shorter.
Reaches Sustain
more quickly.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.
3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.
4:SyncBothEGs.Formoreinformation,seeSync
BothEGsonpage 155.

45: Amp2/Driver2
ThispagecontrolsOscillator2sbasiclevel,pan,and
driversettings.ItisavailableonlywhentheOscillator
ModeissettoDouble;ifnot,thepagewillbegrayed
out.

TheparametersareidenticaltothoseforOscillator1,
asdescribedunder41:Amp1/Driver1,onpage 82.

89

Program mode: HD-1

46: Amp2 Mod.


ThispagecontrolsOscillator2sampmodulation.Itis
availableonlywhentheOscillatorModeissetto
Double;ifnot,thepagewillbegrayedout.

TheparametersareidenticaltothoseforOscillator1,
asdescribedunder42:Amp1Modulation,on
page 84.

47: Amp2 EG
ThispagecontrolsOscillator2sampEG.Itisavailable
onlywhentheOscillatorModeissettoDouble;ifnot,
thepagewillbegrayedout.

TheparametersareidenticaltothoseforOscillator1,
asdescribedunder43:Amp1EG,onpage 87.

49: EQ
49PMC

49a

ThisthreebandEQ,withsweepablemid,issharedby
bothoftheProgramsoscillators.TheDrumTrackhas
itsownEQ:formoreinformation,see13e:EQon
page 44.
InCombisandSequences,eachtimbreandtrackhasits
ownindividualEQ.YoucanimporttheProgramsEQ
settingsintoTracksandTimbresbyusingtheCombi
andSequenceAutoLoadProgramEQoptions.

49a: 3 Band Parametric EQ


Inadditiontousingtheonscreenparameters,youcan
alsousethefrontpanelControlSurfacetosetupmost
oftheEQparameters(everythingexceptforBypass).
Todoso:
1. PresstheControlSurfaceTimbre/Trackbutton.
2. SettheMIXERKNOBSswitchtoChannelStrip.
3. SettheTrim,LowGain,MidFreq,MidGain,and
HighGainusingtheknobs.

90

Bypass

[On, Off]

WhenBypassischecked,alloftheEQwillbedisabled,
includingtheInputTrim.
Bypasscanbeconvenientforcomparingtheresultsof
theEQwiththeoriginalsignal.

Input Trim

[0099]

ThiscontrolsthevolumelevelgoingintotheEQ.
HighsettingsoftheLow,Mid,andHighGaincontrols
cancausesubstantialincreasesintheoveralllevel.You
cancompensateforthisbyturningdowntheinput
trim.

Low Gain

[18.0+18.0dB]

Thiscontrolsthegainofthe80HzLowShelfEQ,in
incrementsof0.5dB.

Mid Frequency

[100Hz10.00kHz]

ThissetsthecenterfrequencyfortheMidsweepEQ.

Program P4: Amp/EQ 49: EQ

Mid Gain

[18.0+18.0dB]

ThiscontrolsthegainoftheMidSweepEQ,in
incrementsof0.5dB.

High Gain

[18.0+18.0dB]

Thiscontrolsthegainofthe10kHzHighShelfEQ,in
incrementsof0.5dB.

t 49: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.
3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.

91

Program mode: HD-1

Program P5: LFO


EachoftheOscillatorshastwoLFOs,whichyoucan
usetomodulatethefilter,amp,pitch,andmanyother
parameters.

ThetwoOscillatorsalsoshareasingleCommonLFO,
similartotheglobalLFOonsomevintageanalog
synths.
Thesepagesletyousetupalloftheparametersforall
fiveLFOs.

51: OSC1 LFO1


51PMC

51a

51b

51c

ThispagehasallofthecontrolsforthefirstLFOof
Oscillator1.Forinstance,youcan:
SelecttheLFOsbasicwaveform,andmodifyit
withtheShapeparameter.
ControltheLFOsfrequency,andassignAMS
controllerstomodulatethefrequency.
UsetheKeySyncparametertochoosewhetherthe
LFOrunsseparatelyforeachvoice,oris
synchronizedacrossallofthevoices
UsetheFadeandDelayparameterstocontrolhow
longtheLFOwaitstostartafternoteon,and
whetheritstartsabruptlyorfadesinslowly.
SettheLFOtosynctoMIDItempo.

51a: OSC 1 LFO 1


Waveform

[TriangleRandom6 (Continuous)]

ThisselectsthebasicLFOwaveform,asshowninthe
graphicbelow.
Mostofthewaveformsshouldbeselfexplanatory,but
afewwillbenefitfrommoredetails:
Guitarisintendedforguitarvibrato,anditsshapeis
specificallytunedforthispurpose.Thewaveformis
positiveonly,sothatwhenusedforpitch,itwillonly
bendup,andnotdown.
Random1(S/H)generatestraditionalsampleandhold
waveforms,inwhichthelevelchangesrandomlyat
fixedintervalsoftime.

LFOWaveforms

92

Triangle

Guitar

Step Triangle-4

Random1
(S/H)

Random4
(Continuous)

Saw

Exponential
Triangle

Step Triangle-6

Random2
(S/H)

Random5
(Continuous)

Square

Exponential
Saw Down

Step Saw-4

Random3
(S/H)

Random6
(Continuous)

Sine

Exponential
Saw Up

Step Saw-6

Program P5: LFO 51: OSC1 LFO1

Random2(S/H)randomizesboththelevelsandthe
timing.
Random3(S/H)generatesapulsewavewithrandom
timing.Itstheoppositeoftraditionalsampleandhold;
thetimingvaries,butthelevelsdont.
Random46(Continuous)aresmoothedversionsof
Random13,withrampsinsteadofsteps.Youcanuse
themtocreatemoregentlerandomvariations.

Start Phase

[180+180, Random]

Thiscontrolsthephaseofthewaveformatthestartof
thenote,instepsof5degrees.
IfKeySyncisOff,theStartPhasewillapplyonlyto
thefirstnoteofthephrase.

Shape

[99+99]

Shapeaddscurvaturetothebasicwaveform.Asyou
canseeinthegraphicbelow,thiscanmakethe
waveformseithermoreroundedormoreextreme.It
canalsobeusefultoemphasizecertainvalueranges,
anddeemphasizeothers.
Forexample,letssaythatyouareusingatriangleLFO
tomodulatefiltercutoff.IfShapeemphasizesthehigh
valuerange,thefilterwillspendmoretimeatthe
higherfrequencies.Ifitemphasizesthelowrange,the
filterwillspendmoretimeatthelowerfrequencies.
LFOShape

ByusingAMSmodulation,youcanalsogetspeeds
muchfasterandmuchslowerthanareavailable
throughthisbasicsetting.
Frequency Value

Frequency in Hz

00

0.014 Hz

10

0.112 Hz

20

0.422 Hz

30

0.979 Hz

40

1.79 Hz

50

2.84 Hz

60

4.14 Hz

70

5.69 Hz

80

7.49 Hz

90

9.53 Hz

99

26.25 Hz

99 + Fine 99

32 Hz

Frequency Fine

[0099]

ThisallowsyoutocontroltheLFOfrequencywith
greaterprecision,givingyou98additionalstepsfor
eachstepofthemainFrequencyparameter.
Whenthisissetto00,theLFOspeedisassetbythe
Frequencyparameter.
Whenthisissetto99,itsthesameasincreasingthe
mainFrequencyvalueby1.

+99
0

Stop

99

[Off, On]

On(checked):WhenStopisOn,theLFOdoesnot
advancenormally,andtheFrequencyparametersare
ignored.Instead,theLFOsimplygenerateitsveryfirst
value(asdeterminedbythecombinationofthe
Waveform,StartPhase,Shape,andOffset),andthen
holdsthatvalueuntiltheendofthenote.

Shape = 0 (original waveform)


Shape = +99
Shape = 99

Note:ShapedoesnotaffecttheSquareandRandom3
waveforms,sincetheirvaluesarealwayseither+99or
99.Whentheseareselected,Shapeisgrayedout.

YoucanusethisinconjunctionwiththeRandom
waveformstocreatestatic,randommodulation,with
thevaluechangingonlyatnoteon.

AMS (Shape)

Off(unchecked):WhenStopisOff,theLFOwill
functionnormally.

[List of AMS Sources]

Thisselectsamodulationsourceforcontrollingthe
LFOsShape.Modulatingtheshapecandramatically
altertheeffectoftheLFOtryitout!
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheShape
modulation.

Frequency

[0099]

ThiscontrolsthespeedoftheLFO,beforeany
modulation.Highervaluesmeanfasterspeeds,as
showninthetablebelow.

Key Sync

[Off, On]

On(checked):WhenKeySyncisOn,theLFOstarts
eachtimeyoupressakey,andanindependentLFO
runsforeachnote.Thisisthenormalsetting.
Off(unchecked):WhenKeySyncisOff,theLFO
startsfromthephasedeterminedbythefirstnotein
thephrase,sothattheLFOsforallnotesbeingheldare
synchronizedtogether.TheFadeandDelaysettings
willonlyapplytothefirstnotesLFO.
NotethatevenifKeySyncisOff,eachnotesLFO
speedmaystillbedifferentifyoumodulatethe
Frequencybynotenumber,velocity,keyscaling,or
othernotespecificAMSsources.

93

Program mode: HD-1

Offset

[99+99]

Bydefault,almostalloftheLFOwaveformsare
centeredaround0,andthenswingallthewayfrom
99to+99.ThisparameterletsyoushifttheLFOup
anddown,sothatforinstanceitscenteredon50,and
thenswingsfrom49to+149.
Forexample,letssaythatyoureusinganLFOfor
vibrato.IftheOffsetis0,thevibratowillbecentered
onthenotesoriginalpitch,bendingitbothupand
down.
IftheOffsetis+99,ontheotherhand,thevibratowill
onlyraisethepitchabovetheoriginalnote.
Offsetsettingsandpitchchangeproducedbyvibrato
Offset = 99

Offset = 0

Offset = +99

Pitch

51b: Frequency Modulation


Youcanusetwoalternatemodulationsources(AMS)
toadjustthespeedoftheLFO.

AMS1 (Frequency)

ThisselectsthefirstmodulationsourcefortheLFOs
frequency.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.
NotethatyoucanuseLFO2tomodulateLFO1s
frequency.

Intensity

[99+99]

ThissetstheinitialamountofAMS1.TheIntensity
ModAMSthenaddstothisinitialamount.
WhenAMS1isatitsmaximumvalue(forinstance,
whenthejoystickispushedallthewayup),theAMS
affectsthefrequencyasshownbelow:
Intensity

Change to LFO Frequency

TheoneexceptiontothisistheGuitarwaveform,
whichisdesignedtoemulatebendingastringona
guitarsothatthepitchonlygoesup,andnotdown.
Becauseofthis,thewaveformiscenteredon50,and
noton0.Ofcourse,youcanalwaysuseanegative
Offsettoshiftitbackdownbelow0again!
SinceOffsetaffectstheoutputvaluesoftheLFO,its
importanttonotethatitaffectsthesignalafterthe
Shapefunction,asshownbelow:

+33

4x

+16

2x

16

1/2x

33

1/4x

49

1/8x

66

1/16x

82

1/32x

99

1/64x

LFOSignalFlow
Waveform

Shape

Fade

Offset

[0099]

TheLFOcanfadeingradually,insteadofsimply
startingimmediatelyatfullstrength.Thisparameter
specifiesthetimefromwhentheLFObeginstoplay
untilitreachesitsmaximumamplitude.
IftheDelayparameterisbeingused,thenthefadewill
beginafterthedelayiscomplete.
WhenKeySyncisOff,thefadewillapplyonlytothe
firstnoteinthephrase.
LFOFadeandDelay
Delay

+99

64x

+82

32x

+66

16x

+49

8x

Faster

Slower

Intensity Mod AMS

Note-on

Delay

[List of AMS Sources]

ThisselectsasecondaryAMSmodulationsourceto
scaletheintensityofAMS1.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.EvenifthemainAMS1Intensityissetto0,
IntensityModAMScanstillcontrolthefinalamountof
AMSAoverthefull+/99range.
Forexample,ifAMS1issettothePitchEG,and
IntensityModAMSissettoAfterTouch,positive
settingsmeanthataftertouchwillincreasetheintensity
ofthePitchEGmodulationofLFOFrequency.

Fade

AMS2 (Frequency)

94

[List of AMS Sources]

Note-off

[0099]

[List of AMS Sources]

Thisselectsthesecondmodulationsourceforthe
LFOsfrequency.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

ThissetsthetimefromnoteonuntiltheLFOstarts.

Intensity

[99+99]

WhenKeySyncisOff,thedelayappliesonlytothe
firstnoteofthephrase.

ThiscontrolstheamountofmodulationfromAMS2.

Program P5: LFO 52: OSC1 LFO2

Times

51c: Frequency MIDI/Tempo Sync


MIDI/Tempo Sync

[Off, On]

On(checked):TheLFOwillsynchronizetothesystem
tempo,assetbyeithertheTempoknoborMIDIClock.
TheLFOspeedwillbecontrolledbytheBaseNoteand
Timesparameters,below.AllsettingsforFrequency
andFrequencyModulationwillbeignored.
Off(unchecked):TheFrequencysettingswill
determinethespeedoftheLFO,andthetempo
settingswillhavenoeffect.

Base Note

[r w ]

ThissetsabasicrhythmicvaluefortheLFOspeed,
relativetothesystemtempo.Thevaluesrangefroma
32ndnotetoawholenote,includingtriplets.Itapplies
onlywhenMIDI/TempoSyncisOn.

[0132]

ThismultipliesthelengthoftheBaseNote.For
instance,iftheBaseNoteissettoasixteenthnote,and
Timesissetto3,theLFOwillcycleoveradotted
eighthnote.

t 51: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:SwapLFO1&2.Formoreinformation,see
SwapLFO1&2onpage 155.

52: OSC1 LFO2


ThisisOscillator1ssecondLFO.Itsparametersare
exactlythesameasthoseforthefirstLFO,asdescribed
under51:OSC1LFO1onpage 92exceptthatLFO1
cannotmodulateLFO2.

55: OSC2 LFO1


ThispagecontrolsOscillator2sfirstLFO.Itis
availableonlywhentheOscillatorModeissetto
Double;ifnot,thepagewillbegrayedout.

TheparametersareidenticaltothoseforOscillator1,
asdescribedunder51:OSC1LFO1onpage 92.

56: OSC2 LFO2


ThispagecontrolsOscillator2ssecondLFO.Itis
availableonlywhentheOscillatorModeissetto
Double;ifnot,thepagewillbegrayedout.
Itsparametersareexactlythesameasthoseforthefirst
LFO,asdescribedunder51:OSC1LFO1on
page 92exceptthatLFO1cannotmodulateLFO2.

95

Program mode: HD-1

59: Common LFO


59PMC

59a

59b

59c

Thisisasingle,freerunningLFO,globalforallvoices
intheProgramlikethemodulationLFOsinsome
vintageanalogsynths.

Differences from LFO1/2


TheCommonLFOstartsrunningassoonasyouselect
theProgram,andonlyresetswhenyoutellittodoso
explicitlyviatheResetSourcecontrol,below.Thisis
differentfromLFO1/2sKeySyncparameter,which
resetswheneverallnotesarereleased.
TheCommonLFOspersistencecanbehandyifyou
wanttocreateaconstantrhythmwithanLFO,and
thenplayunderneaththatrhythmwithoutre
triggeringit.Forinstance,youcanuseaMIDI
controllerinyoursequencertoresettheCommonLFO
everyfewbars,regardlessofwhatnotesarebeing
played.
TheCommonLFOhasmostofthesamecontrolsas
LFO1/2.However,itdoesnotincludetheDelay,Fade,
andKeySyncsettings,sincetheseonlymakesensefor
pervoiceLFOs.

59a: Common LFO


Waveform

[TriangleRandom6 (Continuous)]

ThisselectsthebasicLFOwaveform.Foracomplete
listofthewaveformsandmoredetails,pleaseseethe
entryunderLFO1Waveform,onpage 92.

Start Phase

[180+180, Random]

TheResetSource,describedabove,letsyouresetthe
CommonLFO.ThisisthephasefromwhichtheLFO
willstartwhenitisreset.

96

Shape

[99+99]

Shapeaddscurvaturetothebasicwaveform.Formore
details,pleaseseetheentryunderLFO1Shape,on
page 93.
Note:ShapedoesnotaffecttheSquareandRandom3
waveforms,sincetheirvaluesarealwayseither+99or
99.

AMS (Shape)

[List of AMS Sources]

Thisselectsamodulationsourceforcontrollingthe
LFOsShape.Modulatingtheshapecandramatically
altertheeffectoftheLFOtryitout!
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheShape
modulation.

Frequency

[0099]

ThiscontrolsthespeedoftheLFO,beforeany
modulation.Highervaluesmeanfasterspeeds.Fora
completedescription,pleaseseetheentryunderLFO1
Frequency,onpage 93.

Frequency Fine

[0099]

ThisallowsyoutocontroltheLFOfrequencywith
greaterprecision,givingyou98additionalstepsfor
eachstepofthemainFrequencyparameter.
Whenthisissetto00,theLFOspeedisassetbythe
Frequencyparameter.
Whenthisissetto99,itsthesameasincreasingthe
mainFrequencyvalueby1.

Program P5: LFO 59: Common LFO

Stop

[Off, On]

On(checked):WhenStopisOn,theLFOdoesnot
advance,andtheFrequencyparametersareignored.
Instead,theLFOsimplygenerateasinglevaluewhen
theProgramisselected,andthenholdsthatvalueuntil
youselectanotherProgram,oruntilyouresettheLFO
viaAMS.
Note:thisisdifferentfromLFO1/2,inwhichthevalue
isresetwitheverynoteon.
YoucanusethisinconjunctionwiththeRandom
waveformstocreatestatic,randommodulation,with
thevaluechangingonlywhenyoufirstselectthe
Program.
Off(unchecked):WhenStopisOff,theLFOwill
functionnormally.

Reset AMS

[List of AMS Sources]

ThisselectsanAMSsourcetoresettheLFOtotheStart
Phase.TheLFOresetswhentheAMSvaluepassesthe
halfwaymark:+50formostAMSsources,or64for
MIDIcontrollers.
TocreateaneffectsimilartothepervoiceLFOsKey
SyncOffsetting,setthistoGate1+Damper.

Offset

[99+99]

Bydefault,almostalloftheLFOwaveformsare
centeredaround0,andthenswingallthewayfrom
99to+99.ThisparameterletsyoushifttheLFOup
anddown,sothatforinstanceitscenteredon50,and
thenswingsfrom49to+149.
Foracompletedescription,pleaseseetheentryunder
LFO1Offset,onpage 94.

59b: Frequency Modulation


TheseparametersareidenticaltotheFrequency
ModulationsettingsforLFO1,asdescribedunder5
1b:FrequencyModulation,onpage 94.

59c: Frequency MIDI/Tempo Sync


TheseparametersareidenticaltotheFrequency
MIDI/TempoSyncforLFO1,asdescribedunder51c:
FrequencyMIDI/TempoSync,onpage 95.

t 59: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

97

Program mode: HD-1

Program P6: AMS Mixer/Common Key Track


EachOscillatorhastwoAMSMixers,whicharesimple
butpowerfultoolsforcombiningandmodifyingAMS
signals.
ThetwoOscillatorsalsosharetwoCommonkeyboard
trackinggenerators,inadditiontothededicated
keyboardtrackingfortheFilterandAmp.

Thesepagesletyoucontrolallofthesemodulation
sources.
NotethatwhentheOscillatorModeissettoSingle,
onlyOscillator1sAMSMixersareactive;thepagesfor
Oscillator2willbegrayedout.

61: OSC 1 AMS Mixer


61PMC

61a

61b

TheAMSMixerscombinetwoAMSsourcesintoone,
orprocessanAMSsourcetomakeitintosomething
new.
Forinstance,theycanaddtwoAMSsourcestogether,
oruseoneAMSsourcetoscaletheamountofanother.
YoucanalsousethemtochangetheshapesofLFOs
andEGsinvariousways,modifytheresponseof
realtimecontrollers,andmore.
TheAMSMixeroutputsappearinthelistofAMS
sources,justliketheLFOsandEGs.
Thisalsomeansthattheoriginal,unmodifiedinputsto
theAMSMixersarestillavailableaswell.Forinstance,
ifyouuseLFO1asaninputtoaAMSMixer,youcan
usetheprocessedversionoftheLFOtocontrolone
AMSdestination,andtheoriginalversiontocontrol
another.
Finally,youcancascadethetwoAMSMixerstogether,
byusingAMSMixer1asaninputtoAMSMixer2.

61a: AMS Mixer 1


Mixer Type

[A+B, Amt AxB, Offset, Smoothing,


Shape, Quantize, Gate]

Thiscontrolsthetypeofprocessingperformedby
AMSMixer1.EachoftheMixerTypesisdiscussedin
detailoverthenextseveralpages.
A+BaddstwoAMSsourcestogether.Formore
information,seeA+Bonpage 99.
AmtAxBscalestheamountofoneAMSsourcewith
theother.SeeAmtAxBonpage 99formoredetails.
Offsetaddsorsubtractsaconstantvaluetoorfroman
AMSsource.Formoreinformation,seeOffseton
page 100.
Smoothingcreatesmoregentletransitionsbetween
values,smoothingoutabruptchangessuchasaquick
moveonajoystickorasharpedgeonanLFO.For
details,seeSmoothingonpage 101
ShapeaddscurvaturetotheAMSinput.Foranin
depthdescription,seeShapeonpage 101.
Quantizeturnssmoothtransitionsintodiscretesteps.
SeeQuantizeonpage 102formoreinformation.

98

Program P6: AMS Mixer/Common Key Track 61: OSC 1 AMS Mixer

GatechoosesbetweentwoAMSinputs(orfixed
values)basedonathirdAMSsource.SeeGateon
page 103formoreinformation.

AMS B Amount

A+B

Amt A x B

AMSMixer,Type=A+B

AMSMixer,Type=AxB

Amt A

[99+99]

ThiscontrolsthedepthanddirectionoftheAMSB
input.

AMS A

Output

AMS B

AMS A
Output
AMS B

Amt B
Amt B

A+BmergestwoAMSsourcesintoone.Thiscanbe
handywhenyouneedtoaddonemoremodulation
sourcetoaparameter,butyouvealreadyusedupall
oftheavailableAMSslots.
Forinstance,letssaythatyoureusinganLFOto
modulateFilterResonance,andthenyoudecidethatit
wouldbeinterestingtoscalethatparameterwithan
EGaswell.ResonancehasonlyasingleAMSinput,
butyoucaneasilymergetheLFOandtheEGtogether
usingtheA+BAMSMixer:

Amt A

ThisMixerTypeusesAMSBtoscaletheamountof
AMSA.Forinstance,youcancontroltheamount
LFO1withtheFilterEG,orcontroltheamountofthe
PitchEGwiththeribbon.
AMSMixerAmtAxBexample

AMS A: LFO

AMS B: EG

1. AssigntheLFOtoAMSA.
2. AssigntheEGtoAMSB.
3. AssigntheAMSMixerastheFilterResonance
AMSsource.

Amt A*B Output

AMSMixerA+Bexample
AMS A: LFO

AMS A
AMS B: EG

AMS A Amount
A+B Output

AMS A

[99+99]

ThiscontrolstheinitialamountofAMSA,before
modulationfromAMSB.InputfromAMSBthenadds
tothisinitialamount.

[List of AMS Sources]

ThisselectsthefirstAMSinput.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

AMS A Amount

[99+99]

ThiscontrolsthedepthanddirectionoftheAMSA
input.

AMS B

[List of AMS Sources]

ThisselectsthefirstAMSsource,whichcanthenbe
scaledbyAMSB.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

[List of AMS Sources]

ThisselectsthesecondAMSinput.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

EvenifAmountAissetto0,AMSBcanstillcontrol
thefinalamountofAMSAoverthefull+/99range.

AMS B

[List of AMS Sources]

ThisselectsthesecondAMSsource,toscalethe
amountofAMSA.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

AMS B Amount

[99+99]

ThiscontrolsthedepthanddirectionoftheAMSB
modulationofAMSA.
Forexample,ifAMSAissettoLFO1andAMSBis
settotheFilterEG,positivesettingsmeanthattheEG
willincreasetheamountofLFO1.

99

Program mode: HD-1

AMSMixerOffsetexamples

Tips for using Amt A x B


Using SW 1/2 to turn an AMS source on and off
YoucanuseAmtAxBtogateanAMSsource:
1. SetAMSAtothedesiredsource,andsetAMSA
Amountto0.
2. SetAMSBtoSW1or2,andAMSBAmountto
+99.

AMS A: LFO
+99
0
99

Now,SW1or2willturnAMSAonandoff.

Muting individual Wave Sequence steps with


SW1
YoucanuseAMSMixersinconjunctionwiththeAMS
outputsofWaveSequences.Forinstance,youcanuse
SW1toturnoneormorestepsofaWaveSequenceon
oroff.Todothis:
1. IntheOscillatorwhichusestheWaveSequence,
setanAMSMixertoAmtA*B.
2. IntheAMSMixer,setAMSAtoWaveSequence
AMSOutput2.

Offset = +50, Amount = 50


+99
0
99

Offset = 99, Amount = +199


+99
0
99

InthesameAMSMixer:
3. SetAMSBtoSW1.

Clipped
at Output

4. SetAMSAAmountto0.
5. SetAMSBAmountto+99.
Now,SW1willgateWaveSequenceAMSOutput2.
Next,intheWaveSequence:
6. Forthestep(s)youdliketomute,settheAMS
Output2to+99.
Leaveallotherstepssetto00.
BackintheOscillatorwhichusestheWaveSequence:
7. SettheAmpAMSsourcetotheAMSmixeryou
setupinstep1,above.
8. SettheAMSIntensityto99.
Now,whenSW1isOn,thestepsyousetupin(6)will
bemuted.
WhenSW1isOff,theyllsoundnormally.

Offset

[199+199]

ThiscontrolsthebasiclevelofAMSA.
+199doublestheoriginalsignallevel,while199
doublesthelevelandinvertsthephase.Thevaluesare
clippedonlyattheoutput;internally,theycanbe
greaterthanthenormalrangeof99to+99.

AMS A Offset

[199+199]

ThiscontrolstheamountofoffsetforAMSA.
SettingOffsetto+199shiftsanAMSinputof99allthe
wayto+99.InconjunctionwithhighAmountvalues,
thiscanbeusefulforcreatingclippedshapes,suchas
showninthelastoftheAMSMixerOffsetexamples,
above.

Tips for using Offset

AMSMixer,Type=Offset
Amt A

Converting from bipolar to unipolar


YoucanusetheOffsetfunctiontoconvertabipolar
AMSsource(bothnegativeandpositive),suchasan
LFO,toaunipolarsignal(positiveonly).Todoso:

Offset A

AMS A

Output

Thissimpleprocessoraddsaconstantpositiveor
negativeoffsettoanAMSsource,andalsoallowsyou
todoublethegain.Amongotherthings,youcanuse
thistoconvertabipolarAMSsource(bothnegative
andpositive)toaunipolarsource(positiveonly),or
viceversa.

AMS A

AMS A Amount

[List of AMS Sources]

1. SelecttheLFOastheAMSAinput.
2. SettheAMSAAmountto50.
ThiscutstheoverallleveloftheLFOinhalf,sothat
insteadofswingingbetween99and+99,itonly
swingsbetween50and+50.
3. SettheAMSAOffsetto50.
ThisshiftstheLFOsignalup,sothatitnowswings
between0and+99.

ThisselectstheAMSsourcetobeoffset.

Converting from unipolar to bipolar

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Similarly,youcanconvertaunipolarAMSsource
(positiveonly),suchasaknob,joystick,etc.,toa
bipolarsignal(bothnegativeandpositive).Todoso:
1. SelecttheAMSsourceastheAMSAinput.

100

Program P6: AMS Mixer/Common Key Track 61: OSC 1 AMS Mixer

2. SettheAMSAAmountto+199.

AMS A Attack

ThisdoublestheoverallleveloftheAMSsource,so
thatinsteadofrangingfrom0to+99,itnowgoesfrom
0to+199.

Thiscontrolstheattacktimeofthesmoother,orhow
longittakesthesmoothertoreachanew,highervalue.

3. SettheAMSAOffsetto100.

[00+99]

HigherAttacksettingsmeanlongertimes.

ThisshiftstheAMSsignaldown,sothatitrangesfrom
99to+99.

DependingonhowquicklytheAMSinputvalueis
changing,highAttacksettingsmaymeanthatthe
valueisneverquitereached,asshowninAMSMixer
Shapeexamples,above.

Smoothing

AMS A Decay

ThisMixerTypesmoothsouttheAMSinput,creating
moregentletransitionsbetweenvalues.Youhave
separatecontroloftheamountofsmoothingduring
theattack(whenthesignalisincreasing)anddecay
(whenitsdecreasing).

Thiscontrolsthedecaytimeofthesmoother,orhow
longittakesthesmoothertoreachanew,lowervalue.

ThehighertheAttackandDecaysettings,themore
thattheinputwillbesmoothed.

[00+99]

HigherDecaysettingsmeanlongertimes.

Shape

Lowsettingsprovidesubtlecontrollersmoothing,
creatingmoregradualaftertouch,forinstance.Higher
settingscreateautofadeeffects,transformingaquick
gestureintoalongerfadeinand/orfadeoutevent.

ThisMixerTypeaddscurvaturetotheAMSinput.
Shapecancreatecustomcontrollercurves,suchas
exponentialjoystick,logarithmicvelocity,andsoon.It
canalsoaltertheshapeofprogrammablemodulation
sources,suchasEGsandLFOs.

Smoothingcanalsobeusedtoaltertheshapeof
programmablemodsources,suchasLFOsandEGs.
Forinstance,youcanturnablipintoasimple
envelopeshape,asshownbelow.

Note:ShapeonlyaffectsAMSsignalswhichalready
havesomeamountofslope,suchasEGs,triangleand
sineLFOs,andsoon.Itdoesnotaffectsignalswhich
onlycontainabrupttransitions,suchassquarewaves.

AMSMixerSmoothingexamples

AMS A

Smoothing with Long Attack


and Short Release:

Original AMS A:

[List of AMS Sources]

ThisselectstheAMSinputsourcetobeshaped.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Mode

[Symmetric, Asymmetric]

ThisselectswhetherShapewillproduceoneortwo
curves.ThegraphicAMSMixerShapeexamples
mayhelptovisualizehowthisworks.

Smoothing with Short Attack & Long Release:

Asymmetricwillproduceasinglecurve,extending
from99to+99.

AMS A

[List of AMS Sources]

Symmetricwillproducetwomatchingcurves
extendingoutwardsfrom0to99and+99,
respectively.

Shape

ThisselectstheAMSsourcetobesmoothed.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

[99+99]

Thiscontrolstheamountofcurvature,andwhetherthe
curvesareconcaveorconvex.Asyoucanseeinthe
graphicexamples,theshapewilltendtoemphasize
certainvalueranges,anddeemphasizeothers.

HeresahandychartwhichshowstheresultsofShapewiththedifferentsettingsandinputtypes:
Mode

Input

Shape

Result

Positive (+)

emphasizes upper value range

Negative (-)

emphasizes lower value range

Positive (+)

emphasizes both upper and lower value ranges,


and de-emphasizes the center

Negative ()

emphasizes center value range, around 0

Positive (+)

emphasizes extreme upper range, with offset

Negative ()

emphasizes extreme lower range, with offset

Positive (+)

emphasizes upper value range

Negative ()

emphasizes lower value range

Unipolar
Symmetric
Bipolar

Unipolar
Asymmetric
Bipolar

101

Program mode: HD-1

Forexample,letssaythatyouareusingatriangle
LFO,throughShape,tomodulatefiltercutoff.IfShape
emphasizesthehighvaluerange,thefilterwillspend
moretimeatthehigherfrequencies.Ifitemphasizes
thelowrange,thefilterwillspendmoretimeatthe
lowerfrequencies.
AMSMixerShapeexamples

Quantize
ThisMixerTypechangestheinputfromacontinuous
signalintoaseriesofdiscretesteps.Insteadofmoving
smoothlybetweenvalues,itwillsnapimmediately
fromonevaluetoanother.
YoucanusethistochangetheshapeofLFOsorEGs,or
toforceacontrollertolandonafewspecificvalues.

Bipolar Triangle Wave

AMSMixerQuantizeexamples

Asymmetric
+99

Unipolar (e.g., JS+Y)

Bipolar (e.g., LFO)

+99

Original
AMS A

99

0
99

Symmetric
+99

+99

Quantize
Steps = 8

0
99

0
99

+99

Bipolar Sawtooth Wave


Asymmetric

Symmetric

Quantize
Steps = 16

+99

0
99

AMS A

99

[List of AMS Sources]

ThisselectstheAMSinputsourcetobequantized.
Unipolar Triangle Wave
Asymmetric
(not recommended)

Symmetric

+99

AMS A # Of Steps

[232]

Thiscontrolstheseverityoftheeffect.Thelowerthe
numberofsteps,themoresteppytheoutputwillbe.

0
99

Shape = 0 (original waveform)


Shape = +99
Shape = 99

Forinstance,whenthisissetto2,therewillbesteps
at0,50,and99.WithabipolarAMSinput,therewill
alsobestepsat50and99.
Asanotherexample,whenitissetto5,therewillbe
stepsat0,20,40,60,80,and99(aswellas20,40,60,
80,and99forbipolarinputs).

Bipolar and Unipolar AMS sources

Tips for using Quantize

TounderstandShape,ithelpstounderstandthe
differencebetweenbipolarandunipolarAMSsources.

Quantized Ribbon Pitch Bend

Bipolarsourcescanswingallthewayfrom99to+99,
with0inthemiddle.MostLFOsarebipolar,for
instance;soisPitchBend.
Generally,bipolarAMSsourceswillworkbetterwith
theAsymmetricmode,butSymmetricmayalso
produceinterestingresults.
Unipolarsourcesonlygofrom0to99,with50inthe
middle.MIDIcontrollers,suchasJS+Y(CC#1),areall
unipolar.Inpractice,EGsareusuallyprogrammedto
beunipolar,eventhoughtheFilterandPitchEGsdo
allowbothpositiveandnegativelevels.
Withunipolarsources,itsalmostalwaysbettertouse
theSymmetricmode.TheAsymmetricmodecan
causeoffsetsandotherstrangeresults.

102

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

YoucaneasilyusetheRibbontocreatequantizedpitch
bend,forfretdraggingeffects,brassrips,andmore.To
doso:
1. SelecttheAMSMixerastheOscillatorPitchAMS
input.
2. SetthePitchAMSIntensitytoanyexacthalfstep
value,suchas+5.00,+7.00,etc.
3. SettheRibbonamountto0.00.
4. IntheAMSMixer,selecttheRibbonasAMSA.
5. SettheAMSA#ofStepstothesamenumberyou
usedinStep2.
Now,playingtheRibbonwillcreatequantizedpitch
bends.JSXwillstillproducesmoothpitchbends,as
usual,soyoucanusebothtechniquestogether.

Program P6: AMS Mixer/Common Key Track 61: OSC 1 AMS Mixer

IfthevalueoftheControlSourceisgreaterthanor
equaltotheThreshold,theGateoutputsthepreset
valueorAMSsourceselectedunderAt&Above
Threshold.

Gate
AMSMixer,Type=Gate
Control

Below Threshold

[Fixed Value, AMS A]

ThisselectswhetherBelowThresholdusesapreset
value,ortheselectedAMSsource.

Fixed Value
Below
AMS

Fixed Value

Fixed Value

[-99+99]

Thisletsyousetaspecificvaluetobeusedwhenthe
ControlSourceislessthantheThreshold.Thisonly
applieswhenBelowThresholdissettoFixedValue.

At & Above
AMS

ThisMixerTypeletsyousetuptwodifferentAMS
sources(orfixedAMSamounts),andthenswitch
betweenthetwousingathirdAMSsource.
Itssimilartoanaudiogatewithasidechain,butwith
evenmoreflexibilitysinceyougettochoosewhat
happenswhenthegateisclosed(belowthethreshold),
aswellaswhenitsopen(abovethethreshold).
Youcanalsochoosewhetherthegatewillbeableto
openandclosecontinuouslyinresponsetothecontrol
source,orwhetheritonlyopensorclosesatthe
beginningofthenote,andthenstaysthatwayoverthe
notesentireduration.
YoucanusetheGateto:
Useafootswitch(orothercontroller)toapply
pitchbendorothereffectstosomenotes,butnotto
others

AMS A

[List of AMS Sources]

ThisletsyousetanAMSsourcetopassthroughthe
GatewhentheControlSourceislessthanthe
Threshold.ThisonlyapplieswhenBelowThreshold
issettoAMSA.

At & Above Threshold

[Fixed Value, AMS B]

ThisselectswhetherAt&AboveThresholdusesa
presetvalue,ortheselectedAMSsource.

Fixed Value

[-99+99]

Thisletsyousetaspecificvaluetobeusedwhenthe
ControlSourceisgreaterthanorequaltothe
Threshold.ThisonlyapplieswhenAt&Above
ThresholdissettoFixedValue.

AMS B

[List of AMS Sources]

Applycontrollerstoaparameteronlyafterthe
controllerreachesacertainthresholdforinstance,
useVelocitytocontrolharmonicsintheSTR1,but
onlyonceVelocityisgreaterthan90

ThisletsyousetanAMSsourcetopassthroughthe
GatewhentheControlSourceisgreaterthanorequal
totheThreshold.ThisonlyapplieswhenAt&Above
ThresholdissettoAMSB.

Useajoystick,switch,orothercontrollertoswitch
betweentwodifferentLFOs(oranytwoAMS
sources)

Tips for using Gate

Gate Control

YoucanuseControlatNoteOnOnlytoapplyaneffect
tosomenotes,butnotothers,basedonthestateofan
AMSsourceatthestartofthenote.Forinstance:

Source

[List of AMS Sources]

ThisselectstheAMSsourcetocontrolthegate.

Control at Note-On Only

[Check-box]

Whenthisisenabled(checked),thevalueofthe
ControlSourceatnoteonwillselecttheoutput
(BelowThresholdorAt&AboveThreshold).The
selectedoutputwillthenremainactivethroughoutthe
durationofthenote,regardlessofanysubsequent
changeintheControlSourcesvalue.
Notethattheoutputvalueitselfcancontinueto
change;onlytheselectionofBeloworAt&Aboveis
fixed.

Threshold

[-99+99]

Selective pitch-bend, using a switch

1. SettheControlSourcetoAssignableFootSwitch.
2. SetControlAtNoteOnOnlytoOn(checked).
3. SettheThresholdto50.
4. SetBelowThresholdtoaFixedValueof00.
5. SetAt&AboveThresholdtoAMSB:Ribbon
(CC#16).
6. OnthePitchModpage,assigntheAMSMixerto
controlthepitch.
7. AlsoonPitchMod,setthestandardRibbon
amountto0.
Thisway,onlytheAMSMixersprocessedversionof
theRibbonwillaffectthepitch.

ThissetsthevalueoftheControlSourceatwhichthe
gateopensorcloses.

8. Withthefootswitchoff,playachord,andholdit
throughstep9.

Gate Output

9. Pressdownonandholdthefootswitch,andthen
playanewnoteabovethechord.

IfthevalueoftheControlSourceislessthanthe
Threshold,theGateoutputsthepresetvalueorAMS
sourceselectedunderBelowThreshold.

10.Usetheribbontobendthepitchofthenewnote.
Thenewnotewillbend,buttheoriginalchord(played
beforeyoupressedonthefootswitch)willnot.

103

Program mode: HD-1

Selective pitch-bend, using only the joystick


YoucanalsouseasingleAMSsourceasboththe
ControlSourceandavaluesource:
1. SettheControlSourcetoJSX.
2. SetControlAtNoteOnOnlytoOn(checked).
3. SettheThresholdto00.
4. SetBelowThresholdtoAMSA:JSX.
5. SetAt&AboveThresholdtoaFixedValueof00.
6. OnthePitchModpage,assigntheAMSMixerto
controlthepitch.
7. AlsoonPitchMod,setthestandardJS+XandJSX
amountsto0.
Thisway,onlytheAMSMixersprocessedversionof
thejoystickwillaffectthepitch.
8. Withthejoystickinthecenter,playachord,and
holditthroughstep9.
9. Bendthejoysticktotheleft,andthenplayanew
noteabovethechord.
10.Usethejoysticktobendthepitchofthenewnote.
Thenewnotewillbend,buttheoriginalchord(played
beforeyoubentthejoystickdown)willnot.This
methodisparticularlygoodforbendingthetopnoteof
achorduptopitch.

Generating a static value


Sometimes,itcanbehandytohaveapresetvalueasan
AMSsource.TheGateisonewaytocreatethis.Todo
so:

65: OSC 2 AMS Mix


ThispagecontrolsthetwoAMSMixersforOscillator
2.TheseareavailableonlywhentheOscillatorMode
issettoDouble;ifnot,thepagewillbegrayedout.
TheparametersareidenticaltothoseforOscillator1,
asdescribedunder61:OSC1AMSMixer,on
page 98.

104

1. SetbothBelowThresholdandAt&Above
ThresholdtoFixedValue,andenterthesame
valueintoeach.
Now,theAMSmixerwillalwaysgeneratethisstatic
value.

61b: AMS Mixer 2


ThisisthesecondAMSMixerforOscillator1.The
parametersareexactlythesameasthoseforAMS
Mixer1,asdescribedunder61a:AMSMixer1on
page 98.

t 61: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.
3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.

Program P6: AMS Mixer/Common Key Track 69: Common Keyboard Track

69: Common Keyboard Track


69PMC

69a

69b

ThetwoOscillatorssharetwoCommonkeyboard
trackinggenerators,inadditiontoeachOscillators
dedicatedkeyboardtrackingfortheFilterandAmp.
YoucanusetheseCommonkeytracksasAMSsources
formodulatingmostAMSdestinations.
TheCommonKeyTrackparametersaresharedbythe
entireProgram,buttheactualAMSvaluesare
calculatedindividuallyforeachvoice.

CommonKeyboardTracking
At the Center Key, the AMS value is always 0.
AMS

Atitsmostbasic,keyboardtrackingletsyouvarythe
modulationamountasyouplayupanddownthe
keyboard.Thiscanbeusefulformakingthetimbre
consistentacrosstheentirerange,oradjusting
parametersaccordingtopitch.
TheKRONOSkeyboardtrackingcanbefairly
complex,ifdesired.Youcancreatedifferentratesof
changeoveruptofourdifferentpartsofthekeyboard.
Forinstance,youcan:
Makethemodulationincreaseveryquicklyover
themiddleofthekeyboard,andthenincreasemore
slowlyornotatallinthehigheroctaves.
Makethemodulationincreaseasyouplayloweron
thekeyboard.
Createabruptchangesatcertainkeys,forsplitlike
effects.

+99
+50
Ramp = +99

Ramp:
+99
99

Overview
What does Keyboard Tracking do?

Ramp:

+99

00
50
99

Ramp = 50

99
AMS

Low Break

Center

High Break

How it works: Keys and Ramps


Thekeyboardtrackingworksbycreatingfourramps,
orslopes,betweenfivekeysonthekeyboard.The
bottomandtopkeysarefixedatthebottomandtopof
theMIDIrange,respectively.Youcansettheother
threekeysnamedLowBreak,Center,andHigh
Breaktobeanywhereinbetween.
ThefourRampvaluescontroltherateofchange
betweeneachpairofkeys.Forinstance,iftheLow
CenterRampissetto0,thevaluewillstaythesame
betweentheLowBreakkeyandtheCenterkey.
Youcanthinkoftheresultingshapeasbeingliketwo
foldingdoorsattachedtoahingeinthecenter.Atthe
Centerkey(themainhinge),thekeyboardtrackinghas
noeffect.Thetwofoldingdoorsswingoutfromthis
centerpointtocreatechangesinthehigherandlower
rangesofthekeyboard.

105

Program mode: HD-1

ThetablebelowshowshowtherampsaffecttheAMS
output:

69a: Keyboard Track 1


Key

Ramp value

Low Break

[C1G9]

AMS change

Inf

goes to 99 in 1 half-step

Thissetsthebreakpointnotebetweenthetwolower
rampsthehingeofthelowerdoor.

99

20 per octave

50

10 per octave

Center

no change

+50

+10 per octave

+99

+20 per octave

+Inf

goes to +99 in 1 half-step

[C1G9]

Thissetsthecenterofthekeyboardtrackingthemain
hinge.Atthiskey,thekeyboardtrackinghasno
effectontheAMSdestinations.

High Break

[C1G9]

Thissetsthebreakpointnotebetweenthetwohigher
rampsthehingeoftheupperdoor.

Entering notes from the keyboard


Youcanenternotenumbersdirectlybyplayingthem
onthekeyboard.Todoso:
1. SelectoneoftheKeyparameters.

+Inf and Inf ramps


+InfandInfarespecialsettingswhichcreateabrupt
changesforsplitlikeeffects.Whenarampissetto+Inf
orInf,thekeyboardtrackingwillgotoitsextreme
highestorlowestvalueoverthespanofasinglekey.
+InfandInfRamps

2. HolddowntheENTERkey.

Ramp = +Inf

3. WhileholdingENTER,playanoteonthe
keyboard.

Ramp
Positiverampvaluesmeanthatthekeyboardtracking
outputincreasesasyouplayfartherfromtheCenter
Key;negativerampvaluesmeanthatitdecreases.
Becauseofthis,themeaningsofpositiveandnegative
rampsettingswillchangedependingonwhetherthe
rampistotheleftorrightoftheCenterKey.
BottomLowandLowCenter:negativerampsmake
thekeyboardtrackingsoutputgodownasyouplay
loweronthekeyboard,andpositiverampsmakethe
outputgohigher.
CenterHighandHighTop:negativerampsmakethe
keyboardtrackingsoutputgodownasyouplayhigher
onthekeyboard,andpositiverampsmaketheoutput
goup.

Bottom-Low

[Inf, 99+99, +Inf]

ThissetstheslopebetweenthebottomoftheMIDI
noterangeandtheLowBreakkey.Fornormalkey
track,usenegativevalues.

Low-Center

[Inf, 99+99, +Inf]

ThissetstheslopebetweentheLowBreakandCenter
keys.Fornormalkeytrack,usenegativevalues.

Center-High

[Inf, 99+99, +Inf]

ThissetstheslopebetweentheCenterandHighBreak
keys.Fornormalkeytrack,usepositivevalues.

High-Top

[Inf, 99+99, +Inf]

ThissetstheslopebetweentheHighBreakkeyandthe
topoftheMIDInoterange.Fornormalkeytrack,use
positivevalues.

Ramp = 50
Ramp = Inf
Low Break

Center

High Break

Note:ifyousettheCenterHighrampto+InforInf,
theHighTopparameterwillbegrayedout.Similarly,
ifyousettheLowCenterrampto+InforInf,the
BottomLowrampwillbegrayedout.

69b: Keyboard Track 2


ThisisthesecondCommonkeyboardtracking
generator.
Itsparametersareexactlythesameasthosefor
KeyboardTrack1,asdescribedunder69a:Keyboard
Track1onpage 106.

t 69: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyOscillator.Formoreinformation,see
CopyOscillatoronpage 153.
3:SwapOscillators.Formoreinformation,see
SwapOscillatoronpage 153.

106

Program P7: KARMA 71: GE Setup/Key Zones

Program P7: KARMA


ThispagesletyoucontroltheProgramsKARMA
settings.InProgrammode,youcanuseoneKARMA
Module(ModuleA).

Turning KARMA on and off


KARMAcanbeenabledordisabledforthecurrent
ProgrambyusingthefrontpanelKARMAON/OFF
switch.YoucanalsotemporarilydisableKARMAfor
allPrograms,Combinations,andSongsbyusingthe
GlobalAllKARMAOffparameter.Formore
information,seeAllKARMA/DTOffonpage 755.

Linking KARMA settings to Program changes


KARMAsettingscanbesavedindividuallyforeach
Program.ThisincludesalloftheKARMArelated
frontpanelbuttons,sliders,andknobs,aswellasthe
onscreenparameters.

Normally,whenyouselectanewProgram,its
KARMAsettingswillbeloadedaswell.Insomecases,
however,youmaywishtotryoutdifferentPrograms
whilekeepingtheKARMAsettingsthesame.
TheGlobalBasicpageLoadKARMASettingswhen
changingparametersletyouselectbetweenthesetwo
behaviors.ThereareseparatesettingsforPrograms,
Combis,andSongs.Tosetthisup:
1. GototheGlobalBasicpage.
2. UnderLoadKARMAsettingwhenchanging,set
theProgramscheckboxasdesired.
ChecktheboxtoloadtheindividualPrograms
KARMAsettings.
UnchecktheboxtokeepKARMAsettingsthesame,
evenwhenchangingPrograms.
Formoreinformation,seetheGlobalparameterLoad
KARMAsettingswhenchangingonpage 755.

71: GE Setup/Key Zones


71PMC

71a

ThispageletsyouselecttheGEusedbytheKARMA
Module,andsetuptheKeyZoneinwhichitoperates.

71a: Program Name, Load GE Options,


KARMA T.Sig, Tempo
Thesearethecurrentbank,banktype(HD1orEXi),
Program,andtempo.Formoreinformation,see11a:
ProgramNameandTempoonpage 36.

Bank
Bank Type
Program
q (Tempo)
Load GE Options

[INTAF, GM, g(19), g(d),


USERAG and AAGG]
[HD-1, EXi]
[0127 (INT and USER Banks),
1128 (GM Banks)]
[040.00300.00, EXT]
[Dialogue]

Theseoptionsletyouspecifywhetherthevaluesand
assignmentsfortheKARMASLIDERSandSWITCHES
willbesetautomatically,beinitialized,orbepreserved
whenyouselectaGE.

107

Program mode: HD-1

Tab
Preset
GE Bank

User
GE Bank

RTC Model
Name

Foradetaileddescriptionofthisparameter,pleasesee
LoadGEOptionsonpage 9.

KARMA T.Sig (Time Signature)


[GE/TS, 1/416/4, 1/816/8, 1/1616/16]
Thisspecifiesthetimesignatureofthephrasesor
patternsgeneratedbytheKARMAModules.The
internaltimesignatureofthephraseorpatternis
determinedbytheGE,butyoucansetthisparameter
tochangethetimesignature.
GE/TS:Theinitialtimesignaturespecifiedbyeach
KARMAModulewillbeused.

GE Category Select

[ArpeggioReal-Time]

ThisletsyouselectaGEbycategory,fromArpeggio
throughRealTime.Formoreinformation,pleasesee
06b:GESelectonpage 10.

RTC Model

[List of RTC Models]

ThisshowstheGEsRTCModel,asspecifiedinternally
foreachpresetGE.Formoreinformation,seeRTC
Modelonpage 214oftheOperationGuide.

Key Zone

1/416/16:Specifythedesiredtimesignature.In
CombinationandSequencermodes,thiswillchange
thetimesignatureforallfourKARMAModules.

TheKARMAModuleiscontrolledbyinputnotedata
innumerousways,includingthevariationofphraseor
patternproducedbytheGE,bytrigger,andbychord
detection.

GE Setup

Hereyoucanspecifytherangeofnotedata(KeyZone)
thatwillcontroltheKARMAModule.

GE Select

[Preset 0000...2047,
USERAL 000...127]

ThisselectstheGEfortheKARMAmodule.Thereare
atotalof3,584tochoosefrom:2,048presetGEs,and
1,536rewritableUserGEs(12banksof128each).
PresetGEsarepartofthesystemsoftware.
UserGEsmaybeincludedwithnewbanksofsounds,
andcanalsobecreatedusingKARMAKRONOS
software(dedicatedsoftwarefortheKRONOS*).For
moreinformationonloadingUserGEs,seeLoad
.KGEonpage 843.

Note:withintheKeyZonespecifiedBottomandTop
ValueswillbeinputintoKARMA,whilenotesoutside
theKeyZonemaybeusedforotherfunctions,or
echoedthru.
Note:InProgrammode,allMIDIdatafortheKARMA
ModuleistransmittedandreceivedontheGlobal
MIDIchannel(Global21).

Bottom (Key Zone Bottom)

[C1G9]

Specifiesthebottomkey(lowerlimit)oftheKeyZone.

Top (Key Zone Top)

[C1G9]

*MadebyKarmaLab(http://www.karmalab.com).
MacintoshandWindowsaresupported.English
versiononly.

Specifiesthetopkey(upperlimit)oftheKeyZone.

GE Bank Select

Thru In Zone

[PresetUSER-L]

ThisselectstheGEbank.ThePresetbankispartofthe
systemsoftware;Userbankscanbeloadedfromdisk.
Formoreinformation,seeGESelect,above.

Note:Theseparameterscanalsobesetbyholding
downtheEnterswitchandpressinganote.

[Off, On]

On(checked):NotedatafromkeyswithintheKey
ZonewillbeinputtotheKARMAModule,andwill
alsobeinputdirectlytothetonegenerator.
WhenyouplayakeywithintheKeyZone,thephrase
orpatterngeneratedbytheKARMAModulewill
sound,aswillthenoteitself.

108

Program P7: KARMA 71: GE Setup/Key Zones

Off(unchecked):Onlythephraseorpatterngenerated
byKARMAwillsound.KeysplayedwithintheKey
Zonewillnotsound.

Transpose In Zone

[36+36]

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

Specifiesthetransposesettingappliedtonotedata
fromwithintheKeyZone.

2:CopyKARMAModule.Formoreinformation,
seeCopyKARMAModuleonpage 155.

Makethissettingifyouwishtoapplyatransposition
insemitonestepstothepitchofnotesplayedfromthe
keyboardwhenThruInZoneisOn(checked).

3:InitializeKARMAModule.Formore
information,seeInitializeKARMAModuleon
page 156.

Thru Out Zone

4:CopyScene.Formoreinformation,seeCopy
Sceneonpage 157.

[Off, On]

On(checked):NotedatafromkeysoutsidetheKey
Zonewillbeinputdirectlytothetonegenerator.(They
willnotbeinputtotheKARMAModule,sincetheyare
outsidethekeyzone.)Whenyouplaykeysoutsidethe
keyzone,thetonegeneratorwillsound.

5:SwapScenes.Formoreinformation,seeSwap
Sceneonpage 157.
6:CaptureRandomSeed.Formoreinformation,
seeCaptureRandomSeedonpage 157.

Off(unchecked):Thetonegeneratorwillnotsound
evenifyouplaykeysoutsidetheKeyZone.

Transpose Out Zone

[36+36]

Specifiesthetransposesettingappliedtonotedata
fromkeysoutsidetheKeyZone.
Makethissettingifyouwishtoapplyatransposition
insemitonestepstothepitchofnotesplayed
conventionallyfromthekeyboardwhenThruOut
ZoneisOn(checked).
Youcouldselectabassprogramandmakethesettings
shownbelow.
Example
UsingtheKARMAModuletocontrolthebasslinein
thelowerrangeofthekeyboard,andplayinginreal
timeintheupperrange.

Key Zone Bottom

KARMA Module

Key Zone Top

Key Zone

Thru In Zone

Thru Out Zone

Transpose In Zone

Transpose Out Zone

Playing in real-time
Bass line

Tone generator

Module Zone Display

Asolidblueline(greenwhileyoureeditingthekey
zone)indicatesthespecifiedKeyZone.
NotesandmessagesfromtheMIDIINconnector
withinthiszonewillbeinputtotheKARMAModule.

t 7-1: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

109

Program mode: HD-1

72: MIDI Filter/CC Offset


72PMC

72a
72b

72c

InthispageyoucanmakeMIDIrelatedsettingsfor
KARMA.Youcanspecifythefollowingsettings.
MIDIfilteringfortheKARMAmodule
MIDIcontrolchangemessagestransmittedwhen
KARMAisturnedon(CCOffsetparameters)

72a: Program Name and Tempo


Bank

[INTAF, GM, g(19), g(d),


USERAG and AAGG]

Bank Type
Program

[HD-1, EXi]
[0127 (INT and USER Banks),
1128 (GM Banks)]

q (Tempo)

[040.00300.00, EXT]

Thesearethecurrentbank,banktype(HD1orEXi),
Program,andTempo.Formoreinformation,see11a:
ProgramNameandTempoonpage 36.

72b: MIDI Filter


Receive MIDI Filter
Thisspecifieswhetherfilterswillbeappliedtothe
MIDIcontroldatareceivedbytheKARMAModule
beforeitispassedon(echoed)tothetonegenerator.
On(checked):ThecorrespondingMIDIdatawillbe
echoedtothetonegenerator.
Off(unchecked):ThecorrespondingMIDIdatawill
notbeechoedtothetonegenerator.
WhenKARMAison,theMIDIcontroldatareceived
bytheKARMAModulewillbetransmittedtothetone
generatorwithoutchange.Dependingonthese

110

settings,youcan(forexample)makesettingssothat
thedamperpedalisenabledwhentheKARMA
Moduleisoff,anddisabledwhenitison.(Seethe
diagrambelow,KARMAReceive/TransmitFilter.)
ThesesettingsdonotaffecttheDynamicMIDI(77)
settings.IfyouhavespecifiedMIDIcontroldataas
theDynamicMIDIsource,itwillbevalidregardless
ofthesesettings.

After Touch

[Off, On]

SpecifieswhetherMIDIaftertouchmessageswillbe
echoedtothetonegenerator.

Pitch Bend

[Off, On]

SpecifieswhetherMIDIpitchbendmessageswillbe
echoedtothetonegenerator.

Damper (CC#64)

[Off, On]

SpecifieswhetherMIDIcontrolchangemessage#64
Sustain(damperpedal)willbeechoedtothetone
generator.

JS+Y (JS+Y CC#01)

[Off, On]

SpecifieswhetherMIDIcontrolchangemessage#1
(internaljoystick+Ydirection,specifiedasthe
assignmentofarealtimecontrolknob,orVectorCC
control)willbeechoedtothetonegenerator.

JS-Y (JS-Y CC#02)

[Off, On]

SpecifieswhetherMIDIcontrolchangemessage#2
(internaljoystickYdirection,specifiedasthe
assignmentofarealtimecontrolknob,orVectorCC
control)willbeechoedtothetonegenerator.

Program P7: KARMA 72: MIDI Filter/CC Offset

KARMA function
KARMA Module
MIDI IN

GE

KRONOS controllers

Ribbon (CC#16)

[Off, On]

[Off, On]

SpecifieswhetherMIDIcontrolchangemessagesother
thantheabovewillbeechoedtothetonegenerator.

Transmit MIDI Filter


SpecifieswhetherfilteringwillbeappliedtotheMIDI
controldataproducedbytheGEselectedforthe
KARMAModule.(Seethediagramonthepreceding
page,KARMAReceive/TransmitFilter.)
On(checked):ThecorrespondingMIDIdatawillbe
transmittedfromtheKARMAModule.
Off(unchecked):ThecorrespondingMIDIdatawill
notbetransmittedfromtheKARMAModule.
Note:TheGEcanalsoautomaticallyproducepitch
bendandvarioustypesofcontrolchangemessagesin
additiontonotedata.Threeenvelopegeneratorscan
alsobeusedtoapplytimevariantchangetovelocity,
tempo,duration,andvariouscontrolchangessuchas
pitchbend,JS+Y(CC#1)etc.
Thedatathatisoutputwilldependonthesettingsof
theparametersfortheselectedGE.Forexample,
transmitting/filteringpitchbendwillproducenoresult
iftheGEhasnotbeendesignedtoproducepitchbend
data.Formoreinformation,pleaseseetheseparate
VoiceNameList(VNL).

Pitch Bend

Transmit MIDI
Filter

Tone
generator

Dynamic MIDI

SpecifieswhetherMIDIcontrolchangemessage#16
(internalribboncontroller,specifiedastheassignment
ofarealtimecontrolknob,orVectorCCControl)will
beechoedtothetonegenerator.

Other CC

Receive MIDI
Filter

[Off, On]

SpecifieswhethertotransmittheMIDIpitchbend
messagesgeneratedbytheGEselectedforthe
KARMAModule.
Note:Thissettingalsoappliestothepitchbend
messagesthatmaybeproducedbyCCA,CCB,
Envelope1,Envelope2,andEnvelope3.
WhenKARMAisonandtheKARMAModuleis
producingpitchbenddata,thepitchbendrangeof
theprogramwillbecontrolledasfollows.
ThepitchbendrangespecifiedwithinKARMAGE
willautomaticallybetransmittedfromtheKARMA
Module,andsetwithintheprogram.Thisensures
thatthepitchbenddataproducedbytheGEofthe
KARMAwillfunctioncorrectly.Atthistime,the

pitchbenddataproducedwhenyouoperatethe
joystickwillautomaticallybeoptimizedsothatit
willproducethesamebendeffectasiftheKARMA
wereoff(inmostcases).

CCA/CCB

[Off, On]

SpecifieswhethertotransmitthevariousMIDI
messagesgeneratedbyCCA/CCBoftheGEselected
bytheKARMAModule.
HoweverifCCA/CCBareproducingpitchbend
messages,thesesettingswillbeignored,andthe
GEBendsettingwillbeused.

Envelope1/Envelope2/Envelope3

[Off, On]

SpecifieswhethertotransmitthevariousMIDI
messagesorotherfunctionsgeneratedbyEnvelope1,
Envelope2,andEnvelope3oftheGEselectedbythe
KARMAModule.
IfEnvelope1,Envelope2,orEnvelope3are
producingpitchbendmessages,thesesettingswill
beignored,andtheGEBendsettingwillbeused.

GE Notes

[Off, On]

SpecifieswhethertheMIDInoteon/noteoffmessages
generatedbytheKARMAModulewillbetransmitted.
Note:Thissettingletsyoumutethenotephrases
generatedbytheKARMAModule,anduseonlythe
controldatageneratedfromtheKARMAModule(e.g.,
pan,filtercutoff,resonance)toapplymodulationto
phrasesorchordsyouyourselfplayonthekeyboard.

WaveSeq

[Off, On]

Specifieswhetherthewavesequencedata
(multisamplenumber)generatedbytheKARMA
Modulewillbetransmitted.

72c: CC Offset
WhenKARMAisturnedon,MIDIcontrolchange
messagescanbetransmittedtothetonegenerator.
Makethesesettingswhenyouwishtocontrolthe
programsoundoreffectsetc.whenKARMAisturned
on.
YoucanassignuptofourMIDIcontrolchangesfor
eachKARMAModule.

111

Program mode: HD-1

ThiswillhavenoeffectifCCNumberisOff.

1, 2, 3, 4
CC Number

[Off, MIDI CC# 00MIDI CC# 95]

SelectstheMIDIcontrolchangemessagethatwillbe
transmitted.
Thevalueofthetransmittedmessageisspecifiedby
Value.
IftheKARMAON/OFFswitchison,thespecified
MIDIcontrolchangemessagewillbetransmitted
whenyouselectaprogramwhoseKARMA
ON/OFFswitchisturnedon.IftheselectedGE
producesthecontrolchangespecifiedhere,the
effectofthecontrolchangeproducedbytheGEwill
begivenpriority.

t 7-2: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyKARMAModule.Formoreinformation,
seeCopyKARMAModuleonpage 155.

Note:TheMIDIcontrolchangemessagesspecified
herefortransmissionandtheMIDIcontrolchange
messagesproducedbytheselectedGEwhenthe
KARMAON/OFFswitchisOnwillbereset
automaticallywhentheKARMAON/OFFswitchis
turnedoff.

4:CopyScene.Formoreinformation,seeCopy
Sceneonpage 157.

Value

5:SwapScenes.Formoreinformation,seeSwap
Sceneonpage 157.

[000127]

Specifiesthevalueofthemessagethatwillbe
transmitted.

3:InitializeKARMAModule.Formore
information,seeInitializeKARMAModuleon
page 156.

6:CaptureRandomSeed.Formoreinformation,
seeCaptureRandomSeedonpage 157.

73: Module Parameters-Control


73PMC

73a

73b

HereyoucansetKARMAModuleControlparameters.
NotethatinProgrammode,youcanuseoneKARMA
Module(ModuleA).

Convertordeletethenotedatageneratedbythe
KARMAmodule.

Youcanmakethefollowingsettings:

73a: Program Name and Tempo

Specifythetransposition,range,andchord
inversionforphrasesandchordsgeneratedbythe
KARMAmodule

Fordescriptionsoftheseparameters,pleasesee72a:
ProgramNameandTempoonpage 110.

ControltheclockthatoperatestheKARMAmodule

112

Program P7: KARMA 73: Module Parameters-Control

73b: Module Parameter-Control

Force Range = Highest

Control
Transpose

[36+36]

Input Notes

Controlsthepitchofthephrasesorchordsproduced
bytheKARMAModule,insemitonesteps.
ThenotedatafromthekeyboardortheMIDIIN
connectorwillbeinputtotheKARMAModule.(+
Program71a:Bottom(KeyZoneBottom,Top(Key
ZoneTop))Hereyoucantransposethepitch(in
semitonesteps)ofthenotedatathatisinputtothe
KARMAModule.

Force Range

[Off, Lowest, Highest,


C3B3[1], C3B3[2]]

Controlsthepitchrangeofthephrasesorchords
producedbytheKARMAModule,inrelationshipto
theareaofthekeyboardthatisplayed.
NotedatafromthekeyboardortheMIDIINconnector
willbeinputtotheKARMAModule(+Bottom(Key
ZoneBottom,Top(KeyZoneTop)(71b),
Transpose73a).Hereyoucanmakesettingssothat
thenotedatainputtotheKARMAModuleisrestricted
toaspecificrange.
Off:TheinputnoteswillbesenttotheKARMA
Moduleasplayed,withnofurtheralteration.
Lowest:Theinputnoteswillbeforcedtoarange
withinoneoctaveofthelowestnote,andduplicate
pitchesarediscarded.Usefulforeliminating
inversionssothatachordvoicedindifferentways
producesidenticalresults.
IfyouplayachordofE2,E4,G#4,B4,andD#5(i.e.,E
Maj7)onthekeyboard,theinputnoteswillallbe
transposedtobewithinanoctaveofthelowestnote
(E2):E2,G#2,B2,andD#3.

Force Range = Lowest

chromaticallyupthekeyboardwillwraparound
whenthescalestepoftherootofthechordis
determinedtobeG,droppingthenotesdownan
octave.Thisessentiallymaintainstheinversionthe
chordwasplayedwithnotesmayalsoextendintothe
5thoctaveor3rdoctave.
Thisiseffectivewhenyouwishtoproducephrasesor
patternshavingasimilarinversiontowhatwas
played,butinafixedrangeregardlessofwhereyou
areplayingonthekeyboard.Thebehaviorissimilarto
anautoaccompanimentpattern,inthatnomatter
whereyouplayonthekeyboard,theresultisinthe
sameoctave.
C3B3[2]:Theinputnoteswillbeforcedtoarange
withinthecenteroctave(C3B3).becauseofthis,the
chordinversionwillchangesignificantly;forexample,
thebassnotemaychange.Thisiseffectivewhenyou
wanttoabsolutelylimittheinputnotestoaspecific
octave.
Playedonkeyboard:
Playchordsintheorderof
E4G#4B4D#5(EMaj7firstinversion)
G#4B4D#5E5(EMaj7secondinversion)

Highest:Theinputnoteswillbeforcedtoarange
withinoneoctaveofthehighestnote,andduplicate
pitchesarediscarded.Usefulforeliminating
inversionssothatachordvoicedindifferentways
producesidenticalresults.

B4D#5E5G#5(EMaj7thirdinversion)

IfyouplayachordofE2,E4,G#4,B4,andD#5(i.e.,E
Maj7)onthekeyboard,theinputnoteswillallbe
transposedtobewithinanoctaveofthehighestnote
(D#5):E4,G#4,B4,andD#5.

E3G#3B3D#4(EMaj7firstinversion)

D#5E5G#5B5(EMaj7fourthinversion)
C3B3[1]
Resultingtransposedinputnotes:
G#2B2D#3E3(EMaj7secondinversion)
B2D#3E3G#3(EMaj7thirdinversion)
D#3E3G#3B3(EMaj7fourthinversion)

Playedonkeyboard:
E2E4G#4B4D#5(playanEMaj7chord)

C3B3[2]

Resultingtransposedinputnotes:

Resultingtransposedinputnotes:

Lowest:inputnotestransposedtoE2G#2B2D#3

D#3E3G#3B3(EMaj7/D#)

Highest:inputnotestransposedtoE4G#4B4D#5

D#3E3G#3B3(EMaj7/D#)

C3B3[1]:allnotesnear4thoctave(maintaininversion)

D#3E3G#3B3(EMaj7/D#)

Theinputnoteswillbeforcedtoarangenearthe
middleoctave(C3B3).TheForceRangeWrap
parameterwillbecomeavailable(seebelow),and
specifiesthescalestepatwhichawraparoundwillbe
performed.Forexample,ifForceRangeWrap=7:G,
ifthepitchofthelowestnoteisCtoF#,itwillbe
placedinthe4thoctavewiththeothernotesgrouped
aboveit.IfthepitchofthelowestnoteisaGtoB,it
willbeplacedinthe3rdoctave,withtheothernotes
groupedaboveit.Playingthesamechord

D#3E3G#3B3(EMaj7/D#)
(allidentical)

Force Range Wrap

[CB]

WhenForceRange(above)issettoC3B3[1],this
parametersetsthehighestscalestepforthechords
rootnote,afterwhichtherangemodifiedinputnotes
willbedroppeddownanoctaveinordertostay

113

Program mode: HD-1

Force Range = C3-B3[1]

Input Notes

Force Range = C3-B3[2]

centeredaroundthe4thoctave.Forexample,ifthe
valueisF#,thenstartingwithGthenoteswillbe
droppeddownanoctave.
FIG.4showsanexamplewhereaMaj7chordina
varietyofvoicingsisplayedthrough7scaletones,i.e.
CMaj7,DMaj7,EMaj7,FMaj7,GMaj7etc.SinceForce
RangeWrap=F#,theresultinginputnotesdrop
downanoctavestartingwiththeGMaj7chord.This
allowsyoutokeepaGEinaspecificrangeregardless
ofwhereachordisplayedonthekeyboard,butto
adjustatwhichpointitdropsdownanoctave.
Input Notes

   

Force Range = C3-B3[1]


Force Range Wrap = F#

Note:NotavailableunlessForceRangeissetto
C3B3[1].

Root Position

[Off, On]

ThephrasesandpatternsproducedbyaKARMA
ModulearegeneratedbyaGE(GeneratedEffect).In
mostcases,thisisdonebasedonaNoteSeries.When
RootPositionisOn(checked),theNoteSerieswillbe
createdinrootposition,regardlessoftheinversionof
thechord,basedonchordrecognition.Inotherwords,
whenthisisOff(unchecked),ifyouplayCMaj/E,the
NoteSerieswillstartfromEandcontinueup,orifyou
playCMaj/G,theNoteSerieswillstartwithG.By
usingRootPositionOn(checked),youcanmake
surethatanyinversionofachordendsupthesame.
Forexample,CMaj/EandCMaj/Gwillbothbethe
sameasCMaj,andtheNoteSerieswillstartfromaC.
ThiscanallowaGEtobehavemorepredictablywith
allinversionsofachord.(SeeNoteSeriesGroupon
page 1026.)
Note:WhentheGETypeisGeneratedDrum,the
notescomefromDrumPatternsandnottheNote
Series.Thedrumpatternscanbeusedtogenerate
melodies,inadditiontodrumandpercussiongrooves.
RootPositionalsohasasimilareffectonhowthe
DrumPatternsaretransposed,butonlyifDrum
TrackKeyboardison.Formoreinformation,see
DrumGrouponpage 1073.
AlsowhentheGETypeisGeneratedDrum,ifusing
arpeggiatedpitchbending(basedontheNoteSeries),
theresultingpitchbenddatawillbeaffectedaswell.
Formoreinformation,seeBendGrouponpage 1069.
WhentheGETypeisRealtime,thisparameterhas
noeffectunlessyouareusingDynamicMIDItoDirect
IndextheNoteSeries(seeDynamicMIDISources&
Destinationsonpage 1109).

114

Note:whenRootPositionisturnedonforanyNote
TypeexceptRegular(i.e.Scalic,Scalic2,Chromatic,
WholeToneetc.),thebehaviorisveryconsistent:the
scalespecifiedbytheNoteTypeisplaceinroot
positionbeforeapplyingtherestoftheNoteSeries
parameterstocreatetheNoteSeries.
However,whenRootPositionisturnedonforNote
TypeRegular,thebehaviorisabitdifferent,and
requiressomeexplanation,asbelow.
Iftheinputnotesspananoctaveorless,theeffectis
verypredictable,andsimilartotheeffectwhenNote
TypeisanyothersettingbesidesRegular.
Iftheinputnotesspananoctaveorless:
Input Sort is:

Result on Input Notes before replication:

Up

Notes placed in root position for chord, in


octave of lowest note, sorted in up direction

Down

Notes placed in root position for chord, in


octave of lowest note, sorted in down direction

As Played
Random

Notes are arranged so the first note is the root


pitch class.

Iftheinputnotesspanmorethananoctave,theeffect
islesspredictable.IftheInputSort=Up,AsPlayed,
orRandom,thefirstnoteofeachreplicationwillbethe
rootpitchclass(meaningthattheNoteSerieswillstart
withtherootnote,i.e.ifthekeyofthechordisD,the
firstnotewillbeaD).IftheInputSort=Down,then
thelastnoteofeachreplicationwillbetherootpitch
class.However,noteslowerthantherootnotewillstill
beallowed,since,afterall,thepurposeofNoteType
=Regularistocollectthenotesasplayed.Forexample,
withInputSort=Up,ifyouplayG2C4E4G4
(Cmaj/G),thenoteswillbeorderedsothataCisfirst,
butthelowGwillstillbepresentineachreplication.
Iftheinputnotesspanmorethananoctave:
Input Sort is:

Result on Input Notes before replication:

Up,
As Played
Random

Notes are arranged so the first note is the root


pitch class (i.e. if the key of the chord is D, the
first note will be a D). Notes lower than the
root note will still be allowed.

Down

Notes are arranged so the last note is the root


pitch class. Notes lower than the root note
will still be allowed.

NotethatForceRangemaybeappliedin
conjunctionwithRootPosition.Forexample,with
anyForceRangesettingotherthanOff,theeffectsof
RootPositionwithNoteType=Regularbecome
quitepredictable,asspansgreaterthananoctaveare
essentiallycompressedintooneoctavebeforegoing
intotheNoteSeriessection.

Clock Advance
Hereyoucanmakesettingsfortheclockthatwill
operatetheKARMAModule.Byusingthesesettings
inconjunctionwiththeDynamicMIDI(Program77)
function,youcanuseManualAdvancebyoperating
controllerssuchasthejoystickornotesfromthe
keyboardtotriggertheclockthatoperatesthe
KARMAModule,causingthephraseorpatternto
advanceunderyourcontrol.

Program P7: KARMA 73: Module Parameters-Control

Mode

[Auto, Dyn, Auto+Dyn1, Auto+Dyn2]

Auto:TheKARMAModulewilloperateaccordingto
theTempo(Program11a)setting.IfMIDIClock
(Global21a)isExternal,theKARMAModulewill
operateinsynchronizationwiththeMIDIclockfrom
theExternalMIDIdevice.Normallyyouwillselect
Auto.
Dyn:TheclockbywhichtheKARMAModulewill
operatecanbetriggeredbyoperatingthejoystickor
othercontrolleraccordingtotheDynamicMIDI
(Program77)setting,causingthephraseorpatternto
advance,notebynote.(SetDynamicMIDIDestination
toClockAdvance.)
Youcaninputachordfromoneareaofthekeyboard,
andusenotesfromanotherareaofthekeyboardto
advancethroughthearpeggiopattern.
Auto+Dyn1:TheKARMAModulewilloperate
accordingtobothAutoandDyn.
Auto+Dyn2:TheKARMAModulewilloperate
accordingtobothAutoandDyn,exceptthatatrigger
receivedfromDynamicMIDIwillmomentarilystop
theautomaticadvancementuntiltheKARMAModule
playbackisrestarted.

Size

[ 3, r3, r, x3, x, x., e3, e, e., q3, q, Event]

ThisisvalidwhenModeisDyn,Auto+Dyn1orAuto
+Dyn2.Itspecifiestheunitbywhichthephraseor
patternwillbeadvancedwhenthecontrolleris
operated.
?3q:Thephraseorpatternwillbeadvancedbythe
specifiednotevalue,synchronizedtotherhythmofthe
phraseorpattern.DependingontheinternalGE
RhythmParameters,thismayresultinnonotes,1note,
orseveralnotesforaaparticulartrigger.
Event:Thephraseorpatternwillbeadvancedbyone
noteoronechord,ignoringtherhythmofthephraseor
pattern.Eachtriggerwillproducethenextnoteor
chordinthephrase.

Chord Trigger Mode

[Off, 1st, Chord1,


Chord2, Chord3]

ThisisvalidwhenModeisDyn,Auto+Dyn1or
Auto+Dyn2.Itspecifieshowachordwillbesounded
whenthatchordisinputfromthekeyboard.
Off:Therewillbenosoundwhenyouinputachord
fromthekeyboard.Thisisanalogoustoaguitarist
changingchordsinthelefthand.Thephraseorpattern
willsoundfromthefirststepwhenyouoperatethe
controller.
1st:Whenyouinputachordfromthekeyboard,the
firststepofthephraseorpatternwillsound.When
youoperatethecontroller,thephraseorpatternwill
continueadvancing.
Chord1:Whenyouinputachordfromthekeyboard,
thefirstseveralstepsofthephraseorpatternwill
sound,accordingtothenumberofnotesthatyou
input.Whenyouoperatethecontroller,thephraseor
patternwillcontinueadvancing.
Chord2:Whenyouinputachordfromthekeyboard,it
willsoundinthesamewayasforChord1.However,
thephraseorpatternwillplayfromthebeginningof
thepatternwhenyouoperatethecontroller.

Chord3:Whenyouinputachordfromthekeyboard,it
willsoundinthesamewayasforChord1.However,
thephraseorpatternwillstartfromthesecondstep
whenyouoperatethecontroller.Whensimulating
acousticguitarfingerpicking,thisallowsyoutocreate
anaturalconnectionbetweentheplayedchordandthe
fingerpickingsoundedbythecontroller.

Velocity Sense Bottom

[001127]

ThisisvalidwhenModeisDyn,Auto+Dyn1orAuto
+Dyn2.IftheDynamicMIDISourceisNoteor
Velocity,thephrasewillbeproducedbyapplyingthe
velocityofeachManualAdvancetriggerthatisinput
totheKARMAModuletothenotesastheyare
generated.Thisparameterspecifiesthelowerlimitofa
scaledrangethatthevelocityisadjustedbybefore
beingapplied.
Withasettingof001,thevelocitydatawillbeinputto
theKARMAModulewithanunmodifiedrangeof1
127(fullsensitivity).
Withasettingof064,velocitydataintherangeof1
127willbescaledtotherangeof64127beforeitis
inputtotheKARMAModule(halfsensitivity).

Note Map
TheNoteMapParametersallowafinalnoteshaper
tobeappliedattheendoftheKARMAnotegeneration
process.Implementedasalargegrid(128x129),it
allowsanyincomingMIDInotegeneratedbyKARMA
(0127)toberemappedtoanyotherMIDInote(0127),
orfilteredout(removed).Therefore,adiagonalline
representslinear/nochange,andwhatgoesinis
whatcomesout.
Youcanuseittoremapdrumkitsfromonesetofdrum
soundstoanother,removeorsubstitutedifferentdrum
soundswithinthesamekit,removecertainpitches
frommelodicoutput,constrainoutputpitchesto
variousscales,limitnotesgeneratedthruMelodic
Repeattocertainpitches,andmore.Formore
information,seeRepeat(MelodicRepeat)Groupon
page 1063.
Eachprogram,combination,orsongcontainsasingle
usertable.namedCustom.Thesettingsofthissingle
tablearestoredinsidetheprogram,combination,or
song.Additionally,thereareanumberoftablesstored
inglobalmemory,withpredefinedfunctions,thatcan
beselectedforusebyanyModule.
ThesametablecanbeappliedtomultipleModulesat
thesametime.AllModulescanrunthroughthesingle
Customtableatthesametime,orbeassignedtoutilize
variousGlobalNoteMaps,inanycombination.

Mode (Note Map Mode)

[Off, On-Main,
On-Repeat, On-All]

Selectsoneofseveraldifferentmodesofoperation,
controllingwhetherallnotesgeneratedbyKARMAor
asubsetofthosenotesaremodifiedbythespecified
NoteMapTable.
Off:Thetableisinactiveandnofilteringorremapping
isdone.

115

Program mode: HD-1

OnMain:Thetableisusedtomaporfilternotesbeing
generatedfromtheNoteSeriesorDrumPattern(s),but
notanynotesgeneratedasaresultoftheMelodic
Repeatparameters.
OnRepeat:Thetableisusedtomaporfilternotes
beinggeneratedasaresultoftheMelodicRepeat
parameters,butnotthemainnotesgeneratedbythe
NoteSeriesorDrumPattern(s).Forexample,thiscan
beusedtothinoutrepeatsorlimitstrangenotesin
DrumPatternsfromtransposedrepeats,without
affectingthemainnotes.
Formoreinformation,seeRepeat(MelodicRepeat)
Grouponpage 1063.
OnAll:Thetableisusedtomaporfilterallnotes
beinggeneratedbythemodule.

Table (Note Map Table)

[Custom,
Gtable 1Maj 7 -> oct]

SelectstheCustomtable(usertable)oroneofthe
GlobalNoteMapTables.
Note:YoucaneditcustomtablesinProgram79:
Name/NoteMap.(See79c:NoteMaponpage 132.)

Transpose (Note Map Transpose)

[12+12]

ThisallowsyoutosetupaFixedNoteTranspose
Map,withoutChordTrackorKeyboardTrack(C2
Ref),andthenapplyanoffsettotransposeittoother
keys.Inotherwords,youcansetupafixedmapso
thatnomatterwhatyouplay,itcomesoutinC
Mixolydian.Then,youcansettheNoteMapTranspose
to+2,anditwouldbeDMixolydian,etc.
TheTransposeparameterisonlyavailablewhen
ChordTrackisOff(unchecked).

Chord Track (Note Map Chord Track)

[Off, On]

SelectswhethertheNoteMapTablewilltrackyour
chordchangeswithintherangeofasingleoctave.
TablesusethekeyofCasareference.Asanexample,
assumeyouplayaCChordthatgeneratesaCMajor
arpeggio(CEGetc.)intheMiddleCoctave(C4to
C5).YoueditthatoctaveinthenoteMapEditorto
haveno3rd(E4removed).
WithChordTracksettoOff(unchecked),playinga
Dchordwouldexhibitnochangednotes,because
thereisnoE4inthearpeggio.WithChordTrackset
toOn(checked),theDchordwouldsoundthesameas
theCchord(no3rd),exceptitwouldbeinthekeyofD.
WhenOn(checked),allchordsplayedintheMiddleC
octavewouldhavetheir3rdremoved.

Note:NotavailableunlessChordTrackissettoOn
(checked).

Note Map Table Display


ThisdisplaysasmallgraphicofthecurrentNoteMap
TableselectedfortheModule.ChangingtheNote
MapTablesetting(directlyorviaRealTime
ParameterControl)causestheselectedtabletobe
displayed.

ThevariousNoteMapTablescanbeviewedfullsize
ontheNoteMapPage(79c).
Whenyoupressthedisplay,youwillmovetothenote
maptableforthesamemoduleintheNoteMaptabof
theName/NoteMappage.

t 7-3: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

However,ifyouplaytheinputchordanoctavelower,
thenoteswouldgothroughtheoctaveofthetable
belowMiddleC,andwouldnothavetheremoved
note.Thisallowsyoutosetupdifferentmapsforeach
octave,yethavethetabletrackyourchordchanges
withineachoctave.

3:InitializeKARMAModule.Formore
information,seeInitializeKARMAModuleon
page 156.

Note:Thewaythatthisparameterworksisaffectedby
KbdTrack(C2Ref),below.

4:CopyScene.Formoreinformation,seeCopy
Sceneonpage 157.

Keyboard Track (C2 Ref)


(Note Map Kbd Track)

[Off, On]

SelectswhethertheNoteMapTablewilltrackyour
chordchangesacrosstheentirekeyboard,with
referencetoC2.

116

WhenChordTrackisalreadyturnedon,settingKbd
TracktoOn(checked)providestheadditional
functionalityoftrackingthetabletothelowestnoteof
theinputchord(withreferencetoC2),nomatter
whereitisplayed.Inotherwords,anychordplayedin
anyoctavewillbetransposedsoitendsupwithits
lowestnoteintheC2octavebeforebeingrunthrough
thetable,andreturnedtothecorrectoctaveafter.Asan
example,assumeyouplayaninputchordinthekeyof
CintheC2octave(lowestoctaveofa61note
keyboard).Ifyouremovethe3rd(forexample)which
isE2,playingachordanywhereonthekeyboardwill
havethelowestnoterunthroughthetableatC2and
hencekeeptheexactsametablemappingforany
chord,removingthethirdinanykey,inanyoctave.
Thisallowsyoutosetupcomplexmelodicmaps
spanningseveraloctavesifdesired,andthenhave
themtrackyourchordsalloverthekeyboard.

2:CopyKARMAModule.Formoreinformation,
seeCopyKARMAModuleonpage 155.

5:SwapScenes.Formoreinformation,seeSwap
Sceneonpage 157.
6:CaptureRandomSeed.Formoreinformation,
seeCaptureRandomSeedonpage 157.

Program P7: KARMA 74: Module Parameters-Trigger

74: Module Parameters-Trigger


74PMC

74a

74b

HereyoucansetKARMAModuleTriggerparameters.
InProgrammode,youcanuseoneKARMAModule
(ModuleA).
Youcanmakethefollowingsettings.
Timingcorrectionandlatchoperationfortriggers

16thtripletQuarter:Specifythetimewindowasa
notevalueintervalrelativetothetempo.Fortriplet
basedpatterns,youmayneedtoselectoneofthe
tripletbasedsettingsifyouintendtoretriggeroffthe
beat.

SettingsfortheenvelopegeneratorsinsidetheGE

74a: Program Name and Tempo


Fordescriptionsoftheseparameters,pleasesee72a:
ProgramNameandTempoonpage 110.

74b: Module Parameters-Trigger


Control
Quantize Trig/Window
Quantize Trigger

[Off, On]

Quantize(correct)thetimingoftheModules
triggeringcausedbyinputnotedatafromthe
keyboardorDynamicMIDI.
On(checked):Triggertimingwillbequantizedtothe
metricunitspecifiedbytheWindowsetting,relative
tothebasictempo.
Off(unchecked):Triggeringwilloccurinstantlyatthe
momentyouplaythekeyboardoractivateatrigger
throughDynamicMIDI.

Quantize Window

[x! q ]

Specifythemetricdivisionbywhichinputnotedata
fromthekeyboardorDynamicMIDIwillbequantized
beforetriggeringtheModuleandthestartofthe
phrase.

Note:WhenQuantizeTriggerisOn(checked),
triggeringatatimingthatiswithina32ndnoteofthe
QuantizeWindowsettingwillbeconsideredlate
(shownbythepinkcolorinthediagramabove),and
willcausetheplaybacktobeginimmediatelywhile
bringingtheModuleintosyncwithotherrunning
ModulesortimebasedfeaturessuchastheDrum
TrackandRPPR.Ifthetriggerislaterthanthis(shown
bytheyellowcolorinthediagramabove),playback
willstartatthenextmetricdivisioncorrespondingto
theQuantizeWindow.

Update On Release

[Off, On]

Allowsthereleaseofindividualinputnotestoremove
thosenotesfromthenotesgoingtotheGE,thereby
changingtheeffecttouseonlythosenotesstillbeing
held.

117

Program mode: HD-1

Off(unchecked):Releasingsomenoteswhileholding
otherscausesnochangetotheinputsourcematerial,
andthereforenochangeintheGeneratedEffect.Thisis
themostsmoothandnaturalway,andsimilartomost
advancedautoaccompanimentkeyboards.
On(checked):Notesthatarereleasedareremoved
fromtheinputsourcematerial,therebychangingthe
effecttouseonlythosenotesstillbeingheld.Thisis
typicallythewaysimplearpeggiatorswork,especially
iftheirlatchmodeisturnedoff.

Link to Drum Track

[Off, On]

1st(1stOnlyUntilModuleStops+DynamicMIDI):
AfterKARMAfunctionisturnedon,onlythefirst
noteonwillcausetriggering.Subsequentnoteonswill
notcausetriggering.
Thisisusefulfordrumgroovesandphraseswhereyou
donotwantsubsequentchordchangestorestartthe
phrase.

IfLinktoDrumTrackison(selected),KARMAwill
startandstopalongwiththeDrumTrack.Thefront
panelLINKEDLEDwilllighttoshowthatthelinkis
enabled.

Dyn(DynamicMIDI):Triggeringwillbeproducedby
operatingthecontrollerspecifiedbyDynamicMIDI
(Program77).Inthiscase,noteonswillnotcause
triggering.

KARMAwillstillonlyplayiftheKARMAOn/Off
switchison.So,onceLinktoDrumTrackison:

Note:Withanyofthesesettings,thetriggerwillbe
appliedbyoperationsofthecontrollerspecifiedfor
DynamicMIDI(Program77),ifDestinationissetto
TriggerNotes&Envs,TriggerNote(seeDynamic
MIDISources&Destinationsonpage 1109).

1. TurnontheKARMAON/OFFswitch.
Evenifnotesareplayedonthekeyboardorreceived
viaMIDI,KARMAwontstarttoplayyetunlessthe
DrumTrackisalsoon.
2. TurnontheDRUMTRACKswitch.
Atthispoint,boththeDrumTrackandKARMAwill
startaccordingtotheDrumTracksTriggerMode
settings.
IfTriggerModeissettoStartImmediately,KARMA
willstarttoplaywhenyouturnontheDRUMTRACK
switch(ifyoureplayingthekeyboard,orifthe
KARMALATCHswitchison).
IfTriggerModeissettoWaitKBDTrig,KARMAwill
startwhenyouplaythekeyboard(orwhenanoteonis
received).
Formoreinformation,see13:DrumTrackon
page 42.
IfyouturntheDRUMTRACKswitchoffwhile
KARMAisplaying,KARMAwillalsostop.

Delay
Delay Start

[Off, Fixed, ? 34x1]

Specifythedelayfromwhenthetrigger(bynotedata)
isinput,untilthephraseorpatternstarts.
? 34x1:Specifythedelaytimeasanotevalueinterval
relativetothetempo.
Fixed:Thedelaytimewillbespecifiedintimeunits
(ms).SetthetimeinDelayStartFixed.

Delay Start Fixed

[0000 ms 5000 ms]

ThisisvalidifDelayStartissettoFixed.SetDelay
Startinmsunits.Thedelayspecifiedherewill
remaingconstant,evenwhenthetempoischanged.

Note
Note Trigger

[Any, AKR, 1st, Dyn]

Any(AnyNote+DynamicMIDI):Everynoteonwill
causetriggering;i.e.,eachnoteonwillcausethe
phraseorpatterntorestartfromthebeginning.
AKR(1stNoteAfterKeyRelease+DynamicMIDI):
Triggeringwilloccurwhenthefirstnoteonoccurs
fromastateinwhichnokeysareon.Triggeringwill

118

notoccurifevenonenoteisbeingpressed.By
changingthechordyouplayonthekeyboardwhile
holdingatleastonenote,youcanchangethenotesof
thephraseorpatternwithouttriggering.

Note Latch

[Off, On]

Specifieswhetherthephraseorpatternwillcontinue
whenyoureleaseyourhandfromthekeyboard(latch
on)orwhetherthephraseorpatternwillstop(latch
off).InProgrammode,turnthisOn(checked)anduse
theLATCHswitchtocontrollatchon/off.
Off(unchecked):Latchwillbeoffregardlessofthe
LATCHswitchon/offstatus.
On(checked):TheLATCHswitchwillcontrollatch
on/off.
WhentheLATCHswitchisoff(LEDdark),latchisoff.
WhentheLATCHswitchison(LEDlit),latchison.
Note:InCombinationandSequencermode,uptofour
KARMAModulescanbeused.Inthesemodes,you
canturnNoteLatchon/offindependentlyforeach
KARMAModule.IfyouuseCopyKARMAModule
tocopyKARMAModulesettingsfromthesemodesto
aprogram,theremaybecasesinwhichthesetting
herewillbeoff,sothatlatchonwillnotoccurevenif
youturnontheLATCHswitch.Insuchcases,turnthis
on.

Envelope1, Envelope2, Envelope3


EachGEprovidesthreeEnvelopes.Theycanproduce
timevariantcontrolofvelocity,tempo,duration,pitch
bend,andvariouscontrolchanges.
Youcanspecifytriggeringconditionsandlatch
conditionsforeachofthethreeEnvelopesoftheGE,
separatelyfromtheNoteTriggerandLatch(although
manytimesyouwillwantthemtobethesame.)
IftheselectedGEdoesnotuseEnvelopes,these
settingswillhavenoeffect.Forinformationon
specificGEs,pleaseseetheseparateVoiceName
List(VNL).

Envelope Trigger

[Any, AKR, 1st, Dyn]

Any(AnyNote+DynamicMIDI):Everynoteonwill
causetriggering;i.e.,eachnoteonwillcausethe
envelopetostartfromthebeginning.

Program P7: KARMA 74: Module Parameters-Trigger

AKR(1stNoteAfterKeyRelease+DynamicMIDI):
Triggeringwilloccurwhenthefirstnoteonoccurs
fromastateinwhichnokeysareon.Retriggering
willnotoccurifevenonenoteisbeingpressed.
1st(1stOnlyUntilModuleStops+DynamicMIDI):
AfterKARMAisturnedon,onlythefirstnoteonwill
causetriggering.Subsequentnoteonswillnotcause
triggering.
Dyn(DynamicMIDI):Triggeringwillbeproducedby
operatingthecontrollerspecifiedbyDynamicMIDI
(Program77).Inthiscase,noteonswillnotcause
triggering.
Note:Foranyofthesesettings,triggeringwillbe
appliedbyoperationsofthecontrollerspecifiedfor
DynamicMIDI,ifDestinationissettoTrigger
Notes&Envs,TriggerEnv1TriggerEnv3.

Envelope Latch

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyKARMAModule.Formoreinformation,
seeCopyKARMAModuleonpage 155.
3:InitializeKARMAModule.Formore
information,seeInitializeKARMAModuleon
page 156.
4:CopyScene.Formoreinformation,seeCopy
Sceneonpage 157.
5:SwapScenes.Formoreinformation,seeSwap
Sceneonpage 157.
6:CaptureRandomSeed.Formoreinformation,
seeCaptureRandomSeedonpage 157.

[Off, Sus1, Rel1, Sus2, Rel2]

Off:Theenvelopewillnotbelatched.Whenallkeys
arereleasedoraDynamicMIDItriggerisreleased
(noteoff),theenvelopewillmovetotherelease
segment.
Sus1:Oncetheenvelopeisstarted,itwillproceed
throughattackdecaysustainrelease.Ifnote
offoccursbeforetheenvelopereachesthesustainlevel,
theenvelopewillnotbeginthereleaseimmediately
butwaituntilafterreachingthesustainlevel.Evenin
thecaseofanoteforwhichthenoteon/offintervalis
short,theenvelopewillproceedthroughattack
decaysustainreleaseasifthekeywasbeingheld
foralongertime.Iftheenvelopereachesthesustain
levelbeforereceivingnoteoff,itwillholdatthe
sustainlevel(thesameoperationasfortheOffsetting).
Ifthenoteoffoccursaftertheenvelopereachesthe
sustainlevel,theenvelopewillbeginthereleasewhen
noteoffoccurs(thesameoperationasfortheOff
setting).
Rel1:Oncetheenvelopehasstarted,itwillproceed
throughattackdecayrelease,regardlessofwhen
thenoteoffoccurs.Evenifakeyisbeingpressed,the
envelopewillignoresustain,andwillproceed
immediatelytotherelease.
Sus2:Theenvelopewillignorenoteoff,andwill
proceedthroughattachdecaysustain.Therefore,
thissettingwillneverreachthereleaseportion.Other
operationisthesameasforSus1.
Rel2:ThesameoperationasRel1,exceptwillignore
noteoffforthepurposeoflooping,asexplainedbelow.
Theenvelopecanbesettorepeatasaloopaspartof
theGE.Aloopedenvelopewillbecontrolledas
follows.
ForSus1andRel1,theenvelopewillcontinue
repeatingaslongasthekeyisheld.
ForSus2andRel2,theenvelopewillcontinue
repeatingevenifthekeyisreleased.

t 7-4: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

119

Program mode: HD-1

75: GE Real-Time Parameters/Scenes


75PMC

75a

75b

HereyoucanedittheRealTimeparametersoftheGE
selectedfortheKARMAModule.ByassigningGE
parameterstoKARMARealTimeControls,youcan
controlthephraseorpatterninrealtimewhileyou
play.

75a: GE Number & Name, RTC Select,


and Tempo
GE Number & Name
[0000: Arp Model 01 Up/Dn
2047: Tempo Env Repeats]
ThisshowstheGEselectedfortheModule.Formore
information,pleasesee06b:GESelectonpage 10.

GE RTC Select

[116, 1732]

ThisswitchestheGErealtimeparameterdisplay.
116:GEparameters116willbedisplayed.

FordetailsontheindividualGERealTime
parameters,pleaseseetheKARMAGEguideon
page 1019.

MIN (Minimum Value)

[5000+5000]

Thissetstheparametervaluewhentheselected
controllerisatitsminimumpointforinstance,when
asliderisatthebottomofitsthrow.Notethatyoucan
reversetheactionofthecontrollerbysettingthistobe
higherthantheMAXvalue,below.

1732:GEparameters1732willbedisplayed.

TheavailablevalueswilldependontheGERealTime
parameter.

q (Tempo)

MAX (Maximum Value)

[40.00300.00, EXT]

Formoreinformation,pleaseseeTempoonpage 5.

75b: GE Real-Time Parameters


GE Parameter 0132

[Parameter Name]

EachGEhasupto32presetparametersforcontrolling
thephraseorpattern,referredtoasGERealTime
Parameters(orGERTP).Thespecificparameters,and
theavailablevalueranges,willvarydependingonthe
selectedGE.

120

EachoftheGERealTimeParametershasabasicvalue,
acontrollerassignmentwithpolarity,andminimum
andmaximumvalues(forsettingtherangeofthe
selectedcontroller).WhenyouselectanewGE,the
basic,minimum,andmaximumvalueswillberesetto
thevaluessavedintheGE,andthecontroller
assignmentwillbesettothedefaultsfortheGEsRTC
Model.

[5000+5000]

Thissetstheparametervaluewhentheselected
controllerisatitsmaximumpointforinstance,when
asliderisatthetopofitsthrow.
TheavailablevalueswilldependontheGERealTime
parameter.

VALUE

[5000+5000]

ThissetsthebasicvalueoftheGEparameter,which
correspondstothecenterpositionofthecontroller.It
mustbewithintheMINandMAXvalues.

Program P7: KARMA 75: GE Real-Time Parameters/Scenes

ASSIGN [---, Slider18, Slider (SW)18, SW18,


DynaMIDI18]
HereyoucanassignthecontrollerfortheGEReal
Timeparameter.
ByassigningGERealTimeParametertoKARMA
RealTimeControls,theycanbecontrolledinrealtime
whileyouplay.
:Noassignment.
Slider18:AssigntheparametertoKARMASLIDERS
18.Thesliderwillcontinuouslycontrolthevalue.
Forexample,letsassumethattheRhythmSwing%
parameteroftheselectedGEissettoaMINof+0000,
andaMAXof+0100.
IfyousetValue:+0050,Assign:Slider1,and
Polarity:+

+:InthecaseofSlider18,movingdownfromthe
centerwillmovethevaluetowardstheMinimum
setting,andmovingupfromthecenterwillmove
towardstheMaximumsetting.InthecaseofSlider
(SW)18,thebottomofthesliderthrowwillbe
Minimum,andthetopwillbeMaximum.Inthe
caseofSW18,theparameterwillbeMaximum
whentheLEDislit.
:InthecaseofSlider18,movingdownfromthe
centerwillmovethevaluetowardstheMaximum
setting,andmovingupfromthecenterwillmove
towardstheMinimumsetting.InthecaseofSlider
(SW)18,thebottomofthesliderthrowwillbe
Maximum,andthetopwillbeMinimum.Inthe
caseofSW18,theparameterwillbeMaximum
whentheLEDisdark.

Slider1atthecenterpositionwillproduceavalue
of+0050.Atminimumthevaluewillbe+0000,and
atmaximumthevaluewillbe+0100.Turningthe
Sliderfromcentertowardtheminimumwillcontrol
thevaluefrom+0050+0000,andturningitfrom
centertowardthemaximumwillcontrolthevalue
from+0050+0100.
IfyousetValue:+0080,Assign:Slider1,and
Polarity:+
Slider1atthecenterpositionwillproduceavalue
of+0080.Atminimumthevaluewillbe+0000,and
atfarmaximumthevaluewillbe+0100.Turningthe
sliderfromcentertowardtheminimumwillcontrol
thevaluefrom+0080+0000,andturningitfrom
centertowardthemaximumwillcontrolthevalue
from+0080+0100.
Slider(SW)18:AssigntheparametertoKARMA
SLIDER18.TheSliderwillswitchthevaluebetween
minimumandmaximumonly.Theminimumtocenter
rangeoftheSliderisoff,andthecentertomaximumis
on.
IfyousetValue:+0050,Assign:Slider(SW)1,
andPolarity:+
Turningtheslidertowardtheminimumwill
produceavalueof+0000.Turningittocenteror
maximumwillproduceavalueof+0100.
SW18:Theparameterwillbeassignedtoswitch18.
Theminimumisoff,andthemaximumison.
Note:thecorrespondencebetweentheKARMA
SLIDERS,SWITCHESandMIDIcontrolchange
messagescanbespecifiedinGlobalP31:
Controllers/Scales,Controller.ForSW18andSlider
(SW)18,aMIDIcontrolchangemessagevalueof
lessthan64willbeoff,and64orgreaterwillbe
on.
DynaMIDI18:ThiscorrespondstoDynamicMIDI
18.
SelectthisifyouwishtocontrolaGEparameterusing
thecontrollerselectedforSourceinDynamicMIDI(7
8).(SettheDynamicMIDIDestinationtoRTParams
Control.)

POLARITY

[+, ]

Thissetsthepolarityoftheselectedcontroller.

121

Program mode: HD-1

75PMC

5c

75c: Scenes
HereyoucansetaSceneChangeQuantizeWindow
thatcontrolsatimeintervalforwhenthescene
changeswilloccur,andviewinformationabout
upcomingscenechanges.

atthenextmetricdivisioncorrespondingtotheScene
ChangeQuantizeWindow.(Duetospace,notall
settingsareshowninthediagram.)

Scene Change Quantize Window


[x! q, 1 Bar4 Bars]
Specifythemetricdivisionbywhichscenechanges
willbequantized.Dependingonthesetting,thismay
delaythescenechangefromoccurringuntilthenext
beat,nextbar,orseveralbarslater.

x!q :Specifythetimewindowasanotevalue
intervalrelativetothetempo.Fortripletbased
patterns,youmayneedtoselectoneofthetriplet
basedsettingsifyouintendtoperformscenechanges
offthebeat.
1Bar4Bars:Specifythetimewindowasabarvalue
relativetothetempo,andthetimesignatureofthe
PerformanceortheModulesGE.
Note:iftheKARMAT.Sig(TimeSignature)issetto
somethingotherthan0GE/TS,thenthespecified
TimeSignatureiswhatwillbeusedtocalculatethebar
lengths.IftheKARMAT.Sigissetto0GE/TS
(meaningthattheModulesGEusesitsownstored
internaltimesignature),thenthebarlengthisbasedon
theinternalstoredtimesignatureoftheGE.Formore
information,seeKARMAT.Sig(TimeSignature)on
page7.
Note:Scenechangesselectedatatimingthatiswithin
a32ndnoteoftheSceneChangeQuantizeWindow
settingwillbeconsideredlate(shownbythepink
colorinthediagramabove),andwillcausethescene
changetooccurimmediately.Ifthescenechangeis
laterthanthis,itwillbeconsideredearly(shownby
theyellowcolorinthediagramabove),andwilloccur

122

q (Tempo)

[40.00300.00, EXT]

Formoreinformation,pleaseseeTempoonpage 5.

Drum Track Run 18

[Off, On]

These8checkboxesdeterminewhetherornorthe
DrumTrackwillrunforeachoftheKARMAscenes.
Formoreinformation,seeUsingKARMAandthe
DrumTracktogetheronpage 243oftheOperation
Guide.

Scene Status
Displaysinformationrelatedtoupcomingscene
changes.WhenusingtheSceneChangeQuantize
Windowwithlongersettingssuchas1,2or4bars,you
canselectascenechangeseveralbeatsormorein
advanceofwhenyouwantittooccur.TheControl
SurfaceandSceneMatrixwillchangetothenewscene
immediately,butinternallythescenechangewillnot
occuruntilthespecifiedtimeintervalhaselapsed.The
SceneStatusareadisplaysamessageindicatinga
pendingscenechange,fromthecurrentscenetothe
newscene.Youcanusethistocancelapending
scenechangeifdesired.Forexample,ifyouareon
Scene2andyouselectScene8,themessage2>8
willbedisplayed.TheSceneMatrixandControl

Program P7: KARMA 76: Perf Real-Time Parameters

SurfaceimmediatelychangetoScene8,butinternally
thescenechangehasnotyetoccurred.Youcanreselect
Scene2andtherebycanceltheupcomingscene
change.
Note:ifyouhaveselectedascenechangeinadvance,
andithasnotyetoccurred,theControlSurfaceand
variouseditingpagessuchastheKARMAGEPage06
andtheControlSurfaceRT/KARMAPage09dwill
showthenewscenesparameters.Editingthemwhile
thescenechangeispendingwillactuallybeeditingthe
upcomingscene,andyouwillnothearanychanges
untilthescenechangehasactuallyoccurred.

t 7-5: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyKARMAModule.Formoreinformation,
seeCopyKARMAModuleonpage 155.
3:InitializeKARMAModule.Formore
information,seeInitializeKARMAModuleon
page 156.
4:CopyScene.Formoreinformation,seeCopy
Sceneonpage 157.
5:SwapScenes.Formoreinformation,seeSwap
Sceneonpage 157.
6:CaptureRandomSeed.Formoreinformation,
seeCaptureRandomSeedonpage 157.

76: Perf Real-Time Parameters


76PMC

76a

76b

HereyoucanassigncontrollerstoKARMA
PerformanceRealTimeParameters(Perf.RTP)outside
oftheGERealTimeParametersthatcontrolthe
internalsettingsoftheGE.Examplesincludethe
KARMAKeyZoneparameters(Program71b)and
KARMAControlandTriggerparameters(Program7
3,74).
ByassigningthesetoKARMASLIDERS18and
KARMASWITCHES18etc.,youcancontrolthemin
realtimewhileyouplay.

76a: Program Name and Tempo


Fordescriptionsoftheseparameters,pleasesee72a:
ProgramNameandTempoonpage 110.

76b: Perf Real-Time Parameters


Youcansetup8differentPerformanceRealTime
Parameters,eachofwhichhasanidenticalsetof
parameters,asdescribedbelow.

InPerfRealTimeParameters18,ifyouselecta
parameterbyGroupandParameterandOn
(checked)ModuleA,thatparametercanno
longerbeeditedasaKARMAKeyZoneparameter
(Program71b)orKARMAControlandTrigger
parameter(Program73,74).

123

Program mode: HD-1

Real-Time Parameters 18

Group: PE (Performance)

Group

Time Signature

[Off, PE, Mix, Control, Trigger,


Key Zones, Random Seeds]

Selectsthegroupofparametersthatyouwishto
chooseaParameterfrom.TheKARMAparameters
aredividedintosixgroups.

Parameter

[---, Time Signature


Retrigger Each Time]

Indicatestheparameterthatyouwishtoassign.The
parametersthatcanbeselectedwilldifferaccordingto
theGroupsetting,above.

Min (Minimum Value)

[8192+8192]

Thissetstheparametervaluewhentheselected
controllerisatitsminimumpointforinstance,when
asliderisatthebottomofitsthrow.Notethatyoucan
reversetheactionofthecontrollerbysettingthistobe
higherthantheMAXvalue,below.
Theavailablevalueswilldependontheselected
parameter.Whenaparameterisselected,the
minimumparametervaluewillbesetasthedefault.

Max (Maximum Value)

[8192+8192]

Thissetstheparametervaluewhentheselected
controllerisatitsmaximumpointforinstance,when
asliderisatthetopofitsthrow.Theavailablevalues
willdependontheselectedparameter.

Value

[8192+8192]

SpecifiesthevalueoftheselectedKARMAparameter.
IfyouturnonA(ModuleA)andselectParameter,
thiswillbesetasthecurrentvalueoftheparameter
(setin73and74).Thevalueyouspecifyherewillbe
thecentervaluewhenyouuseAssigntocontrolthe
parameterfromaKARMASLIDER,etc.Thevaluewill
notbeavailablewhenassigningtoSwitchesorSlider
(SW).

A (Module A)

[Off, On]

SpecifiesthemoduletowhichthesettingsofRTParm
18willapply.InProgrammode,onlyoneKARMA
Module(ModuleA)canbeused.ThusinProgram
mode,youcanturntheRTParm18settingson/off.
On(checked):RTParmsettingswillbevalid.
Off(unchecked):RTParmsettingswillbeignored.

Assign

[---, Slider18, Slider (SW) 18,


SW18, DynaMIDI18]

Assignstheselectedparametertoacontroller.Ifyou
assignaparametertoKARMARealTimeControls,
youcancontrolitinrealtimewhileyouplay.
Formoreinformation,seeASSIGNonpage 121.

Polarity

[+, ]

Specifiesthepolarityusedwhenyouoperatethe
KARMARealTimeControlsthatyouselectedfor
Assign.
Formoreinformation,pleaseseePOLARITYon
page 121.

[+0000+0048]

AssignstheKARMAT.Sig(Program71a)function.
+0000:Off
+0001+0048:Correspondsto1/416/16.
Formoreinformation,seeKARMAT.Sig(Time
Signature)onpage 108.
IfyouselectTimeSig.asaparameterfor
assignment,youwillnotbeabletosetA(Parm
ModuleA).

Group: Mix
Transpose

[0036+0036]

AssignstheTranspose(Program73b)function.
Controlthetranspositioninsemitonesteps.

Transpose Octave

[0036+0036]

AssignstheTranspose(Program73b)function.
Controlthetranspositioninoctavesteps.

Transpose Octave/5th

[0036+0036]

AssignstheTranspose(Program73b)function.
Controlthetranspositioninstepsofanoctaveanda
fifth.

Group: Control
Force Range

[+0000+0004]

AssignstheForceRange(Program73b)function.
+0000:Off
+0001:Lowest
+0002:Highest
+0003:C3B3[1]
+0004:C3B3[2]
Formoreinformation,seeForceRangeonpage 113.

Force Range Wrap

[+0000+0011]

AssignstheForceRangeWrap(Program73b)
function.
+0000:C0011:B
Formoreinformation,seeForceRangeWrapon
page 113.

Root Position

[+0000, +0001]

AssignstheRootPosition(Program73b)function.
+0000:Off
+0001:On
Formoreinformation,seeRootPositiononpage 114.

Clock Advance Mode

[+0000+0003]

AssignstheMode(ClockAdvanceMode)(Program
73b)function.
+0000:Auto
+0001:Dyn
+0002:Auto+Dyn1
+0003:Auto+Dyn2
Formoreinformation,seeModeonpage 115.

124

Program P7: KARMA 76: Perf Real-Time Parameters

Clock Advance Size

[+0000+0011]

Note Map Kbd Track

[+0000, +0001]

AssignstheSize(ClockAdvanceSize)(Program7
3b)function.

AssignstheKeyboardTrack(NoteMapKbdTrack)
(Program73b)function.

+0000+0010:r3q

+0000:Off

+0011:Event

+0001:On

Formoreinformation,seeSizeonpage 115.

Formoreinformation,seeKeyboardTrack(C2Ref)
(NoteMapKbdTrack)onpage 116.

CA Vel. Sensitivity

[+0001+0127]

AssignstheVelocitySenseBottom(Program73b)
function.
Formoreinformation,seeVelocitySenseBottomon
page 115.

CA Chord Trigger Mode

[+0000+0004]

AssignstheChordTriggerMode(Program73b)
function.
+0000:Off
+0001:1st

Quantize Trigger

[+0000, +0001]

AssignstheQuantizeTrigger(Program74b)
function.
+0000:Off
+0001:On
Formoreinformation,seeQuantizeTriggeron
page 117.

Quantize Window

+0002:Chrd1

[+0000+0005]

+0000+0005:16thtriplettoQuarterNote

+0003:Chrd2
+0004:Chrd3
Formoreinformation,seeChordTriggerModeon
page 115.

Note Map Mode

Group: Trigger

[+0000+0003]

AssignstheMode(NoteMapMode)(Program73b)
function.

AssignstheQuantizeWindow(Program74b)
parameter.Formoreinformation,seeQuantize
Windowonpage 117.

Update On Release

[+0000, +0001]

AssignstheUpdateOnRelease(Program74b)
function.
+0000:Off

+0000:Off

+0001:On

+0001:OnMain
+0002:OnRepeat

Formoreinformation,seeUpdateOnReleaseon
page 117.

+0003:OnAll

Delay Start

Formoreinformation,seeMode(NoteMapMode)
onpage 115.

AssignstheDelayStart(Program74b)function.
+0000:Off

Note Map Table

+0001:Fixed

[+0000+0064]

AssignstheTable(NoteMapTable)(Program73b)
function.
+0000:Custom
+0001+0064:GlobalTables1Maj7>oct
Formoreinformation,seeTable(NoteMapTable)on
page 116.

Note Map Transpose

[0012+0012]

AssignstheTranspose(NoteMapTranspose)
(Program73b)function.

+0002+0025:r34xw
Formoreinformation,seeDelayStartonpage 118.

Delay Start ms

SeeDelayStartFixed+p.118

Note Trigger

Note Map Chord Track

+0002:1st

+0000:Off
+0001:On
Formoreinformation,seeChordTrack(NoteMap
ChordTrack)onpage 116.

[+0000+0003]

AssignstheNoteTrigger(Program74b)function.
+0000:Any

AssignstheChordTrack(NoteMapChordTrack)
(Program73b)function.

[+0000+5000]

AssignstheDelayStartFixed(Program74b)
function.

Formoreinformation,seeTranspose(NoteMap
Transpose)onpage 116.

[+0000, +0001]

[+0000+0025]

+0001:AKR
+0003:Dyn
Formoreinformation,seeNoteTriggeronpage 118.

Note Latch

[+0000, +0001]

AssignstheNoteLatch(Program74b)function.
+0000:Off
+0001:On
Formoreinformation,seeNoteLatchonpage 118.

125

Program mode: HD-1

Env1 Trigger

[+0000+0003]

Transpose In Thru

Env2 Trigger

[+0000+0003]

Env3 Trigger

[+0000+0003]

AssignstheTransposeInZone(Program71a)
function.Thiscontrolstranspositionofthenotedata
fromthekeyboardwithintheKeyZone,insemitone
steps.

AssignstheEnvelopeTrigger(Program74b)
functions.
+0000:Any

Formoreinformation,seeTransposeInZoneon
page 109.

+0001:AKR

Transpose Out Thru

+0002:1st

AssignstheTransposeOutZone(Program71a)
function.Thiscontrolsthetranspositionofnotedata
fromthekeyboardoutsidetheKeyZone,insemitone
units.

+0003:Dyn
Formoreinformation,seeEnvelopeTriggeron
page 118.

[0036+0036]

Env1 Latch Mode

[+0000+0004]

Formoreinformation,seeThruOutZoneon
page 109.

Env2 Latch Mode

[+0000+0004]

Transpose Octave In Thru

[0036+0036]

+0000:Off

AssignstheTransposeInZone(Program71a)
function.Thiscontrolsthetranspositionofnotedata
fromthekeyboardwithintheKeyZone,inoctave
units.

+0001:Sus1

Transpose Octave Out Thru

+0002:Rel1

AssignstheTransposeOutZone(Program71a)
function.Thiscontrolsthetranspositionofnotedata
fromthekeyboardoutsidetheKeyZone,inoctave
units.

Env3 Latch Mode

[+0000+0004]

AssignstheLatch(Program74b)function.

+0003:Sus2
+0004:Rel2
Formoreinformation,seeEnvelopeLatchon
page 119.

Group: Zone
Thru Inside Zone

[+0000, +0001]

AssignstheThruInZone(Program71a)function.
+0000:Off
+0001:On
Formoreinformation,seeThruInZoneonpage 108.

Thru Outside Zone

[+0000, +0001]

Transpose Octave/5th In Thru

[0036+0036]

[0036+0036]

AssignstheTransposeInZone(Program71a)
function.Thiscontrolsthetranspositionofnotedata
fromthekeyboardwithintheKeyZone,inunitsofan
octaveandafifth.

Transpose Octave/5th Out Thru [0036+0036]


AssignstheTransposeOutZone(Program71a)
function.Thiscontrolsthetranspositionofnotedata
fromthekeyboardoutsidetheKeyZone,inunitsofan
octaveandafifth.

AssignstheThruOutZone(Program71a)function.

Group: Random

+0000:Off

Start Seed

+0001:On

AssigntheStartSeed(Program78b)function.

Formoreinformation,seeThruOutZoneon
page 109.

+0000:Random

Key Zone Bottom

[+0000+0127]

AssignstheBottom(KeyZoneBottom)(Program7
1a)function.
+0000+0127:C1G9(correspondstonotenumbers)
Formoreinformation,seeBottom(KeyZone
Bottom)onpage 108.

Key Zone Top

[+0000+0127]

AssignstheTop(KeyZoneTop)(Program71a)
function.
+0000+0127:C1G9(correspondstonotenumbers)
Formoreinformation,seeTop(KeyZoneTop)on
page 108.

126

[0036+0036]

[-81920+8191]

Otherthan+0000:AnydesiredStartSeedvalue.
However,youcannotselectvaluesoutsidetherangeof
8192to+8191whenchangingthevalueinthisway.
Formoreinformation,seeStartSeedonpage 130.
Note:IftheStartSeedvalueissettoavalueoutside
ofthisrangewhenyoufirstassignitasaRTParameter,
itwillbelimitedtoeitherendoftherange.

Freeze Loop Length

[+0000+0032]

AssignstheFreezeLoopLengthfunction(see
FreezeLoopLengthonpage 131).Thisspecifiesthe
numberofmeasures(bars)inthephrasesthatare
repeatedlygeneratedbytheKARMAModule.After
beingtriggered,theModulewillgenerateaphraseof
thenumberofmeasuresyouspecifyhere,andwill
thenrepeatthatphrase.

Program P7: KARMA 76: Perf Real-Time Parameters

Freeze Loop Length + Reset

[+0000+0032]

LikeFreezeLoopLength,above,thisalsoassignsthe
FreezeLoopLengthfunction(seeFreezeLoop
Lengthonpage 131).However,whenthisisused,and
theStartSeedissettosomeothervaluethan0:
Random,changingtheFreezeLoopLengthtoany
valueexcept0:OffwillresettheStartSeedinternallyto
theindicatedvalue,therebyrestoringtheoriginal
phraseatthenextdownbeatwithoutretriggeringit
fromthekeyboard.
Normally,ifyouweregeneratingarandomizedriff
fromaparticularStartSeedvalue,settingFreezeLoop
Lengthto0:Offwouldcausethephrasetocontinue
randomizingfromitscurrentinternalposition.Ifyou
thensettheFreezeLoopLengthtosomeothervalue
than0:Off,therebyloopingthephrase,itdoesnot
automaticallyresettheStartSeeduntilyouretriggerit
fromthekeyboard(dependingonTriggersettings).By
usingFreezeLoopLength+Reset,achangeinthe
FreezeLoopLengthcanadditionallyresettheinternal
StartSeedandthereforegeneratethesamephraseas
before,allowinginstantaneousswitchingbetween
randomizedandpresetphrases.

Retrigger Each Time

[+0000, +0001]

AssignstheRetriggerEachTimefunction(see
RetriggerEachTimeonpage 131).
+0000:Off
+0001:On
Formoreinformation,seeRetriggerEachTimeon
page 131.

t 7-6: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyKARMAModule.Formoreinformation,
seeCopyKARMAModuleonpage 155.
3:InitializeKARMAModule.Formore
information,seeInitializeKARMAModuleon
page 156.
4:CopyScene.Formoreinformation,seeCopy
Sceneonpage 157.
5:SwapScenes.Formoreinformation,seeSwap
Sceneonpage 157.
6:CaptureRandomSeed.Formoreinformation,
seeCaptureRandomSeedonpage 157.

127

Program mode: HD-1

77: Dynamic MIDI


77PMC

77a

77b

DynamicMIDIletsyouusetheKRONOSscontrollers
andMIDIcontrolmessagestomodulatespecific
KARMAfunctions.
YoucantakeadvantageofthistocontrolKARMAin
variouswayswhileyouplay.Forexample,youcanuse
noteonstoadvancetheKARMAclock(Manual
Advance),orajoysticktoTriggerthestartofthe
patterns.YoucanuseafootpedaltocontrolAuto
Transpose,oradamperpedaltocontroltheKARMA
Latchsettings.

[000127]

Specifiesthelowerlimitforthevaluecontrolledby
Source.IfSourceisShortNote,NoteNo.,WhiteNote,
orBlackNote,thenumericvaluecorrespondstothe
notenumbersC1G9.

Top (Range Top)

[000127]

Specifiestheupperlimitforthevaluecontrolledby
Source.IfSourceisShortNote,NoteNo.,WhiteNote,
orBlackNote,thenumericvaluecorrespondstothe
notenumbersC1G9.

77a: Program Name and Tempo

Action (Source Action)

Fordescriptionsoftheseparameters,pleasesee72a:
ProgramNameandTempoonpage 110.

SpecifiestheoperationmodeforDynamicMIDI.

Youcansetup8differentDynamicMIDIroutings,
eachofwhichhasanidenticalsetofparameters,as
describedbelow.

Note:IfPolarityis+andthesourcecontrollervalueis
lessthanorequaltotheBottomsetting,thedestination
willbeoff.Ifthecontrollervalueisgreaterthanor
equaltotheTopsetting,itwillbeon.

Dynamic MIDI 18
Input (Input Module)

[A]

InProgrammodethisisfixedatA.Thisisbecause
onlyKARMAModuleAisused.Thissettingcannotbe
changed.

Source

[Momentary, Toggle,
Continuous]

Momentary:Theparameterwillbecontrolledasa
momentaryswitch.ForexampleifSourceisJS+Y
(CC#01),theparameterwillnormallybeoff,andwill
beonwhenyoumovethejoystick.

77b: Dynamic MIDI

[Off, JS+Y (CC#01)


Velocity Outside Zone]

Indicatesthecontrolleroraction.thatwillbethe
DynamicMIDIsource.Formoreinformation,see
DynamicMIDISources&Destinationsonpage 1109.

128

Bottom (Range Bottom)

Example
WhenBottom:000andTop:127
Thecontrollervalueandtheon/offstatusarerelatedas
follows.
000127:onat127
127000:offat000
Toggle:Theparameterwillbecontrolledasatoggle
switch.Forexample,ifSourceisJS+Y(CC#01),moving
ittothetopandreleasingitonetimewillturnthe
destinationon,andmovingittothetopandreleasing

Program P7: KARMA 78: Random Seeds

itagainwillturnthedestinationoff.IfPolarityis+,on
andoffwillalternateeachtimethesourcecontroller
valueexceedstheTopvalueafterhavingpassed
throughtheBottomvalue.
Example
WhenBottom:0andTop:127
Thecontrollervalueandtheon/offstatusarerelatedas
follows.
000127:onoffat127
127000127:offonat127
(127001127:nochange)
Continuous:Theparameterwillbecontrolled
continuously,overtherangespecifiedbyBottomand
Top.Forexample,ifbottomis25andTopis100,the
destinationvaluewillbesmoothlyoperatedwhenthe
controllersvaluemovesbetween25and100.Values
outsidethatrangewillcausenofurtherchange.
Note:Theoperatingmodesthatcanbeselectedare
limitedbytheDestination.Formoreinformation,
seeDynamicMIDISources&Destinationson
page 1109.

Destination

[Off, RT Params ControlBuffer


Latch]

SelectstheDynamicMIDIControldestination
function.Formoreinformation,seeDynamicMIDI
Destinationsonpage 1111.

Polarity

[+, , +/, /+]

SpecifiestheDynamicMIDIpolarity.
ForexampleifyousetPolarityto+andtheSourceis
KARMASLIDER1,movingtheSlider1fromminto
maxwillchangethevaluefrom0127.Ifyouset
Polarityto,thesameSlider1movementwillchange
thevaluefrom1270.

t 7-7: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyKARMAModule.Formoreinformation,
seeCopyKARMAModuleonpage 155.
3:InitializeKARMAModule.Formore
information,seeInitializeKARMAModuleon
page 156.
4:CopyScene.Formoreinformation,seeCopy
Sceneonpage 157.
5:SwapScenes.Formoreinformation,seeSwap
Sceneonpage 157.
6:CaptureRandomSeed.Formoreinformation,
seeCaptureRandomSeedonpage 157.

78: Random Seeds


78PMC

78a
78b

TheRandomSeedspageallowsyoutocontrolsomeof
therandomizablecharacteristicsofaModulesGE.

Youcanfreeze(capture)theendlesslyvaryingphrases
generatedbyKARMAsrandomizefeatures.

129

Program mode: HD-1

78a: Program Name and Tempo


Fordescriptionsoftheseparameters,pleasesee72a:
ProgramNameandTempoonpage 110.

78b: Start
ByusingtheCaptureRandomSeed(seeCapture
RandomSeedonpage 157),StartSeed,andFreeze
LoopLengthparameters,youcanlooparandomly
changingphrase,orplaythesamephraseeachtime
youtriggerit.Thesecapabilitiesarecollectivelycalled
FreezeRandomize.YoucanalsostoreaProgramor
Combinationwiththesesettings,sothatitwillalways
playthesamerandomizedphraseorpatternwhenyou
firstcallitup.
NotallGEshavebeenprogrammedtoutilize
KARMAsrandomizationcapabilities.Ifno
randomizationhasbeenprogrammedaspartofthe
GE,changingtheseparameterswillappeartohave
noeffect.

Start Seed

[21474836480:
Random+2147483647]

6. TurnthefrontpanelKARMALATCHswitchon.
7. GototheP78:RandomSeedspage.
8. MakesurethattheKARMAmodulesStartSeed
valueis0:Random.
IfStartSeedisotherthan0:Random,setitto
0:Random.

SpecifiestheseedthatisusedbytheKARMAModule
togeneratetherandomphrase.
Note:Seedisthesourcedatafromwhichthe
randomizationsarecreated.StartSeedistheseed
thatwillbeusedeachtimeatriggeroccurs.
0:Random:Adifferentphrasewillbegeneratedeach
timethetriggeroccurs.WithintheKARMAModule,a
differentStartSeedvalueisspecifiedrandomlyeach
timethetriggeroccurs.
AnyvalueotherthanRandom:Thesamephrasewill
begeneratedeachtimethetriggeroccurs.Different
valuesfortheStartSeedparameterwillproduce
differentphrases,butthesamephrasewillalwaysbe
generatediftheStartSeedvalueisthesame.

How the Start Seed value affects the phrase

9. GototheP19Padspage,andusepad1toproduce
atriggerseveraltimesatafixedinterval(oneor
twoseconds).Whendoingso,payattentiontothe
phrasethatbeginsimmediatelyaftertriggering.A
differentphrasewillbeginplayingeachtime
triggeringoccurs.

Asanexample,wewilluseProgramUSERB061:
WidowMakertoseehowdifferentStartSeed
settingswillaffectthephrase.

10.ReturntotheP78:RandomSeedspage,andset
StartSeedtoanyvalueotherthan0:Random.
Forthisexample,wellsetitto+1.

1. InProgrammode,selectUSERB061:Widow
Maker.

11.Asyoudidinstep9,triggerpad1severaltimes,
andpayattentiontothephrasethatbegins
immediatelyaftertriggering.Thesamephrase
willbeginplayingeachtimetriggeringoccurs.

ThisisanEXiProgram,usingtwoAL1stocreatea
leadsynthsound.KARMAisprogrammedtoplaya
phrase.
2. TurnonthefrontpanelKARMAON/OFFswitch.
3. PresstheCommonbutton,toseetheEXiCommon
pages.
4. SelecttheP78:RandomSeedspage.
5. PresstheCommonbuttontoaccessthe74:
ModuleParametersTriggerpage,andsetNote
TriggertoAny.

130

TheKARMAmodulewillgeneratealeadsynth
phrase.

12.ReturntotheP78:RandomSeedspage,andset
StartSeedtoavalueotherthan+1,andrepeat
theactionsyouperformedinstep4.
ThephrasewillbedifferentthanwhenStartSeed
was+1,butthesamephrasewillbeginplayingeach
timetriggeringoccurs.
Note:IfyousetStartSeedto0:Random,andexecute
CaptureRandomSeedaftertriggering,theStart
Seedvaluethatwasinternallysetwithinthemodule
atthetimeoftriggeringwillbespecifiedhere.While
listeningtothephrasesthatchangerandomlyateach
trigger,youcanexecutethiswhenyouhearaphrase
thatyouwanttoreproduce.Inconjunctionwiththe
FreezeLoopLengthandRetriggerEachTime
settings,youcanalsoloopaphrasethatyoulike.

Program P7: KARMA 78: Random Seeds

Formoreinformation,seeCheckingtheFreeze
Randomizefunction,andperformingCapture
RandomSeedonpage 157.

Freeze Loop Length

[Off, 0132]

Specifiesthenumberofmeasuresinthephrasesthat
arerepeatedlygeneratedbytheKARMAModule.
Afterbeingtriggered,themodulewillgeneratea
phraseofthenumberofmeasuresyouspecifyhere,
andwillthenrepeatthatphrase.IfyousetthistoOff,
thephrasewillnotberepeated.
Thetablebelowandtheexplanationsthatfollow
describehowvariouscombinationsofStartSeedand
FreezeLoopLengthsettingswillaffectthephraseor
controldatathatisrandomlygeneratedbythe
KARMAModuleeachtimetriggeringoccurs,
accordingtotheGEsettingsyouareusing.
1. StartSeed:0:Random,FreezeLoopLength:
Off(unchecked)
Thephrasewillchangerandomlyeachtime
triggeringoccurs.Eachtimethephraserepeats,it
willchangerandomly.Forexample,supposethere
isaGEthat,ifyouinputCDEF,willrandomly
varytheorderofnotes,andrepeatedlyplayfour
notesineachmeasure.WhenyoutriggerthisGE,it
producesnotesinarandomorderof(forexample)
CDEF,CCDF,FDCE.Whenyoutrigger
thisGEagain,itproducesadifferentrandomphrase
of(forexample)EDCC,CCDD,CDCE.
2. StartSeed:anyvalue,FreezeLoopLength:Off
Eachtimetriggeringoccurs,thesamephrasewillbe
generated.DifferentStartSeedvaluescause
differentphrasestobegenerated.Thephrasewill
changerandomlyeachtimeitrepeats,butthesame
phrasewillalwaysbegeneratedeachtimeyou
retriggerwithagivenStartSeedvalue.Thislets
youselectanydesiredoneofmorethanfourbillion
(!)differentphrasevariations.Forexample,suppose
thereisaGEthat,ifyouinputCDEF,will
randomlyvarytheorderofnotes,andrepeatedly
playfournotesineachmeasure.Whenyoutrigger
thisGE,itproducesnotesinarandomorderof(for
example)CDDC,DCEC,DECD.Evenif
youtriggerthisGEagain,itreproducesthesame
phraseofCDDC,DCEC,DECD.Ifyou
changetheStartSeedvalue,adifferentphrase
willbegenerated;forexample,EECD,DCCC,
EEEE.
3. StartSeed:0:Random,FreezeLoopLength:
132
Thephrasewillchangerandomlyeachtime
triggeringoccurs.However,thatphrasewillloop
(repeat)forthenumberofmeasuresyouspecifiedin
FreezeLoopLength.Thesamephrasewill
continueloopinguntilyoutriggertheGEagain.
WhenyoutriggertheGEagain,adifferentphrase
willloop.Forexample,supposethereisaGEthat,if
youinputCDEF,willrandomlyvarytheorderof
notes,andrepeatedlyplayfournotesineach
measure.IfyousetFreezeLoopLengthto1
(measure)andtriggerthisGE,thesamefournotes
willcontinuelooping(e.g.,FEDC,FEDC,FE
DC,).Whenyoutriggeritagain,adifferent

phrasewillloop(e.g.,DDCC,DDCC,DDC
C,).(SeeRetriggerEachTime,below.)
4. StartSeed:anyvalue,FreezeLoopLength:
132
Thesamephrasewillplayeachtimeyoutriggerthe
GE.Thatphrasewillloopforthenumberof
measuresyouspecifiedinFreezeLoopLength.
Forexampleifyouselectaprogramorcombination,
andmakethesesettingsforaKARMAModulethat
generatesrandomchangeseachtimeitistriggered,
theexactsamephrasewillloopeverytime.The
phrasethatisloopedwillbedifferentifyouchange
theStartSeedvalue.Forexample,supposethere
isaGEthat,ifyouinputCDEF,willrandomly
varytheorderofnotes,andrepeatedlyplayfour
notesineachmeasure.IfyousetFreezeLoop
Lengthto1(measure)andtriggerthisGE,the
samefournoteswillloop(e.g.,DEEC,DEEC,
DEEC,).EvenifyoutriggertheGEagain,the
samephrase(DEEC,DEEC,DEEC,)will
bereproduced.IfyouchangetheStartSeedvalue,
adifferentphrase(e.g.,CCEE,CCEE,CCEE,
)willloop.(SeeRetriggerEachTime,below.)

Retrigger Each Time

[Off, On]

WhensettoOn(checked),everytimethespecified
looplengthiscompleted,thePhasePattern,Envelopes,
andIndexeswillretriggerasifthekeyboarditselfwas
retriggered.Thismeansthatthenotesinthephrase
willberestartedaccordingtotheNoteTriggersettings
(+NoteTriggeronpage 118)andtheapplicable
internalsettingsoftheGE,andanyenvelopeswillbe
retriggeredaccordingtotheEnvelopeTrigger/Latch
settings(+ EnvelopeTriggeronpage 118,
EnvelopeLatchonpage 119)
WhenOff(unchecked),theoveralllengthofthe
internalGEPhasePatterncontrolswhentheloopwill
beretriggered.Forexample,ifthePhasePatternis8
bars,andtheFreezeLoopLengthissetto2bars,
thentherandomizationswillresetevery2bars
(controllingtherhythmandmovementofnotes,for
example),butthemelodyandenvelopesmaynot
triggerfromthebeginninguntilevery8barsis
completed.(+CheckingtheFreezeRandomize
function,andperformingCaptureRandomSeedon
page 157)
NotavailableunlessFreezeLoopLengthissetto
somethingotherthanOff(unchecked).
Note:Insomecases,thetwosettingsmaysoundthe
same,dependingontheinternalsettingsoftheGE.

t 7-8: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyKARMAModule.Formoreinformation,
seeCopyKARMAModuleonpage 155.

131

Program mode: HD-1

3:InitializeKARMAModule.Formore
information,seeInitializeKARMAModuleon
page 156.
4:CopyScene.Formoreinformation,seeCopy
Sceneonpage 157.

5:SwapScenes.Formoreinformation,seeSwap
Sceneonpage 157.
6:CaptureRandomSeed.Formoreinformation,
seeCaptureRandomSeedonpage 157.

79: Name/Note Map


79PMC

79a
79b

79c

HereyoucanassignthenamesforKARMASLIDERS
18andKARMASWITCHES18,viewGlobalNote
MapTables,andedittheCustomNoteMapTable
storedwiththeProgram.

79a: Program Name and Tempo


Fordescriptionsoftheseparameters,pleasesee72a:
ProgramNameandTempoonpage 110.

79b: Module A
HereyoucanassignthenamesforKARMASLIDERS
18andKARMASWITCHES18.
TheRTCModelsincludeappropriatenamesforthe
slidersandswitches.However,youmaywishtoedit
thenamesifyoumodifythecontrolassignments,or
createnewones.

Slider1Slider8

[000: (no name)


571: Waveform Select [16]]

SelectsthenamefortheKARMASLIDERS.

Switch1Switch8

[000: (no name)


571: Waveform Select [16]]

SelectsthenamefortheKARMASWITCH.

132

Note:TheSliderandSwitchnamescanalsobe
automaticallyassignedtonewcontrolassignments
usingthePageMenuAutoAssignKARMARTC
Namecommand.Formoreinformation,seeAuto
AssignKARMARTCNameonpage 148.

79c: Note Map


NoteMapsallownotesbeinggeneratedbytheGEto
beselectivelyremappedtoothernotes,orremoved
completely(changedintorests).Hereyoucanview
GlobalNoteMapTables,andedittheCustomNote
MapTablethatisstoredwitheachProgram.TheNote
MapTableisassignedinModuleParametersControl:
NoteMap(seeNoteMaponpage 115).

Table

[Custom, sidestick/rides1maj7->oct]

Thereare64GlobalNoteMapTablesprovidedinthe
systemwhichcannotbeedited,andprovideawide
varietyofpresetnoteremappingfunctions.Thereis
alsoasingleCustomNoteMapTablestoredineach
Program,Combi,andSequence.
WhenTable=Custom,youcanedittheCustom
TableusingtheInandOutparametersbelow.
WhenTableisoneofthe64GlobalTables,you
cannoteditit.

Program P7: KARMA 79: Name/Note Map

In (Note In)

[C-1G9]

Specifiesanotenumber(ofdatabeinggeneratedby
theGE)thatyouwanttomaptoadifferentnoteorto
remove(changetoarest).

Note:WhenInisselected,youcanholddownthe
ENTERswitchandpressanoteonthekeyboardtoset
theInfieldtothatnote.

79c

Out (Note Out)

[Remove, C-1G9]

Reset

[button]

Specifywhatwillbedonewiththenoteyouspecified
intheInfield.

Restoresthecurrenttabletolinear/nochange(a
diagonalline).

Remove:ThenotespecifiedbyInwillberemoved
fromtheoutputdata(andchangedtoarest).

t 7-9: Page Menu Commands

C1G9:ThenotespecifiedbyInwillbeconverted
tothenotenumberyouspecifyhere,andsenttothe
tonegenerator.
Note:WhenOutisselected,youcanholddownthe
ENTERswitchandpressanoteonthekeyboardtoset
theOutfieldtothatnote.

Table GridThisareagraphicallyshowstheoverall
InandOutsettingsinvisualform.
Thehorizontalaxis(Xaxis)correspondstothe
incomingnotenumbers,andtheverticalaxis(Yaxis)
correspondstotheoutgoingnotenumbers.Thenote
transmittedforeachreceivednoteisshownbythe
lightbluepixels.Notesthatarebeingremovedfrom
theincomingdataareshowninyellowpixelsinthe
bottomRemoverow.Astraightdiagonalline
representsnochange(whatgoesinispassedthrough
withoutmodifications).
Youcanusethe
buttonslocatedbelowthe
graphictochangetheInnotenumberupordown.

Octave Replicate

[Off, On]

WhenOn(checked),anyeditthatyoumakewithinan
octavewillbemadeineveryoctave.Thisismainlyfor
applyingthetabletoMelodicGEs,whereyouwantto
dosomethinglikeremoveeveryminorthird,remap
everyfourthtoafifth,etc.,andhavethatchangetake
placeineveryoctave.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyKARMAModule.Formoreinformation,
seeCopyKARMAModuleonpage 155.
3:InitializeKARMAModule.Formore
information,seeInitializeKARMAModuleon
page 156.
4:CopyScene.Formoreinformation,seeCopy
Sceneonpage 157.
5:SwapScenes.Formoreinformation,seeSwap
Sceneonpage 157.
6:CaptureRandomSeed.Formoreinformation,
seeCaptureRandomSeedonpage 157.
7:AutoAssignKARMARTCName.Formore
information,seeAutoAssignKARMARTC
Nameonpage 148.
9:CopyNoteMap.Formoreinformation,see
CopyNoteMaponpage 148.

133

Program mode: HD-1

Program P8: Insert Effect


Thesepagesletyoucanmakesettingsfortheinsert
effects.Forinstance,youcan:

Makedetailedsettingsforinserteffects

Sendtheoutputofaoscillatortoaninserteffect

Formoreinformation,pleaseseeEffectGuideon
page 857.

Routeasoundtoaninserteffect

MakecommonLFOsettingsforeffects

81: Routing
81PMC

81a

81b

81c

81d

81e

81f

Use Dkit Setting

81a: Routing Map


Thisgraphicshowsanoverviewoftheinserteffects,
includingtheroutingoftheoscillatorstotheeffects,
theeffectsnamesandon/offstatus,chainingbetween
theeffects,andtheoutputbustowhichtheinsert
effectsarethemselvesrouted.
Thispageletsyouadjusttheroutingoftheoscillators
totheinserteffects.Toadjusttheothersettingsshown
inthisgraphic,see85:InsertFX,asdescribedon
page 137.
Note:DrumTrackroutingishandledseparately.For
moreinformation,see13f:Busonpage 44.

81b: Program Information & Use DKit


Bank

[INTAG, USERAG and AAGG]

[Off, On]

ThisisshownifOscillatorModeissettoDrumsor
DoubleDrums.IfOscillatorModeissettoSingleor
Double,itisignored.Formoreinformation,pleasesee
OscillatorModeonpage 36.
On(checked):DrumKitscanhavedifferentBus
Select,FXControlBus,Send1,andSend2settings
(Global53b)foreachnote.WhenUseDkitSettingis
On,theseperkeysettingswillbeused.Youcanuse
thistoapplyindividualinserteffectstospecificdrum
instruments,ortosendspecificdruminstrumentsto
individualoutputs.
Tip:MostofthefactoryDrumKitsusestandardBus
Selectsettings,asdetailedbelow:
SnaresIFX1
KicksIFX2
TomsIFX3

Program Name
Tempo ( q )

[000127/001128: Name]
[040.00300.00, EXT]

Thisareadisplaysinformationabouttheprogram
selectedforediting,includingtheProgramBank,
number,andname,andthetempousedforLFOs,
effects,andKARMA.

134

CymbalsIFX4
Percussion,etc.IFX5
Off(unchecked):TheProgramsnormalsettingsfor
BusSelect,FXControlBus,andOSCMFXSendwill
beused;seebelowformoreinformationonthese
parameters.Alldruminstrumentswillbesenttothe
samebusses.

Program P8: Insert Effect 81: Routing

UseDkitSetting=On

81c: Bus Select (IFX/Indiv.Out Assign)

81e: REC Bus

All OSCs to

All OSCs to

[L/R, IFX112, 14, 1/23/4, Off]

[Off, 14, 1/2, 3/4]

Thisspecifiestheoutputbusforbothoscillators1and
2.

Thesesettingssendtheoutputofoscillators1and2to
theRECbusses(fourmonochannels:1,2,3,4).

L/R:TheoscillatorswillgototheL/Rbus.Thisisthe
defaultsetting.

TheRECbussesarededicatedinternalbussesfor
recording,usedforsamplinginthevariousmodesor
forrecordingaudiotracksinSequencermode.

IFX112:TheoscillatorswillgotothespecifiedIFX
bus.
14:Theoscillatorswillberoutedinmonotothe
specifiedAUDIOOUTPUT(INDIVIDUAL).
1/23/4:Theoscillatorswillberoutedinstereo,using
thePansetting(41c,45:Amp/Driver2),tothe
specifiedAUDIOOUTPUT(INDIVIDUAL)pair.
Off:Theoscillatorswillnotgotoanyoftheoutputs
directly.Youcanusethistoroutethesoundcompletely
throughtheMFX.UseSend1(toMFX1)andSend2(to
MFX2)tospecifythesendlevels.

81d: FX Control Bus


All OSCs to

[Off, 1, 2]

Sendstheoutputofoscillators1and2toanFXControl
bus(twochannelstereoFXCtrl1or2).

InProgrammode,youcanresampleyourkeyboardor
KARMAperformance,orsampleanexternalaudio
signalfromtheAUDIOINPUTjacks.
Inorderforyoutosample,SourceBusmustbesettoa
RECbus.
NormallyyouwillsetSourceBustoL/Rsothatyou
cansamplethesignaloftheL/Rbusline,suchasyour
keyboardorKARMAperformance.However,youcan
useaRECbusifyouwanttosampleonlyanaudio
inputwhileperformingonthekeyboardorKARMA
functionwhicharebeingoutputviaLandR.If
desired,multipleaudioinputscanbemixedtoaREC
bus,orthedirectsignalfromanaudioinputcanbe
mixedtoaRECbusalongwiththesoundfroman
inserteffectandsampled.Formoreinformation,see
thediagramSourceBus=RECBus1/2onpage 18.
Off:ThesignalwillnotbesenttoaRECbus.Thisis
thedefault.

UsetheFXControlbusseswhenyouwantaseparate
soundtocontroltheaudioinputofaneffect.Youcan
usetwoFXControlbusses(eachisatwochannel
stereobus)tocontroleffectsinvariousways.

14:TheoscillatorswillbesenttothespecifiedREC
bus,inmono.ThePansettings(41c,45:
Amp/Driver2)willbeignored.

Formoreinformation,pleaseseeFXControlBuses
onpage 860.

1/2,3/4:Theoscillatorswillbesentinstereotothe
selectedpairofRECbusses.

135

Program mode: HD-1

81f: OSC MFX Send


OSC1 Send1 (to MFX1)

[000127]

Setsthevolume(sendlevel)atwhichtheoutputof
oscillator1willbesenttomastereffect1.Thisapplies
onlywhenBusSelect(81c)issettoL/RorOff.
IfBusSelectissettoIFX1IFX12,thesendlevelsto
mastereffects1and2aresetbySend1andSend2(8
5a)afterpassingthroughIFX112.

OSC1 Send2 (to MFX2)

[000127]

Setsthevolume(sendlevel)atwhichtheoutputof
oscillator1willbesenttomastereffect2(seeOSC1
Send1(toMFX1)).

OSC2 Send1 (to MFX1)

[000127]

OSC2 Send2 (to MFX2)

[000127]

Setsthevolume(sendlevel)atwhichtheoutputof
OSC2willbesenttomastereffects1and2.These
parameterswillbevalidwhenOscillatorModeisset
toDoubleandBusSelectissettoL/RorOff.
Note:YoucanusethecontrolsurfacetocontrolSend1
andSend2.Thesecanalsobecontrolledfromthemixer
sectionofthefrontpanel,orfromtheP0Control
SurfacepageoftheLCDscreen.Herestheprocedure
foreditingthesesettingsfromthefrontpanel.
1. PresstheCONTROLASSIGNMIXER
TIMBRE/TRACKswitchtoturniton(lit).
2. PresstheMIXERKNOBSswitchtoselect
CHANNELSTRIP.
3. UsetheMIXERSELECT12switchestoselectthe
oscillatorwhosesendlevelsyouwanttoadjust.
4. UseFXSEND1(knob7)andFXSEND2(knob8)
tocontrolthesendlevels.
IfBusSelect(IFX/Indiv.OutAssign)issettoL/Ror
OFF,thiswillcontrolOSC1Send1(toMFX1)and
OSC2Send2(toMFX2).
IfBusSelect(IFX/Indiv.OutAssign)issettoIFX1
12,thiswillcontrolSend1andSend2(P8InsertFX
page).
CC#93scalesOSC1/2sSend1level,andCC#91
scalestheSend2level.Thesearecontrolledonthe
globalMIDIChannel(Global11a).Theactual
sendlevelisdeterminedbymultiplyingthese
valueswiththesendlevelsofeachoscillator.

t 81: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyInsertEffect.Formoreinformation,see
CopyInsertEffectonpage 159.
3:SwapInsertEffects.Formoreinformation,see
SwapInsertEffectonpage 159.

136

Program P8: Insert Effect 85: Insert FX

85: Insert FX
85b

85PMC

85a

85a: IFX
Hereyoucanchooseeffectsforeachofthe12inserts,
turnthemonandoff,configurechaining,andadjust
thepostIFXmixersettings.Forinserteffects,thedirect
sound(Dry)isalwaysstereoinandout.The
input/outputconfigurationoftheeffectsound(Wet)
dependsontheeffecttype.Formoreinformation,
pleaseseeInsertEffects(IFX1IFX12)onpage 864.

IFX1
IFX1

[000185]

Thisselectstheeffecttypeforinserteffect1.

Category/IFX Select menu


Whenyoupressthepopupbutton,theCategory/IFX
Selectmenuwillappear,lettingyouselecteffectsby
category.

Usethetabstoselectacategory,andthenselectan
effectwithinthatcategory.PresstheOKbuttonto
executeyourselection,orpresstheCancelbuttonto
cancel.

IFX1 On/Off

[Off, On]

Switchestheinserteffecton/off.Thesettingwill
alternatebetweenonandoffeachtimeyou
pressthebutton.
Ifthisisoff,theinputwillsimplybepassedtothe
output.(When000:NoEffectisselected,theresno
audibledifferencebetweenOnandOff.)Note,
however,thatevenwhenthisissettoOff,theeffect
willcontinuetouseprocessingpower.
Separatelyfromthissetting,youcanuseMIDICC
#92(ontheglobalMIDIChannel)toturnallinsert
effectsoff.Avalueof0turnsthemoff,andvaluesof
1127restoretheoriginalsetting.

Chain to

[IFX2IFX12]

Youcanchainuptotwelveinserteffectstogetherin
series,tocreatemorecomplexeffects.Setupthechain
usingthisparameter,andthenenableitusingthe
Chaincheckbox,below.
Effectsmustbechainedinascendingnumericorder.
Forexample,IFX1canbechainedtoanyofIFX2
throughIFX12,andIFX2canbechainedtoIFX3
throughIFX12.
Youcanchaintwoormoreeffectsintothesamedown
streameffect.Forinstance,bothIFX1andIFX2canbe
chainedtoIFX6.
Effectscanalsojoinachaininthemiddle.Forinstance,
youcanchainIFX3toIFX4toIFX9,andthenchain
IFX2toIFX9aswell.

137

Program mode: HD-1

ThePan(CC#8),BusSelect,RECBus,andSend1/2
settingsapplyonlytothelasteffectinthechain.
However,anyeffectinthechaincanbesenttotheFX
Controlbuses.

Chain

[Off, On]

Thisenablesthechain,assetupbytheChainto
parameter,above.

Hereyoucanspecifyeachinserteffectseffecttype,
on/offstatus,chaining,andmixersettingsfollowing
theinserteffect.WiththeexceptionofChaintoand
Chain,theparametersarethesameasforIFX1.See
IFX1onpage 137.

IFX2: Chain to

[IFX3IFX12]

IFX3: Chain to

[IFX4IFX12]

IFX4: Chain to

[IFX5IFX12]

IFX5: Chain to

[IFX6IFX12]

IFX6: Chain to

[IFX7IFX12]

Specifiesthebustowhichthesignalwillbesent
immediatelyaftertheinserteffect.

IFX7: Chain to

[IFX8IFX12]

L/R:ThesignalwillbesenttotheL/Rbus,which
passesthroughTFX1and2andthengoestothemain
L/Routputs.Thisisthedefaultsetting.

IFX8: Chain to

[IFX9IFX12]

IFX9: Chain to

[IFX10IFX12]

14:Thesignalwillbesent,inmono,totheselected
individualoutput.

IFX10: Chain to

[IFX11IFX12]

IFX11: Chain to

[(IFX12)]

Pan (CC#8) (Post IFX Pan)

[L000C064R127]

Specifiesthepanningimmediatelyaftertheinsert
effect.
YoucanuseCC#8tocontrolthis.

Bus Sel. (Bus Select)

[L/R, 14, 1/23/4, Off]

1/2,3/4:ThesignalwillbepannedbythePan(CC#8)
setting,andsentinstereototheselectedpairofaudio
outputs.
Off:Thesignalwillnotbesentdirectlytotheoutputs.
Thissettingisusefulifyouwantto:
UseSend1or2toroutethesignalentirelythrough
themastereffects,withoutsendingthedrysignalto
theoutputs.

Thesespecifythechaindestinationforeachinsert
effect.IfChainisenabled,theinserteffectwillbe
connectedinseriestotheIFXspecifiedbytheChainto
setting.

Chain

[Off, On]

Specifieswhetherinserteffectswillbeconnectedin
series.

UsetheFXControlBustoroutethesignaltoan
effectssidechain,suchasagateorvocoder,
withoutbeinghearddirectlyattheoutputs.

IftheChaincheckboxison,thisinserteffectwillbe
connectedinseriestotheinserteffectselectedby
Chainto.ThisisnotavailableforIFX12.

UsetheRECBustorecordthesignal,without
routingthesignaldirectlytotheoutputs.

Tip:IfyoumovefromthispagetotheP8IFX112
page,theIFXyouchooseherewillbeselected.

FX Control Bus

[Off, 1, 2]

ThissendsthepostIFXsignaltotheFXControl
busses.Formoreinformation,see81d:FXControl
Busonpage 135.

REC Bus

[Off, 1, 2, 3, 4, 1/2, 3/4]

SendsthepostIFXsignaltotheRECbusses.Formore
information,seeSee81e:RECBusonpage 135.If
youwanttoresampleviatheRECbusses,setthe
samplingSourceBus(08d)toREC1/2orREC3/4.

Send1

[000127]

Send2

[000127]

TheseadjustthelevelatwhichthepostIFXsignalis
senttomastereffects1and2.ThisisvalidifBusSelect
(85a)issettoL/RorOff.
Note:YoucanusethecontrolsurfacetocontrolSend1
andSend2.(See81f:OSCMFXSendonpage 136)
YoucanuseCC#93tocontroltheSend1level,and
CC#91tocontroltheSend2level.TheglobalMIDI
channelspecifiedbyMIDIChannel(Global11a)is
usedforthesemessages.

138

IFX212

t 85: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyInsertEffect.Formoreinformation,see
CopyInsertEffectonpage 159.
3:SwapInsertEffects.Formoreinformation,see
SwapInsertEffectonpage 159.
4:InsertIFXSlot.Formoreinformation,seeInsert
IFXSlotonpage 160.
5:CutIFXSlot.Formoreinformation,seeCutIFX
Slotonpage 161.
6:CleanUpIFXRoutings.Formoreinformation,
seeCleanUpIFXRoutingsonpage 162.

Program P8: Insert Effect 86: Track View

86: Track View


85b

86PMC

11a
86a

86b

86a: Track View


Thisshowstheoscillator1,2outputandinserteffect
routing.
Theselectedslotisshownindarkblue.Inthe
Selectedareabelow,youcanspecifytheEffect
TypeandOn/Offstatus.TheInsertIFXSlotand
CutIFXSlotpagemenucommandswillapplytothe
slotyouselecthere.
IfyoumovefromthispagetotheP8IFX112page,
theIFXyouchooseherewillbeselected.
Inthefollowingdiagram,theAudioInshownbelow
IFX10andIFX11indicatestheinserteffectsthrough
whichAudioInput12andS/P DIFL/Rarepassing.
Inthisexample,youcanseethatAudioInput12and
S/P DIFL/RarepassingthroughIFX11andIFX12.

ThefollowingdiagramshowstheIFXassignedtoeach
keyofadrumkitwhenOscillatorModeissetto
DrumsforanHD1ProgramandUseDKitSettingis
turnedon.
Inthisexample,youcanseethatIFX1,2,3,4,and5are
eachusedbyakeyinthedrumkit(showninlight
blue).IfyoupressanIFXthatisbeingused,thateffect
willbeshowninthelinebelow.

OUTPUTshowstheBusSelectsettingthatfollows
theinserteffects.Thistellsyouwheretheaudiosignal
isbeingoutput.

86b: Selected

t 86: Page Menu Commands

HereyoucanspecifytheEffectTypeandOn/Off
statusoftheinserteffectslotselectedbyTrackSelect.
(86a:TrackView,above)

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

139

Program mode: HD-1

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

4:InsertIFXSlot.Formoreinformation,seeInsert
IFXSlotonpage 160.

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

5:CutIFXSlot.Formoreinformation,seeCutIFX
Slotonpage 161.

2:CopyInsertEffect.Formoreinformation,see
CopyInsertEffectonpage 159.

6:CleanUpIFXRoutings.Formoreinformation,
seeCleanUpIFXRoutingsonpage 162.

3:SwapInsertEffects.Formoreinformation,see
SwapInsertEffectonpage 159.

87: IFX 112


87PMC

87a
87b

Thispageletsyoueditthedetailedparametersofthe
twelveinserteffects.UsethetabsatlefttoselectIFX1
throughIFX12.
Toselectdifferenteffectstypes,usetheInsertFXor
TrackViewpages.Formoreinformation,see85:
InsertFXonpage 137and86:TrackViewon
page 139.

Effects Modulation: Dmod

[Off, On]

Thisturnstheinserteffectonandoff.Itislinked
withtheon/offsettingintheInsertFXpage.

P (Effect Preset)

[P00, P0115,
U0015, -------]

EffectPresetsletyoueasilystoreandrecallall
ofthesettingsforanindividualeffect.Youcan
storeupto16userpresetsforeacheffecttype,in
additionto15rewritablefactorypresets.

Mosteffectshaveoneormoreparameterswhichcan
bemodulatedinrealtime.IntheKRONOS,thisis
calledDynamicModulation,orDmodforshort.

Thesamepresetsappearinallofthemodes(Program,
Combi,Sequence,andSampling),andsetsofpresets
canbesavedtoandloadedfromdisk.

ForacompletelistofDmodsources,seeDynamic
ModulationSourceListonpage 1101.

Notethateditstoeffectsparametersareautomatically
storedwiththeProgramyoudontneedtostorethem
asanEffectPreset.Presetsjustmakeiteasiertoreuse
yourfavoritesettings.

Effectdynamicmodulation(Dmod)iscontrolledon
theglobalMIDIChannel(Global11a).Formore
information,seeDynamicmodulation(Dmod)and
TempoSynchronizationonpage 859.

87a: IFX1
Hereyoucanedittheparametersoftheinserteffect
youselectedintheP8InsertFXpage.Usethetabsat
thelefttoselectIFX112.

140

IFX1 On/Off

Forinstance,youcansaveanEffectPresetwhile
workingonaparticularProgram,andthenlateruse
thesameEffectPresetinadifferentProgram,Combi,
orSong.
P00:InitialSet:Thesearethedefaultsettingsthatare
recalledwhenyouselectaneffecttypeintheInsertFX
page.Youcantsaveyourownsettingshere.

Program P8: Insert Effect 89: Common FX LFO

P01P15:ThesecontainKorgpresetdata.We
recommendthatyoustoreyoursettingsinU00U15.
U00U15:Theseareareasinwhichyoucanstoreyour
ownsettings.
:ThisshowsthatnoEffectPresethasbeen
selected.Youllseethisifyouvejustselectedaneffect,
writtenaProgram,orselectedanewProgram.
Selectingthissettingfromthemenuwillnothaveany
effect.
Note:Programssavetheeffectsparametersettings,but
theydontsavethenumberoftheselectedEffect
Preset.IfyouselectanEffectPreset,andthensavethe
Program,theEffectPresetsettingwillrevertto
.

Using Effect Presets


1. SelectaneffectintheInsertFXpage.
2. TheP00:InitialSetsettingswillberecalled.
P(EffectPreset)willshow.
3. UseP(EffectPreset)toselectaneffectpreset:
P00P15orU00U15.
Thestoredparameterswillberecalled.Notethat
thiswilloverwriteallparametersoftheeffect.
4. Edittherecalledparametersasdesired.
5. Ifyouvecomeupwithsettingsyoulikeandwant
tosavethemasanewpreset,usetheWriteFX
Presetmenucommand.

IFX1 Parameters
ThistabshowstheparametersforIFX1,asselectedon
theP8:InsertFXpage.
Fordetailsonthespecificparametersofeacheffect,
pleaseseeInsertEffects(IFX1IFX12)onpage 864.

87b: IFX212
ThesetabsshowtheparametersforIFX212,as
selectedontheP8:InsertFXpage.Theyhavethesame
controlsasdescribedunder87a:IFX1,above.

t 87: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyInsertEffect.Formoreinformation,see
CopyInsertEffectonpage 159.
3:SwapInsertEffects.Formoreinformation,see
SwapInsertEffectonpage 159.
4:WriteFXPreset.Formoreinformation,see
WriteFXPresetonpage 163.

89: Common FX LFO


89PMC

89a

89b

ThetwoCommonFXLFOsallowyoutosynchronize
LFObasedmodulationformultipleeffects,suchas
phasers,flangers,filters,andsoon.

TheCommonLFOscontrolonlythefrequency,MIDI
synchronization,andresetoptions;eachindividual
effectstillhasitsownsettingsfortheLFOwaveform
andphase.

141

Program mode: HD-1

Withintheindividualeffects,youcanchoosewhether
touseoneoftheCommonLFOs,ortousethe
individualeffectsfrequency,sync,and/orresetsettings
instead.ThisisdoneviatheeffectsLFOType
parameter;selectIndividualtousetheeffectssettings,
orCommon1or2tousetheCommonLFOs.
Dmod(DynamicModulation)iscontrolledonthe
globalMIDIchannelspecifiedinGlobalmodeP1.

MIDI/Tempo Sync

Off(unchecked):TheFrequencysettingswill
determinethespeedoftheLFO,andthetempo
settingswillhavenoeffect.

89a: Common FX LFO1

BPM

Sync (Reset)

[Off, On]

On(checked):TheLFOwillsynchronizetothesystem
tempo,assetbyeithertheTempoknoborMIDIClock.
TheLFOspeedwillbecontrolledbytheBaseNoteand
Timesparameters,below.AllsettingsforFrequency
andFrequencyModulationwillbeignored.

[Off, On]

ThisspecifieswhethertheCommonFXLFOwillbe
reset.

[MIDI, 40.00300.00]

Base Note

[r w ]

Ifthisison,operatingtheSource(below)willresetthe
phaseoftheLFO.

ThissetsabasicrhythmicvaluefortheLFOspeed,
relativetothesystemtempo.Thevaluesrangefroma
32ndnotetoawholenote,includingtriplets.Itapplies
onlywhenMIDI/TempoSyncisOn.

Source (Dmod Source)

Times

[List of Dmod Sources]

IfSync(Reset)ison,thisselectstheDmodsource
thatwillresettheCommonLFO.Foracompletelistof
Dmodsources,seeDynamicModulationSourceList
onpage 1101.
Thiswillbeoffwhenthemodulationsource
specifiedbySourcehasavaluebelow64,andon
whenthevalueisabove64.TheLFOwillbereset
whenthisvaluerisesfromalevelbelow64toalevel
higherthan64.

Frequency

[0.0220.00 Hz]

[0132]

ThismultipliesthelengthoftheBaseNote.For
instance,iftheBaseNoteissettoasixteenthnote,and
Timesissetto3,theLFOwillcycleoveradotted
eighthnote.

89b: Common FX LFO2


TheparametersareidenticaltothoseforCommonFX
LFO1,asdescribedunder89a:CommonFXLFO1
onpage 142.

ThisspecifiesthefrequencyoftheCommonFXLFO.
HighervaluesmaketheLFOfaster.
Common FX LFO
LFO Type = Common1

Common FX LFO1
Frequency[Hz]
Reset

Stereo Flanger
Waveforem = Triangle
Phase Offset = 0 [deg]

Generate original LFO waveform

Stereo Phaser
Waveforem = Sine
Phase Offset = 0 [deg]

Stereo Auto Pan


Waveforem = Sine
Phase Offset = +90 [deg]

t 89: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyInsertEffect.Formoreinformation,see
CopyInsertEffectonpage 159.

142

3:SwapInsertEffects.Formoreinformation,see
SwapInsertEffectonpage 159.

Program P9: Master/Total Effect 91: Routing

Program P9: Master/Total Effect


Hereyoucanmakesettingsforthemastereffectsand
totaleffects.Forinstance,youcan:

Makedetailedsettingsformastereffectsandtotal
effects

Routeasoundtoanmastereffectsandtotaleffects

Formoreinformation,pleaseseeEffectGuideon
page 857.

91: Routing
85b

91PMC

11a

91a

91b
91c

Hereyoucanspecifythetypeofmastereffectsand
totaleffects,andturnthemon/off.
ThemastereffectsaresenttotheL/Rbus.Thetotal
effectsareinsertedintotheL/Rbus.

91a: MFX1, 2
Themastereffectdoesnotoutputthedirectsound
(Dry).AdjusttheReturn1andReturn2return
levelstoreturnthesignaltotheL/Rbusandmixit
withtheL/Rbussignal.
Themastereffectsarestereoin/out,butdependingon
theselectedeffecttype,theoutputmaybemonaural.
SeeIn/Outonpage 864.

MFX1 On/Off

[000185]

Thisselectstheeffecttypeformastereffect1.Youcan
useanyoftheavailableeffects,withoutlimitation.If
youchoose000:NoEffect,theoutputfromthemaster
effectismuted.

Category/MFX Select menu


Whenyoupressthepopupbutton,theCategory/MFX
Selectmenuwillappear,lettingyouselecteffectsby
category.Usethetabstoselectacategory,andthen

[Off, On]

Switchesthemastereffect1on/off.Whenoff,the
outputwillbemuted.Thiswillalternate
betweenonandoffeachtimeitispressed.
Separatelyfromthesettingshere,youcanuse
controlchange#94toturnmastereffects1and2off.
Avalueof0turnsthemoff,andvaluesof1127
restoretheoriginalsetting.TheglobalMIDIchannel
specifiedbyMIDIChannel(Global11a)isused
forthismessage.

Return 1

MFX1
MFX1

selectaneffectwithinthatcategory.PresstheOK
buttontoexecuteyourselection,orpresstheCancel
buttontocancel.

[000127]

Thisspecifiesthereturnlevelfromthemastereffectto
theL/Rbus(afterwhichitpassesthroughTFX1and2,
andissentfromL/MONOandR).

MFX2
MFX2
MFX2 On/Off
Return 2

[000185]
[Off, On]
[000127]

Theseparametersspecifytheeffecttypeformaster
effect2,itson/offstatus,andthereturnlevelfrom
mastereffect2totheL/Rbus.SeeMFX1onpage 143.

143

Program mode: HD-1

Category/MFXSelectmenu

Chain:
Chain On/Off

Category/TFX Select menu


[Off, On]

On(checked):Chain(seriesconnection)willbeturned
onforMFX1andMFX2.

Chain Direction

[MFX1->MFX2, MFX2->MFX1]

SpecifiesthedirectionoftheconnectionwhenMFX1
andMFX2arechained.
MFX1MFX2:ConnectfromMFX1toMFX2.
MFX2MFX1:ConnectfromMFX2toMFX1.

Chain Level

[000127]

WhenchainisOn,thissetsthelevelatwhichthe
soundissentfromthefirstmastereffecttothenext
mastereffect.

91b: TFX1, 2
Thesearetheparametersfortotaleffect1and2,which
areplacedatthefinalstageoftheL/Rbus.After
passingthroughthetotaleffects,thesoundisoutputto
AUDIOOUTPUT(MAINOUT)L/MONOandR.
Forthetotaleffects,thedirectsound(Dry)isalways
stereoin/out.Theinput/outputconfigurationofthe
effectsound(Wet)willdependontheselectedeffect
type.
Thetotaleffectsarestereoinandstereoout,butthe
outputmaybemonauraldependingonthetypeof
effectyouselect.(SeeIn/Outonpage 864.)

TFX1
TFX1

[000185]

Thisselectstheeffecttypefortotaleffect1.Youcanuse
anyoftheavailableeffects,withoutlimitation.

144

Whenyoupressthepopupbutton,theCategory/TFX
Selectmenuwillappear,lettingyouchooseeffecttypes
bycategory.Usethetabstoselectaneffectcategory,
andthenchooseaneffectwithinthatcategory.Press
theOKbuttontoexecuteyourchoice,orpressthe
Cancelbuttontocancel.

TFX1 On/Off

[Off, On]

Thisturnstotaleffect1on/off.Ifthisisoff,the
inputwillbepasseddirectlythrough.The
settingwillalternatebetweenon/offeachtime
youpressthis.
Separatelyfromthissetting,youcanusecontrol
change#95toturnbothtotaleffectsoff.Avalueof0
turnsthemoff,andvaluesof1127restorethe
originalsetting.TheglobalMIDIchannelspecified
byMIDIChannel(Global11a)isusedforthis
message.

TFX2
TFX2
TFX2 On/Off

[000185]
[Off, On]

Theseparametersspecifytheeffecttypeandon/off
statusfortotaleffect2.SeeTFX1onpage 144.

91c: Master Volume


Master Volume

[000127]

Thisspecifiesthefinalleveloftheaudiooutputthat
haspassedthroughtotaleffects1and2,andoutput
fromAUDIOOUTPUT(MAINOUT)L/MONOandR.
Note:Youcancontrolthemastervolumefromthe
controlsurface.Youcanalsocontrolthissettingfrom
theP0ControlSurfacepage.

Program P9: Master/Total Effect 92: MFX1

1. PresstheCONTROLASSIGNMIXER
TIMBRE/TRACK,MIXERAUDIOorR.TIME
KNOBS/KARMAswitchtoturniton(lit).
2. UsetheMIXVOLUMESMASTERsliderto
controlthelevel.

t 91: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyMFX/TFX.Formoreinformation,see
CopyMFX/TFXonpage 162.
3:SwapMFX/TFX.Formoreinformation,see
SwapMFX/TFXonpage 163.

92: MFX1
92PMC

92a

Effects Modulation: Dmod

92a: MFX1

Mosteffectshaveoneormoreparameterswhichcan
bemodulatedinrealtime.IntheKRONOS,thisis
calledDynamicModulation,orDmodforshort.

Hereyoucanedittheparametersoftheeffectyou
chooseforMFX1intheP9Routingpage.

ForacompletelistofDmodsources,seeDynamic
ModulationSourceListonpage 1101.
Effectdynamicmodulation(Dmod)iscontrolledon
theglobalMIDIChannel(Global11a).Formore
information,seeDynamicmodulation(Dmod)and
TempoSynchronizationonpage 859.

MFX1 On/Off

[Off, On]

Thisturnsmastereffect1on/off.Itislinkedwiththe
on/offsettingintheP9Routingpage.

P (Effect Preset) [P00, P0115, U0015, --------]

Thisselectstheeffectpreset.Formoreinformation,
pleaseseeP(EffectPreset)onpage 140.

MFX1 Parameters
Hereyoucanedittheparametersofthemastereffect
selectedintheP9Routingpage.

145

Program mode: HD-1

Formoreinformationonusingthemastereffects,
pleaseseeMasterEffects(MFX1,2)onpage 877.

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

t 92: Page Menu Commands

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

2:CopyMFX/TFX.Formoreinformation,see
CopyMFX/TFXonpage 162.
3:SwapMFX/TFX.Formoreinformation,see
SwapMFX/TFXonpage 163.
4:WriteFXPreset.Formoreinformation,see
WriteFXPresetonpage 163.

93: MFX2
94: TFX1
95: TFX2
ThesepagesletyouedittheparametersofMaster
Effect2andTotalEffects1and2.Toselectdifferent
effectstypes,usetheRoutingpage,asdescribedunder
91:Routingonpage 143.
TheparametersforMFX2,TFX1,andTFX2arethe
sameasforMFX1.Formoreinformation,see92:
MFX1onpage 145.

146

Program: Page Menu Commands ENTER + 0-9: shortcuts for menu commands

Program: Page Menu Commands


ENTER + 0-9: shortcuts for menu
commands
Eachpagehasasetofmenucommands,which
provideaccesstodifferentutilities,commands,and
options,dependingonthepageyourecurrentlyon.
Youcanusethemenucommandsentirelyfromthe
touchscreen,bypressingthemenubuttoninthe
upperrighthandcornerofthescreenandthen
selectinganoptionfromthemenuthatappears.
Eventhougheachpagemayhaveitsownunique
menucommands,themenusarestandardizedasmuch
aspossible.Forinstance,WRITEisalmostalwaysthe
firstmenuiteminProgram,Combination,and
Sequencemodes.
Youcantakeadvantageofthisstandardizationby
usingashortcuttoaccessanyofthefirsttenmenu
items:
1. HolddowntheENTERkey.
2. Pressanumber(09)onthenumerickeypadto
selectthedesiredmenucommand,startingwith0.
Forinstance,press0forthefirstmenucommand,1for
thesecond,andsoon.
Ifthemenucommandjusttogglesanoptiononandoff
(suchasExclusiveSolo),thenyouredone.Ifthe
commandcallsupadialogbox,thedialogwillappear
ontheLCD,andyoucanproceedjustasifyoud
selectedthecommandfromthetouchscreen.

Write Program
ThiscommandwritesaneditedProgramintothe
KRONOSinternalmemory.Itisavailableonevery
pageinProgrammode.
WriteProgramletsyou:
Saveyouredits

TheupperlineofthedialogshowstheBank,number,
andProgramname.
IfyouwishtomodifytheProgramname,pressthetext
editbuttontomovetothetexteditdialogbox,and
enterthedesiredprogramname.
2. InCategoryandSubCategory,specifythe
categoryoftheprogramthatyouarewriting.
ThecategorycanbeusedtofindthisProgramwhen
selectingaprograminProgram,Combination,or
Sequencermodes.
Note:YoucaneditthesecategorynamesintheGlobal
ProgramCategorypage.Formoreinformation,see3
1:ProgramCategoryonpage 785.
3. PressToProgramtospecifythedestination
Bankandnumber.
YoucanalsousetheBANKINTAUSERGswitchesto
selectabank.
Important:HD1Programscanonlybewrittento
HD1Banks,andEXiProgramscanonlybewritten
toEXiBanks.Formoreinformationonthedefault
Banktypes,andonhowtochangethem,pleasesee
ProgramBankContentsonpage 3,and
ChangingtheBankTypeforUSERBankson
page 3.
4. ToWritetheProgram,presstheOKbutton.To
cancel,presstheCancelbutton.
Donotturnoffthepowerforatleast10seconds
afterusingtheWriteProgramcommand.This
allowsthesystemtimetocompletetheprocess,
whichincludessavingabackupofthedatatothe
internaldisk.

Saving edits to GM Programs


YoucaneditGMPrograms,butyoumustthensave
themtoaBankotherthanINTG;theGMPrograms
themselvescannotbeoverwritten.

RenametheProgram

Shortcut: SEQUENCER REC/WRITE

AssigntheProgramtoaCategory
MarktheProgramasaFavorite

YoucanalsousetheSEQUENCERREC/WRITEbutton
toquicklyupdatethecurrentProgram,usingthe
existingname,bank,number,andcategory.Todoso:

CopytheProgramtoadifferentBankandnumber

1. PresstheSEQUENCERREC/WRITEbutton.

BesuretoWriteanyProgramthatyouwishtokeep.
AneditedProgramcannotberecoveredifyoudo
notwriteitbeforeturningoffthepowerorselecting
anotherProgram.
1. SelectWriteProgramtoopenthedialogbox.

TheUpdateProgramdialogwillappear.
2. PressOKtowritetheprogram.

Exclusive Solo
ThiscommandisavailableoneverypageinProgram
mode.
ThemenusExclusiveSoloparameteraffectstheway
thatSoloworks.WhenExclusiveSoloisOff
(unchecked),youcansolomultipleTracksandinputs
atonce.
WhenExclusiveSoloisOn(checked),onlyoneMIDI
Track,HDRTrack,orAudioInputcanbesoloedata
time.Inthismode,pressingaSoloswitch
automaticallydisablesanyprevioussolos.

147

Program mode: HD-1

Onmostpages,youcanalsotoggleExclusiveSoloby
holdingENTERandpressing1onthenumeric
keypad.
FormoreinformationonSolo,pleasesee:
Programmode:Soloonpage 24
Combinationmode:Soloonpage 430

Copy Note Map


Thiscommandcopiessettingsfromapresettableor
fromthecustomnotemapofaspecifiedprogram,
combination,orsongtothecurrentlyselectedcustom
notemap.
1. ChooseCopyNoteMaptoopenthedialogbox.

Sequencemode:Soloonpage 536

Show MS/WS/DKit Graphics


ThisworksinconjunctionwiththeP1ProgramBasic
pagesPlayPageMS/WS/DKitDisplayparametersto
controlwhetherthemainP0Playpageshowsthe
overview/jumpparameters,ortheselectedgraphics.
ItonlyappliesifagraphichasbeenselectedforPlay
PageMS/WS/DKitDisplayOsc1orOsc2.Ifthese
parametersareinsteadsettoShowMS/WS/DKNames,
themenucommandhasnoeffect.Formore
information,see11h:PlayPageMS/WS/DKit
Displayonpage 41.
ThismirrorstheGlobalparameterShowMS/WS/DKit
Graphicsonpage 758.Changestothemenuare
reflectedintheGlobalparameter,andviceversa.To
savethissetting,usetheWriteGlobalSetting
commandinGlobalmode.

Add To Set List


Thiscommand,availableontheP0pagesofProgram,
Combination,andSequencermodes,allowsthe
additionofthecurrentitemtothecurrentSetList.
Whenyouselectthiscommand,thecurrentProgram,
Combination,orSongisinsertedatthecurrentSlot,
usingthesamelogicastheSetListEditpagesInsert
command.
ThenameoftheProgram,Combination,orSongis
copiedintotheslotname.Youcanchangethislaterif
desired.

ChooseCustomifyouwanttocopyfromthecustom
notemapusedbyadesiredprogram,combination,or
song.
Choosethedesiredtableifyouwanttocopyfroma
presettable.
Note:Bydefault,theTablesettingisselectedinthe
CopyNoteMapFromfield.Ifyouwanttocopya
presettable,itsagoodideatoverifyandselectthe
tablethatyouwanttocopytothecustomnotemap
beforeyouchoosethiscommand.
3. IfyouvespecifiedCustom,selectthecopysource
mode,bank,andnumber.Youcanalsoselectthe
bankbypressingtheBANKSELECT[IA][UG]
switches.
4. PresstheOKbuttontoexecutetheCopyNoteMap
command,orpresstheCancelbuttonifyoudecide
nottoexecute.
WhenyoupresstheOKbutton,theselectedtablewill
becopiedtothecustomnotemap.

Optimize RAM

Auto Assign KARMA RTC Name

OptimizeRAMisavailableontheAudioIn/Sampling
tabofthePlaypage.

ThiscommandisavailableontheKARMAGEtabof
thePlaypage,andtheName/NoteMaptabofthe
KARMApage.

Insomecases,especiallyifyouvebeenloadingand
deletingdifferentSamplesandMultisamples,the
internalmemorycanbecomefragmented.

AutoAssignKARMARTCNamewillautomatically
assignappropriatenamestotheKARMASlidersand
Switches,basedontheGERealTimeparametersand
PerformanceRealTimeparameterstowhichtheyare
assigned.YoucanusethiswhencreatingnewKARMA
functionassignments,oreditingexistingones.

Fragmentedmeansthattherearechunksofdata
scatteredthroughoutthephysicalRAM,liketoyblocks
scatteredacrossafloor.Whilethememoryisnt
completelyfull,someofitcantbeusedjustlikeits
difficulttowalkacrossamessyfloor.

Thenamesareselectedfromalistof400options,such
asRhythmSwing%andRhythmComplexity.
1. ChooseAutoAssignKARMARTCNameto
openthedialogbox.
2. Toexecutethecommand,presstheOKbutton.To
cancelwithoutexecuting,presstheCancelbutton.
Pleasebeawarethatevenwithunedited,factory
preloadedProgramsorCombinations,executing
thiscommandmayassignnamesthataredifferent
fromthosecurrentlyspecified.

148

2. UsetheFromfieldtospecifythecopysource
notemaptable.

TheOptimizeRAMcommandcleansupthefloor,so
tospeak.Itcollectsallofthedataintoasingle,
continuousareaofmemory,sothattheremainingfree
spacecanbeusedmoreefficiently.
Ifyourunoutofmemory,tryusingthiscommand;it
mayfreeupsomeextraspace.
YoucanchecktheremainingamountofRAMin
Samplingmode,onthemainRecordingpage,under
FreeSampleMemory/Locations.Formore
information,pleaseseeRAMonpage 684.

Program: Page Menu Commands Select Sample No.

1. SelectOptimizeRAMtoopenthedialogbox.

2. PresstheOKbuttontoexecutethecommand,or
presstheCancelbuttontocancelwithout
executing.

Auto Optimize RAM


IfAutoOptimizeRAM(Global01d)isenabled,you
dontneedtousetheOptimizeRAMcommand;
instead,RAMwillbeoptimizedautomatically.

Select Sample No.


SelectSampleNo.isavailableontheAudio
In/SamplingtabofthePlaypage,whenthesampling
SaveToparameterissettoRAM.
Thisspecifiesthesamplenumberintowhichthe
sampleddatawillbewritten.Youcanalsospecify
whetherthesamplewillautomaticallybeconvertedto
aprogramaftersampling.
1. ChooseSelectSampleNo.toopenthedialogbox.

TheAuto+12dBOnsettingismadeindependentlyfor
Program,Combination,Sequencer,andSampling
modes.
4. Converttospecifieswhetherthesamplewill
automaticallybeconvertedintoaprogramassoon
asithasbeensampled.Thisisconvenientwhen
youwanttohearthesoundimmediatelyafter
sampling.
IfyouchecktheProgramcheckbox,thesamplewill
automaticallybeconvertedintoaprogram.
Attheright,setProgramandMStospecifythe
programnumberandmultisamplenumberforthe
convertedprogram.
SetOriginalKey(Sampling01b)tospecifythe
locationoftheoriginalkey.Themultisamplewill
createanIndex(Sampling01b)withthiskeyasthe
TopKey(Sampling01b).TheOriginalKeywill
incrementbyoneaftersampling,andthenexthigher
notewillbeassignedthenexttimeyousample.
5. PresstheOKbuttontoapplythesettingsyou
made,orpresstheCancelbuttontoreturntothe
statepriortoaccessingthisdialogbox.

Select Directory
SelectDirectoryisavailableontheAudioIn/Sampling
tabofthePlaypage,whenthesamplingSaveTo
parameterissettoDISK.
Whensamplingtodisk,thisletsyousetthedisk,
directory,andfilenamefortheresultingWAVEfile.
ThisdialogalsoletsyouauditionWAVEfilesdirectly
fromthedisk;youcanusethisasashortcut,insteadof
usingthesimilarfunctioninDISKmode.

Specifying the save destination for a WAVE file


1. SelecttheSelectDirectorycommandtoopenthe
dialogbox.

2. InSampleNo.,specifythewritingdestination
samplenumber.
Bydefault,thiswillbethelowestnumberedvacant
samplenumber.Ifyouselect:NoAssign
orasamplenumberthatalreadycontainsdata,the
datawillautomaticallybesampledintothelowest
vacantsamplenumber.Ifyouaresamplingin
stereo,Mode(08c),specifySampleNo.(L)and
SampleNo.(R).
3. SetAuto+12dBOn.
On(checked):+12dBwillautomaticallybeenabledfor
newlyrecordedsamples.Thisisthedefaultsetting,
andifRecordingLevelissetto0.00(dB),itmeansthat
resampledsoundswillplaybackatthesamevolume
aswhentheywererecorded.
Notethat+12dBdoesnotchangethesampledataitself;
itonlyaffectsthewaythatthesampleisplayedback.
Ingeneral,+12dBshouldbeOnfordrumsandloops,
andOffforanysoundsthatyouplaypolyphonically.
Formoreinformation,see+12dBonpage 701.

2. UsethepopupbuttonlocatedattheleftofDrive
selecttoselectthewritingdestinationdrivefor
sampling.
3. UsetheOpenandUpbuttonstomovetothe
desireddirectory.
4. InName,specifyanamefortheWAVEfilethat
willbewrittenduringsampling.
IfyoucheckTakeNo.,thefilewillbesavedwithatwo
digitTakeNo.addedtotheendofthefilename.This
numberwillautomaticallyincrementeachtimeyou
sample.Thisisconvenientwhenyouaresampling
repeatedly,sinceeachsamplewillbesavedwithits
ownfilename.
5. PresstheDonebuttontocompletethesettings.

Playing back a WAVE file


1. SelecttheSelectDirectorycommandtoopenthe
dialogbox.
2. UseDriveSelectandtheOpenandUpbuttonsto
selectthedriveanddirectory,andselecttheWAVE
file(48kHz)thatyouwanttoplay.
3. PresstheSAMPLINGSTART/STOPswitchor
Playbutton.
TheselectedWAVEfilewillbeplayed.

149

Program mode: HD-1

SelectDirectory

4. PresstheSAMPLINGSTART/STOPswitchor
Stopbuttononceagaintostopplayback.

Initialize
IfyouselectedInitialize:

IftheWAVEfileismono,thesamesoundwillbe
outputtoL/R.

Auto Sampling Setup


AutoSamplingSetupisavailableontheAudio
In/SamplingtabofthePlaypage.
ThiscommandautomaticallyconfigurestheProgram
modesamplingrelatedparameters,makingiteasyfor
youtosampleanexternalaudiosourceortoresample
yourperformanceasyouplayaProgram.Youcanalso
usethiscommandtoinitializethesamplingsettings.
AfterusingAutoSamplingSetup,youcanfurther
adjustanyofthesettingstosuityourneedsas
describedintheNoteparagraphsofeachsection.
Whenyouexecutethiscommand,theapplicable
parameterswillbesetautomatically.Youcannotuse
theCOMPAREbuttontorecalltheprevious
settings.

PresstheOKbuttontoexecutetheInitializeoperation,
orpresstheCancelbuttonifyoudecidenottoexecute.
Formoreinformation,seeAutomaticallyset
parametersandtheirvaluesonpage 152.

Resample Program Play


IfyouselectedResampleProgramPlay:

1. SelectAutoSamplingSetuptoopenthedialog
box.
2. Pressaradiobuttontoselectthetypeofsettings
youwanttomake.
Initialize:Initializesthesamplingrelatedparameters
totheirdefaultstate.
ResampleProgramPlay:Setsthesamplingrelated
parameterstoallowyoutoplayaProgramand
resampleyourperformance.
RECAudioInput:Setsthesamplingrelated
parameterssothatyoucansampleanexternalaudio
source.Withthesesettings,youcanplayaProgram
whilesampling,butonlytheexternalinputwillbe
recorded.
3. Thesesettingswilldependonthechoiceyou
makeinstep2.

150

1. UseSavetotoselecteitherRAMorDISKasthe
destinationtowhichtheresampleddatawillbe
written.

Program: Page Menu Commands Auto Sampling Setup

IfyouchooseRAM,thesampleddatawillbewritten
intoRAMforuseinSamplingMode.Ifyouchoose
DISK,thesampleddatawillbesavedtodiskasa
WAVEfile.

REC Audio Input

2. IfSavetoissettoRAM,youcanalsospecify
whetherthesamplewillbeautomatically
convertedtoaProgramafterresampling.Ifyou
wanttoconvertthesample,checktheConvertto
Programoption,anduseProgramtospecifythe
desiredconvertdestinationprogram.
3. PresstheOKbuttontoexecuteResampleProgram
Play.Ifyoudecidenottoexecute,presstheCancel
button.(SeeAutomaticallysetparametersand
theirvaluesonpage 152.)
Notea:Resample)Toresample,executeResample
ProgramPlay.ThenpressSAMPLINGRECandthen
SAMPLINGSTART/STOP,andplaytheprogramfrom
thekeyboardetc.SinceTrigger(08c)issettoNote
On,samplingwillbeginatthefirstnoteon.When
youvefinishedplaying,presstheSAMPLING
START/STOPswitchtostopresampling.
Noteb:Checkthesampleddata)Verifythatyour
performancewasresampledcorrectly.Ifyouexecuted
withSavetoRAMandConverttoProgram
checked,selecttheprogramyouspecifiedasthe
convertdestinationandplaytheC2noteofthe
keyboardtohearthesample.Ifyoudidntcheck
ConverttoProgram,useSamplingmodetoselect
thesampleandlistentoit.
IfyouselectedSaveto:DISK,usethepagemenu
command08C:SelectDirectorytoheartheresults.

Specify the writing destination


Whensavingthesampletodisk,youcanusethemenu
commandSelectDirectorytospecifythediskand
foldertowhichthesamplewillbestored.Formore
information,pleaseseeSelectDirectoryonpage 149.
Noted:Samplingtrigger)YoucanusetheTrigger
(08c)settingtochangethewayinwhichsampling
willbestarted.
Notee:Samplingmultiplesourcessimultaneously)If
youwanttosimultaneouslysamplebothanexternal
audiosourcefromAUDIOINPUTtogetherwithyour
ownplayingonaprogram,gototheSamplingpage,
andsettheInput14settingBus(IFX/Indiv.)Select
toL/R,andtheSourceBustoL/R.
Notef:IfyouexecuteAutoSamplingSetupwithSave
toRAMandtheConverttoProgramoption
checked,andyoucontinuesampling,eachsuccessive
samplewillbeautomaticallyassignedtoC2,C#2,D2,
tocreateamultisample.Anewmultisamplewillbe
createdthenexttimeyouexecuteAutoSampling
Setupandstartsampling.

IfyouselectedRECAudioInput:
1. UseSourceAudiotoselecttheexternalaudio
inputsource.
Analog1/2:Selectstheanalogaudiosourceconnected
totheAUDIOINPUT1andAUDIOINPUT2jacks.
Analog3/4:Selectstheanalogaudiosourceconnected
totheAUDIOINPUT3andAUDIOINPUT4jacks.
S/P DIF:Selectsthedigitalaudiosourceconnectedto
theS/P DIFjack.
2. UseMonoL/MonoR/Stereotospecifywhether
theinputsourceismonoorstereo.
MonoL:SettingswillbemadeforsamplingtoL
MONOfromInput1(ifyouveselectedAnalog1/2)or
fromInput3(ifyouveselectedAnalog3/4).
MonoR:SettingswillbemadeforsamplingtoR
MONOfromInput2(ifyouveselectedAnalog1/2)or
fromInput4(ifyouveselectedAnalog3/4).
Stereo:SettingswillbemadeforsamplingInput1/2or
3/4instereo.
3. UseSavetotospecifythewritingdestination
forthesampleddata.RAMwillwritethedatainto
Samplingmode.DISKwillcreateaWAVEfileof
thesampleddata,andsaveittodisk.
4. IfyouveselectedSavetoRAM,youcanspecify
whetherthesamplewillautomaticallybe
convertedtoaprogram.Ifyouwantthesampleto
beconvertedtoaprogram,checkConvertto
ProgramandusetheProgramfieldtospecify
theconvertdestinationprogram.
5)Ifyouwanttoapplyaninserteffecttothe
externalaudioinputsourcewhileyousample,use
IFXtoselecttheinserteffectyouwanttouse.
Turnthisoffifyoudontwanttouseaninserteffect.
6)PresstheOKbuttontoexecuteRECAudioInput.
Ifyoudecidenottoexecute,presstheCancel
button.(SeeAutomaticallysetparametersand
theirvaluesonpage 152)
Note:Tosample,executeRECAudioInput,thenpress
SAMPLINGREC,andthenSTART/STOPtobegin
sampling.(ThisisbecauseTriggerissettoSampling
STARTSW.)Whenyourefinished,pressthe
SAMPLINGSTART/STOPswitchtostopsampling.
Ifyouwanttosamplewhilemonitoringthe
performancegeneratedbyKARMA,checkLatch
andstartsamplingwhileKARMAisplaying.

151

Program mode: HD-1

Note:IfyouvesetSourceAudiotoS/P DIF,use
SystemClock(Global02a)tochangethesystem
clock.

*2:Theinputsourcesetting(Input1andInput
2)youspecifiedforSourceAudiointhedialog
boxwillbesetautomatically.

Note:Ifyouwanttoapplyaninserteffecttotheinput
sourcewhileyousample,makethefollowingsettings.
IntheProgramP0SamplingpageInput14,S/P DIF
L/R,useBus(IFX/Indiv.)SelecttochooseIFX1
IFX12,choose1/2astheRECBusfollowingtheinsert
effectyoureusing,andsetSourceBustoREC1/2.

*3:IfSourceAudioisMonoLthiswillbeL
Mono,ifMonoRthiswillbeRMono,andifStereo
thiswillbeStereo.

Foradditionalinformation,refertoNoteb)under
ResampleProgramPlayonpage 150.

Copy Tone Adjust

Automatically-set parameters and their values

CopyToneAdjustisavailableontheControlSurface
pagewhenCONTROLASSIGNissettoToneAdjust.

Parameter

Input (Input Source)

Input1

Input2

Recording
Setup

REC Sample
Setup

REC Sample
Preference

2.REC
Audio
Input

1.
Initialize
Analog,
S/P DIF*1

Level

127

Pan

L000

Bus Select

Off

Send1

000

Send2

000

Level

127

Pan

R127

3.Auto
Resample
through
IFX

(Source
Audio)*2

Analog,
S/P DIF*1

(IFX)*3

Off

(IFX)*

Bus Select

Off

Send1

000

Send2

000

Source Bus

L/R

Trigger

Sampling START SW

Off

Resample

Manual

Manual

Auto

Save to

RAM

(Save to)

(Save to)

Sample
Mode

LMONO

(Source
Audio)*4

Stereo

Sample
Time: RAM

Maximum

Sample
Time: DISK

4min
59.999sec

Recording
Level [dB]

+0.0

+0.0

12.0

Off

On

L/R

(IFX)

Auto +12dB
Off
On
L/R

ThiscommandreplacesthecurrentToneAdjust
settingswiththoseofanyotherProgram,Combination
Timbre,orSongTrack.
1. SelectCopyToneAdjusttoopenthedialogbox.

2. UseFromtoselectthecopysourcemode,bank,
andnumber.
YoucanusethefrontpanelBANKkeystoselectthe
desiredbank.
3. IntheTimbrefield(ifyouveselecteda
Combination)orTrackfield(ifyouveselecteda
Song),selecttheTimbreorTracktocopyfrom.

Metronome
Off
Precount

Bus Select
All OSCs to
(P8 Routing)

:Notsetautomatically
Valuesenclosedinparentheses()areautomatically
setaccordingtothesettingsyoumakeinthedialog
box.
*1:SettingsforAnalog,S/P DIF(Input1and
Input2)aremadeautomatically.

152

*4:WhenSaveto:RAM,andConvertto
Programischecked.

4. SelecteitherAllorAssignmentsOnlytospecify
theToneAdjustparametersyouwanttocopy.
All:ThiscopiesboththeToneAdjustparameter
assignmentsandvalues.
AssignmentsOnly:ThiscopiesonlytheTone
Adjustparameterassignments,withoutthevalues.
5. PresstheOKbuttontoexecutetheCopyTone
Adjustcommand,orpresstheCancelbuttonif
youdecidetocancel.

Program: Page Menu Commands Reset Tone Adjust

Reset Tone Adjust


ResetToneAdjustisavailableontheControlSurface
pagewhenCONTROLASSIGNissettoToneAdjust.
ThiscommandchangestheToneAdjustassignments
foralloftheKnobs,Switches,andSlidersatonce,
eitherresettingthemtodefaultvaluesorturningthem
alloff.
1. SelectResetToneAdjusttoopenthedialogbox.
2. UsetheFromfieldtoselecttheoscillatorthat
youwanttocopy.
3. UseProgramtoselectthebankandnumberof
thecopysourceprogram.YoucanpressaBANK
SELECTswitchtoselectthedesiredbank.
2. UsetheTofieldtospecifyhowtheToneAdjust
assignmentswillbereset.
AllOff:AllKnob,Switch,andSliderassignments
willbesettoOff.
DefaultSetting:Theassignmentswillberesetto
thedefaults,whichwillvarydependingonthetype
ofProgram(HD1orEXi),andforEXiPrograms
only,onwhethertheProgramusesoneortwoEXi.
SingleEXiProgramswillusethedefault
assignmentsfortheirEXi.Assignmentsfordouble
EXiProgramsareturnedOffexceptfortheEXi
Commonparameters.
FordetailsonthedefaultToneAdjustassignments,
see:
HD1ToneAdjustParametersonpage 33
AL1:ToneAdjustonpage 222
CX3:ToneAdjustonpage 244
STR1:ToneAdjustonpage 292

Note:IfyoureeditinganHD1Program,youcant
selectEXiPrograms,andviceversa.
4. IfyoucheckToneAdjusttoo,theToneAdjust
settingswilltemporarilybeturnedoff,andfrom
thecopysourceToneAdjustsettings,the
Commonportionandtheassignmentsandcurrent
valuesofthecorrespondingOSCportionwillbe
copied.
IfToneAdjusttooisunchecked,theToneAdjust
settingswillbemaintained.
5. InTo,specifythecopydestinationoscillator.
6. ToexecutetheCopyOscillatorcommand,press
theOKbutton.Tocancel,presstheCancelbutton.

Swap Oscillator
SwapOscillatorisavailableonallofthetabsunder
theBasic/Vector,OSC/Pitch,Filter,Amp/EQ,andAMS
Mix/CommonKeyTrackpages.

MS20EX:ToneAdjustonpage 319

Thiscommandexchangesthesettingsofoscillators1
and2.

PolysixEX:ToneAdjustonpage 335

1. SelectSwapOscillatortoopenthedialogbox.

MOD7:ToneAdjustonpage 385

2. ToexecutetheSwapOscillatorcommand,press
theOKbutton.Tocancel,presstheCancelbutton.

SGX1:Toneadjustonpage 393
EP1:ToneAdjustonpage 413

ThiscanbeselectedonlyifOscillatorMode(11a)is
Double.

3. ToexecutetheResetToneAdjustcommand,press
theOKbutton.Toexitwithoutresettingthe
assignments,presstheCancelbutton.

Copy Vector Envelope

Copy Oscillator
CopyOscillatorisavailableonallofthetabsunderthe
Basic/Vector,OSC/Pitch,Filter,Amp/EQ,andAMS
Mix/CommonKeyTrackpages.
Thiscommandisusedtocopythesettingsfromone
oscillatortoanother.

CopyVectorEnvelopeisavailableontheVector
EnvelopetaboftheBasic/Vectorpage.
Thiscommandcopiesvectorenvelopesettingsfrom
thespecifiedprogram,combination/timbre,orsong.
1. SelectCopyVectorEnvelopetoopenthedialog
box.

1. SelectCopyOscillatortoopenthedialogbox.

153

Program mode: HD-1

2. UsetheFromfieldtoselectthemode,bank,and
numberofthedesiredcopysource.Youcanpress
aBANKkeytoselectthedesiredbank.
ThiscommandcopiestheparametersoftheP1
VectorEnvelopepageofthecorrespondingmode.
Note:Inordertoreplicatethewayinwhichthe
relativevolumeofoscillatorsiscontrolledbythe
vectorandvectorenvelopeoftheprogramselected
foracombinationtimbreoraMIDIsongtrack,turn
ontheEnableProgramVectorVolumecheckboxin
theVectorControlVolumepage.ToreplicatetheCC
controleffects,turnontheEnableProgramVector
CCcheckboxintheVectorControlCCpage.
Usethiscommandwhenyouwanttocopythe
PositionorTime/Tempoofavectorenvelopein
ordertocreateanenvelopethatproducesthesame
movement.
3. PresstheOKbuttontoexecutethecommand,or
presstheCancelbuttontocancel.

Copy Pad Setup

Sample Parameters
SampleParametersisavailableontheOSC1/2Basic
pages.
Thiscommandletsyouadjustvariousparametersfor
theindividualsampleswithinaSamplingMode
Multisample,includingvolumelevel,cutoff,
resonance,pitch,EGattackanddecay,driveandlow
boost,andEQgains.
TheSampleParameterscommandisavailableonlyif
youveselectedaSamplingModeMultisample;itis
notavailableforROM,EXs,orUserSampleBank
Multisamples,WaveSequences,orDrumKits.
Whenyouvefinishededitingtheparameters,pressthe
Donebutton.PleasenotethatCompareisnotavailable
foreditsmadeinthisdialogbox.
Note:TheSampleParameterssettingsapply
everywherethattheMultisampleisused,andnotjust
tothecurrentProgram.IfanotherProgramusesthe
sameMultisample,itwillalsobeaffectedbyany
changesthatyoumakehere.

CopyPadSetupisavailableonthePadstabofthe
Basic/Vectorpage.
Thiscommandcopiesthepadsettingsofthespecified
Program,Combination,orSong.
1. SelectCopyPadSetuptoopenthedialogbox.

Index

[001128]

AnIndexisakeyzoneinaMultisample,includinga
singleSampleandallofitsassociatedparameters.This
isthecurrentlyselectedIndex.
2. UsetheFromfieldtoselectthemode,bank,and
numberofthedesiredcopysource.Youcanalso
selectBanksviathefrontpanelBANKSELECT
buttons.
IfyoupresstheSetToCurrentbutton,thecurrently
selectedmode,bank,numberandpad(editcell)
willautomaticallybeassignedtotheFromfield.
Thisisusefulwhenyouretryingoutotherpad
settingsandwanttotemporarilycopypreviously
editedpadsettingstoanothervacantpad.
3. Selectthecopysourcepadnumber.Ifyouwantto
copyallsettingsforpads18,checktheAlloption.
4. UsetheTofieldtospecifythecopydestination
pad.
Note:Executingthiscommandwillcopythenote
numberandvelocityvalue.TheMIDIchannelisnot
copied.
5. PresstheOKbuttontoexecutetheCopyPad
Setupcommand,orpresstheCancelbuttonto
cancel.

154

Thenumberfollowing/isthetotalnumberof
indexesinthecurrentMultisample.

Sample

[000]

ThisisthenumberandnameoftheIndexsSample.

Level

[-99+00+99]

ThisadjuststhevolumeoftheSample,relativetothe
Oscillatorssettings.Negative()valueswilldecrease
thelevels,andpositive(+)valueswillincreasethe
levels.Asettingof+99willdoublethevolume.Thisis
thesameastheindexLevelparameterinSampling
mode;editsherewillaffectthevaluesshownin
Samplingmode,andviceversa.
EachSamplealsohasa+12dBsetting,asconfiguredin
Samplingmode;ifthisison,theSamplewillplayback
approximately12dBlouder.Formoreinformation,see
+12dBonpage 701.

Cutoff

[-99+00+99]

Thisaddsto,orsubtractsfrom,theOscillatorsfilter
cutoffsettings.

Program: Page Menu Commands Sync Both EGs

Resonance

[-99+00+99]

Thisaddsto,orsubtractsfrom,theOscillatorsfilter
resonancesettings.

Pitch

[-64.00+00.00+63.00]

Thisadjuststheplaybackpitchinonecentsteps.A
settingof+12.00raisesthepitchoneoctave,anda
settingof12.00lowersthepitchoneoctave.Thisisthe
sameastheindexPitchparameterinSamplingmode;
editsherewillaffectthevaluesshowninSampling
mode,andviceversa.

Attack

[-99+00+99]

Thisaddsto,orsubtractsfrom,theattacktimesofthe
filterEGandampEG.

Decay

[-99+00+99]

Thisaddsto,orsubtractsfrom,theattacktimesofthe
filterEGandampEG.

Driver

[-99+00+99]

2. IfyounolongerwanttheEGstobesynchronized,
selectSyncBothEGsonceagain.
TheindicationwilldisappearfromtheLCDscreen.

Swap LFO 1&2


SwapLFO1&2isavailableonalloftheLFOpages,
exceptfortheCommonLFOtab.
ThiscommandcopiesthesettingsofLFO1toLFO2,
andviceversa.
Note:IfLFO2isbeingusedtomodulateLFO1,this
commandwillerasethatmodulationrouting(sincethe
LFOscannotmodulatethemselves).

Thisaddsto,orsubtractsfrom,theOscillatorsDriver
setting.IftheDrivercircuitisbypassed,thiswillhave
noeffect.

Low Boost

[-99+00+99]

Thisaddsto,orsubtractsfrom,theOscillatorsLow
Boostsetting.IftheDrivercircuitisbypassed,thiswill
havenoeffect.

LEQ Gain

[-36dB+00+36dB]

Thisaddsto,orsubtractsfrom,theProgramsLowEQ
gainsetting.IftheEQisbypassed,thiswillhaveno
effect.

MEQ Gain

[-36dB+00+36dB]

Thisaddsto,orsubtractsfrom,theProgramsMidEQ
gainsetting.IftheEQisbypassed,thiswillhaveno
effect.

HEQ Gain

[-36dB+00+36dB]

Afteropeningthedialogbox,presstheOKbuttonto
swaptheLFOsettings,orpresstheCancelbuttonto
closethedialogboxwithoutmakinganychanges.

Copy KARMA Module


CopyKARMAModuleisavailableonallofthe
KARMApages,aswellastheKARMAGEtabofthe
Playpage.
ThiscommandcopiesthesettingsoftheKARMA
Moduleusedbyaspecifiedprogram,combination,or
song.
1. SelectCopyKARMAModuletoopenthedialog
box.

Thisaddsto,orsubtractsfrom,theProgramsHighEQ
gainsetting.IftheEQisbypassed,thiswillhaveno
effect.

2. InFrom,selectthecopysourcemode,bank,and
number.

Sync Both EGs

YoucanusethefrontpanelBANKSELECTswitchesto
selectthebank.

SyncBothEGsisavailableontheFilter1/2EGand
Amp1/2EGpages.
ThisoptionallowsyoutoedittheEGsofOscillator1
andOscillator2together.Whenitischecked,editing
theFilterEGofeitherOscillator1or2willchangeboth
FilterEGssimultaneously.Similarly,editingtheAmp
EGofeitherOscillatorwillchangebothAmpEGs.
ThisoptionisavailableonlywhentheOscillatorMode
issettoDouble.
1. SelectSyncBothEGs.
TheLCDscreenwillindicateSyncBothEGs,and
thetwoEGswillbesynchronized.

3. Ifyouselectedacombinationorsongasthecopy
source,selectthemodulefromwhichyouwantto
copy.
4. Asappropriateforthecontentthatyouwantto
copy,turnGERTPControlSetting&ScenesOn
(checked).
Formoreinformation,seeSettingscopiedbyCopy
KARMAModule,below.
5. Ifyouwanttocopyperformancerealtime
parameters,DynamicMIDI,andfrontpanel
settings,turnPerf.RTP&PanelSettingsOn
(checked).
6. Ifyouwanttocopythenoteandvelocitysettings
ofpads18,turnPadson.
7. PresstheOKbuttontoexecutetheCopyKARMA
Modulecommand,orpresstheCancelbuttonif
youdecidetocancel.

155

Program mode: HD-1

Settings copied by Copy KARMA Module


Whencopyingfromaprogram
IfGERTPControlSetting&ScenesandPerf.RTP&
PanelSettingsareOff(checked),thefollowing
contentiscopied.
TheGEselectedbythecopysourceKARMA
module.
SettingsoftheKARMAmoduleparameters(73:
ModuleParameterTrigger,74:Module
ParameterControl).
75:GERTPpageMIN,MAX,andVALUE
settings.

78:Names/NoteMapcontrollernamesettings.
IfyouturnPerf.RTP&PanelSettingOn
(checked)
InadditiontothecontentcopiedwhenPerf.RTP&
PanelSettingsisOff(unchecked),thefollowing
contentiscopied.
Temposetting.
TimeSignaturesetting.
KARMAON/OFFswitchsetting.

IfyouturnGERTPControlSetting&ScenesOn
(checked)

KARMALATCHswitchsetting.

InadditiontothecontentcopiedwhenGERTP
ControlSetting&ScenesisOff(unchecked),the
followingcontentiscopied.

75:GERealTimeParameters/Scenepage,Drum
TrackRunsetting.

75:GERTPpageASSIGNandPOLARITY
settings.
Thesceneselectedinthemasterbuffer,the
KARMACONTROLSsliderandKARMASWITCH
settingsofeachscene(06d:RealtimeControlsand
09f:R.TimeKnobs/KARMAsettings).
78:Name/NoteMapcontrollernamesettings.
IfyouturnPerf.RTP&PanelSettingOn
(checked)
InadditiontothecontentcopiedwhenPerf.RTP&
PanelSettingsisOff(unchecked),thefollowing
contentiscopied.
Temposetting.
TimeSignaturesetting.
KARMAON/OFFswitchsetting.
KARMALATCHswitchsetting.
75:GERealTimeParameters/Scenepage,Drum
TrackRunsetting.
76:PerfRealTimeParameterspagesettings.
77:DynamicMIDIpagesettings.
Whencopyingfromacombinationorsong
IfGERTPControlSetting&ScenesandPerf.RTP&
PanelSettingsareOff(unchecked)whenyoucopy
fromacombinationorsong,thefollowingcontentis
copied.

KARMAModuleControlswitchsetting.

76:PerfRealTimeParameterspagesettings.
77:DynamicMIDIPagesettings.
TheInputChannelandOutputChannel
(Combination/SequencerP71)settingsofa
combinationorsongarenotcopied.

Initialize KARMA Module


InitializeKARMAModuleisavailableonallofthe
KARMApages,aswellastheKARMAGEtabofthe
Playpage.
ThiscommandsetstheKARMAModulesparameters
totheirdefaultvalues.
TheGEselectionwillnotbeinitialized.TheGE
parameterswillbesettotheselectedGEsdefault
values.
1. SelectInitializeKARMAModuletoopenthe
dialogbox.
2. Asappropriateforthesettingsyouwantto
initialize,youcanturnon(check)theGERTP
Controlsettings&Scenesand/orPerf.RTP
options.
Formoreinformation,seeSettingsinitializedby
InitializeKARMAModule,below.
3. Toinitializethesettings,presstheOKbutton.To
cancelwithoutinitializing,presstheCancel
button.

TheGEselectedforthecopydestinationKARMA
module(includingtheGErealtimeparameters).

Settings initialized by Initialize KARMA Module

KARMAmoduleparameters(73:Module
ParameterTrigger,74:ModuleParameter
Control).

IfyouinitializewiththeGERTPControlSettings&
ScenesandPerf.RTPoptionsturnedoff(unchecked),
thefollowingparameterswillbeinitialized.

75:GERTPpageMIN,MAX,andVALUE
settings.

714,8moduleparameters.

IfyouturnGERTPControlSetting&ScenesOn
(checked)
InadditiontothecontentcopiedwhenGERTP
ControlSetting&ScenesisOff(unchecked),the
followingcontentiscopied.
75:GERTPpageASSIGNandPOLARITY
settings.

156

TheKARMACONTROLSsliderandKARMA
SWITCHsettingsofeachsceneinthecopysource
buffer,andthecurrentlyselectedscene.

75:GERealTimeParameterspageMIN,
MAX,andVALUE(theywillreturntothe
valuespresetbytheGE).
TheGEselectionwillnotbeinitialized.
IfyouinitializewithGERTPControlSettings&
Scenesturnedon(checked):
Inadditiontotheparameterslistedabove,the
followingparameterswillalsobeinitialized.

Program: Page Menu Commands Copy Scene

75:GERealTimeParameterspageASSIGN
(Off)andPOLARITY(+).
KARMACONTROLSsliderandKARMASWITCH
settingsineachscene(064/0).
KARMACONTROLSsliderandKARMASWITCH
names(noname).
IfyouinitializewithPerf.RTPturnedon(checked):
InadditiontotheparametersinitializedwiththeOff
(unchecked)setting,thefollowingparameterswillalso
beinitialized.

reproduceconsistentlyeachtimeyoutriggerthatGE,
youcanexecutethiscommandtocapturetheseedthat
resultedinthatphrase.
Formoreinformation,seeCheckingtheFreeze
Randomizefunction,andperformingCapture
RandomSeedonpage 157.
1. SelectCaptureRandomSeedtoopenthedialog
box.

75:GERealTimeParameters/Scenepage,Drum
TrackRunsetting.
76:PerfRealTimeParameterspageparameters.
77:DynamicMIDIpageparameters.

Copy Scene
CopySceneisavailableonalloftheKARMApages,as
wellastheKARMAGEtabofthePlaypage.Itsalso
availableontheControlSurfacepage,when
CONTROLASSIGNissettoRealTime
Knobs/KARMA.
ThiscommandcopiessettingsfortheKARMAScenes.
Youcanusethiscommandwhenyouwanttomake
settingsforascenebasedontheotherscenesettings
youedited,orviceversa.
1. ChooseCopyScenetoopenthedialogbox.
2. InFrom:selectthescenethatyouwishcopy.
3. InTo:selectthecopydestinationscene.
4. Toexecutethecopy,presstheOKbutton.Tocancel
withoutexecuting,presstheCancelbutton.

Swap Scene
SwapSceneisavailableonalloftheKARMApages,as
wellastheKARMAGEtabofthePlaypage.Itsalso
availableontheControlSurfacepage,when
CONTROLASSIGNissettoRealTime
Knobs/KARMA.
Thiscommandswaps(exchanges)thesettingsoftwo
KARMAScenes.
1. ChooseSwapScenetoopenthedialogbox.
2. InSource1andSource2,selecttwoKARMA
Scenes.thatyouwishtoswap.
3. Toexecutetheswap,presstheOKbutton.To
cancelwithoutexecuting,presstheCancelbutton.

Capture Random Seed


CaptureRandomSeedisavailableonallofthe
KARMApages,aswellastheKARMAGEtabofthe
Playpage.
TheStartSeedisthesourceoftherandomnessofthe
phrasegeneratedbytheKARMAModule.Formore
information,seeStartSeedonpage 126.
Whenyouarelisteningtotherandomlychanging
phrasesgeneratedeachtimeaKARMAModuleis
triggered,andyouhearaphrasethatyouwouldliketo

2. Ifyouareinamodethatcanusemorethanone
KARMAModule(CombinationorSequencer
modes),useTo:toselectthemoduleforwhich
youwanttocapturetheseedvalue.
IfyouselectAD,theseedvaluewillbecaptured
forthatKARMAModule.IfyouselectAll,theseed
valueswillbecapturedforallfourKARMA
Modules.
InProgrammode,thisisfixedatA.
3. ToexecutetheCaptureRandomSeed,pressthe
OKbutton.Tocancelwithoutexecuting,pressthe
Cancelbutton.
IftheStartSeedparameter(seeStartSeedon
page 130)oftheKARMAModuleforwhichyou
executeCaptureRandomSeedisassignedasaPerf
RealTimeParameter(see76b:PerfRealTime
Parametersonpage 123),themessageCouldnot
executeCaptureRandomSeedbecausetheselected
StartSeedisassignedasanRTParmwillbe
displayed,andCaptureRandomSeedwillnotbe
executed.(PresstheOKbuttontoclosethe
message.)
IfyousettheTo:fieldofthedialogboxtoALL
(Combination,Sequencermode)toexecuteCapture
RandomSeedforallKARMAModules,Capture
RandomSeedwillbeexecutedonlyfortheKARMA
ModuleswhoseStartSeedparameterisnot
assignedasanPerfRealTimeParameter.Ifthe
StartSeedparameterofanyKARMAModuleis
assignedasaPerfRealTimeParameter,Capture
RandomSeedwillnotbeexecutedforthose
KARMAModules.

Checking the Freeze Randomize function, and


performing Capture Random Seed
ByusingtheCaptureRandomSeed,StartSeed(7
8b),andFreezeLoopLength(78b)settings,youcan
looparandomlychangingphraseasdesired,or
generatethesamephraseeachtimeyoutriggertheGE.

Procedure
AnexampleoftheprocedureinProgrammodeis
shownbelow.
1. InProgrammode,selectUSERB061:Widow
Maker.

157

Program mode: HD-1

restarttherifffromthebeginning.However,this
canalsobeusefulforgettingthesamerhythmand
notemovements,withalongerevolvingphrase.
9. SetRetriggerEachTimetoOn(checked).
Now,every2bars,thePhasePatternisrestarted
also,inconjunctionwiththeFreezeLooplength,
andthephrasebecomesasimple2barloop.
10.SetStartSeedbackto0:Random.
Retriggerthephrasebypressinganonscreenpad
orplayingthekeyboard.Acompletelynew
randomizedphrasewillbegeneratedeachtimeyou
trigger,butevery2barsitwillloopandrepeatuntil
youtriggeritagain.
2. TurnthefrontpanelKARMAON/OFFswitchon.
3. PresstheCommonbuttontoaccessthe74:
ModuleParametersTriggerpage,andsetNote
TriggertoAny.

11.NowsetRetriggerEachTimebacktoOff
(unchecked).
Onceagain,eventhoughtherandomizationsare
beingrepeatedevery2bars,the8stepGEPhase
Patternallowslongerevolvingphrasestobe
created.
12.SettheFreezeLoopLengthparameter.
Ifyousetthisto132,thephrasewillloopforthe
specifiednumberofmeasures.Forthisexample,set
thisto2andsettheRetriggerEachTimetoOn
(checked).Withthissetting,therandomphrasewill
freezetoatwomeasurephrase.Youcanusethisto
loopaphraseduringaliveperformance.
13.Inthesamewayasinstep5,usetheonscreenpad
orkeyboardtotriggertheKARMAModule.

4. TurnthefrontpanelKARMALATCHswitchon.

14.Whenyouhearaphraseyouwanttobeplayed
eachtimeyoutriggertheGE,executeCapture
RandomSeed.PressthePageMenubuttonand
chooseCaptureRandomSeedfromthepage
menu.

5. Useanonscreenpadorthekeyboardtotrigger
GE0267:ImprovLeadfortheKARMAModule.
ThephrasegeneratedbythisGEwillalwayschange
randomly(eachtimeyoutriggerit,oreachtimethe
phraseisrepeated).
6. SelecttheProgramP78:RandomSeedspage.

15.Whenthedialogboxappears,presstheOK
button.
TheStartSeedparameterwillautomaticallybeset
totheinternalvalueneededtoreproducethe
phrase.
Example:CaptureRandomSeedhassetStartSeedtoa
valueof+0254861235
7. SetStartSeedto1(+0000000001).
RetriggertheChordtrigger.Eachtimeitwillplay
thesamerandomizedphrase;however,ifyouletit
continue,itwillalwaysmakenewrandomizations
asitgoesalong.
8. SetFreezeLoopLengthto2(2bars).
Now,every2bars,itwillloopandrepeattheexact
sameseriesofrandomizationsthatisspecifiedby
StartSeed1.However,thisparticularGEhasa
PhasePatternof8steps(bars),soitmaynotsound
alwaysasifitisrestartingevery2bars,becauseof
theinternalsettingsofthePhasePattern.Itwill
repeatthesamerandomizations,butnotnecessarily

158

Note:Seedisthesourcedatafromwhichthe
randomizationsarecreated.TheSeedofthephrase
beingloopedisautomaticallysetinternallywithinthe

Program: Page Menu Commands Copy Insert Effect

KARMAModuleastheStartSeed.TheStartSeed
isusedeachtimetheGEistriggered.Thismeansthat
eachtimeyoutriggertheGE,aspecificSeedis
alwaysusedtogeneratethephrase.
16.PresstheKARMAON/OFFswitchtotemporarily
turnoffKARMA.ThenpresstheKARMA
ON/OFFswitchonceagaintoturnKARMAback
on.
17.Inthesamewayasinstep5,usetheonscreenpad
orkeyboardtotriggertheKARMAModule.
Thephrasethatwasloopedinstep11willbe
reproducedeachtimethemoduleistriggered.You
cannowsavetheProgramandrecallthisphraseat
anytime.

Copy Insert Effect


CopyInsertEffectisavailableonalloftheIFXpages.

(Effects slot select)

Selectwhichoftheeffectsyouwishtocopy.
Youcanalsocopyfromamastereffectandtotaleffect.

All

[check-box]

Whenthisisenabled,thesettingsofallinserteffects
(thecontentsoftheInsertFXpageandtheeffect
parametersofIFX112,butnotCtrlCh)willbecopied.

All Used

[check-box]

Whenthisisenabled,onlytheinserteffects(IFX112)
thatareactuallyusedbythecopysourcewillbe
copied.
Inthecopydestination,theeffectsettingswillbe
copiedintovacantslots(i.e.,slotswith000:NoEffect,
unlesstheyexistwithinachain)startingwiththeinsert
effectspecifiedbytheTofield.

Thiscommandcopieseffectssettingsfromwithinthe
currentProgram,fromotherPrograms,Combinations,
orSongs,orfromthecurrentSamplingmodesettings.

To

ToexecutetheCopyInsertEffectcommand,pressthe
OKbutton.Tocancel,presstheCancelbutton.

Post IFX Mixer Settings

Ifyourecopyingfromamastereffect,theresultwill
notbeidenticalduetodifferencesintheroutingand
levelsettingsofthemastereffects.

[IFX 112, MFX 1&2,


TFX 1&2]

[IFX 112]

Thisselectstheinserteffectcopydestination.

[check-box]

Whenthisischecked,thePan,BusSel.,CtrlBus,REC
Bus,andSends1and2settingsthatfollowthecopy
sourceinserteffectwillalsobecopied.
Whenthisisnotchecked,onlytheeffecttypeandits
parameterswillbecopied.

Copying 000: No Effect


Copyingasingleeffectsetto000:NoEffectwillnot
work:nodatawillbecopied.
IfeitherAllorAllusedisselected,and000:No
Effectexistswithinachain,itwillbecopied.
However,iftheentirechainconsistsof000:No
Effect,nothingwillbecopied.

Swap Insert Effect


From (Mode)

[Program, Combination,
Song, Sampling Mode]

ThisselectswhetheryoullcopyfromaProgram,a
Combination,aSong,orthecurrentSamplingMode
settings.

From (Bank and Number)

[Bank and Number]

ForProgramsandCombis,thisselectstheBankand
Numberfromwhichtocopy.Whenthisparameteris
selected,youcanalsousethefrontpanelBANK
buttonstoselectBanks.

Set to Current

SwapInsertEffectisavailableonalloftheIFXpages.
Thiscommandexchangestheeffects,andtheirinternal
parameters,betweentwoIFXslots.
AlloftheparametersshownontheIFX112pageswill
becopied.
OtherIFXslotparameterswillnotbeaffected,
includingPan,Sends1and2,Chain,RECBus,andFX
ControlBus.
1. SelectSwapInsertEffecttoopenthedialogbox.

[button]

PressingtheSetToCurrentbuttonsetstheFromfields
tothecurrentlyselectedmode,bank,number,andIFX
slot.
Thiscanbeuseful,forinstance,forbackingupthe
currentIFXsettingstoavacantIFXslot.Youcanthen
tryoutothereffectssettings,andstillbeabletoreturn
totheprevioussettingsifnecessary.

2. InSource1andSource2,selecteachofthe
inserteffectsthatyouwishtoswap.
3. ToexecutetheSwapInsertEffectcommand,press
theOKbutton.Tocancel,presstheCancelbutton.

159

Program mode: HD-1

thesettingsofothertimbresortrackswillremain
thesame.

Insert IFX Slot


InsertIFXSlotisavailableontheRoutingandInsert
FXtabsoftheIFXpage.

3. SelectInsertIFXSlottoopenthedialogbox.

ThiscommandinsertsanIFXslot.
Slotslocatedaftertheinsertedlocationwillbe
relocateddownwardifavacantslotexists.Atthistime,
Chain,Pan(CC#8),RECBus,FXControlBus,Send
1/2,andCtrlCh(onlyforCombiandSEQ)willalsobe
relocated.
ThiscommandalsoprovidesanAutoRoutingoption
thatautomaticallyadjustsrelatedparametersinorder
topreservethepreviouslyexistingrouting.

4. UsetheTofieldtospecifytheIFXnumberat
whichyouwanttoinsertaslot.(TheIFXyou
selectedinstep1or2willbeshownhereasthe
default.)

Thiscommandisconvenientwhenyouwanttoaddan
effectwithinachainofinserteffects.

SpecifytheAutoRoutingandAutoChain
options.Normallyyouwillleavetheseon.

1. IntheInsertFXpage,selecttheIFXslotinfrontof
whichyouwanttoinsertaneffect.

AutoRouting:Thisautomaticallyadjuststhe
followingparametersinordertopreservethe
currentlyexistingrouting.

Inthisexample,IFX1IFX2IFX3IFX4IFX5
arechained,andwearegoingtoinsertaslotinfront
ofIFX3sothatwecanaddanotherIFX.

Routing:BusSelect
RoutingPageMenu:DKitPatch(Combi/SEQ)

Auto Routing always enabled on the Track View


page
YoucantchangetheAutoRoutingsettingifyouve
executedtheInsertIFXSlotcommandfromtheTrack
Viewpage.Thecommandwillalwaysbeexecuted
withthisoptionOn.

Drum Kits not supported by Auto Routing


DrumKitscanstoreseparateBusSelectsettingsfor
eachkey.BecausethesesettingsarestoredintheDrum
Kit,andnottheProgram,theAutoRoutingoption
cantcorrectthem.

2. Alternatively,youcaninsertaneffectslotfrom
withintheTrackViewpage.
Selecttheinserteffectslotinfrontofwhichyou
wanttoinsertaneffect.

DrumKitProgramswillusetheseseparateBusSelect
settingsiftheIFXRoutingpagesUseDKitSetting
parameteristurnedOn.
Inthiscase,youhavetwooptions.Either:
UseAutoRouting,andthenmanuallyadjustthe
BusSelectsettingsforeachkeyoftheDrumKitto
matchthenewIFXslotarrangement.
or:
DontusetheInsertIFXSlotcommand.Instead,
removetheunwantedIFXslotbychangingthe
Chaintosettings,orbyusingtheCopyIFXor
SwapIFXcommands.
AutoChain:on:IftheIFXyouveinsertedislocated
withinachain,theChainsettingwillautomatically
beturnedonfortheinsertedIFXsothatitwillbe
chainedwiththeprecedingandfollowingIFX.
IftheIFXyouveinsertedisnotinsideachain,Auto
Chaindoesnothing.
5. PresstheOKbuttontoexecutetheInsertIFXSlot
command,orpresstheCancelbuttontocancel.

Note:InCombiorSeqmodes,thisTrackViewpage
isaconvenientwaytochecktheIFXthatare
chainedforeachtimbreortrack,andtheInsertFX
commandcanbeusedinthispageaswelltoeditthe
effectsettingsofeachtimbreortrack.Whenyoudo
so,theroutingwillbeadjustedautomaticallysothat

160

IftherearenotenoughIFXunitstoinsert,pressing
theOKbuttonwillsimplyexitthecommand
withoutdoinganything.
Inthisexample,000:NoEffectwillbeinsertedinto
IFX3whenyouexecutethecommand.Theeffects
thatwereatIFX3IFX5willberelocatedtoIFX46,
resultinginachainconsistingofIFX1IFX6.

Program: Page Menu Commands Cut IFX Slot

3. SpecifythenumberoftheIFXyouwantto
remove.
(TheIFXyouselectedinstep1or2willbeshown
hereasthedefault.)
4. SpecifytheAutoRoutingoption.Normallyyou
willleavethison.
AutoRouting:Thisautomaticallyadjuststhe
followingparametersinordertopreservethe
currentlyexistingrouting.
Routing:BusSelect
RoutingPageMenu:DKitPatch(Combi/SEQ)
6. Forthenewlyinsertedslot,turntheOn/Off
settingOn.Thenselectandeditthedesiredeffect.

Cut IFX Slot


CutIFXSlotisavailableontheRoutingandInsertFX
tabsoftheIFXpage.

YoucantchangetheAutoRoutingoptionifyouve
executedtheCutIFXSlotcommandfromthe
TrackViewpage.Thecommandwillalwaysbe
executedwiththisoptionOn.
5. PresstheOKbuttontoexecutetheCutIFXSlot
command,orpresstheCancelbuttontocancel.

ThiscommandremovesanIFXslot,andmovesthe
otherIFXupwardstofillinthegapconvenientwhen
youwanttoremoveaneffectthatyourenotusing.
WhentheIFXaremovedupwards,alloftheirrelated
settingsarecopiedaswell.ThisincludesChain,Pan,
RECBus,FXControlBus,Sends1and2,and(for
CombisandSongsonly)CtrlCh.
ThiscommandalsoprovidesanAutoRoutingoption
thatautomaticallyadjustsrelatedparametersinorder
topreservethepreviouslyexistingrouting.
1. IntheInsertFXpage,selecttheinserteffectslot
thatyouwanttoremove.
Inthisexample,IFX1IFX2IFX3IFX4IFX5are
chained,andwearegoingtoremovetheIFX3slot.
Youcanalsoperformthisoperationfromwithinthe
TrackViewpage.Selecttheinserteffectslotthatyou
wanttoremove.

Drum Kits not supported by Auto Routing


DrumKitscanstoreseparateBusSelectsettingsfor
eachkey.BecausethesesettingsarestoredintheDrum
Kit,andnottheProgram,theAutoRoutingoption
cantcorrectthem.
DrumKitProgramswillusetheseseparateBusSelect
settingsiftheIFXRoutingpagesUseDKitSetting
parameteristurnedOn.
Inthiscase,youhavetwooptions.Either:
UseAutoRouting,andthenmanuallyadjustthe
BusSelectsettingsforeachkeyoftheDrumKitto
matchthenewIFXslotarrangement.
or:
DontusetheCutIFXSlotcommand.Instead,
removetheunwantedIFXslotbychangingthe
Chaintosettings,orbyusingtheCopyIFXor
SwapIFXcommands.
2. SelectCutIFXSlottoopenthedialogbox.

161

Program mode: HD-1

Clean Up IFX Routings


CleanUpIFXRoutingsisavailableontheInsertFX
andTrackViewtabsoftheIFXpage.
ThiscommandautomaticallyrearrangesunusedIFX
slotssothattheyareconsecutive.Italsorearranges
effectsinadiscontinuouschainsothattheyare
consecutive.Relatedparametersareautomatically
adjustedinordertopreservetheexistingroutings.
IfeditinganIFXchainresultsinunusedslots,orifthe
connectionsinachainhavebecomedisorganized,you
canexecutethiscommandtocleanuptherouting.
1. AccesstheInsertFXpage.
Inthisexample,IFX1IFX5IFX11IFX12are
chained,andtheremainingslotsareallvacant.

Inthisexample,thediscontinuouschain
IFX1IFX5IFX11IFX12hasbeenreorganized
intoIFX1IFX2IFX3IFX4,andthevacantslots
(000:NoEffect,unlesslocatedwithinachain)have
beenrearrangedconsecutively.
Atthistime,thefollowingparametersare
automaticallyadjustedtomaintaintheexisting
routings.
Routing:BusSelect
2. Alternatively,youcanexecutethiscommandfrom
theTrackViewpage.

RoutingPageMenu:DKitPatch(Combi/Seq)
Iftheprogramusesadrumkit,andtheRouting
pageUseDKitSettingison,youmayhaveto
changetheBusSelectsettingforeachkeyofthe
drumkitinordertoreproducethepreviousrouting
status.
Insuchcases,dontusetheCleanUpIFX
Routingscommand.Instead,rearrangetheIFX
slotsbymakingtheappropriateChaintosettingsor
byusingtheCopyInsertEffectorSwapInsert
Effectcommands.

Copy MFX/TFX
CopyMFX/TFXisavailableonalloftheMFX/TFX
pages.
3. SelectCleanUpIFXRoutingstoopenthedialog
box.

4. PresstheOKbuttontoexecutetheCleanUpIFX
Routingscommand,orpresstheCancelbuttonif
youdecidetocancel.

162

Thiscommandletsyoucopyanydesiredeffectsettings
fromProgram,Combination,Song,orSamplingmode.
1. SelectCopyMFX/TFXtoopenthedialogbox.

Program: Page Menu Commands Swap MFX/TFX

2. InFrom,selectthecopysourcemode,bank,and
number.
YoucanalsousetheBANKSELECTswitchesto
selectthedesiredbank.
IfyoupresstheSetToCurrentbutton,the
currentlyselectedmode,bank,number,and
MFX/TFX(editcell)willautomaticallybeassigned
totheFromfield.Thisisusefulwhenyoure
tryingoutothereffectsettingsandwantto
temporarilycopypreviouslyeditedMFX/TFX
settingstoanothervacanteffectslot.
3. Selecttheeffectthatyouwanttocopy.
Youcancopyfromaninserteffectbyselecting
IFX112.
Ifyoucopyfromaninserteffect,theresultmaynot
beexactlythesame,duetodifferencesinrouting
andlevelsettings.
IfyouselectMFX1orMFX2,theReturnlevelwillbe
copiedatthesametime.
Youcancopysettingsfromatotaleffectbyselecting
TFX1orTFX2.
IfyoucheckAllMFXs,allmastereffectsettingswill
becopied.
IfyoucheckAllTFXs,alltotaleffectsettingswillbe
copied.MasterVolumesettingswillnotbecopied.

2. Pressthetexteditbuttontoopenthetextedit
dialogbox,andinputanamefortheeffectpreset.
3. UsetheTofieldtoselectthewritingdestination.
WerecommendthatyouuseU00U15.
4. PresstheOKbuttontowritetheuserpreset,or
presstheCancelbuttonifyoudecidetocancel.
Note:InDiskmodeyoucansaveorloadeffectpreset
settingsonexternalmedia.

Copy Drum Track


ThiscommandcopiestheDrumTrackpatternand
othersettingsfromanotherProgram,Combination,or
Song.IfyouenabletheProgramSettingstoocheck
box,theDrumProgram,volume,detuneandEQ
settingswillalsobecopied.

4. InTo,specifythecopydestinationmaster
effectsortotaleffects.

Erase Drum Track Pattern

5. ToexecutetheCopyMaster/TotalEffectcommand,
presstheOKbutton.Tocancel,presstheCancel
button.

Thiserasesthespecifieddrumtrackpattern.Formore
information,seeEraseDrumTrackPatternon
page 635.

Swap MFX/TFX

Remap MS/Sample Banks

SwapMFX/TFXisavailableonalloftheMFX/TFX
pages.

ThiscommandletsyouchangetheSampleand
MultisamplebanksettingsinPrograms,DrumKits,
andWaveSequences,eitherfortheentiresystem,a
selectedProgram/WaveSequence/DrumKitbank,or
forasingleProgram,DrumKit,orWaveSequence.For
instance,youcanremapProgramswhichuseSmp:
OldRAMtoplayfromaUserSampleBankinstead.

Thiscommandswaps(exchanges)settingsbetween
MFX1,MFX2,TFX1,andTFX2.
1. SelectSwapMFX/TFXtoopenthedialogbox.

Itisavailableonanypagescontaininga
sample/multisamplebankselectcombobox,including
HD1P2Osc/PitchOsc1andOsc2Basic,MOD7and
STR1PCMOscpages,andtheWaveSequence,Drum
Kit,andGlobalSampleManagementpages.
2. UseSource1andSource2toselectthemaster
effect(s)ortotaleffect(s)thatyouwanttoswap.

ToremaptheMultisampleandSampleBanks:

3. ToexecutetheSwapMaster/TotalEffect
command,presstheOKbutton.Tocancel,press
theCancelbutton.

TheRemapMS/SampleBankdialogwillappear.

1. SelecttheRemapMS/SampleBankcommand.

Write FX Preset
WriteFXPresetisavailableonalloftheeffects
parametereditingpages,includingIFX112,MFX1
and2,andTFX1and2.
1. SelectWriteFXPresettoopenthedialogbox.

2. SettheInparameterasdesired.
IfalloftheloadedsoundsusejustthisoneKSC,select
AllPrograms,WaveSequences,andDrumKits.

163

Program mode: HD-1

IfoneentirebankusesjustthisKSC,butotherbanks
usedifferentKSCs,selectthebanktoremap:BankIA
(Prog/Wseq/DKits)BankUGG(Prog/Wseq/DKits).
ThiswillremapallPrograms,WaveSequences,and
DrumKitsintheselectedbank.
IfsoundswithinasinglebankusemultipleKSCs,
selecttheCurrentProgramoption.Forinstance,some
userskeepallsamplerelatedProgramsinBankUSER
G,butProgram000usesFriday.KSC,Program001uses
Saturday.KSC,andsoon.TheCurrentProgramoption
letsyoudealwitheachProgramindividually.There
aresimilarcommandsforindividualWaveSequences
andDrumKits;thecorrectoptionwillappearforthe
currentmode.
TheCurrentProgramoptionchangestheedit
buffer,andisnotautomaticallysaved.Thisletsyou
useCOMPAREtoreverttotheoriginalversion,if
desired.MakesuretoWritetheProgramifyou
wanttomaketheremappermanent.TheAll
Programsetc.andBankoptionschangedthestored
datadirectly,anddonotrequireaseparateWrite
command.
3. SettheFromparametertotheoldMultisample
and/orSamplebanktheoneyoullbechanging
tothenewbank.
Forinstance,ifyoureupdatingsoundsfromSmp:Old
RAMtoaUserSampleBank,setFromtoSmp:Old
RAM.OnlyMultisample/Samplebankswhichare
currentlyloadedwillappearinthislist.IfInissetto
Current,onlybanksreferredtobythecurrentitemwill
beshown.
4. SettheToparametertothenewMultisample
and/orSamplebanktheonethatremapped
referenceswillbechangedto.
5. PresstheOKbuttontocompletetheremapping,or
presstheCancelbuttontoexitwithoutmaking
changes.
IfyoupressOK,amessageappeartoshowhowmany
bankreferenceshavebeenchanged.
RemappingdoesnotaffectToneAdjustsettings,
includinganysettingsinCombinationsorSongs.

164

Program mode: EXi


EXi Program P0: Play
ThisisthemainpageofProgrammodeforEXi
Programs.Amongotherthings,youcan:
SelectPrograms
Jumpdirectlytothemaineditingpages
MakebasiceditstoKARMA
Setuptheaudioinputsandresamplingoptions
Usethecontrolsurface

EXi Common parameters


EXi,orExpansionInstruments,provideawidevariety
ofsynthesistechnologies.KRONOSincludeseightEXi:
AL1AnalogSynthesizer
CX3TonewheelOrgan
STR1PluckedString.
MS20EXanalogmodelingsynth
PolysixEXanalogmodelingsynth
MOD7WaveshapingVPMsynthesizer
SGX1PremiumPiano
EP1MDSElectricPiano
YoucancombineanytwoEXiwithinanEXiProgram.
EachEXihasitsown,verydifferentparameters,which
youcanaccessviatheEXi1andEXi2buttonsatthe
bottomofthescreen.
AllEXiProgramsalsoincludeastandardpaletteof
capabilities,includingeffects,KARMA,keytracking,
andtheCommonLFOandCommonStepSequencer.
Thesestandardparametersareavailableinthepages
undertheCommonbutton,andaredescribedinthis
chapter.

Auto Song Setup


ThisfeaturecopiesthecurrentProgramor
CombinationintoaSong,andthenputstheKRONOS
inrecordreadymode.
Ifinspirationforaphraseorsongstrikesyouwhile
youreplaying,youcanusethisfunctiontostart
recordingimmediately.Todoso:
1. HolddowntheENTERkeyandpressthe
SEQUENCERREC/WRITEkey.
TheSetuptoRecorddialogboxwillopenandaskAre
yousure?
2. PressOK.
YouwillautomaticallyenterSequencermode,andwill
beintherecordreadystate.
3. PresstheSTART/STOPkeytostartthesequencer
andbeginrecording.

165

Program mode: EXi

01: Main
01PMC

01a

01b

Common

01a: Bank, Program, and Category


Select
Bank

[INTA, USERAG and AAGG]

ThisisthebankofthecurrentProgram.EXiPrograms
canbestoredinbankINTA,orinanyoftheUSER
banks,aslongastheirtypeissettoEXi.(Formore
informationonsettingtheUSERbanktype,see
ChangingtheBankTypeforUSERBanksonpage 3.)
YoucanselectBankseitherviatheonscreenmenu,or
byusingthefrontpanelBankbuttons.

Program Select

[000127, Name]

ThisisnameandnumberofthecurrentProgram.
Whenthisparameterisselected,youcanselect
ProgramsusingtheInc
andDec
buttons,
numericbuttons09,ortheValuedial.
YoucanalsousethepopupProgramandCategory
menustoselectProgramsfromtheLCD.Formore
details,pleaseseeProgramSelectonpage 166
Note:Onthispageonly,theVALUEsliderfunctionsas
amodulationsourcewhichmeansthatyoucantuse
ittoselectPrograms.

Favorite

[Off, On]

ThisbuttonmarkstheProgramasafavorite,which
makesiteasytofindintheBank/ProgramSelectand
Category/ProgramSelectdialogs.
NotethatyoumustwritethePrograminordertosave
changestothissetting.

166

q (Tempo)

[040.00300.00, EXT]

ThisisthetempoforthecurrentProgram,which
appliestoKARMA,temposyncedLFOs,Step
Sequencers,temposyncedeffects,andsoon.
EXTmeansthatthetempowillsynctoexternalMIDI
clocks.YoullseethisiftheGlobalMIDIpageMIDI
ClockparameterissettoExternalMIDI,orifitssetto
AutoandtheKRONOSiscurrentlyreceivingMIDI
clocks.Formoreinformation,pleaseseeMIDIClock
(MIDIClockSource)onpage 772.
040.00300.00allowyoutosetaspecifictempoin
BPM,with1/100BPMaccuracy.Inadditiontousing
thestandarddataentrycontrols,youcanalsojustturn
theTEMPOknob,orbyplayingafewquarternoteson
theTAPTEMPObutton.

01b: Overview and Page Jump


Thissectionshowsanoverviewofthemostimportant
settingsfortheProgramstwoEXiinstruments,along
withsomeoftheimportantCommonparameters.The
specificparameterswillvary,dependingonwhichEXi
arebeingused.Parametersthatyoumayseeinclude
oscillatorsettings,filtersettings,EGs,LFOs,step
sequencers,drawbarsettings,andsoon.Seethe
individualEXidocumentationfordetails.
Thegraphicsgiveyouaquickwaytocheckallofthese
settingsataglance.Theyalsoletyoujumpinstantlyto
anyofthedisplayedparameters.Justtouchoneofthe
graphics,andyoulljumptothepagecontainingits
parameters.Forinstance,ifyoutouchtheFilterEG
graphic,youllgototheFilterEGpage.

EXi Program P0: Play 02: Performance Meters

Common

PressthisareatojumptotheEQpage.

Thegraphicsalongtherightsideofthescreenshow
themostimportantCommonparameters,whichare
sharedbybothEXiintheProgram.Thissectionwill
alwaysshowthesameparameters,regardlessofwhich
EXiarebeingused.

IFX, MFX/TFX

Common Voice Assign Mode

KARMA GE Name

ThisshowsthevoiceassignmodeoftheProgram
eitherPOLYorMONO.

ThisshowsthenameoftheselectedKARMAGE.

PressthisareatojumptotheProgramBasicpage.

Common Step Sequencer


ThisshowsagraphicoverviewoftheCommonStep
Sequencer.
PressthegraphictojumptotheCommonStep
Sequencerpage.

Common LFO Graphic


ThisshowsthewaveformoftheCommonLFO.
PressthegraphictojumptotheCommonLFOpage.

3 Band EQ Graphic

PresstheIFXareatojumptotheIFXRoutingpage.
PresstheMFX/TFXareatojumptotheMFXRouting
page.

PressthisareatojumptotheGESetup/KeyZones
page.

t 01: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

Thisshowsthemidsweepable3bandEQ.

02: Performance Meters


Thispageletsyoulookattherealtimeperformanceof
theKRONOS,includingvoiceusage,voicestealing,
andeffects.

Formoreinformation,see02:PerformanceMeters
onpage 7.

06: KARMA GE
ThispageletsyoumakebasicadjustmentstoKARMA.
ItworksexactlylikethesimilarpageforHD1
Programs;formoreinformation,see06:KARMA
GEonpage 9.

FormoredetailededitingofKARMAparameters,see
ProgramP7:KARMAonpage 107.

07: Controller View/Effects


Thispageshowsthefunctionsassignedtothephysical
controllers,includingthevectorjoystick,SW1and2,
andknobs58.Italsoincludesanoverviewofallofthe
effects,andletsyouadjusttheWet/DryBalances
separatelyfortheIFX,MFX,andTFX.

ItworksexactlylikethesimilarpageforHD1
Programs;formoreinformation,see07:Controller
View/Effectonpage 13.

08: Audio Input/Sampling


Thispageletsyouadjustthevolume,pan,effects
sends,andbussingfortheanalog,USB,andS/P DIF
audioinputs.Italsocontrolsthesamplingrelated
settingsforProgrammode.

ItworksexactlylikethesimilarpageforHD1
Programs;formoreinformation,see08:Audio
Input/Samplingonpage 14.

09: Control Surface


TheControlSurfaceisthesetof9sliders,8knobs,and
16switchestotheleftoftheLCDdisplay.Itlookslikea
mixer,butitcandootherthingsaswell,including
editingsounds,controllingKARMA,andsending
MIDImessagestoexternaldevices.

Thispageshowsyouthecurrentvaluesforeachofthe
sliders,knobs,andbuttons,alongwithinformation
aboutwhattheyarecontrolling.Forinstance,youcan:
AdjustthevolumeandpanforEXiinstruments1
and2

167

Program mode: EXi

ControltheProgramsEQsettingsandMaster
EffectsSendlevels
ModulatesoundsandeffectsusingtheRealTime
Knobs
ControlKARMA,andselectKARMAscenes,using
theslidersandswitches
EditsoundsusingToneAdjust
Assignsliders,knobs,andswitchestodifferent
ToneAdjustparameters
Otherthantheexceptionsnotedbelow,itworksalmost
exactlylikethesimilarpageforHD1Programs,
substitutingEXi1/2forOSC1/2.Formoreinformation,
see09:ControlSurfaceonpage 21.

0-9e: RT/KARMA (Real Time


Knobs/KARMA)
RealtimeKnobs14havededicatedfunctions:Cutoff,
Resonance,FilterEGIntensity,andFilterRelease.EXi
instrumentswillsupportthesefunctionsasmuchas
possible,dependingupontheirarchitecture.
Forinstance,theAL1andSTR1supportallofthese
controls.TheCX3,ontheotherhand,hasnofiltersor
EGs,andsoitdoesnotsupportthematall.Fordetails
onotherEXi,pleaseseetheirdocumentation.

0-9f: Tone Adjust


ThefirstgroupofToneAdjustparametersarethe
Commonset,whichaffectbothEXi1andEXi2atthe
sametime.Thisisconvenientformakingquickeditsto
theentiresound;forinstance,youcanuseFilterCutoff
tomakebothEXi1andEXi2darkerorbrighter,or
Filter/AmpEGReleaseTimetomaketheiroverall
releasetimeslongerorshorter.Formoredetails,anda
completelistoftheparameters,pleaseseeCommon
ToneAdjustParametersonpage 32.
SomeEXiinstrumentsmaynotsupportallofthe
CommonToneAdjustparameters.Fordetails,please
seetheindividualEXimanuals.
AftertheCommonparameters,theitemsinthelistwill
varydependingontheEXibeingused.TheseEXi
specificparametersallowyoutocontrolsettings
uniquetoagivenEXi,suchasOscillator1Morphin
theAL1,orWaveshaperTableselectionintheMOD7.
Formoreinformation,pleasesee:
AL1:ToneAdjust,onpage 222.
CX3:ToneAdjust,onpage 244.
STR1:ToneAdjust,onpage 292.
MS20EX:ToneAdjust,onpage 319.
PolysixEX:ToneAdjust,onpage 335.
MOD7:ToneAdjustonpage 385.
SGX1:Toneadjustonpage 393
EP1:ToneAdjustonpage 413
ForthesenonCommonparameters,youhave
independentcontrolsforbothEXi1andEXi2evenif
theybothusethesameEXi.Forinstance,ifbothEXi

168

aresettousetheAL1,theycanstillhaveseparate
ToneAdjustsettingsfortheirLFOs,oscillators,andso
on.

EXi Program P4: Basic/Vector 41: Program Basic

EXi Program P4: Basic/Vector


ThesepagescontrolthebasicelementsoftheProgram,
alongwiththeVectorsynthesisfeatures.Forinstance,
youcan:

SetupVectorfadesbetweenEXi1andEXi2

SelecttheEXiinstrumentswhichformthebasisof
theProgramssound

ProgramtheVectorEnvelopetomovetheVector
positionautomatically

SetupVectorCCstomodulateProgramandEffects
parameters

41: Program Basic


41PMC

41a

41b

41c

41d

41e

41f

41h
41g

Thispagecontainsallofthebasicsettingsforthe
Program.Amongotherthings,youcan:
SelecttheEXiinstrumentswhichformthebasisof
theProgramssound
SettheProgramtoplaypolyphonicallyor
monophonically
CreateakeyboardsplitbetweenEXi1andEXi2

YoucanselecteitheroneortwoEXisfortheProgram.
UnlikeHD1Programs,thereisnosettingforSingleor
Double.IftherearetwoEXis,itdoesntmatterwhich
EXiisinwhichslot.Youcanevenselectonlyasingle
EXi,butplaceitinthesecondslot.

41b: EXi 2
EXi 2 Instrument Type

SelecttheProgramsscale

[List of EXi]

ThisisthesecondEXislotfortheProgram.

41a: EXi 1
EXi 1 Instrument Type

[AL-1, CX-3, STR-1,


MS-20EX, PolysixEX,
MOD-7, SGX-1, EP-1]

ThisisthemostbasicsettingfortheEXiProgram.EXi
instrumentsarecompletesynthesizers,inandof
themselves;theymaycreateorprocesssoundsin
completelydifferentways,andallowyoutoadjust
completelydifferentparameters.
Forinstance,theAL1isavirtualanalogsynthesizer,
theCX3isaphysicallymodeledtonewheelorgan,the
MOD7isapatchpanelbasedVPM,Waveshaping,
andsamplemanglingsynthesizer,andsoon.

41c: Voice Assign Mode


Voice Assign options may vary with different EXi
Asmuchaspossible,thedifferentEXiinstruments
supportallofthevoiceassignoptions.However,there
arecasesinwhichaparticularEXidoesnotsupporta
specificvoiceassignparameter.
Additionally,whenaProgramusestwodifferentEXi
instruments,someofthevoiceassignoptionswillonly
takeaffectiftheyaresupportedbybothEXi.These
include:
ThemainModeselection(PolyorMono)
PolyLegato
SingleTrigger

169

Program mode: EXi

MonoLegato
Monomode(NormalorUseLegatoOffset)
Unison

(Voice Assign Mode)

[Poly, Mono]

Off(unchecked):Legatophrasingwillproducethe
samesoundasdetachedplaying.

Theseradiobuttonsselectthebasicvoiceallocation
mode.Dependingonwhichmodeyouselect,various
otheroptionswillappear,suchasPolyLegato(Poly
modeonly)andUnison(Monomodeonly).

Mode

Poly:Theprogramwillplaypolyphonically,allowing
youplaychords.

Normal:Whenyouplaylegato,theenvelopesand
LFOs(andsamples,iftheEXisupportssamples)will
notbereset.Instead,onlythepitchoftheoscillatorwill
change.Thissettingisparticularlyeffectiveforwind
instrumentsandanalogsynthsounds.

Mono:Theprogramwillplaymonophonically,
producingonlyonenoteatatime.

Poly
Poly Legato

[Off, On]

PolyLegatoisavailablewhentheVoiceAssignMode
issettoPoly.ThisoptionappliesonlytoEXiwhich
includesampleplayback.
Legatomeanstoplaynotesothattheyaresmoothand
connected;thenextnoteisplayedbeforethelastnote
isreleased.Thisistheoppositeofplayingdetached.
On(checked):Whenyouplaywithlegatophrasing,
onlythefirstnotesinthephrase(withinthefirst30ms)
willusethenormalMultisampleStartPoint,assetby
theStartPointOffsetparameter.Therestofthenotes
willusetheLegatoStartPoint.
Off(unchecked):Noteswillalwaysusethesettingof
theStartPointOffset,regardlessofwhetheryouplay
legatoordetached.
WithsomeMultisamples,PolyLegatomaynothave
anyeffect.

Single Trigger

[Off, On]

SingleTriggerisavailablewhentheVoiceAssign
ModeissettoPoly.
On(checked):Whenyouplaythesamenote
repeatedly,thepreviousnotewillbesilencedbefore
thenextnoteissounded,sothatthetwodonot
overlap.

[Normal, Use Legato Offset]

ThisparameterisavailableonlywhenMonoLegatois
On.

WhenusedwithEXiwhichsupportsamples,the
pitchmayoccasionallybeincorrect,dependingon
whichmultisampleyouplay,andwhereonthe
keyboardyouplay.
UseLegatoOffset:ThisappliesonlytoEXiwhich
supportsamples.Whenyouplaylegato,allbutthe
firstnotewillusetheMultisamplesLegatoStartPoint,
insteadoftheonesetbytheStartOffsetparameter.
ThiswillbemosteffectiveforMultisampleswith
specificallydesignedLegatoOffsetpoints;forsome
Multisamples,itmayhavenoeffect.
EnvelopesandLFOswillstillbereset,astheyarewith
detachedplaying.

Priority

[Low, High, Last]

PriorityisavailablewhentheVoiceAssignModeisset
toMono.
Thisparameterdetermineswhathappenswhenmore
thanonenoteisbeinghelddown.
Low:Thelowestnotewillsound.Manyvintage,
monophonicanalogsynthsworkthisway
High:Thehighestnotewillsound.
Last:Themostrecentlyplayednotewillsound.

Max # of Notes
Max # of Notes

[Dynamic, 116]

Off(unchecked):Whenyouplaythesamenote
repeatedly,thenoteswilloverlap.

Dynamicisthedefault.Withthissetting,youcanplay
asmanynotesasthesystemallows.

Mono

116letsyoulimitthemaximumnumberofnotes
playedbytheProgram.Youcanusethisto:

Mono Legato

[Off, On]

ThisisavailablewhentheVoiceAssignModeissetto
Mono.
Legatomeanstoplaynotesothattheyaresmoothand
connected;thenextnoteisplayedbeforethelastnote
isreleased.Thisistheoppositeofplayingdetached.
WhenMonoLegatoisOn,thefirstnoteinalegato
phrasewillsoundnormally,andthensubsequentnotes
willhaveasmoothersound,formoregentle
transitionsbetweenthenotes.
TheModeparameter,below,switchesbetweentwo
differentMonoLegatoeffects,eachofwhichachieves
thissmoothnessinadifferentway.Seethedescription
ofthatparameterformoredetails.

170

On(checked):Whenyouplaywithlegatophrasing,
thenoteswithinalegatophrasewillsoundsmoother,
accordingtothesettingoftheModeparameter,below.

Modelthevoiceleadingofvintagesynthesizers,
suchasthePolysix
Controltheresourcesrequiredbyindividual
ProgramsinCombinationandSequencermodes
Max#ofNotesappliesonlywhenthemainVoice
AssignModeissettoPoly.IfMonoisselected,thisis
grayedout.
ThissettingdoesnotlimittheUnisonNumberof
Voicesparameter.Forinstance,ifMax#ofNotesisset
to6,andUnisonNumberofVoicesissetto3,youcan
playupto6notes,eachwith3Unisonvoices.
IftherearetwoEXiintheProgram,theMax#ofNotes
appliesequallytoboth.Forinstance,ifMax#ofNotes
issetto4,youcanplayupto4notesoneachEXi.

EXi Program P4: Basic/Vector 41: Program Basic

[Off, Bsc, Adv]

case,intermediatesettingsofStereoSpreadmaybe
themosteffective,sincetheywillstillpreservesomeof
theoriginalstereoimage.

Bsc(Basic)recreatesthechordmodeoftheKorg
Polysix.Eachtimeyouplayanewchord,itwillcutoff
thepreviouschord.ThisoptionignorestheVoice
Assignsettings.

Unisondetuningisspreadasevenlyaspossibleacross
theleftandrightchannels.Thelowestvoicewillbeon
theleft,andthehighestontheright;thenextloweston
theleft,andthenexthighestontheright,etc.,as
below:

Chord
Chord
OffdisablestheChordfunction.

Adv(Advanced)usestheProgramsVoiceAssign
settings,asifeachnoteinthechordwasatransposed
setofoscillatorslayeredwithintheProgram.
Poly,PolyLegato,SingleTrigger,Mono,MonoLegato,
LegatoOffset,MonoPriority,andMonoandPoly
Unisonallapply.
YoucanachievethesameeffectasBsc,above,by
settingChordtoAdvanced,VoiceAssigntoMono,
PrioritytoLastNote,andLegatotoOff.
Formoreinformation,seeUsingChordmodeon
page 36oftheOperationGuide.

Source Pad

[1...8]

Chordmodeusesthechordsassignedtotheonscreen
pads.Thisselectswhichofthepadstouse.Youcan
alsochoosechordsusingthepadsthemselves;for
moreinformation,seeSelectingchordsonpage 38of
theOperationGuide.

Unison
Unison

[On, Off]

UnisoncanbeusedinbothMonoandPolymodes.
On(checked):WhenUnisonison,theProgramuses
twoormorestacked,detunedvoicestocreateathick
sound.
UsetheNumberofVoicesandDetuneparametersto
setthenumberofvoicesandamountofdetuning,and
theThicknessparametertocontrolthecharacterofthe
detuning.
Off(unchecked):TheProgramplaysnormally.If
UnisonisOff,thenallofitsassociatedparametersare
grayedout.

Number of voices

[216]

Thiscontrolsthenumberofdetunedvoicesthatwillbe
playedforeachnotewhenusingUnison.Itapplies
onlywhenUnisonisOn.

Stereo Spread

[0...100]

StereoSpreadletsyoucreateawiderstereofieldwhen
usingUnison.ItappliesonlywhenUnisonisOn.
ThisfeatureseparatesthedifferentUnisonvoicesinto
twogroups.Onegroupispannedtotheleft,andthe
othertotheright.At0,bothgroupswillbeinthe
center;at100,thetwogroupswillbehardpannedleft
andright,respectively;atintermediatevalues,they
willbepannedtointermediateleftandrightpositions.
Ifthereisanoddnumberofvoices,onevoicewillbe
pannedtothecenter.
Ifthevoicesaretruestereo,StereoSpreadsteersthe
stereoimageofeachvoice,similartoMIDIPan
(CC#10)andtheControlSurfacePanknobs.Inthis

14cents:L
+14cents:R
10cents:L
+10cents:Retc.
DependingontheThicknesssetting,thedetuning
mayleanslightlytooneside.

Detune

[00200 cents]

DetuneisavailablewhenUnisonisOn.
ThisparametersetsthetuningspreadfortheUnison
voices,incents(1/100ofasemitone).TheThickness
parameter,below,controlshowthevoicesare
distributedacrossthedetuneamount.When
ThicknessisOff,thevoicesaredistributedevenly,
centeredaroundthebasicpitch.
Forinstance,letssaythattheNumberofvoices
parameterissetto3,Detuneissetto24,and
ThicknessisOff:
Voiceonewillbedetuneddownby12cents,voicetwo
willnotbedetuned,andvoicethreewillbedetunedup
by12cents.
Voice

Detune

12

+12

Asanotherexample,letssaythatDetuneisstillsetto
24andThicknessisstillOff,butNumberofvoicesis
setto4:
Voiceonewillstillbedetuneddownby12cents,voice
twowillbedetuneddownby4cents,voicethreewill
bedetunedupby4cents,andvoice4willbedetuned
upby12cents.
Voice

Detune

12

+4

+12

Thickness

[Off, 0109]

ThicknessisavailablewhenUnisonisOn.
Thisparametercontrolsthecharacterofthedetuning
fortheunisonvoices.
Off:Unisonvoiceswillbeevenlydistributedacross
theDetunerange,asshownabove.

171

Program mode: EXi

0109:Unisonvoiceswillbedetunedinanasymmetric
way,increasingthecomplexityofthedetune,and
changingthewayinwhichthedifferentpitchesbeat
againstoneanother.Thiscreatesaneffectsimilarto
vintageanalogsynthesizers,inwhichoscillatorswere
frequentlyslightlyoutoftune.Highernumbers
increasetheeffect.

Youcancreatekeyboardsplitsbysettingtopand
bottomkeysforEXi1and2.Also,youcancontrolthe
keyboardrangeoverwhichtheHoldparametertakes
effect.

Setting Key Zones from the keyboard


Inadditiontousingthestandarddataentrycontrols,
youcanalsosetallkeyboardzonesparametersdirectly
fromthekeyboard.Justdothefollowing:
1. Selectthekeyzoneparameteryoudliketoedit.
2. PressandholdtheENTERbutton.
3. Playanoteonthekeyboardtosettheparameter.
4. ReleasetheENTERbutton.
Youcanusethisshortcutforallkeyandvelocity
parametersintheKRONOS.

[C-1G9]

ThissetsthelowestkeyonwhichEXi1willplay.

EXi 1 Top

[C-1G9]

ThissetsthehighestkeyonwhichEXi1willplay.

EXi 2 Bottom

[C-1G9]

SelectsthebasicscalefortheProgram.
Notethatformanyofthescales,thesettingoftheKey
parameter,below,isveryimportant.

Key (Scale Key)

[CB]

Selectsthekeyofthespecifiedscale.
ThissettingdoesnotapplytotheEqualTemperament,
Stretch,andUserAllNotesscales.
IfyoureusingascaleotherthanEqual
Temperament,thecombinationoftheselectedscale
andtheKeysettingmayskewthetuningofthe
note.Forexample,AabovemiddleCmightbecome
442Hz,insteadofthenormal440Hz.Youcanuse
theGlobalModesMasterTuneparametertocorrect
this,ifnecessary.

Random

[07]

Thisparametercreatesrandomvariationsinpitchfor
eachnote.Atthedefaultvalueof0,pitchwillbe
completelystable;highervaluescreatemore
randomization.
Thisparameterishandyforsimulatinginstruments
thathavenaturalpitchinstabilities,suchasanalog
synths,tapemechanismorgansoracoustic
instruments.

ThissetsthelowestkeyonwhichEXi2willplay.

41f: Note-On Control

EXi 2 Top

EXi 1 Delay

[C-1G9]

ThissetsthehighestkeyonwhichEXi2willplay.

Hold

[On, Off]

Holdislikepermanentlypressingdownonthesustain
pedal.Inotherwords,notescontinuetosoundasif
youwereholdingdownthekeyevenafteryoulift
yourfingersfromthekeyboard.
UnlesstheSustainLevelissetto0inAmpEG1(and
AmpEG2inaDoubleProgram),thesoundwill
continuetoplayforeveror,forEXiwhichsupport
samples,itwillplayfortheentirelengthofthe
sample(s).

[0ms5000ms, KeyOff]

Usethistocreateadelaybetweenthetimethatyou
pressakey,andthetimethatEXi1snoteactually
sounds.
ThisismostusefulinDoublePrograms,fordelaying
oneEXiinrelationtotheother.
KeyOffisaspecialsetting.Insteadofdelayingthe
soundbyaparticularamountoftime,thesoundwill
playassoonasyoureleasethekey.
Youcanusethistocreatetheclickheardwhena
harpsichordnoteisreleased,forinstance.
Ingeneral,whenyouusetheKeyOffsetting,itsalso
besttosettheAmpEGSustainLevelto0(assuming
theEXiincludesanAmpEG).

On(checked):TheHoldfunctionisenabledforthe
rangesetbytheHoldBottomandHoldTop
parameters,below.

EXi 2 Delay

Off(unchecked):Noteswillplaynormally.Thisisthe
defaultsetting.

ThiscontrolsthenoteondelayforEXi2.Formore
information,seeEXi1Delayonpage 172.

Hold Bottom

[C-1G9]

ThissetsthelowestkeyaffectedbytheHoldfunction.

Hold Top

[C-1G9]

ThissetsthehighestkeyaffectedbytheHoldfunction.

172

Type [Equal TemperamentUser Octave Scale15]

Foracompletelistoftheavailablescales,pleasesee
11g:Scaleonpage 41.

41d: Key Zone

EXi 1 Bottom

41e: Scale

[0ms5000ms, KeyOff]

41g: Half-Damper Control


Ahalfdamperpedalisaspecialtypeofcontinuous
footpedal,suchastheKorgDS1H.Incomparisontoa
standardfootswitch,halfdamperpedalsoffermore
subtlecontrolofsustain,whichcanbeespeciallyuseful
forpianosounds.

EXi Program P4: Basic/Vector 41: Program Basic

TheKRONOSwillautomaticallysensewhenahalf
damperisconnectedtotherearpanelDAMPERinput.
Forproperoperation,youwillalsoneedtocalibrate
thepedal,usingtheCalibrateHalfDampercommand
intheGlobalpagemenu.
Theoffandfullonpositionsofthehalfdamperwork
justlikeastandardfootswitch.Inconjunctionwiththe
EnableHalfDamperparameter,below,intermediate
positionsallowagraduatedcontrolofsustain,similar
tothedamperpedalofanacousticpiano.

Enable Half-Damper

[On, Off]

WhenthisisOn(checked),HalfDamperpedals,
normalsustainpedals,andMIDICC#64willall
modulatetheAmpEG,asdescribedbelow.

t 41: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyEXiOscillator.Formoreinformation,see
CopyEXiOscillatoronpage 181.

WhenthisisOff(unchecked),thepedalsandMIDI
CC#64willstillholdnotesasusual,butwillnot
modulatetheAmpEG.

Half-Damper Pedal and Release Time


Theamountofmodulationdependsonwhetherthe
AmpEGSustainLevelissetto0(asisthecasewith
mostacousticpianosounds),orsetto1ormore.The
modulationiscontinuous,from1x(nochange)to55
timeslonger;thetablebelowshowsaselectionof
representativepoints.
HalfDampermodulationofAmpEGReleaseTime
Multiply Amp EG Release Time by

CC#64
Value

If Sustain = 0

If Sustain = 1 or more

1x

1x

32

2.1x

2.1x

64

3.2x

80

5.9x

96

22.3x

127

55x

3.2x

41h: Transpose
Theseparametersmakeiteasytotransposeoneorboth
EXi.Tokeepthetimbrethesameforagivenpitch,
otherkeyrelatedparametersaretransposedaswell,
suchaskeytrackingandnotenumberAMS.
Forinstance:
1. SetakeytrackbreakpointtoC2.
2. Setthetransposeto+2.
Now,thekeytrackbreakpointwillstilldisplayasC2,
butwillbetransposeduptoD2.
Thesetranspositionsarecumulativewith
Timbre/TracktransposeinCombinationsandSongs.
Note:TheEXi1/2keyzonesdirectlyrepresentthe
physicalkeyboard,andarenotaffectedbythese
transposesettings.Formoreinformation,see41d:
KeyZoneonpage 172.

EXi 1

[60+60]

ThistransposesEXi1,insemitones.Thedefaultis0.

EXi 2

[60+60]

ThistransposesEXi1,insemitones.Thedefaultis0.

173

Program mode: EXi

42: EXi Audio Input


42PMC

42a

TheseparametersletyourouteaudiointoEXi
instrumentswhichsupportaudioinput,includingthe
STR1,MS20EX,andMOD7.Youcanusethisto
createfeedbackloops,ortoprocessliveorrecorded
audiothroughtheEXissynthesisengine.
EXiwhichdonotsupportaudioinputwillignorethese
settings.TheAL1supportsaudioinput,butusesits
owndedicatedrouting.
FormoreinformationonusingaudioinputswithEXi,
see:
AL1:43c:SubOSC/AudioInputonpage 191
STR1:48c:Feedbackonpage 271
MS20EX:61k:EXTERNALSIGNALPROCESSOR
(ESP)onpage 313
MOD7:51f:EXiAudioInputonpage 359
Youcanoverridethesesettings,ifdesired,in
CombinationandSequencermodes.Formore
information,see26:EXiAudioInputonpage 461
(Combimode),and26:EXiAudioInputon
page 573(Sequencermode).

42b

42a: EXi 1
Input Source

[PRG, Off, Audio Input 1/2,


USB 1/2, S/P DIF Input L/R,
L/R Output, Indiv. Output 1/2...3/4,
REC 1/23/4, FX Control 1, 2,
IFX 1...12, MFX 1, 2, TFX 1, 2]

ThisselectstheinputsourceforEXi1.Youcanusethis
tocreateafeedbackloop,ifdesired.
Offdisablestheinput.
AudioInput1/2,USB1/2,andS/P DIFInputL/Ruse
theliveaudiofromtheselectedinput.
L/ROutputandIndiv.Output1/23/4usetheaudio
asitisheardfromtheselectedoutput(likeconnecting
acablefromtheoutputbacktotheinput).
REC1/23/4andFXControl1,2usetheaudiofrom
theselectedbus.
IFX112,MFX1,2,andTFX1,2usetheoutputofthe
selectedeffect.

Channel Select

[Stereo/L+R, Left, Right]

Stereo/L+R:ThisselectionroutesastereosignaltoEXi
withstereoinputs,andanL+RsummationtoEXiwith
monoinputs.
Left,Right:Thisusesonlyamonosignalfromthe
selectedchannel.

42b: EXi 2
EXi2hasthesamecontrolsasEXi1,above.

174

EXi Program P4: Basic/Vector 43: Drum Track

43: Drum Track


ThispageworksthesameasthesimilarpageinHD1
Programs.Fordetailedinformation,see13:Drum
Trackonpage 42.

45: Vector Control


VectorSynthesisletsyoucontrolProgramandEffects
parametersbymovingtheVectorJoystick,byusingthe
programmableVectorEnvelope,orbythecombination
ofthetwo.
ThispageworksexactlylikethesimilarpageforHD1
Programs,substitutingEXi1/2forOSC1/2.Formore
information,see15:VectorControlonpage 46.

t 45: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyEXiOscillator.Formoreinformation,see
CopyEXiOscillatoronpage 181.

46: Vector Envelope


TheVectorEnvelopeworkstogetherwiththeVector
JoysticktocontroltheVectorposition.Itsalsospecial
becauseitstheonlyprogrammablemodulationsource
whichletsyoumodulatebothProgramandEffects
parameters.
TheVectorEnvelopeisdifferentfromtheother
envelopesinseveralways:
EachpointhastwolevelsonefortheXaxis,and
onefortheYaxis.
Theenvelopetimescanbebasedonsecondsand
milliseconds,orsyncedtotempo.
Eachpointhasaholdtime,aswellasatransition
timetothenextpoint.
Theenvelopecanloopbetweentwopoints,for
eitheraspecifiednumberofrepeats,oraslongas
youholdthenote.

ThispageworksexactlylikethesimilarpageforHD1
Programs,substitutingEXi1/2forOSC1/2.Formore
information,see16:VectorEnvelopeonpage 50.

t 46: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyEXiOscillator.Formoreinformation,see
CopyEXiOscillatoronpage 181.

48: Set Up Controllers


ThispageletsyousetupthefunctionalityofSW1/2
andRealTimeKnobs58.Itworksexactlylikethe
similarpageforHD1Programs;formoreinformation,
see18:SetUpControllersonpage 53.

2:CopyEXiOscillator.Formoreinformation,see
CopyEXiOscillatoronpage 181.

t 48: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

175

Program mode: EXi

49: Pads
Thispageletsyouviewandeditthenoteassignments
forthe8onscreenpads.Itworksexactlylikethe
similarpageforHD1Programs;formoreinformation,
see19:Padsonpage 54.

t 49: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyEXiOscillator.Formoreinformation,see
CopyEXiOscillatoronpage 181.
3:CopyPadSetup.Formoreinformation,see
CopyPadSetuponpage 154.

176

EXi Program P5: Modulation 51: Common Step Seq

EXi Program P5: Modulation


TheentireProgramsharesseveralmodulationsources,
including:
AsingleCommonLFO,sharedbyallthevoices
similartotheglobalLFOonsomevintageanalog
synths

TwoCommonKeyTrackinggenerators,whichare
setupfortheentireProgram,butthencalculated
individuallyforeachvoice
ThesepagesletyousetuptheseProgramwide
modulationsources.

AsingleCommonStepsequencer,sharedbyallthe
voices

51: Common Step Seq


51d

51PMC

51a

51a

51b

51c

Overview
TheCommonStepSequencercreatescomplex,
rhythmicpatterns,whichcanthenbeusedasanAMS
source.Forinstance,youcanmodulateafiltertocreate
sampleandholdeffects,modulatepitchtocreate
melodicpatterns,ormodulateamplitudetocreate
pulsing,triggeredgateeffects.

dosoexplicitlyviatheSequencerResetparameter.
ThisisdifferentfromthepervoiceStepSequencers
KeySyncOffsetting,whichresetswheneverallnotes
arereleased.
(However,youcancreateasimilarbehavior,ifyou
like;seetheSequencerResetparameterformore
information.)

ModulatetheStartStepviaAMS

TheCommonStepSequencerspersistencecanbe
handyifyouwanttocreateaconstantrhythm,and
thenplayunderneaththatrhythmwithoutre
triggeringit.Forinstance,youcanuseaMIDI
controllerinyoursequencertoresettheCommonStep
Sequencereveryfewbars,regardlessofwhatnotesare
beingplayed.

Useindividualstepstoeithergateordosample
andholdonacontinuousAMSsource,suchasan
LFO

Creating melodic patterns with the Step


Sequencer

Thesequencecanhaveupto32steps,eachwithits
ownlevelandduration.Itcanloop,orplayonlyonce.
Youcanalso:
RestarttheStepSequencerviaAMS

Assignindividualstepstocreatearandomlevel
UseSmoothingtocreategentle,curvingshapes

Differences from per-voice Step Sequencers


ThereisonlyasingleCommonStepSequencershared
bytheentireProgram.Itstartsrunningassoonasyou
selecttheProgram,andonlyresetswhenyoutellitto

YoucanusetheStepSequencertomodulatesynthesis
parameters,suchasfiltercutoffandyoucanalsouse
ittocreatemelodicpatterns.Todoso:
1. AssigntheStepSequencerasanAMSsourcefor
Pitch.
2. SettheAMSintensityto+25.

177

Program mode: EXi

3. IntheStepSequencer,setthestepvaluesas
desired.Eachincrementof4equalsasemitone.
Forexample,toplayanascendingchromaticscale,set
thestepvaluesto0,+4,+8,+12,+16,andsoon.One
octaveupis+48,andtwooctavesupis+96.

valueofzero.(Youcouldusenegativevalues,aswell,
butthatwouldmaketheactionoftheAttackand
Decaycontrolsmorecomplicated.)
Toheartheeffectclearly,letsuseanAL1,andassign
theStepSequencertomodulateFilterCutoff:
1. InasingleEXiProgram,setEXi1toAL1.

51a: Step Sequencer


Mode

[Loop, One Shot]

LoopmakestheStepSequenceloopcontinuously
betweentheStartStepandtheEndStep.
OneShotmakestheStepSequenceplayoncefromthe
StartSteptotheEndStep,andthenholdattheEnd
Step.YoucanstillresettheStepSequencerfromAMS
tomakeitplayagain.

Start Step

[132]

3. SettheFilterCutoffto00.
4. OntheFilterModpage,setFilterAsAMSto
CommonStepSequencer,andsettheIntensityto
90.
YoucouldalsousethepervoiceStepSequencer,but
forthisexamplewellusetheCommonone.
5. IntheCommonStepSequencer,settheEndStep
to4.

Thissetsthesteponwhichthesequencewillstart.The
StartStepisimportantfortheModeparameter,above.
YoucanalsomodulateitviaAMS.

6. SettheModetoLoop.

AMS

9. SetStep3sValueto+80.

[AMS Sources]

ThisselectsanAMSsourcetomodulatetheStartStep.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[-32+32]

ThiscontrolsthedepthanddirectionoftheStartStep
modulation.

End Step

[0132]

Thissetsthelaststepinthesequence.Oncethe
sequencereachestheEndStep,itwilleitherholdthere
untilthenotegoesaway(ifModeissettoOneShot),
orloopbacktotheStartStep(ifModeissettoLoop).

ThesecontrolsfiltertheStepSequencersoutputsignal,
creatingmoregentletransitionsbetweenvalues.You
canusethistoroundoffthehardedgesoftheStep
Sequencersoutput,ortocreateenvelopelikeeffects.
Youhaveseparatecontroloftheamountofsmoothing
duringtheattack(whenthesignalisincreasing)and
decay(whenitsdecreasing).

Attack

[0099]

Thiscontrolstheattacktimeofthesmoother,orhow
longittakestoreachanew,highervalue.
HigherAttacksettingsmeanlongertimes.
DependingonhowquicklytheStepSequencervalueis
changing,highAttacksettingsmaymeanthatanew
valueisneverquitereached.

Decay

7. SetStep1sValueto+100.
8. ForbothStep2andStep4,settheValueto0.
10.SettheDurationsofallfourStepstoa32ndnote.
11.TurnthefrontpanelTempoknobtothecenter,at
about120bpm.
Ifthetempoisreallyfast,youdneedtouselongerStep
Durations.
12.SettheSmoothingAttackto0.
13.AdjusttheSmoothingDecayto80.
Now,theStepSequencerwillcreateaseriesof16th
notepulses,likesimpleenvelopes.Withthesettings
above,theyenvelopeswillhaveaninstantattack,
andamoderatedecay/releasetime.
Formorespacebetweenthepulses,trythis:

Smoothing

[0099]

Thiscontrolsthedecaytimeofthesmoother,orhow
longittakesthesmoothertoreachanew,lowervalue.
HigherDecaysettingsmeanlongertimes.

Using Smoothing to create envelope-like shapes


Sinceyouhaveseparatecontrolovertheattackand
decaytimes,youcanuseSmoothingtocreate
envelopelikepulses.Todoso,youllneedtoalternate
StepValuessothatapositivevalueisfollowedbya

178

2. SettheFilterTypetoLowpass,andtheRoutingto
24dB(4pole).

14.ForbothStep2andStep4,settheDurationx
(MultiplyBaseNoteby)to3.
Thiscreatesaseriesof8thnotepulses,withalonger
timebetweeneachpulse.
15.AdjusttheDecaybetween0and99,andlistento
thedifferencethatitmakes.
Youcanalsocreatesmoother,LFOlikeeffects.Trythis:
16.SettheDecayto80,andthenvarytheAttacktime.
WithlongerAttacktimes,thepulsesbecomesofterin
character.

Using Smoothing to make step transitions more


gentle
Withoutsmoothing,theStepSequencersoutputhas
verysharptransitionsbetweenvalues.Often,thismay
bejustwhatyourelookingfor.Insomecases,
however,thesetransitionsmaycauseaudioartifacts,
suchaslowfrequencybumps.Thiswilldependonthe
parameterbeingmodulated,andtheintensityofthe
modulation.
Ifthishappens,youcanusesmoothingtomakethe
transitionsmoregentle,andreduceoreliminatethe
artifacts.Todoso:
1. Adjustthesmoothinguntilitsjusthighenough
thattheartifactsarenolongerheard.Startwiththe
Decay,andthenuseAttackifnecessary.

EXi Program P5: Modulation 51: Common Step Seq

WhenusingpositiveStepSequencervaluesand
positivemodulation,youllgenerallyonlyneedto
adjusttheDecay;otherwise,youmayneedtoadjust
theAttackaswell.
Thetrickistosetthesmoothinghighenoughsothat
theartifactsgoaway,butlowenoughthatthesoundof
theStepSequencerisntalteredsignificantly.

51b: Sequencer Reset


AMS

[AMS Sources]

ThisselectsanAMSsourcetoresetthesequencetothe
StartStep.
TocreateaneffectsimilartothepervoiceStep
SequencersKeySyncOffsetting,setthistoGate1+
Damper.

Threshold

[-99+99]

ThissetstheAMSlevelwhichwillmaketheStep
Sequencerreset.Amongotherthings,youcanusethis
toadjusttheexactpointinanLFOsphaseatwhichthe
sequencerwillbereset,effectivelycontrollingits
grooveagainstotherrhythmiceffects.
Whenthethresholdispositive,theStepSequencer
triggerswhenpassingthroughthethresholdmoving
upwards.Whenthethresholdisnegative,theStep
Sequencertriggerswhenpassingthroughthe
thresholdmovingdownwards.
Note:withsomeLFOshapes,andwithfasterLFO
speeds,theLFOmaynotalwaysreachtheextreme
valuesof+99or99.Inthiscase,settingtheThreshold
tothesevaluesmaycauseinconsistentbehavior,or
maymeanthattheStepSequencerdoesntresetatall.
Ifthishappens,reducetheThresholduntiltheStep
Sequencertriggersconsistently.

[AMS Sources]

ThisistheAMSsourceusedforstepssettoAMS
InputorAMSInputS/H.

51d: Step Parameters


Eachofthe32stepshasitsownsettingsforValueand
Duration.

Value 1-32

[r w ]

Thissetsthebasiclengthofthestep,relativetothe
systemtempo.Thevaluesrangefroma32ndnotetoa
wholenote,includingtriplets.

x (Multiply Base Note by) 1-32

[0132]

ThismultipliesthelengthoftheBaseNote.For
instance,iftheBaseNoteissettoasixteenthnote,and
Timesissetto3,thestepsdurationwillbeadotted
eighthnote.

Command buttons
Step
Step

[0132]

Selectsthestepthatyouwanttoedit.

Insert
Insertsthecutorcopiedstepatthecurrentstep.

Cut
Cutsthecurrentstep.Subsequentstepswillbemoved
forward.Ifdesired,youcanthenpasteorinsertthecut
stepintoanotherlocation.

Copy
Copiesthecurrentstep.Youcanthenpasteorinsert
thecopiedstepintoanotherlocation.

Paste
Pastesthecutorcopiedstepontothecurrentstep,
replacingit.

Value
Reset
ResetstheValueofeachstepto000.

Smooth

51c: Value AMS Input


AMS

Duration (Base Note) 1-32

AutomaticallyadjuststheValueofeachstepsothat
theyaresmoothlyconnected.

Exp/Comp
WhenyoupresstheExp/Compbutton,theStep
SequenceValuedialogboxwillappear.Thevalueof
eachstepwillbeexpandedorcompressedbythe
percentage(%)youspecify.
StepSequenceValuedialogbox

[-100+100, Random,
AMS Input, AMS Input S/H]

100through+100generatespecificlevels,justasyoud
expect.
Randomyieldsadifferent,randomvalueeverytime
thestepisplayed.
AMSInputusesthesignalfromtheValueAMSInput
source,above.Thiscanchangecontinuouslyoverthe
durationofthestep.Forinstance,ifyouusedanLFO
astheValueAMSInput,youdheartheLFOmove
overthedurationofthestep.
AMSInputS/HgrabstheleveloftheValueAMS
Inputsourceatthestartofthestep,andthenmaintains
thatsinglevalueforthedurationofthestep.

Expand/Compress [%]

[0100]

Ifthisisat100%,thecurrentvalueofeachstepwillbe
usedwithoutchange.IfyoucheckKeepProportion,
the%valuewillbelimitedsothattheexpansion/
compressionwillmaintaintherelationshipsbetween
thecurrentstepsettings.

179

Program mode: EXi

Duration
x2
Thisdoublesthedurationofthestepsorthex
(MultiplyBaseNoteby)value.Forexample,it
wouldturneighthnotesintoquarternotes,and
quarternotesintohalfnotes.

/2
Thishalvesthedurationofthestepsorthex
(MultiplyBaseNoteby)value.Forexample,it
wouldturnquarternotesintoeighthnotes,andeighth
notesintosixteenthnotes.

t 51: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyStepSequencer.Formoreinformation,see
CopyStepSequenceronpage 181.

52: Common LFO


Thisisasingle,freerunningLFO,globalforallvoices
intheProgramlikethemodulationLFOsinsome
vintageanalogsynths.Itsalwaysavailableasa
modulationsourceforbothEXi1andEXi2,regardless
ofwhichEXiinstrumentsarebeingused.

ThispageworksexactlylikethesimilarpageforHD1
Programs.Formoreinformation,see59:Common
LFOonpage 96.

53: Common Keyboard Track


TheProgramincludestwoCommonkeyboard
trackinggenerators,inadditiontoanykeyboard
trackingwithintheindividualEXiinstruments.You
canusetheseCommonkeytracksasAMSsourcesfor
modulatingmostAMSdestinations.
TheCommonKeyTrackparametersaresharedbythe
entireProgram,buttheactualAMSvaluesare
calculatedindividuallyforeachvoice.

TheyworkalmostexactlyliketheCommonKeyTrack
generatorsforHD1Programs;formoreinformation,
see69:CommonKeyboardTrackonpage 105.
Thereisonedifferencebetweenthetwo,however:EXi
keyboardtrackingisaffectedbyPortamento,sothatit
changessmoothlyduringglides.

EXi Program P6: EQ


Thispageisverysimple,butveryuseful:itletsyou
controltheProgramsEQsettings.Itworksexactlylike
thesimilarpageforHD1Programs;formore
information,see49:EQonpage 90.

EXi Program P7: KARMA


ThispagesletyoucontroltheProgramsKARMA
settings.Theyworkexactlylikethesimilarpagesfor
HD1Programs;formoreinformation,seeProgram
P7:KARMAonpage 107.

EXi Program P8: Insert Effect


ThispagesletyoucontroltheProgramstwelveInsert
Effects(IFX).Theyworkexactlylikethesimilarpages
forHD1Programs;formoreinformation,see
ProgramP8:InsertEffectonpage 134.

EXi Program P9: Master/Total Effect


ThispagesletyoucontroltheProgramstwoMaster
Effects(MFX)andtwoTotalEffects(TFX).Theywork
exactlylikethesimilarpagesforHD1Programs;for
moreinformation,seeProgramP9:Master/Total

180

Effectonpage 143.

EXi Program: Page Menu Commands 53: Common Keyboard Track

EXi Program: Page Menu Commands


Copy EXi Oscillator

Copy Step Sequencer

ThiscommandcopiestheoscillatorsettingsofaEXi
program.

Thiscommandcopiesthestepsequencersettingsofthe
desiredEXiprogram.

1. SelectCopyEXiOscillatortoopenthedialog
box.

1. SelectCopyStepSequencertoopenthedialog
box.

2. UsetheFromfieldtoselectwhethertocopy
fromEXi1orEXi2.

2. UsetheFromfieldtoselecteitherCommonStep
SequencerorVoiceStepSequencerasthestep
sequenceryouwanttocopy.

3. UsetheProgramfieldtoselectthebankand
numberofthesourceProgram.Youcanalsouse
theBANKSELECTswitchestoselectabank.
Note:YoucantselectHD1Programshere.
IfToneAdjusttooischecked,theToneAdjust
settingswillbecopiedalongwiththerestoftheEXi
parameters.
Ifthisisnotchecked,andthedestination(To)had
previouslyusedthesameEXiInstrumentTypeas
thesource(From),thentheToneAdjustsettingsof
thedestinationwillbepreserved.
IftheEXiInstrumentTypesweredifferent,allTone
Adjustsettingsofthedestinationwillbeinitialized.
4. UsetheTofieldtoselectthecopydestination
oscillator.
5. PresstheOKbuttontoexecutetheCopyOscillator
operation,orpresstheCancelbuttonifyoudecide
nottoexecute.

VoiceStepSequencerletsyoucopyfromtheper
voicestepsequencerwithinanEXi,suchastheAL
1.YoucanchoosetocopyfromeitherEXi1orEXi2.
SomeEXi,suchastheCX3,donthaveapervoice
stepsequencer.OnlyEXiwhichactuallycontain
pervoicestepsequencerswillappearintheEXi1/2
selection.
3. UsetheProgramfieldtoselectthebankand
numberofthecopysourceprogram.
YoucanalsousetheBANKSELECTswitchesto
selectabank.
Note:YoucantselectHD1programs.
4. PresstheOKbuttontoexecutetheCopyStep
Sequencercommand,orpresstheCancelbuttonif
youdecidenottoexecute.

Some AMS settings are not copied


ThefollowingAMSrelatedparametersarenotcopied:
StartStepAMSandIntensity
SequenceResetAMSandThreshold
ValueAMSInputAMSselection

181

Program mode: EXi

182

EXi: AL-1 Analog Synthesizer


AL-1 Overview
TheAL1isKorgsmostfullfeaturedvirtualanalog
synthesizertodate.ItsplayedfromwithinEXi
Programs,soyoucanlayeritwithanyotherEXior
layertwoAL1stogether.Itsfeaturesinclude:

TwokeytrackinggeneratorsandtwoAMSmixers
Upto80voicesofpolyphony

Twoultralowaliasingoscillators,basedonnew,
proprietarytechnology

AccesstoallstandardEXiProgramfeatures,
includingtheCommonLFO,CommonStep
Sequencer,KeyTrack1&2,KARMA,EQ,and
effects

Suboscillator,colorednoisegenerator,andlive
audioinput;FM,sync,andringmodulation

Unsupported EXi Common parameters

DriveandLowBoost,foraddingpervoicegrit,
girthanddistortion

TheAL1supportsalloftheEXiCommonparameters,
exceptfortwoofthevoiceallocationoptions:Poly
LegatoandMonoMode(Normal/UseLegatoOffset).
Bothoftheseoptionsaredesignedforsample
playback,andsotheydontapplytotheAL1.

FourpervoiceLFOs,fiveretriggerableenvelopes,
andapervoicestepsequencer

Alloftheothervoiceallocationoptionsarefully
supported,includingMono,MonoLegato,Unison,etc.

Dualmultimoderesonantfilters,includingKorgs
newMultiFilter

EXi Program Structure

Common
LFO

Common
Step Seq

Vector

Key
Track 1

KARMA

2
EXi 1

Mixer
& EQ

EXi 2

AL-1 Structure

LFO 1
3

Step
Sequencer

AMS
Mixer 1

EG 1
2

FM & Sync

Effects

2
4

2
4
Amp
EG

Osc 1

Filter
Key Track

Osc 2

Noise

Amp
Key Track
Serial/
Parallel

Mixer

St. Pan

Filter A

X
Sub Osc

St. Drive
Filter B

St. Amp
X

Audio In

Ring Mod

EXi 1
EXi 2

183

EXi: AL-1 Analog Synthesizer

EXi Program P0: Play


01: Main

01b

ThisisthemainpageofProgrammode.Forafull
descriptionofthispageandallofitsfunctions,please
seeEXiProgramP0:Playonpage 165.Thissection
describesonlytheoverviewdisplay,whichdiffersfor
eachindividualEXi.

01b: Overview and Page Jump


Thispartofthepageshowsanoverviewofthemost
importantsettingsfortheProgramstwoEXi
instruments.Thespecificparameterswillvary,
dependingonwhichEXiarebeingused.Thespecific
parametersfortheAL1aredescribedbelow.
Thegraphicsgiveyouaquickwaytocheckallofthese
settingsataglance.Theyalsoletyoujumpinstantlyto
anyofthedisplayedparameters.Justtouchoneofthe
graphics,andyoulljumptothepagecontainingits
parameters.Forinstance,ifyoutouchtheFilterEG
graphic,youllgototheFilterEGpage.
Tip:PressingEXITseveraltimeswillalwaysbringyou
backtothispage.

Oscillators
ThisshowsthewaveformsselectedforOSC1,OSC2,
andtheSubOscillator.Italsoshowstheleveland
balancesettingsforthethreeOscillators,plustheRing
ModulatorandNoiseGenerator.Levelsareshownin
red,andbalancesettingsingreen.
PressthisareatojumptotheOSCBasicpage.Formore
information,see41:OSCBasiconpage 186.

184

Common Key Zone


ThisshowsthekeyzonesforEXi1andEXi2,asseton
theCommonsectionsProgramBasicpage,inrelation
totheentireMIDInoterange.Therangeofthe61,73,
or88notekeyboardisalsoshown,asappropriate.
PressthisareatojumptotheProgramBasicpage.

Pitch
ThisshowsthePitchEGSelectandPitchLFOSelect
settingsforOSC1andOSC2.
TouchanEGicontojumptothePitchEG/Modpage,
ortouchanLFOicontojumptothePitchCommon
page.

Filter
Filter Routing, Type, and Frequency Graphic
Thisshowsthefilterrouting,filtertype(s),anda
graphicrepresentationofthefilterfrequencyresponse,
includingcutoffandresonance.
PressthisareatojumptotheFilterBasicpage.

Amp
Driver, Low Boost, Pan, Amp Level
ThisshowstheAmpsectionsDriver,LowBoost,Pan,
andAmpLevelvalues.
IftheDriversectionsBypassison,DriverandLow
Boostarenotshown.
PressthisareatojumptotheAmp/Driverpage.

EXi Program P0: Play 01: Main

EGs, LFOs, and Step Sequencer


Step Sequencer Graphic
Thisshowsagraphicoverviewofthepervoicestep
sequencer.
PressthisareatojumptotheStepSequencerpage.

EG 14, Amp EG Graphics


TheseshowtheshapesofthefiveEGs.Touchanyof
themtojumpdirectlytothecorrespondingeditpage.

LFO 1, 2, 3, 4 Graphic
Theseshowthewaveformsandshapesofthefour
LFOs.Touchanyofthemtojumpdirectlytothe
correspondingeditpage.

Common
Thegraphicsalongtherightsideofthescreenshow
themostimportantCommonparameters,whichare
sharedbybothEXiintheProgram.Thissectionwill
alwaysshowthesameparameters,regardlessofwhich
EXiarebeingused.

Common Voice Assign Mode


ThisshowsthevoiceassignmodeoftheProgram
eitherPOLYorMONO.
PressthisareatojumptotheProgramBasicpage.

Common Step Sequencer


ThisshowsagraphicoverviewoftheCommonStep
Sequencer.
PressthisareatojumptotheCommonStepSequencer
page.

Common LFO Graphic


ThisshowsthewaveformoftheCommonLFO.
PressthisareatojumptotheCommonLFOpage.

3 Band EQ Graphic
Thisshowsthemidsweepable3bandEQ.
PressthisareatojumptotheEQpage.

IFX, MFX/TFX
PresstheIFXareatojumptotheIFXRoutingpage.
PresstheMFX/TFXareatojumptotheMFXRouting
page.

KARMA GE Name
ThisshowsthenameoftheselectedKARMAGE.
PressthisareatojumptotheGESetup/KeyZones
page.

185

EXi: AL-1 Analog Synthesizer

Program P4: OSC Pitch


ThesepagescontrolthemostbasicelementsofAL1s
sounds:thewaveformsthattheoscillatorsplay,and
thepitchatwhichitplaysthem.Forinstance,youcan:
SelectthewaveformsforOscillator1,Oscillator2,
andtheSubOscillator.

Setthebasicpitchofthesound,includingthe
octave,finetuning,andsoon.
Controlpitchmodulationfromawidevarietyof
sources,suchasJSX,theribbon,LFOs,andEGs.

41: OSC Basic


41PMC

41a

41d

41b

41c

Modeling vintage analog synths

41a: Oscillator 1

KRONOSandtheAL1providearangeoffeaturesfor
modelingvintageanalogsynths.Insteadofsimply
providingfixedpresetstochoosebetween,thereare
separateparametersforindividualsynth
characteristicswhichmeansthatyoucanmixand
matchasdesired,foranevenbroadertimbralpalette.

Waveform

Formoreinformationonmodelingspecificaspectsof
vintagesynths,seethereferencesbelow.
Oscillatortimbre:seeEdgeonpage 188
Oscillatorpitch:seeRandomizingfrequencyforan
analogfeelonpage 188
Unisonpitch:seeThicknessonpage 171
Oscillatorinteraction:seeInitialPhaseon
page 187
Basicfiltercharacteristics:seeFilterRoutingon
page 197
Filtertimbre:seeResonanceBassonpage 198
Monophonicvoiceassignment:seePriorityon
page 170
Portamento:seeModeonpage 193

186

Waveform

[Saw, Pulse, Saw/Pulse, Double Saw,


Detuned Saw 1, Detuned Saw 2,
Triangle, Square/Triangle]

ThisselectsthewaveformforOscillator1,andwillalso
affectthebehavioroftheWaveMorphandPulse
Width/Phase/Detuneparameters,below.
Sawproducesasawtoothwavethetraditionalbuzzy
analogsynthsound.
Pulseproducesasquarewavewithvariablepulse
width,ascontrolledbythePulseWidthparameter
below.
Saw/Pulsecreatesbothofthewaveformsatthesame
time.Youcancrossfadebetweenthetwousingthe
WaveMorphparameter,below.
DoubleSawproducestwosawtoothwaveforms
simultaneously.Youcanadjustthephaseofthesecond
sawtoothusingtheaptlynamedPhaseparameter,
below,andadjustitsvolumewiththeWaveMorph
parameter.

Program P4: OSC Pitch 41: OSC Basic

DetunedSaw1producestwodetunedsawtooth
waveformssimultaneously.Detunecontrolsthe
amountofdetuning,andWaveMorphadjuststhe
volumeofthesecondsawtooth.
DetunedSaw2issimilartoDetunedSaw1,except
thatthesecondsawtoothis180degreesoutofphase.
Thisproducesatimbresimilartopulsewidth
modulation,withtheDetuneparametercontrolling
bothdetuneandthespeedofthePWMeffect.
Triangleproducesapuretonewithrelativelyfew
overtones.
Square/Trianglesimultaneouslycreatesasquarewave
(inwhichthepulsewidthisfixedat50%)anda
trianglewave.WaveMorphcrossfadesbetweenthe
two.

Initial Phase

More on Pulse Width


Pulsewaveformsaresimple,rectangularshapes.The
PulseWidthsetsthepercentageofthewaveformspent
intheupposition.Afewexamplesareshowninthe
diagrambelow.Notethatasquarewaveisjustapulse
wavewiththewidthsetto50%.
Thewidthcontrolsthetimbreoftheoscillator,from
pureandhollowat50%(asquarewave)tothinand
reedyattheextremes.
Atsettingsof0and100orwhenthePulseWidthis
modulatedtothesevaluesviaAMSthePulsewave
willbesilent,sincetheseeliminatethepulse
altogether.
Pulsewaveformatdifferentwidths

[-180+180, Random]

Pulse Width = 10%

Pulse Width = 25%

Pulse Width = 50%

Pulse Width = 75%

ThiscontrolstheinitialphaseofOscillator1,in1
degreeincrements.
Random:witheachnoteon,thewaveformwillstart
fromarandompointalongthewaveform,tosimulate
thevaryingphaserelationshipsbetweenoscillatorsin
analogsynthesizers.

Wave Morph

[000100]

Thefunctionofthisparameterchangesdependingon
theWaveformselection,above.
WhenWaveformissettoeitherSaw/Pulseor
Square/Triangle,WaveMorphcrossfadesbetweenthe
twowaveforms.At0,youllhearonlythefirst
waveform;at100,youllhearonlythesecond
waveform;andat50,youllhearanequalmixofboth.
WhenWaveformissettoDoubleSaw,DetunedSaw
1,orDetunedSaw2,WaveMorphcontrolsthe
volumeofthesecondSawtoothwave.
WaveMorphisnotavailablewhentheWaveformis
settoSaw,Pulse,orTriangle.

AMS

[List of AMS Sources]

Therealmagicofthepulsewavecomeswhenyou
modulatethewidth,usingtheAMSsourceand
intensitybelow.Tryusingamediumspeedtriangle
LFO,orasweepingEG.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetocontrolPulse
Width/Phase/Detune.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

ThisselectsanAMSsourcetocontrolWaveMorph.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

AMS Intensity

AMS Intensity

Waveform Type and Modulatable Parameters

[100+100]

[100+100]

ThiscontrolsthedepthanddirectionoftheAMS
modulationforWidth/Phase/Detune.

ThiscontrolsthedepthanddirectionoftheAMS
modulationforWaveMorph.

Waveform Type

Pulse Width/Phase/Detune

Saw

n/a

n/a

Thenameandfunctionofthisparameterchanges
dependingontheWaveformselection,above.

Pulse

n/a

Pulse Width

WhentheWaveformissettoPulseorSaw/Pulse,this
isnamedPulseWidth,andcontrolsthewidthofthe
Pulsewaveform.Fordetails,seeMoreonPulse
Width,below.

Saw/Pulse

Xfade between saw


and pulse

Pulse Width

Double Saw

Volume of 2nd saw

Phase

Detuned Saw 1

Volume of 2nd saw

Detune

Detuned Saw 2

Volume of 2nd saw

Detune and PWM


effect

Triangle

n/a

n/a

Square/Triangle

Xfade between
square & triangle

n/a

[000100]

WhenWaveformissettoDoubleSaw,itisnamed
Phase,andcontrolsthephaserelationshipbetweenthe
twoSawtoothwaves.
WhenWaveformissettoDetunedSaw1or2,thisis
namedDetune,andcontrolsthedetuneamount
betweenthetwoSaws.Theadjustmentsareinhalf
centincrements,sothat0=0cents,50=25cents,and
100=50cents.Saw1istunedup,andSaw2istuned
down,sothatthetonalcenterismaintained.

Morph

Pulse Width/
Phase/Detune

187

EXi: AL-1 Analog Synthesizer

Frequency
Note:TheSubOscillatorsfrequencyisalwaysexactly
oneoctavebelowthatofOscillator1.Thismeansthat
adjustinganyofthecontrolsinthissection,including
Octave,Transpose,Tune,andFrequencyOffset,will
affecttheSubOscillatoraswellasOscillator1.

Octave

[2[32], 1[16], +0[8], +1[4], +2[2]]

Thisfeatureissimilartoaclassicfivevoiceanalog
synthesizersOscBtoFreqAfunction,exceptthat
thedepthcanbeuptoeighttimesgreater16octaves
insteadof2.

ThissetsthebasicpitchofOscillator1,inoctaves.The
defaultis+0[8].

TocreateacoolsynclikesoundwithFM:

Transpose

2. AssignanAMSsource,suchasanEGorLFO,to
modulateOscillator1sPulseWidth.

[12+12]

Thisadjuststhepitchinsemitones,overarangeof1
octave.

Tune

[1200+1200]

Thisadjuststhepitchincents,overarangeof1
octave.Acentis1/100ofasemitone.

Frequency Offset

[-10.0Hz +10.0Hz]

1. SetOscillator1sWaveformtoPulse.

3. SetOscillator2sWaveformtoPulse.
4. SetOscillator2sPulseWidthto50.
5. SettheFMamountto24.
NotealsothatFM,Sync,andRingModcanallbeused
simultaneously.

Thisadjuststhepitchbyincrementsof0.1Hz.
FrequencyOffsetisdifferentfromTuneinthat,when
usedtodetunethetwooscillators,itcancreatea
constantbeatfrequencyacrosstherangeofthe
keyboard.

AMS

Randomizing frequency for an analog feel

ThiscontrolsthedepthanddirectionoftheFM
AmountAMSmodulation.

Youcanusevariousmethodstorandomizethe
oscillatorfrequency,inordertosimulatetheinstability
ofanalogoscillators:
Simulateanalogdriftbymodulatingpitchwithone
oftheContinuousRandomLFOwaveforms.
UseTuneorFrequencyOffsettodetunethe
oscillatorsatinybit.
SettheScaleRandomparameter(intheCommon
section,Basic/Vectorpage,EXiBasictab)to1,2,or3
tocreatesmallamountsofrandompitchvariation
atnoteon.

Oscillator2isverysimilartoOscillator1,asdescribed
above.Theonlydifferencesare:
Oscillator2doesnotincludetheTriangleor
Square/Trianglewaveforms.
Oscillator2spitchdoesnotaffecttheSub
Oscillator.
WhenSyncisenabled,Oscillator2sInitialPhase
settingaffectsonlytheverybeginningofthesound,
beforeOscillator1completesitsfirstcycle.After
that,Oscillator2sphaseiscontrolledbyOscillator
1.

ThisselectsanAMSsourcetocontroltheFMAmount.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

Sync

[100+100]

[Off, On]

WhenSyncisOn,Oscillator1controlsthepitchof
Oscillator2,andchangingormodulatingOscillator2s
frequencychangesitstimbre,insteadofitspitch.
EverytimethatOscillator1beginsanewcycle(the
instantthatitpassesthroughzerogoingfromnegative
topositive),Oscillator2snapsbacktothestartofits
waveform.
NotethatFM,Sync,andRingModcanallbeused
simultaneously.
1. TurnSyncOn.
2. AssignanEGastheAMSsourceforOscillator2
Pitch.
3. Now,theEGiscontrollingthesyncsound.
4. SettheEGandPitchAMSIntensityparametersto
createthedesiredsyncsweep.

41d: Edge (OSC 1, OSC 2 & Sub OSC)


Edge

[100+100]

ThiscontrolsthehighfrequencycharacterofOscillator
1,Oscillator2,andtheSubOscillator.
Setitto0foratimbresimilartovintageAmerican
analogsynths,andtohighervaluesforedgiertones.

41c: FM/Sync
FM Amount

[List of AMS Sources]

Tocreatetheclassicsyncsweepsound:

41b: Oscillator 2

[000100]

Oscillator1isthemodulator,andOscillator2isthe
carrier.Inotherwords,FMaffectsthetimbreof
Oscillator2,anddoesnotaffectthetimbreofOscillator
1.

188

Youcancreatestable,periodicwaveformsbysetting
FMAmounttoanymultipleof6,suchas6,12,18,24,
etc.Atothersettings,thesignalwillrollaroundin
interestingways.

Negativevaluesresultinwarmer,darkertones,to
createanoscillatortimbresimilartotheMS20.

Program P4: OSC Pitch 42: Sub/Noise/Ring Mod

t 41: Page Menu Commands

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

42: Sub/Noise/Ring Mod


42PMC

42a

42b

42c

NotethatFM,Sync,andRingModcanallbeused
simultaneously.

42a: Sub Oscillator


TheSubOscillatorplaysexactlyoneoctavebelow
Oscillator1.AllOscillator1pitchmodeffectstheSub
Oscillatoraswell.

Waveform

[Square, Triangle]

ThisselectsthebasicwaveformoftheSubOscillator.
TheTrianglewaveformsamplitudeisthreetimesthat
ofthesquare,tocompensateforthedifferencein
perceivedloudness.ThismeansthatsimilarLevel
settingsatthemixerresultinsimilaramountsof
boom.
NotethatthisisdifferentfromOscillator1sTriangle
wave.InOscillator1,theTriangleamplitudeisthe
sameasthatoftheotherwaveforms,resultingina
lowerperceivedvolume(justlikeonclassicanalog
synths).

42b: Ring Modulator


TheRingModulatorhasitsowninputtotheMixer
section.Thedefaultvolumeis0,sotohearit,youll
needtoturnitup!
WhenthefrequenciesoftheCarrierandthe
Modulatorarethesame,theRingModulatorproduces
steady,constantwaveforms.Whenthetwoare
detuned,itproducesmoremovementandovertones.

Eventhoughtheoscillatorsthemselveshave
extremelylowaliasing,RingModcanproduce
aliasingespeciallyathigherfrequencies.

Mode

[Ring Mod, AM, Rectify, Clip]

Thisselectsbetweenfourdifferentvariationsofring
modulation.
RingModproducesthetraditionalringmodulation
effect.
AMincludesboththetraditionalringmodulation
effectandthedrysignaloftheCarrierinput.
Rectifymeansthatanynegativepartsofthe
Modulatorswaveformareflippedaroundtobe
positiveinstead.IftheModulatorisasquarewave,
thismodesoundsprettymuchlikejustlisteningtothe
Carrieralone.
ClippedmeansthattheModulatorinputisclippedto
positivevaluesbeforegoingintotheRingMod;any
negativepartsofthewaveformarechoppedoffand
thrownaway.

Modulator

[OSC 1, Noise]

ThisselectsthemodulatorsourcefortheRing
Modulator.RectifyandClip,above,bothaffectthe
Modulatorsignal.

189

EXi: AL-1 Analog Synthesizer

Carrier

[OSC 2, Ext Input]

Selectsthecarriersourcefortheringmodulator.
ExtInputusestheaudioinputselectedunderSub
OSC/AudioInput,ontheMixerpage.Formore
information,see43c:SubOSC/AudioInputon
page 191.

42c: Noise Generator


ThenoisegeneratorincludesSaturation,forcreating
uniqueandchaoticnoiseeffects,andadedicated1
polefiltertocontrolnoisecolor.
Forstandardwhitenoise,settheSaturationto0,and
theFilterFrequencyto99.
Forcolorednoise(suchaspinknoise),setthe
Saturationto0,andreducetheFilterFrequencyas
desired.
Tocreatespecklednoisesuchasrocketsoundsand
thunder,setSaturationto99,andFilterFrequencyto
10.

Tocreatekeycontactnoise(suchasyoumightfindon
vintageanalogsynths),createspecklednoiseas
describedabove,andthenuseafastEGtocontrolits
volumeinthemixer.

Saturation

[099]

Thiscontrolclipsthenoisesignal,foraddedcrunch.
Subtlevariationsinsaturationaremorenoticeable
withverylowFilterFrequencysettings(seebelow),
allowingyoutocreateorganic,rumblingtimbres.

Filter Frequency

[099]

Thisisasimple,1polelowpassfilterforcontrolling
thecolorofthenoise.

t 42: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

43: Mixer
43PMC

43a

43b

43c

43d

43e

TheMixerpagecontrolsthevolumelevelsforthefive
mainpartsoftheOscillator,andalsocontrolsthe
routingtothefiltersection.Forinstance,youcan:

elementsthroughFilterA,FilterB,ora
combinationofthetwoandthenmodulatethat
routingviaAMS.

ControlthevolumelevelsforOscillator1,
Oscillator2,theSubOscillator(oranAudioInput),
theRingModulator,andtheNoiseGenerator.

Selectanaudioinputtoroutethroughthefilters,
driver,ringmodulator,andeffects.

ModulatethesevolumelevelsviaAMS.
WhentheFilterRoutingissettoeitherSerialor
Parallel,youcanrouteeachofthefiveOscillator

190

Program P4: OSC Pitch 43: Mixer

43a: Oscillator 1

43d: Ring Mod

Level

[099]

ThiscontrolsthevolumelevelforOscillator1.

AMS

[List of AMS Sources]

TheRingModulatorhasthesamemixerparametersas
describedunder43a:Oscillator1,above.

43e: Noise

ThisselectsanAMSsourcetocontroltheOscillator1
Level.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

TheNoiseGeneratorhasthesamemixerparametersas
describedunder43a:Oscillator1,above.

Intensity

t 43: Page Menu Commands

[99+99]

ThiscontrolsthedepthanddirectionoftheOscillator
1LevelAMSmodulation.

Balance

[099]

ThiscontrolsthefilterroutingforOscillator1.It
appliesonlywhentheFilterRoutingissettoeither
SerialorParallel;otherwise,itisgrayedout.
0isthedefault,andmeansthatOscillator1goesinto
FilterA.IftheFilterRoutingissettoSerial,itwillalso
passthroughFilterB.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

99meansthatOscillator1goesintoFilterB.
Inbetween,theoscillatorwillgotoacombinationof
bothfilters.BymodulatingtheBalanceviaAMS,you
cancrossfadebetweenroutingthroughFilterAand
FilterB.Formoreinformation,seeInteraction
betweenthefiltersandthemixer,onpage 196.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetocontroltheOscillator1
Balance.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheOscillator
1BalanceAMSmodulation.

Phase Invert

[Off, On]

ThisinvertsthephaseofOscillator1.

43b: Oscillator 2
Oscillator2hasthesamemixerparametersas
describedunder43a:Oscillator1,above.

43c: Sub OSC/Audio Input


InadditiontotheLevel,Balance,AMS,andPhase
Invertparametersdescribedunder43a:Oscillator1,
above,thissectionhascontrolsforusinganexternal
audioinput.

Mode

[Sub OSC, External Audio Input]

Thisselectswhetherthemixerinputwillbeusedfor
theSubOscillator,ortheaudioinputselectedbelow.

External Audio

[Audio Inputs 14,


S/P DIF L, S/P DIF R]

Thisselectstheaudioinputusedforboththismixer
channelandtheRingModulator.
TheRingModulatorcanusetheselectedaudioinput
evenifMode,above,issettoSubOSC.

191

EXi: AL-1 Analog Synthesizer

44: Pitch Common


44PMC

44a

44b

44c

ThispageletsyoumodulatethepitchofOscillators1,
2,andtheSubOscillatorsimultaneously,sothatthe
modulationappliesequallytoallthreeoscillators.For
example,youcan:

Whenthisissetto0,playingdifferentnotesonthe
keyboardwontchangethepitchatall;itwillbeasif
yourealwaysplayingC4.Thiscanbeusefulforspecial
effectssounds,forinstance.

SetuppitchbendfrombothJoystickX(with
separatesettingsforbendingupandbending
down)andtheribboncontroller.

Ifyouwanttocreatemorecomplexeffects,youcan
assignkeytrackingasanAMSsource.

UsePitchSlopetocontrolhowthepitchchanges
whenyouplayupanddownthekeyboard.
SetupPortamento.

Ribbon

Youcanusetheribboncontrollerforpitchbend.This
parameterspecifies,insemitones,theribbonspitch
bendrange.

AssignanLFOtomodulatethepitchofallthree
oscillatorssimultaneously.

Positive(+)valuesmakethepitchrisewhenyoupress
theribboncontrollertotherightofcenter,and
negative()valueswillcausethepitchtofall.

44a: Pitch

Whenyouliftoffoftheribbon,thepitchwillsnapback
tothecenter(unlessyoureusingtheSW1/2Ribbon
Lockfeature).So,bytappingontherightedgeofthe
ribbonandthenreleasingquickly,youcancreate
guitarstylehammeroneffects.

Pitch Slope

[-1.00+0.00+2.00]

Normally,thisshouldbesettothedefaultof+1.00.
PitchSlope,pitch,andnote

JS+ X
+2

Pitch

+1
2oct

C4 C5

Note on keyboard

Positive(+)valuescausethepitchtoriseasyouplay
higheronthekeyboard,andnegative()valuescause
thepitchtofallasyouplayhigheronthekeyboard.

[-60+60 semitones]

Thissetsthemaximumamountofpitchbend,in
semitones,whenyoumovethejoysticktotheright.For
normalpitchbend,setthistoapositivevalue.

JS- X
1oct
1oct

192

[-60+60 semitones]

[-60+60 semitones]

Thissetsthemaximumamountofpitchbend,in
semitones,whenyoumovethejoysticktotheleft.For
normalpitchbend,setthistoanegativevalue.

Program P4: OSC Pitch 44: Pitch Common

44b: Portamento
Portamentoletsthepitchglidesmoothlybetween
notes,insteadofchangingabruptly.

Enable

[Off, On]

On(checked):TurnsonPortamento,sothatpitch
glidessmoothlybetweennotes.
Off(unchecked):TurnsoffPortamento.Thisisthe
defaultstate.

Fingered

Now,theselectedswitchwillenableanddisable
Portamento.ItwillalsosendtheMIDIPortamento
controller,CC#65.
EvenifyoudontassignSW1/2toPortamento,you
canstilluseMIDIController#65toturnPortamento
onandoff.

44c: LFO
LFO Select

[Off, On]

ThisparameterallowsyoutocontrolPortamento
throughyourplayingstyle.Whenitsenabled,playing
legatowillturnonPortamento,andplayingdetached
willturnitoffagain.
ThisoptionisonlyavailablewhenPortamentoEnable
isturnedon.

[LFO 1, LFO 2, LFO 3, LFO 4,


Common LFO]

ThisselectsanLFOtomodulatealloscillators
simultaneously.Thissharedmodulationcanbeuseful
forvibrato,amongotherthings.
TheLFOIntensity,JS+YIntensity,andAMSareall
summedtogethertoproducethefinalamountofLFO
pitchmodulation.

On(checked):TurnsonFingeredPortamento.

LFO Intensity

Off(unchecked):TurnsoffFingeredPortamento.

ThiscontrolstheinitialeffectoftheLFOonthepitch,
insemitones,beforeanyJS+YorAMSmodulation.

Mode

[Constant Rate, Constant Time]

ConstantRatemeansthatPortamentowillalwaystake
thesameamountoftimetoglideagivendistancein
pitchforinstance,onesecondperoctave.Putanother
way,glidingseveraloctaveswilltakemuchlongerthan
glidingahalfstep.
ConstantTimemeansthatPortamentowillalwaystake
thesameamountoftimetoglidefromonenoteto
another,regardlessofthedifferenceinpitch.Thisis
especiallyusefulwhenplayingchords,sinceitensures
thateachnoteinthechordwillenditsglideatthe
sametime.

Time

[000127]

Thiscontrolstheportamentotime.Highervaluesmean
longertimes,forslowerchangesinpitch.WhenTime
issetto0,thepitchwillbereachedinstantlyjustasif
PortamentoEnablewasturnedOff.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetocontrolthePortamento
Time.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.
Themodulationoccursonlyatnoteon.Thismeans
thatyoucanchangethetimeforthenextpitchglide,
butyoucantchangeanyglideswhicharealreadyin
progress.

Intensity

[-127+127]

[48.00+48.00]

Negative()settingswillinvertthephaseoftheLFO.

JS+Y Intensity

[48.00+48.00]

Movingthejoystickupfromthecenterdetent
position,awayfromyourself,producestheJS+Y
controller.Youcanusethistoscaletheamountofthe
LFOappliedtothepitch.Thisparametersetsthe
maximumamountofLFOmodulationaddedbyJS+Y,
insemitones.
Asthisvalueisincreased,movingthejoystickinthe
+YdirectionwillcausetheLFOtoproducedeeper
pitchmodulation.
Negative()settingswillinvertthephaseoftheLFO.
Youcanalsousethistoreducetheinitialamountofthe
LFO,assetbyLFO1Intensity,above.

AMS

[List of AMS Sources]

ThisselectsanAMSmodulationsourcetoscalethe
amountoftheLFOappliedtopitch.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[48.00+48.00]

ThiscontrolsthedepthanddirectionoftheLFOAMS
modulation,insemitones.

t 44: Page Menu Commands

Assigning SW1 or SW2 to Portamento On/Off

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

Youcanusethetwoassignableswitches,SW1and
SW2,toturnportamentoonandoff.

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

Todoso:

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

Thiscontrolsthedepthanddirectionofthe
PortamentoTimeAMSmodulation.

1. GotoProgrampage18,ControllerSetup.
2. UnderPanelSwitchAssign,seteitherSW1orSW2
toPortamentoSW(CC#65).

193

EXi: AL-1 Analog Synthesizer

45: Pitch EG/Mod


45PMC

45a

45b

45c

45d

ThispageletsyoumodulatethepitchesofOscillators1
and2separatelyasopposedtothePitchCommon
page,whosecontrolsaffectbothOscillatorsatonce.
AllpitchmodulationforOscillator1alsoaffectsthe
SubOscillator.

45a: OSC 1 & Sub OSC Pitch EG


EG Select

[EG 1 (Filter), EG 2 (Pitch),


EG 3, EG 4, Amp EG]

AMS

[List of AMS Sources]

ThisselectsanAMSmodulationsourcetoscalethe
amountofthePitchEGappliedtoOscillator1andthe
SubOscillator.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

ThisselectsanEGtomodulatethepitchofOscillator1
andtheSubOscillator.

Intensity

TherearefourassignableEGs,inadditiontotheAmp
EG.Eachofthesecanbeusedasamodulationsource
tocontrolawidevarietyofparameters.

ThiscontrolsthedepthanddirectionofthepitchEG
AMSmodulation.TheAMSmodulationandtheinitial
IntensityareaddedtogethertodeterminethePitch
EGsfinaleffect.

Inthemidstofallthisflexibility,wethoughtitwould
alsobegoodtoprovidealittlestructure.Withthisin
mind,EG1isnamedEG1(Filter)andEG2islabeled
EG2(Pitch).
Pleasetakethesenamesassuggestions,ratherthan
restrictions.Ifyoulike,yourefreetousetheseEGsto
controlanyEGorAMSdestination,ortouseotherEGs
tocontrolFilterFrequencyandPitch.

Intensity

[-48.00+48.00]

ThiscontrolstheinitialeffectofthePitchEGonthe
frequencyofOscillators1andtheSubOscillator,in
halfsteps,beforeanyAMSmodulation.
ThePitchEGsshapecanswingallthewayfrom+99to
99.WhentheIntensityissettoapositive(+)value,
positivevaluesfromtheEGraisethepitch,and
negativevalueslowerthepitch.

194

WhentheIntensityissettoanegative()value,the
effectoftheEGisreversed;positiveEGvaluesmean
lowerpitches,andnegativeEGvaluesmeanhigher
pitches.

[-48.00+48.00]

45b: OSC 2 Pitch EG


Oscillator2hasthesamePitchEGparametersas
describedunder45a:OSC1&SubOSCPitchEG,
above.

45c: OSC 1 & Sub OSC Pitch Modulation


AMS 1

[List of AMS Sources]

Thisselectsthefirstmodulationsourceforcontrolling
thepitchofOscillator1andtheSubOscillator.Fora
listofAMSsources,seeAlternateModulationSource
(AMS)Listonpage 1091.

Intensity

[+/-48.00 semitones]

ThiscontrolsthedepthanddirectionoftheAMS1
pitchmodulation,insemitones.

Program P4: OSC Pitch 45: Pitch EG/Mod

Intensity Mod AMS

[List of AMS Sources]

YoucanmodulateAMS1sIntensityfromanother
AMSsource.Thisselectsthatsource.

Intensity

[+/-48.00 semitones]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS,insemitones.Theresultissummedwith
themainAMS1Intensitytoproducethefinalpitch
modulationamount.

AMS 2

[List of AMS Sources]

Thisselectsasecondmodulationsourceforcontrolling
thepitchofOscillator1andtheSubOscillator.Fora
listofAMSsources,seeAlternateModulationSource
(AMS)Listonpage 1091.

Intensity

[+/-48.00 semitones]

ThiscontrolsthedepthanddirectionoftheAMS2
pitchmodulation,insemitones.

Intensity Mod AMS

[List of AMS Sources]

YoucanmodulateAMS2sIntensityfromanother
AMSsource.Thisselectsthatsource.

Intensity

[+/-48.00 semitones]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS,insemitones.Theresultissummedwith
themainAMS2Intensitytoproducethefinalpitch
modulationamount.

45d: OSC 2 Pitch Modulation


Oscillator2hasthesamePitchModulationparameters
asdescribedunder45c:OSC1&SubOSCPitch
Modulation,above.

t 45: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

195

EXi: AL-1 Analog Synthesizer

Program P5: Filter


51: Filter Basic
51PMC

51a

51b

51c

Interaction between the filters and the


mixer
WhentheFilterRoutingissettoeitherSingleor
24dB/oct,theroutingfromtheOscillatorsectioninto
theFiltersectionisfairlysimple.Theresonlyasingle
filter,andthatfilterprocessesalloftheOscillator
elements.

Tocreateastandardparallelfilterconfiguration:
1. SettheFilterRoutingtoParallel.
2. SetallofthemixersBalancecontrolsto50.
Thisroutesalloftheinputstobothfilters,atequal
volumes.

Dual signal paths

ThingscangetmoreinterestingwhentheFilter
RoutingissettoSerialorParallel.Inthesemodes,The
MixerpagesBalanceparametersletyouseparately
controlthefilterroutingforeachofthefiveinputs:
Oscillator1,Oscillator2,theSubOscillator,theRing
Modulator,andtheNoiseGenerator.

YoucanalsosendoneOscillatorthroughFilterA,and
theotherthroughFilterB,tocreatealayeredsound.
Forinstance:

WhenaninputsBalanceissetto0,itgoesintoFilterA.
(NotethatiftheFilterRoutingissettoSerial,the
signalwillalsopassthroughFilterB.)

ThisroutesOscillator1toFilterA.

IftheinputsBalanceissetto99,itgoesdirectlyinto
FilterB,regardlessofwhethertheroutingissetto
SerialorParallel.

Standard serial configuration


Tocreateastandardserialfilterconfiguration:
1. SettheFilterRoutingtoSerial.
ThisconnectstheoutputofFilterAtotheinputof
FilterB.
2. SetallofthemixersBalancecontrolsto0.
ThismakesalloftheinputsgotoFilterAfirst,and
thenthroughFilterB.

196

Standard parallel configuration

1. SettheFilterRoutingtoParallel.
2. SetOscillator1sBalanceto0.
3. SetOscillator2sBalanceto99.
ThisroutesOscillator2toFilterB.

Anywhere in-between
IfaninputsBalanceissetbetween1and98,itwillgo
toacombinationofbothfilterssothatmanyin
betweenfiltereffectsareavailable.
Finally,bymodulatinganinputsBalanceviaAMS,
youcancrossfadebetweenroutingthroughFilterA
andFilterB.

Program P5: Filter 51: Filter Basic

51a: Routing
Filter Routing

[Single, Serial, Parallel, 24dB/oct]

Therearetwofilters,FilterAandFilterB.This
parametercontrolswhetheroneorbothofthefilters
areused,andifbothareused,itcontrolshowtheyare
connectedtoeachother.
Single.ThisusesonlyFilterAasasingle2pole,
12dB/octavefilter(6dBforBandPassandBandReject).
Whenthisoptionisselected,thecontrolsforFilterB
willbegrayedout.Aclassicsynthesizerexpander
moduleusedthistypeoffilter.
Serial.ThisusesbothFiltersAandBasseparately
controllable2polefilters.TheoutputofFilterAis
processedthroughFilterB.
Parallel.ThisalsousesbothFilterAandFilterB.
UnlikeSerial,above,theoutputsofthetwofiltersare
keptseparate,withindividualcontroloverbothlevel
andpan.
24dB/oct.Thismergesbothfilterstocreateasingle4
pole,24dB/octavefilter(12dBforBandPassandBand
Reject).IncomparisontoSingle,thisoptionproducesa
sharperrolloffbeyondthecutofffrequency,aswellas
aslightlymoredelicateresonance.Manyclassicanalog
synthsusedthisgeneraltypeoffilter.

MultiFilter.Thisisacomplexfilterwhichiscapableof
alloftheabovefiltertypes,andmanymorebesides.
Formoreinformation,see52:MultiFilter,on
page 199.
TheMultiFilterisavailableonlyforFilterA,andonly
whentheFilterRoutingissettoSingle,Serialor
Parallel.
FilterTypesandCutoffFrequency

Low Pass

High Pass

Band Pass

When24dB/octisselected,onlythecontrolsforFilter
Aareactive;thecontrolsforFilterBwillbegrayedout.
Also,notethattheMultiFilterisnotavailableinthis
mode.
Band Reject

51b: Filter A
Filter Type

[Low Pass, High Pass, Band Pass,


Band Reject, Multi Filter]

Thefilterwillproduceverydifferentresults
dependingontheselectedfiltertype.Theselections
willchangeslightlyaccordingtotheselectedFilter
Routing,toshowthecorrectcutoffslopeindBper
octave.
LowPass.Thiscutsoutthepartsofthesoundwhich
arehigherthanthecutofffrequency.LowPassisthe
mostcommontypeoffilter,andisusedtomakebright
timbressounddarker.
HighPass.Thiscutsoutthepartsofthesoundwhich
arelowerthanthecutofffrequency.Youcanusethisto
maketimbressoundthinnerormorebuzzy.
BandPass.Thiscutsoutallpartsofthesound,both
highsandlows,exceptfortheregionaroundthecutoff
frequency.Sincethisfiltercutsoutbothhighandlow
frequencies,itseffectcanchangedramatically
dependingonthecutoffsettingandtheoscillators
multisample.
Withlowresonancesettings,youcanusetheBand
Passfiltertocreatetelephoneorvintagephonograph
sounds.Withhigherresonancesettings,itcancreate
buzzyornasaltimbres.
BandReject.Thisfiltertypealsocalledanotchfilter
cutsonlythepartsofthesounddirectlyaroundthe
cutofffrequency.Trymodulatingthecutoffwithan
LFOtocreatephaserlikeeffects.

Cutoff Frequency

Bypass

[Off, On]

ThisletsyoubypassFilterAcompletely.
IfBypassisOff,FilterAfunctionsnormally.
WhenBypassisOn,FilterAhasnoeffectontheinput
signal.

Trim

[0099]

ThisadjuststhevolumelevelattheinputtoFilterA.If
younoticethatthesoundisdistorting,especiallywith
highResonancesettings,youcanturntheleveldown
here,orattheOutputLevel.
Notethatthefilterwillnotclipinternally,sothereisno
differencebetweenadjustingtheInputTrimandthe
OutputLevel.Eitherofthesecontrolswillallowyouto
minimizeclippinglaterinthesignalchain,suchas
mayoccurintheDrivesectionandinsomeeffects.

Output Level

[0099]

ThiscontrolstheoutputlevelofFilterA.Youcanuse
thistobalancethevolumesofFiltersAandBwhenthe
RoutingissettoParallel,ortoturndownthevolume
toavoidclippinglaterinthesignalchain.

197

EXi: AL-1 Analog Synthesizer

AMS

[List of AMS Sources]

ThisselectsamodulationsourcetocontroltheOutput
Level.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheOutput
Levelmodulation.

Frequency

[0099]

ThiscontrolsthecutofffrequencyofFilterA,in
incrementsof1/10ofanoctave.Thespecificeffectof
thecutofffrequencywillchangedependingonthe
selectedFilterType,asdescribedabove.

Frequency Fine

[Standard, High]

Thiscontrolsthestrengthofthefilterresonancewhen
theFilterRoutingissetto24dB/oct.Whentherouting
issettoSingle,Serial,orParallel,thisparameteris
grayedout.
Standardprovidestheresonancecharacterofatypical
analog4polefilter.
Highcreatesamorepronouncedresonance.

Resonance Bass

[Tight, Full]

Thiscontrolsthecharacterofthefilterresonanceatlow
cutofffrequencies.Itseffectismostnoticeablewith
highResonancesettings.
Tightproducesamorerestrainedresonance,similarto
aclassic,American,woodpaneledmonophonic
synthesizer.
Fullproducesawide,boomyresonance,reminiscent
ofafamousfivevoiceAmericansynthesizer.

Resonance

[0099]

Resonanceemphasizesthefrequenciesaroundthe
cutofffrequency.
Whenthisissetto0,thereisnoemphasis,and
frequenciesbeyondthecutoffwillsimplydiminish
smoothly.
Atmediumsettings,theresonancewillalterthetimbre
ofthefilter,makingitsoundmorenasal,ormore
extreme.
Atveryhighsettings,theresonancecanbeheardasa
separate,whistlingpitch.
Tomaketheresonancetrackthekeyboardpitch,see
KeyFollow,onpage 201.

Resonance Mod by AMS

[List of AMS Sources]

Thisselectsamodulationsourcetocontrolthe
Resonanceamount.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheResonance
modulation.

198

[Random, L001C064R127]

ThiscontrolsthestereopanforFilterAsoutput.Itis
availableonlywhenFilterRoutingissettoParallel.
WhentheFilterRoutingissettoSingle,Serial,or
24dB/oct,thePanparameterswillbegrayedout.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatePan.Foralist
ofAMSsources,seeAlternateModulationSource
(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionofthePanAMS
modulation.

[-99+99]

Thisprovidesfinecontrolofthefiltercutofffrequency.
Eachstepofthisparameterisequalto1/100ofastepof
themainFrequencyparameter,above.

Resonance Type

Pan

51c: Filter B
FilterBisavailablewhentheFilterRoutingissetto
SerialorParallel.Otherwise,itsparameterswillbe
grayedout.
FilterBisalmostthesameasFilterA,butwithoutthe
MultiFiltermode,andwiththeadditionoftheLink
controls,asdescribedbelow.Forallotherparameters,
pleaseseethedescriptionsunder51b:FilterA,on
page 197.

Link

[Off, On]

WhenLinkisOn,mostofFilterBsparametersare
grayedout,andareinsteadcontrolledbythesettings
forFilterA.
Specifically,FilterBwilluseFilterAssettingsfor
Resonance,ResonanceBass,andallFrequencyand
Resonancemodulationsettings.FilterBsFrequencyis
alsolinkedtothatofFilterA,withanoptional
frequencyoffsetviatheLinkFrequencyOffset
parameter,below.
TheBypass,Type,InputTrim,OutputLevel,Output
LevelAMS,Pan,andPanAMSparametersarestill
controlledseparately.

Link Frequency Offset

[99+99]

ThisoffsetsFilterBsFrequencyfromthatofFilterA,
andappliesonlywhenLinkisOn.
WhenLinkisOff,thisparameterisgrayedout.

t 51: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

Program P5: Filter 52: Multi Filter

52: Multi Filter


52PMC

52a

52b

52c

52c

ThispageisavailableonlywhentheFilterATypeis
settoMultiFilter.

52b: Mode Crossfade

Whats a Multi Filter?

Mode 1

Standardmultimodefiltersgeneratelowpass,
highpass,andbandpassfilterssimultaneouslybut
onlyallowyoutouseoneofthematatime.

ThissetsthefiltertypeforMode1.

TheMultiFiltergivesyouaccesstoallthreefilter
modessimultaneously,inanycombination,alongwith
thedryinputsignal.Youcanchoosefromalarge
numberofpresetcombinations,orcreateyourown
complexfiltermodesusingtheManualcontrols.
Thisiscapableofsomecoolsoundsinandofitself,but
thingsreallygetinterestingwhenyouusethe
Crossfadecontrols.Theseallowyoutocrossfade
betweentwoofthesefiltersettings(Mode1andMode
2),usingAMSsourcessuchasEGs,LFOs,orrealtime
controllers.

52a: Filter A
[Off, On]

Frequency

[0099]

Fine
Resonance

LowPass,HighPass,BandPass,andBandRejectare
thestandardfiltertypes.Formoreinformation,see
FilterType,onpage 197.
Thefollowingtypescombinetwoormorefiltersat
equalvolumes.Dryistheunfilteredinputsignal.The
minussign()indicateswhenthephaseofafilteris
reversed:LP+BP,LPBP,LPHP,BP+HP,BPHP,
Dry+LP,DryLP,Dry+BP,DryBP,Dry+LPHP,
Dry+LPBP,Dry+BPLP,Dry+BPHP,Dry+HPLP,
Dry+HPBP,LP+HP+BP.
AllOnusestheLowPass,HighPass,BandPass,and
Drysignalsatequalvolumes.
Manual1letsyoucreateyourownmixofthefilters.
Formoreinformation,see52c:Manual1,below.

Mode 2

Bypass

[99+99]
[0099]

Thesearethesameasthesimilarlynamedparameters
ontheFilterBasicpage,asdescribedunder51b:
FilterAonpage 197.
Editstothevaluesonthispagewillbereflectedonthe
FilterBasicpage,andviceversa.

[List of filter types]

[List of filter types]

Mode2hasthesameselectionsasMode1,exceptthat
thelistendswithManual2insteadofManual1.

Mode 1-2 Crossfade

[0099]

ThisfadesbetweentheMode1andMode2settings.
0isallMode1,99isallMode2,and198are
intermediatevaluesbetweenthetwoModes.

AMS

[List of AMS Sources]

ThisselectsamodulationsourcetocontroltheMode1
2Crossfade.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

199

EXi: AL-1 Analog Synthesizer

Intensity

[99+99]

Lowpass

[99+99]

ThiscontrolsthedepthanddirectionoftheMode12
Crossfademodulation.

ThiscontrolsthevolumeoftheLowpassfilteroutput.
Negativevaluesinvertthephase.

Intensity Mod AMS

Highpass

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatetheintensityof
themainMode12CrossfadeAMS.
Forinstance,youcansetAMStouseoneoftheLFOs,
andthensettheIntensityModAMStoJSY.Youcan
thenusethejoysticktomodulatetheamountofthe
LFO.

Intensity

[99+99]

ThissetsthevolumeoftheHighpassfilteroutput.

Bandpass

[99+99]

ThiscontrolsthevolumeoftheBandpassfilteroutput.

Dry

[99+99]

Thissetsthevolumeofthedrysignal.

[99+99]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.

52c: Manual 1
Theseparametersletyoucreateyourownmixofthe
filters.WhenMode1issettoManual1,itwilluse
thesesettings.
YoumaywonderwhyBandRejectisnotincluded
here.Thisisbecauseitsnotafiltermodeperse.
Instead,itscreatedbyanequalcombinationofHigh
PassandLowPass.Tryitandsee!

52d: Manual 2
TheManual2parametersareidenticaltothoseof
Manual1,asdescribedabove.

t 52: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

53: Filter Modulation


53PMC

53a

53b

53c

53c

ThispagecontainsallofthesettingsforFilter
Frequencymodulation(exceptfortheLFOs,whichare
ontheirownpage).Amongotherthings,youcan:
Setupcomplexkeyboardtrackingshapes,and
controlhowthetrackingaffectsfiltercutoff.

200

ControltheeffectoftheFilterEnvelopeonfilter
cutoff.
AssignAMSmodulationforfiltercutoff.
FilterBisavailablewhentheFilterRoutingissetto
SerialorParallel.Otherwise,theparametersforFilter
Bwillbegrayedout.

Program P5: Filter 53: Filter Modulation

Bottom-Low

53a: Keyboard Track


Mostacousticinstrumentsgetbrighterasyouplay
higherpitches.Atitsmostbasic,keyboardtrackingre
createsthiseffectbyincreasingthecutofffrequencyof
alowpassfilterasyouplayhigheronthekeyboard.
Usually,someamountofkeytrackingisnecessaryin
ordertomakethetimbreconsistentacrosstheentire
range.
TheKRONOSkeyboardtrackingcanalsobemuch
morecomplex,sinceitallowsyoutocreatedifferent
ratesofchangeoveruptofourdifferentpartsofthe
keyboard.

[-Inf, 99+99, +Inf]

ThissetstheslopebetweenthebottomoftheMIDI
noterangeandtheLowBreakkey.Fornormalkey
track,usenegativevalues.

Low-Center

[-Inf, 99+99, +Inf]

ThissetstheslopebetweentheLowBreakandCenter
keys.Fornormalkeytrack,usenegativevalues.

Center-High

[-Inf, 99+99, +Inf]

ThissetstheslopebetweentheCenterandHighBreak
keys.Fornormalkeytrack,usepositivevalues.

High-Top

[-Inf, 99+99, +Inf]

TheAL1sFilterkeyboardtrackingparametersare
identicaltotheHD1s.Formoredetailedexplanations
oftheparameters,pleasesee32a:KeyboardTrack,
onpage 72.

ThissetstheslopebetweentheHighBreakkeyandthe
topoftheMIDInoterange.Fornormalkeytrack,use
positivevalues.

Thereisonedifferencebetweenthetwo,however:the
AL1sFiltertrackingisaffectedbyPortamento,sothat
itchangessmoothlyduringglides.

Key Follow

Intensity to A

1. SettheFilterFrequencyto30.

[99+99]

TocreatetheclassicKeyFolloweffect,inwhichthe
filterfrequencytracksthepitchofthekeyboard:

Thiscontrolshowmuchthekeyboardtrackingwill
affectFilterAscutofffrequency.Theoveralleffectof
theKeyboardTrackisacombinationofthisIntensity
valueandtheoverallKeyboardTrackshape.

2. SettheKeyboardTrackIntensityto+99.

Intensity to B

ThesettingsfortheLowBreakandHighBreakkeys
dontmatterinthiscase.

[99+99]

Thiscontrolshowmuchthekeyboardtrackingwill
affectFilterBscutofffrequency.
IntensitytoBappliesonlywhentheFilterRoutingis
settoSerialorParallel,andwhenLinkisOff.In
Singleand24dB/octmodes,orifLinkisOn,this
parameterisgrayedout.

Key
Low Break

[C1G9]

Thissetsthebreakpointnotebetweenthetwolower
ramps.

Center

[C1G9]

Thissetsthecenterofthekeyboardtracking.Atthis
key,thekeyboardtrackinghasnoeffectonthefilter
frequency,oronanyAMSdestinations.

High Break

[C1G9]

3. SettheBottomLowandLowCenterrampsto50.
4. SettheCenterHighandHighToprampsto+50.
5. SettheCenterKeytoC4.

53b: Filter EG
TheEGsmodulatetheFilterAandBcutofffrequencies
overtime.Youcancontrolhowstronglytheywill
affectthefiltersinthreedifferentways:
SetaninitialamountofEGmodulation,usingthe
EGIntensityparameters.
UsevelocitytoscaletheamountoftheEGapplied
tothefilter.
UseanyAMSsourcetoscaletheamountoftheEG
appliedtothefilter.
Youcanuseallthreeoftheseatonce,andtheresults
areaddedtogethertoproducethetotalEGeffect.
TosetuptheEGsthemselves,includingattackand
releasetimes,levels,andsoon,see71:EG1(Filter),
onpage 211.

Thissetsthebreakpointnotebetweenthetwohigher
ramps.

Filter A

Ramp

EG Select

Theeffectonthefiltercutoffisacombinationofthe
rampvalues,assetbelow,andtheIntensitytoAandB
parameters.WhenIntensityissetto+99,arampof50
changesthefilterfrequencyby1octaveforevery
octaveofthekeyboard,andarampof+99changesthe
frequencyby2octavesforeveryoctaveofthe
keyboard.
+InfandInfarespecialsettingswhichcreateabrupt
changesforsplitlikeeffects.Whenarampissetto+Inf
orInf,thekeyboardtrackingwillgotoitsextreme
highestorlowestvalueoverthespanofasinglekey.

[EG 1 (Filter), EG 2 (Pitch),


EG 3, EG 4, Amp EG]

ThisselectsanEGtomodulateFilterAsFrequency.
TherearefourassignableEGs,inadditiontotheAmp
EG.Eachofthesecanbeusedasamodulationsource
tocontrolawidevarietyofparameters.
Inthemidstofallthisflexibility,wethoughtitwould
alsobegoodtoprovidealittlestructure.Withthisin
mind,EG1isnamedEG1(Filter)andEG2islabeled
EG2(Pitch).

Formoredetailedexplanations,pleasesee32a:
KeyboardTrack,onpage 72

201

EXi: AL-1 Analog Synthesizer

Pleasetakethesenamesassuggestions,ratherthan
restrictions.Ifyoulike,yourefreetousetheseEGsto
controlanyEGorAMSdestination,ortouseotherEGs
tocontrolFilterFrequencyandPitch.

WhenLinkisOn,orwhentheFilterRoutingissetto
Singleor24dB/oct,alloftheseparametersaregrayed
out.

Velocity Intensity

t 53: Page Menu Commands

[99+99]

ThisletsyouusevelocitytoscaletheamountoftheEG
appliedtoFilterA.

EG Intensity

[99+99]

ThiscontrolstheinitialeffectoftheEGonFilterAs
cutofffrequency,beforeanyvelocityorAMS
modulation.

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

AMS

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

[List of AMS Sources]

ThisselectsanAMSmodulationsourcetoscalethe
amountoftheEGappliedtoFilterA.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulation.

Filter B
TheEGparametersforFilterBarethesameasthose
forFilterA,above.
WhenLinkisOn,orwhentheFilterRoutingissetto
Singleor24dB/oct,alloftheseparametersaregrayed
out.

53c: Filter Modulation


Filter A Frequency
AMS 1

[List of AMS Sources]

ThisselectsthefirstmodulationsourcetocontrolFilter
AsFrequency.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheFrequency
modulation.

Intensity Mod AMS

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatetheintensityof
AMS1.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.

AMS 2

[List of AMS Sources]

Thisselectsasecondmodulationsourcetocontrol
FilterAsFrequency.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionofAMS2.

Filter B Frequency
ThesettingsforFilterBarethesameasthoseforFilter
AFrequency,above.

202

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

Program P5: Filter 54: Filter LFO Mod

54: Filter LFO Mod


54PMC

54a

54b

TherearethreeLFOtoFrequencycontrolsforeach
filter:abasicamount(LFOIntensity),joystickY
controlofLFOamount(JSYIntensity),andAMS
controlofLFOamount(AMSIntensity).Thethree
controlsaresummedtogethertodeterminethefinal
LFOamount.

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

54a: Filter A

54b: Filter B

LFO Select

[LFO 1, LFO 2, LFO 3, LFO 4,


Common LFO]

ThisselectsanLFOtomodulateFilterAscutoff
frequency.
TheLFOIntensity,JSYIntensity,andAMSareall
summedtogethertoproducethefinalamountofLFO
pitchmodulation.

LFO Intensity

[99+99]

ThiscontrolstheinitialeffectoftheLFOonFilterAs
cutofffrequency,beforeanyJS+YorAMSmodulation.
Negative()settingswillinvertthephaseoftheLFO.

JS -Y Intensity

[99+99]

Movingthejoystickdownfromthecenterdetent
position,towardsyourself,producestheJSY
controller.Youcanusethistoscaletheamountofthe
LFOappliedtoFilterA.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheLFOAMS
modulation.

ThesettingsforFilterBarethesameasthosefor54a:
FilterA,above.
WhenLinkisOn,orwhentheFilterRoutingissetto
Singleor24dB/oct,alloftheseparametersaregrayed
out.

t 54: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

ThisparametersetsthemaximumamountofLFO
modulationaddedbyJSY.

AMS

[List of AMS Sources]

ThisselectsanAMSmodulationsourcetoscalethe
amountoftheLFOappliedtoFilterAscutoff
frequency.

203

EXi: AL-1 Analog Synthesizer

Program P6: Amp


Thesepagesletyoucontrolthesoundsvolume(also
calledamplitude,orampforshort),pan,and
Drive,aswellasitsdedicatedampenvelopesand
keyboardtrackinggenerators.Forinstance,youcan:

Setthepanpositionandpanmodulation.
Controlamplevelandmodulation,including
keyboardtracking,theampenvelope,LFO
modulation,andAMScontrol.

SetuptheDrivercircuit,whichaddssaturationand
bassboosttothetimbre.

61: Amp/Driver
61PMC

61b

61a

61c

ThispagecontrolsthebasicsettingsfortheAmp
section.Here,youcan:

[Off, On]

SetuptheDrivercircuit.

WhenBypassisOn,theDriveriscompletelyremoved
fromthesignalpath.

Settheinitialvolumelevel.

Drive

Controlthepanpositionandpanmodulation.

Thiscontrolstheamountofedgeandbiteinthe
timbre.Lowsettingswillproducemildsaturation,and
highersettingscreatemoreobviousdistortion.

61a: Driver
TheDriveraddssaturationandoverdrivetothesound,
foreverythingfromsubtlefatteningtodrastic
distortion.Unlikeanoverdriveeffect,theDriver
processeseachvoiceindividually,sothetimbrestays
thesameregardlessofhowmanyvoicesarebeing
played.
Thetwomainparameters,DriveandLowBoost,work
togethertocreatetheoverallDrivereffect.Drive
contributesedgeandbite,andLowBoostprovidesthe
bodyaswellasboostingthebass.
Althoughtheoscillatorsthemselveshaveextremely
lowaliasing,theDrivercanproducealiasing
especiallyathigherfrequencies.Ifyourgoalisa
completelypristinesound,settheDriversBypass
toOn.Otherwise,letitrip!

204

Bypass

[099]

Often,itsusefultoincreasetheLowBoostalongwith
theDrive.
Note:evenwhentheDriveamountissetto0,the
Drivercircuitstillaffectsthetimbre.Ifyourgoalisa
completelypristinesound,usetheBypasscontrol
instead.

AMS

[List of AMS Sources]

ThisselectsanAMSmodulationsourcetocontrolthe
Driveamount.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationforDrive.

Program P6: Amp 61: Amp/Driver

Low Boost

[099]

ThislowfrequencyEQcontrolsthebodycharacterof
thesound.ThespecificEQfrequenciesaffectedwill
changewiththeDrivesetting.
Higheramountsincreasethebassboost,andwillalso
intensifytheeffectoftheDriveparameter.

AMS

[List of AMS Sources]

YoucanalsocontrolpanviaMIDIPan(CC#10).A
CC#10valueof0or1placesthesoundatthefarleft,
64placesthesoundatthelocationspecifiedbythe
Panparameter,and127placesthesoundatthefar
right.
Note:youcanselectRandompanonlyfromtheon
screenUI,andnotfromMIDIortheControlsurface.

AMS

[List of AMS Sources]

ThisselectsanAMSmodulationsourcetocontrolthe
LowBoostamount.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

ThisselectsanAMSsourcetomodulatePan.Foralist
ofAMSsources,seeAlternateModulationSource
(AMS)Listonpage 1091.

Intensity

Intensity

[99+99]

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationforLowBoost.

ThiscontrolsthedepthanddirectionoftheAMS
modulationforPan.

61b: Amp Level

Forexample,ifPanissettoC064andAMSissetto
NoteNumber,positive(+)intensitieswillcausethe
soundtomovetowardtherightasyouplayhigher
thanC4,andtowardtheleftasyouplaylowerthanC4.

Amp Level

[0127]

ThiscontrolsthebasicvolumeleveloftheAL1,before
keyboardtracking,velocity,andothermodulation.

Negative()intensitieswillhavetheoppositeeffect.

The Control Surface and volume

t 61: Page Menu Commands

YoucanalsocontrolthevolumesofEXi1and2
directlyfromtheControlSurfacesliders.Thesevolume
levelsareseparateparameters,inadditiontothe
individualEXiAmpLevels.Todoso:

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

1. PresstheControlSurfaceTimbre/Trackbutton.

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

2. MoveSlider1tosetthevolumeforEXi1,and
Slider2forEXi2.

MIDI and volume

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

YoucancontroltheProgramsoverallvolumevia
MIDIusingbothVolume(CC#7)andExpression
(CC#11).Whenusedoneatatime,thetwo
controllersworkinexactlythesameway:aMIDI
valueof127isequaltotheAmpLevelsetting,and
lowervaluesreducethevolume.
IfbothCC#7andCC#11areusedsimultaneously,
theonewiththelowervaluedeterminesthe
maximumvolume,andtheonewiththehigher
valuescalesdownfromthatmaximum.

61c: Pan
Pan

[Random, L001C064R127]

ThiscontrolsthestereopanoftheEXi.Asettingof
L001placesthesoundatthefarleft,C064inthecenter,
andR127tothefarright.
WhenthisissettoRandom,thepanpositionwillbe
differentforeachnoteon.
YoucanalsosetthisPanparameterdirectlyfromthe
ControlSurfaceknobs.Todoso:
1. PresstheControlSurfaceTimbre/Trackbutton.
2. SettheMIXERKNOBSswitchtoINDIVIDUAL
PAN.
3. MoveKnob1tosetthepanforEXi1,andKnob2
tosetthepanforEXi2.

205

EXi: AL-1 Analog Synthesizer

62: Amp Modulation


62PMC

62a

62b

ThispagecontainsthesettingsforOscillator1sAmp
levelmodulation.Amongotherthings,youcan:

Center

[C1G9]

Setupcomplexkeyboardtrackingshapestocontrol
theAmplevel.

Thissetsthecenterofthekeyboardtracking.Atthis
key,thekeyboardtrackinghasnoeffectonthevolume,
oronanyAMSdestinations.

AssignAMSmodulationfortheAmplevel.

High Break

ControltheeffectoftheLFOsontheAmplevel.

Thissetsthebreakpointnotebetweenthetwohigher
ramps.

Thetotaleffectsofthemodulationcanincreasethe
volumetoamaximumoftwotimeslouderthanthe
AmpLevelsetting.

[C1G9]

Ramp
Bottom-Low

62a: Keyboard Track


Keyboardtrackingletsyouvarythevolumeasyou
playupanddownthekeyboard.Usually,some
amountofkeytrackingisnecessaryinordertomake
thevolumeconsistentacrosstheentirerange.
TheAL1sAmpkeyboardtrackingparametersare
identicaltotheHD1s.Inbothcases,theAmp
keyboardtrackingworkssomewhatdifferentlyfrom
theFilterandCommonkeyboardtracking.Formore
detailedexplanationsoftheparameters,pleasesee4
2a:KeyboardTrack,onpage 84.

[-Inf, 99+99, +Inf]

ThissetstheslopebetweenthebottomoftheMIDI
noterangeandtheLowBreakkey.Fornormalkey
track,usenegativevalues.
Ramp

Change in level

-Inf

Silent in one half-step

99

Silent in one whole-step

95

Silent in one octave

48

Silent in two octaves

25

Silent in four octaves

Thereisonedifferencebetweenthetwo,however:the
AL1sAmptrackingisaffectedbyPortamento,sothat
itchangessmoothlyduringglides.

00

no change

+25

x2 in four octaves

+50

x2 in two octaves

Key

+99

x2 in one octave

+Inf

x2 in one half-step

Low Break

[C1G9]

Thissetsthebreakpointnotebetweenthetwolower
ramps.

Low-Center

[-Inf, 99+99, +Inf]

ThissetstheslopebetweentheLowBreakandCenter
keys.Fornormalkeytrack,usenegativevalues.

206

Program P6: Amp 62: Amp Modulation

Center-High

[-Inf, 99+99, +Inf]

Intensity Mod AMS

[List of AMS Sources]

ThissetstheslopebetweentheCenterandHighBreak
keys.Fornormalkeytrack,usepositivevalues.

ThisselectsasecondaryAMSmodulationsourceto
scaletheintensityofAMS2.

High-Top

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

[-Inf, 99+99, +Inf]

ThissetstheslopebetweentheHighBreakkeyandthe
topoftheMIDInoterange.Fornormalkeytrack,use
positivevalues.

62b: Amp Modulation


YoucanmodulatetheAmplevelbyvelocityandtwo
AMSsources.EachoftheAMSsourcesalsohasits
ownsecondaryintensitymodulation.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.EvenifthemainAMS2Intensityissetto0,
IntensityModAMScanstillcontrolthefinalamount
ofAMSAoverthefull+/99range.

t 62: Page Menu Commands

ThismodulationscalesthebasicAmplevelandAmp
EGlevelparameters.Iftheseoriginallevelsarelow,the
maximumvolumeavailablewithmodulationwillalso
bereduced.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

NotethatthereisanupperlimittoAmpmodulation.
Oncethevolumelevelreachesdoublethe
programmedAmpLevelandAmpEGlevelsettings,it
cannotbeincreasedanyfurther.

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

Velocity Intensity

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

[99+99]

Withpositive(+)values,thevolumewillincreaseas
youplayharder.
Withnegative()values,thevolumewilldecreaseas
youplayharder.

AMS1

[List of AMS Sources]

ThisselectsthefirstmodulationsourcefortheAmp
level.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[99+99]

ThissetstheinitialamountofAMS1.TheIntensity
ModAMSthenaddstothisinitialamount.

Intensity Mod AMS

[List of AMS Sources]

ThisselectsasecondaryAMSmodulationsourceto
scaletheintensityofAMS1.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.EvenifthemainAMS1Intensityissetto0,
IntensityModAMScanstillcontrolthefinalamountof
AMSAoverthefull+/99range.
Forexample,ifAMS1issettoLFO1,andIntensity
ModAMSissettoAfterTouch,positivesettings
meanthataftertouchwillincreasetheamountofLFO
modulation.

AMS2

[List of AMS Sources]

ThisselectsasecondmodulationsourcefortheAmp
level.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[99+99]

ThissetstheinitialamountofAMS2.TheIntensity
ModAMSthenaddstothisinitialamount.

207

EXi: AL-1 Analog Synthesizer

63: Amp EG
63PMC

63a

63b

63c

63d

TheAL1sAmpEGisidenticaltotheHD1s.Formore
detailedexplanationsoftheAmpEGfeatures,please
see43:Amp1EG,onpage 87.

maymeanthattheEGdoesntresetatall.Ifthis
happens,reducetheThresholduntiltheEGtriggers
consistently.

Otherenvelopescanbeusedasadditionalcontrolsvia
AMS,ifdesired.

63b: Amp EG

63a: EG Reset

TheseparametersspecifyhowtheampEGwillchange
overtime.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetoresettheEGtothestart
point.Forinstance,youcanuseatemposyncedLFO
totriggertheEGinarepeatingrhythm.Thisresetisin
additiontotheinitialnoteon,whichalwayscausesthe
EGtostart.

AmpEG
Start
Level

ThissetstheAMSlevelwhichwilltriggertheEGreset.
Amongotherthings,youcanusethistoadjustthe
exactpointinanLFOsphaseatwhichtheEGwillbe
reset,effectivelycontrollingitsgrooveagainstother
rhythmiceffects.
Whenthethresholdispositive,theEGtriggerswhen
passingthroughthethresholdmovingupwards.When
thethresholdisnegative,theEGtriggerswhen
passingthroughthethresholdmovingdownwards.
Note:withsomeLFOshapes,andwithfasterLFO
speeds,theLFOmaynotalwaysreachtheextreme
valuesof+99or99.Inthiscase,settingtheThreshold
tothesevaluesmaycauseinconsistentbehavior,or

208

Sustain
Level

Time
Attack
Time

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

[99+99]

Break
Level

Volume

Note:OncetheAmpEGisinitsReleasesegment,it
cannotbereset.(Otherwise,thesoundmightkeep
playingforever!)

Threshold

Attack
Level

Note-on or reset

Decay
Time

Slope
Time

Release
Time
Note-off

Level
Start

[0099]

Thissetstheinitialvolumelevelatnoteon.

Attack

[0099]

ThissetsthelevelattheendoftheAttacktime.

Break

[0099]

Break,shortforBreakPoint,setsthelevelattheendof
theDecaytime.

Sustain

[0099]

ThissetsthelevelattheendoftheSlopetime.Onceit
reachestheSustainlevel,theEGwillstaythereuntil
noteoff(unlessitisresetviaAMS).

Program P6: Amp 63: Amp EG

Time
Highervaluesmeanlongertimes.Forachartshowing
equivalentsinmilliseconds,pleaseseeTimeon
page 88.

Attack

[0099]

ThissetshowlongtheEGtakestomovefromtheStart
leveltotheAttacklevel.
Theminimumattacktimeis2/3ofamillisecondas
fastasthemostpunchyofclassicanalogsynths.
Forthefastestpossibleattacktime,youcansetthe
Startlevelto+99;inthiscase,theEGwillstart
instantaneouslyatitsmaximumvalue.

Decay

[0099]

ThissetsthetimeittakestomovefromtheAttacklevel
totheBreaklevel.

Slope

[0099]

ThissetshowlongtheEGtakestomovefromthe
BreakleveltotheSustainlevel.Onceitreachesthe
Sustainlevel,theEGwillstaythereuntilnoteoff
(unlessitisresetviaAMS).

Release

[0099]

ThissetshowlongittakestheEGtomovefromthe
Sustainleveltosilence.

Curve
Classicanalogsynthenvelopescreatedcurvedshapes
naturally.TheKRONOSgoesastepfurtherthan
vintagesynths,however,andletsyoucontrolthe
amountofcurvatureseparatelyforeachofthefour
envelopesegments.
Whenyouchangethecurvature,theEGtimesremain
thesame.However,greatercurvaturewilltendto
soundfaster,becausethevaluechangesmorequicklyat
thebeginning.
Youmayfindthatdifferentamountsofcurvatureare
suitableforsegmentswhichgoupandsegments
whichgodown.
Forinstance,acurveof3isagooddefaultsettingfor
upwardsegments,suchasAttack.Ontheotherhand,a
curveof6ormoreisgoodfordownwardsegments,
suchasDecayandRelease.

Attack

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheAttacksegmentthe
transitionfromtheStartleveltotheAttacklevel.

Decay

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheDecaysegmentthe
transitionfromtheAttackleveltotheBreaklevel.

Slope

[0 (Linear), 19, 10 (Exp/Log)]

63c: Level Modulation


ThesesettingsletyouuseanAMSsourcetocontrolthe
LevelparametersoftheEG.TheStart,Attack,and
BreaklevelsshareasingleAMSsource,butcaneach
havedifferentmodulationintensities.
Note:OncetheEGhasstartedasegmentbetweentwo
points,thatsegmentcannolongerbemodulated.For
instance,iftheEGisinthemiddleoftheDecaytime,
youcannolongermodulateeithertheDecaytimeor
theBreaklevel.
ThisalsomeansthatmodulatingtheStartlevel,Attack
level,orAttacktimewillnotaffectnotesthatare
alreadysounding,unlesstheEGisthenresetviaAMS.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetocontroltheEGsLevel
parameters.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Start

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheStartlevel.

Attack

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheAttacklevel.

Break

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheBreaklevel.

63d: Time Modulation


ThesesettingsletyouusethreedifferentAMSsources
tocontroltheTimeparametersoftheEG.Foreachof
thethreeAMSsources,theAttack,Decay,Slope,and
Releasetimeseachhavetheirownmodulation
intensities.

AMS1

[List of AMS Sources]

SelectsthefirstAMSsourcetocontroltheEGsTime
parameters.VelocityandKeyboardTrackcanbothbe
usefulhere,forinstance.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Attack

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheAttacktime.
WhentheAMSsourceisatitsmaximumvaluefor
instance,whenVelocityisat127asettingof+8will
makethesegmenttimealmosttwiceaslong,anda
settingof8willcutthesegmenttimealmostinhalf.

ThissetsthecurvatureoftheSlopesegmentthe
transitionfromtheBreakleveltotheSustainlevel.

Decay

Release

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheDecaytime.

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheReleasesegmentthe
transitionfromtheSustainleveltotheReleaselevel.

Slope

[99+99]

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheSlopetime.

209

EXi: AL-1 Analog Synthesizer

Release

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheReleasetime.

AMS2 and AMS3


TheseselectthesecondandthirdAMSsources,
respectively,forcontrollingtheEGsTimeparameters.
EachhasitsownintensitiesforAttack,Decay,Slope,
andRelease.TheparametersofbothAMS2andAMS3
areidenticaltothoseofAMS1,above.

t 63: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyEnvelope.Formoreinformation,see
CopyEnvelopeonpage 224.
3:SwapEnvelope.Formoreinformation,see
SwapEnvelopeonpage 224.

210

Program P7: EG 1-4 71: EG 1 (Filter)

Program P7: EG 1-4


TherearefourassignableEGs,inadditiontotheAmp
EG.EachofthesecanbeusedasanAMSmodulation
sourcetocontrolawidevarietyofparameters.
TherearealsofourparameterswithdedicatedEG
modulationinputs:PitchforOscillators1and2,and
FrequencyforFiltersAandB.AnyofthefourEGscan
beusedforthesemodulationroutings.

Inthemidstofallthisflexibility,wethoughtitwould
alsobegoodtoprovidealittlestructure.Withthisin
mind,EG1isnamedEG1(Filter)andEG2islabeled
EG2(Pitch).
Pleasetakethesenamesassuggestions,ratherthan
restrictions.Ifyoulike,yourefreetousetheseEGsto
controlanyEGorAMSdestination,ortouseotherEGs
tocontrolFilterFrequencyandPitch.

71: EG 1 (Filter)
71PMC

71a

71b

71c

71d

TheEGs,orEnvelopeGenerators,letyoucreate
complex,timevaryingchangestoAMSmodulatable
parameters.Thecontrolsonthispagespecifytheshape
oftheEG.Amongotherthings,youcan:
CreatethebasicEGshapebysettingthelevelsand
timesofeachsegment.
ControlthecurvatureofeachEGsegment,for
subtlecontroloverthesoundoftheEG.
SetupcomplexmodulationofEGlevelsandtimes.
SetupanAMSsource,suchasanLFO,torestart
theEG.
Onethingthatyoucantdoonthispageistocontrol
howmucheffecttheEGhasontheparametersit
modulates.Todothat.youllneedtoadjusttheAMS
intensitiesonthepagesfortheindividualparameters.

71a: EG Reset
AMS

[List of AMS Sources]

ThisselectsanAMSsourcetoresettheEGtothestart
point.Forinstance,youcanuseatemposyncedLFO
totriggertheEGinarepeatingrhythm.Thisresetisin
additiontotheinitialnoteon,whichalwayscausesthe
EGtostart.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Threshold

[99+99]

ThissetstheAMSlevelwhichwilltriggertheEGreset.
Amongotherthings,youcanusethistoadjustthe
exactpointinanLFOsphaseatwhichtheEGwillbe
reset,effectivelycontrollingitsgrooveagainstother
rhythmiceffects.
Whenthethresholdispositive,theEGtriggerswhen
passingthroughthethresholdmovingupwards.When
thethresholdisnegative,theEGtriggerswhen
passingthroughthethresholdmovingdownwards.
Note:withsomeLFOshapes,andwithfasterLFO
speeds,theLFOmaynotalwaysreachtheextreme
valuesof+99or99.Inthiscase,settingtheThreshold

211

EXi: AL-1 Analog Synthesizer

tothesevaluesmaycauseinconsistentbehavior,or
maymeanthattheEGdoesntresetatall.Ifthis
happens,reducetheThresholduntiltheEGtriggers
consistently.

Actual Time
944 ms

70

1.8 seconds

80

3.8 seconds

71b: Envelope

90

10.9 seconds

EG

99

87.3 seconds

Attack
Level

Break
Level

Sustain
Level

Attack

Start
Level

Time
Attack
Time

Decay
Time

Note-on or reset

Slope
Time

Release
Time
Note-off

Envelopescreateamodulationsignalbymovingfrom
oneleveltoanotheroveraspecifiedtime,andthen
movingtoanotherleveloveranotherperiodoftime,
andsoon.
Theparametersbelowletyousetfivelevels,the
amountoftimeittakestogofromeachofthelevelsto
thenext,andtheshape(fromlineartocurved)ofeach
transition.

Level

Theminimumattacktimeis2/3ofamillisecondas
fastasthemostpunchyofclassicanalogsynths.
Forthefastestpossibleattacktime,youcansetthe
Startlevelto+99;inthiscase,theEGwillstart
instantaneouslyatitsmaximumvalue.

Decay

Positivelevelswillmakethecutofffrequency(orother
AMSdestination)goupfromitsprogrammedvalue;
negativelevelswillmakeitgodown.

[99+99]

ThissetstheinitialEGlevel,atnoteon.

Attack

[99+99]

ThissetsthelevelattheendoftheAttacktime.

Break

[99+99]

Break,shortforBreakPoint,setsthelevelattheendof
theDecaytime.

Sustain

[99+99]

ThissetsthelevelattheendoftheSlopetime.Onceit
reachestheSustainlevel,theEGwillstaythereuntil
noteoff,unlessitisresetviaAMS.

Release

[99+99]

ThissetsthelevelattheendoftheReleasetime.

[0099]

ThissetsthetimeittakestomovefromtheAttacklevel
totheBreaklevel.

Slope

[0099]

ThissetshowlongtheEGtakestomovefromthe
BreakleveltotheSustainlevel.Onceitreachesthe
Sustainlevel,theEGwillstaythereuntilnoteoff
(unlessitisresetviaAMS).

Release

Eachofthefivelevelscanbeeitherpositiveor
negative.

Start

[0099]

ThissetshowlongtheEGtakestomovefromtheStart
leveltotheAttacklevel.

Release
Level

Change to
Parameter
Value

[0099]

ThissetshowlongittakestheEGtomovefromthe
SustainleveltotheReleaselevel.

Curve
Forthesakeofsimplicity,mostofthediagramsinthis
manualshowenvelopesasbeingmadeoutofstraight
lines.Inactuality,though,envelopesaremorelikelyto
bemadeoutofcurves.
Inotherwords,eachsegmentslevelwillchange
quicklyatfirst,andthenslowdownasitapproaches
thenextpoint.Thistendstosoundbetterthanstraight,
linearsegments.
Classicanalogsynthenvelopesmadethesecurved
shapesnaturally.TheKRONOSgoesastepfurther
thanvintagesynths,however,andletsyoucontrolthe
amountofcurvatureseparatelyforeachofthefour
envelopesegments.
Whenyouchangethecurvature,theEGtimesremain
thesame.However,greatercurvaturewilltendto
soundfaster,becausethevaluechangesmorequicklyat
thebeginning.

Different curve settings for up and down

Time
Highervaluesmeanlongertimes,asshownbelow:
EG Value

212

EG Value
60

Actual Time

00

0.667 ms

10

10 ms

20

44 ms

30

104 ms

40

224 ms

50

464 ms

Youmayfindthatdifferentamountsofcurvatureare
suitableforsegmentswhichgoupandsegments
whichgodown.
Forinstance,acurveof3isagooddefaultsettingfor
upwardsegments,suchasAttack.Ontheotherhand,a
curveof6ormoreisgoodfordownwardsegments,
suchasDecayandRelease.

Program P7: EG 1-4 71: EG 1 (Filter)

EGCurve

Forinstance,iftheEGisinthemiddleoftheDecay
time,youcannolongermodulateeithertheDecay
timeortheBreaklevel.
Curve = 0 (Linear)
Curve = 10 (Exp/Log)

Curve = 0 (Linear)

Curve = 10 (Exp/Log)

Asanotherexample,letssaythatyouveassignedthe
CommonLFOtomodulateBreakLevel.TheLFOmay
bemovingallthetime,buttheBreakLevelisonly
affectedbytheLFOsvalueattheinstantthatthe
Decaysegmentstarts.Afterthat,thelevelisfixed.
Finally,thisalsomeansthatmodulatingtheStartlevel,
Attacklevel,orAttacktimewillnotaffectnotesthat
arealreadysounding,unlesstheEGisthenresetvia
AMS.

AMS
Attack

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheAttacksegmentthe
transitionfromtheStartleveltotheAttacklevel.

Decay

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheDecaysegmentthe
transitionfromtheAttackleveltotheBreaklevel.

Slope

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheSlopesegmentthe
transitionfromtheBreakleveltotheSustainlevel.

Release

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheReleasesegmentthe
transitionfromtheSustainleveltotheReleaselevel.

71c: Level Modulation


ThesesettingsletyouuseanAMSsourcetocontrolthe
LevelparametersoftheEG.TheStart,Attack,and
BreaklevelsshareasingleAMSsource,butcaneach
havedifferentmodulationintensities.
Byusingdifferentsettingsforeachofthethreelevels,
youcancausebothsubtleanddramaticchangestothe
EGshape,asshownbelow.
EGLevelModulation

[List of AMS Sources]

ThisselectsanAMSsourcetocontroltheEGsLevel
parameters.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Start

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheStartlevel.
Forexample,ifyousettheAMSsourcetoVelocityand
setStartto+99,theStartlevelwillincreaseasyouplay
harder.IfyouinsteadsetStartto99,theStartlevel
willdecreaseasyouplayharder.

Attack

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheAttacklevel.

Break

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheBreaklevel.

71d: Time Modulation


ThesesettingsletyouusethreedifferentAMSsources
tocontroltheTimeparametersoftheEG.Foreachof
thethreeAMSsources,theAttack,Decay,Slope,and
Releasetimeseachhavetheirownmodulation
intensities.
EGTimeModulation
AMS=Velocity, Intensity = a positive (+) value

Note-on

Original Shape

Negative AMS on Start,


Attack, and Break

Note-off

Note-on

Note-off

Note-on

Note-off

Positive AMS on Start,


Attack, and Break

Positive AMS on Start and Break,


Negative AMS on Attack

Once an EG segment begins, it cant be


modulated
OncetheEGhasstartedasegmentbetweentwo
points,thatsegmentcannolongerbemodulated.This
includesboththetimeofthesegment,andthelevel
reachedattheendofthesegment.

Attack=+, Decay=+,
Slope=+, Release=+

Attack=+, Decay=+,
Slope=+, Release=+

Attack=, Decay=,
Slope=, Release=

Softly played note.


Original Shape

Stongly played note.


Times are longer.
Reaches Sustainmore
slowly.

Stongly played note.


Times are shorter.
Reaches Sustainmore
quickly.

AMS1

[List of AMS Sources]

SelectsthefirstAMSsourcetocontroltheEGsTime
parameters.VelocityandKeyboardTrackcanbothbe
usefulhere,forinstance.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

213

EXi: AL-1 Analog Synthesizer

Attack

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheAttacktime.
WhentheAMSsourceisatitsmaximumvaluefor
instance,whenVelocityisat127asettingof+8will
makethesegmenttimealmosttwiceaslong,anda
settingof8willcutthesegmenttimealmostinhalf.
Forexample,ifyousettheAMSsourcetoVelocityand
setAttackto+99,theAttacktimewillgetmuchlonger
athighervelocities.IfyouinsteadsetAttackto99,the
Attacktimewillgetmuchshorterathighervelocities.

Decay

[99+99]

TheseselectthesecondandthirdAMSsources,
respectively,forcontrollingtheEGsTimeparameters.
EachhasitsownintensitiesforAttack,Decay,Slope,
andRelease.TheparametersofbothAMS2andAMS3
areidenticaltothoseofAMS1,above.

t 71: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheDecaytime.

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

Slope

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheSlopetime.

Release

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheReleasetime.

72: EG 2 (Pitch)
73: EG 3
74: EG 4
ThesettingsforEGs24areidenticaltothoseforEG1.
Formoreinformation,see71:EG1(Filter)on
page 211.

214

AMS2 and AMS3

2:CopyEnvelope.Formoreinformation,see
CopyEnvelopeonpage 224.
3:SwapEnvelope.Formoreinformation,see
SwapEnvelopeonpage 224.

Program P8: Step Seq/LFO 81: Step Sequencer

Program P8: Step Seq/LFO


81: Step Sequencer
81d

81PMC

81a

81a

81b

81c

Overview
TheStepSequencercreatescomplex,rhythmic
patterns,foruseasanAMSmodulationsource.For
instance,youcanmodulateafiltertocreatesample
andholdeffects,modulatepitchtocreatemelodic
patterns,ormodulateamplitudetocreatepulsing,
triggeredgateeffects.
EachvoiceoftheAL1hasitsownStepSequencer,in
additiontotheCommonStepSequencersharedby
bothEXiinstruments.TomakeallofthepervoiceStep
Sequencersruninsync,setKeySynctoOff.
Thesequencecanhaveupto32steps,eachwithits
ownlevelandduration.Itcanloop,orplayonlyonce.
Youcanalso:

UsingSmoothingtomakesteptransitionsmore
gentleonpage 178

81a: Step Sequencer


Mode

[Loop, One Shot]

LoopmakestheStepSequenceloopcontinuously
betweentheStartStepandtheEndStep.
OneShotmakestheStepSequenceplayoncefromthe
StartSteptotheEndStep,andthenholdattheEnd
Step.YoucanstillresettheStepSequencerfromAMS
tomakeitplayagain.

Start Step

[132]

RestarttheStepSequencerviaAMS

Thisisthesteponwhichthesequencewillstart.If
ModeissettoLoop,thisalsosetsthestartoftheloop.

ModulatetheStartStepviaAMS

AMS

Useindividualstepstoeithergateordosample
andholdonacontinuousAMSsource,suchasan
EGorLFO

ThisselectsanAMSsourcetomodulatetheStartStep.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Assignindividualstepstocreatearandomlevel

Intensity

UseSmoothingtocreategentle,curvingshapes

Step Sequencer usage tips

ThiscontrolsthedepthanddirectionoftheStartStep
modulation.

ForsometipsonusingtheStepSequencer,see:

End Step

CreatingmelodicpatternswiththeStep
Sequenceronpage 177

Thissetsthelaststepinthesequence.Oncethe
sequencereachestheEndStep,itwilleitherholdthere
untilthenotegoesaway(ifModeissettoOneShot),
orloopbacktotheStartStep(ifModeissettoLoop).

UsingSmoothingtocreateenvelopelikeshapes
onpage 178

[List of AMS Sources]

[-32+32]

[0132]

215

EXi: AL-1 Analog Synthesizer

Key Sync

[Off, On]

WhenKeySyncisOn,eachnotesStepSequenceris
independent,andthesequencealwaysstartsfromthe
StartStepatnoteon.
WhenKeySyncisOff,theStepSequencersforall
notesaresynchronizedtogether(unlesstheStartStep
ismodulatedbynotespecificAMSsources).Thefirst
noteinalegatophrasewillstartfromtheStartStep;
subsequentnoteswillplayinsyncwiththatfirstnote.

Smoothing

81c: Value AMS Input


AMS

[List of AMS Sources]

ThisistheAMSsourceusedforstepssettoAMS
InputorAMSInputS/H.

81d: Step Parameters


Eachofthe32stepshasitsownsettingsforValueand
Duration.

ThesecontrolsfiltertheStepSequencersoutputsignal,
creatingmoregentletransitionsbetweenvalues.You
canusethistoroundoffthehardedgesoftheStep
Sequencersoutput,ortocreateenvelopelikeeffects.

Value 1-32

Youhaveseparatecontroloftheamountofsmoothing
duringtheattack(whenthesignalisincreasing)and
decay(whenitsdecreasing).

Randomyieldsadifferent,randomvalueeverytime
thestepisplayed.

Formoreinformation,seeUsingSmoothingtocreate
envelopelikeshapesonpage 178,andUsing
Smoothingtomakesteptransitionsmoregentleon
page 178.

Attack

[0099]

Thiscontrolstheattacktimeofthesmoother,orhow
longittakestoreachanew,highervalue.

[-100+100, Random,
AMS Input, AMS Input S/H]

100through+100generatespecificlevels,justasyoud
expect.

AMSInputusesthesignalfromtheValueAMSInput
source,above.Thiscanchangecontinuouslyoverthe
durationofthestep.Forinstance,ifyouusedanLFO
astheValueAMSInput,youdheartheLFOmove
overthedurationofthestep.
AMSInputS/HgrabstheleveloftheValueAMS
Inputsourceatthestartofthestep,andthenmaintains
thatsinglevalueforthedurationofthestep.

HigherAttacksettingsmeanlongertimes.

Duration (Base Note) 1-32

DependingonhowquicklytheStepSequencervalueis
changing,highAttacksettingsmaymeanthatanew
valueisneverquitereached.

Thissetsthebasiclengthofthestep,relativetothe
systemtempo.Thevaluesrangefroma32ndnotetoa
wholenote,includingtriplets.

Decay

x (Multiply Base Note by) 1-32

[0099]

Thiscontrolsthedecaytimeofthesmoother,orhow
longittakesthesmoothertoreachanew,lowervalue.
HigherDecaysettingsmeanlongertimes.

ThismultipliesthelengthoftheBaseNote.For
instance,iftheBaseNoteissettoasixteenthnote,and
Timesissetto3,thestepsdurationwillbeadotted
eighthnote.

[List of AMS Sources]

Step

ThisselectsanAMSsourcetoresetthesequencetothe
StartStep.

Step

Threshold

Insert

[-99+99]

ThissetstheAMSlevelwhichwillmaketheStep
Sequencerreset.Amongotherthings,youcanusethis
toadjusttheexactpointinanLFOsphaseatwhichthe
sequencerwillbereset,effectivelycontrollingits
grooveagainstotherrhythmiceffects.
Whenthethresholdispositive,theStepSequencer
triggerswhenpassingthroughthethresholdmoving
upwards.Whenthethresholdisnegative,theStep
Sequencertriggerswhenpassingthroughthe
thresholdmovingdownwards.
Note:withsomeLFOshapes,andwithfasterLFO
speeds,theLFOmaynotalwaysreachtheextreme
valuesof+99or99.Inthiscase,settingtheThreshold
tothesevaluesmaycauseinconsistentbehavior,or
maymeanthattheStepSequencerdoesntresetatall.
Ifthishappens,reducetheThresholduntiltheStep
Sequencertriggersconsistently.

[0132]

Selectsthestepthatyouwanttoedit.

Insertsthecutorcopiedstepatthecurrentstep.

Cut
Cutsthecurrentstep.Subsequentstepswillbemoved
forward.Ifdesired,youcanthenpasteorinsertthecut
stepintoanotherlocation.

Copy
Copiesthecurrentstep.Youcanthenpasteorinsert
thecopiedstepintoanotherlocation.

Paste
Pastesthecutorcopiedstepontothecurrentstep,
replacingit.

Value
Reset
ResetstheValueofeachstepto000.

216

[0132]

Command buttons

81b: Sequencer Reset


AMS

[r w ]

Program P8: Step Seq/LFO 82: LFO 1

Smooth

Duration

AutomaticallyadjuststheValueofeachstepsothat
theyaresmoothlyconnected.

x2

Exp/Comp
WhenyoupresstheExp/Compbutton,theStep
SequenceValuedialogboxwillappear.Thevalueof
eachstepwillbeexpandedorcompressedbythe
percentage(%)youspecify.
StepSequenceValuedialogbox

Thisdoublesthedurationofthestepsorthex
(MultiplyBaseNoteby)value.Forexample,it
wouldturneighthnotesintoquarternotes,and
quarternotesintohalfnotes.

/2
Thishalvesthedurationofthestepsorthex
(MultiplyBaseNoteby)value.Forexample,it
wouldturnquarternotesintoeighthnotes,andeighth
notesintosixteenthnotes.

t 81: Page Menu Commands

Expand/Compress [%]

[0100]

Ifthisisat100%,thecurrentvalueofeachstepwillbe
usedwithoutchange.IfyoucheckKeepProportion,
the%valuewillbelimitedsothattheexpansion/
compressionwillmaintaintherelationshipsbetween
thecurrentstepsettings.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyStepSequencer.Formoreinformation,see
CopyStepSequenceronpage 181.

82: LFO 1
82PMC

82a

82b

82c

ThispagehasallofthecontrolsforthefirstLFO.For
instance,youcan:
SelecttheLFOsbasicwaveform,andmodifyit
withtheShapeparameter.
ControltheLFOsfrequency,andassignAMS
controllerstomodulatethefrequency.

UsetheKeySyncparametertochoosewhetherthe
LFOrunsseparatelyforeachvoice,oris
synchronizedacrossallofthevoices
UsetheFadeandDelayparameterstocontrolhow
longtheLFOwaitstostartafternoteon,and
whetheritstartsabruptlyorfadesinslowly.
SettheLFOtosynctoMIDItempo.

217

EXi: AL-1 Analog Synthesizer

LFOShape

82a: LFO 1
Waveform

[TriangleRandom6 (Continuous)]

ThisselectsthebasicLFOwaveform,asshowninthe
graphicbelow.

+99
0
99

Mostofthewaveformsshouldbeselfexplanatory,but
afewwillbenefitfrommoredetails:
Guitarisintendedforguitarvibrato,anditsshapeis
specificallytunedforthispurpose.Thewaveformis
positiveonly,sothatwhenusedforpitch,itwillonly
bendup,andnotdown.
Random1(S/H)generatestraditionalsampleandhold
waveforms,inwhichthelevelchangesrandomlyat
fixedintervalsoftime.
Random2(S/H)randomizesboththelevelsandthe
timing.
Random3(S/H)generatesapulsewavewithrandom
timing.Itstheoppositeoftraditionalsampleandhold;
thetimingvaries,butthelevelsdont.
Random46(Continuous)aresmoothedversionsof
Random13,withrampsinsteadofsteps.Youcanuse
themtocreatemoregentlerandomvariations.

Start Phase

[-180+180, Random]

Thiscontrolsthephaseofthewaveformatthestartof
thenote,instepsof5degrees.
IfKeySyncisOn,theStartPhasewillapplyonlyto
thefirstnoteofthephrase.

Shape

[99+99]

Shapeaddscurvaturetothebasicwaveform.Asyou
canseeinthegraphicbelow,thiscanmakethe
waveformseithermoreroundedormoreextreme.It
canalsobeusefultoemphasizecertainvalueranges,
anddeemphasizeothers.
Forexample,letssaythatyouareusingatriangleLFO
tomodulatefiltercutoff.IfShapeemphasizesthehigh
valuerange,thefilterwillspendmoretimeatthe
higherfrequencies.Ifitemphasizesthelowrange,the
filterwillspendmoretimeatthelowerfrequencies.

Shape = 0 (original waveform)


Shape = +99
Shape = 99

Note:ShapedoesnotaffecttheSquareandRandom3
waveforms,sincetheirvaluesarealwayseither+99or
99.Whentheseareselected,Shapeisgrayedout.

AMS

[List of AMS Sources]

Thisselectsamodulationsourceforcontrollingthe
LFOsShape.Modulatingtheshapecandramatically
altertheeffectoftheLFOtryitout!
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[99+99]

Thiscontrolsthedepthanddirectionofthe
modulation.

Frequency

[0099]

ThiscontrolsthespeedoftheLFO,beforeany
modulation.Highervaluesmeanfasterspeeds,as
showninthetablebelow.
ByusingAMSmodulation,youcanalsogetspeeds
muchfasterandmuchslowerthanareavailable
throughthisbasicsetting.
Frequency Value

Frequency in Hz

00

0.014 Hz

10

0.112 Hz

20

0.422 Hz

30

0.979 Hz

40

1.79 Hz

50

2.84 Hz

60

4.14 Hz

70

5.69 Hz

80

7.49 Hz

90

9.53 Hz

99

26.25 Hz

99 + Fine 99

32 Hz

LFOWaveforms

218

Triangle

Guitar

Step Triangle-4

Random1
(S/H)

Random4
(Continuous)

Saw

Exponential
Triangle

Step Triangle-6

Random2
(S/H)

Random5
(Continuous)

Square

Exponential
Saw Down

Step Saw-4

Random3
(S/H)

Random6
(Continuous)

Sine

Exponential
Saw Up

Step Saw-6

Program P8: Step Seq/LFO 82: LFO 1

Frequency Fine

[0099]

ThisallowsyoutocontroltheLFOfrequencywith
greaterprecision,givingyou98additionalstepsfor
eachstepofthemainFrequencyparameter.

SinceOffsetaffectstheoutputvaluesoftheLFO,its
importanttonotethatitaffectsthesignalafterthe
Shapefunction,asshownbelow:
LFOSignalFlow
Waveform

Whenthisissetto00,theLFOspeedisassetbythe
Frequencyparameter.

Shape

Offset

Whenthisissetto99,itsthesameasincreasingthe
mainFrequencyvalueby1.

Stop

[Off, On]

On(checked):WhenStopisOn,theLFOdoesnot
advancenormally,andtheFrequencyparametersare
ignored.Instead,theLFOsimplygenerateitsveryfirst
value(asdeterminedbythecombinationofthe
Waveform,StartPhase,Shape,andOffset),andthen
holdsthatvalueuntiltheendofthenote.
YoucanusethisinconjunctionwiththeRandom
waveformstocreatestatic,randommodulation,with
thevaluechangingonlyatnoteon.
Off(unchecked):WhenStopisOff,theLFOwill
functionnormally.

Key Sync

Fade

[0099]

TheLFOcanfadeingradually,insteadofsimply
startingimmediatelyatfullstrength.Thisparameter
specifiesthetimefromwhentheLFObeginstoplay
untilitreachesitsmaximumamplitude.
IftheDelayparameterisbeingused,thenthefadewill
beginafterthedelayiscomplete.
WhenKeySyncisOff,thefadewillapplyonlytothe
firstnoteinthephrase.
LFOFadeandDelay

[Off, On]

Delay

Fade

On(checked):WhenKeySyncisOn,theLFOstarts
eachtimeyoupressakey,andanindependentLFO
runsforeachnote.Thisisthenormalsetting.
Off(unchecked):WhenKeySyncisOff,theLFO
startsfromthephasedeterminedbythefirstnotein
thephrase,sothattheLFOsforallnotesbeingheldare
synchronizedtogether.TheFadeandDelaysettings
willonlyapplytothefirstnotesLFO.

Note-on

Note-off

Delay

[099]

ThissetsthetimefromnoteonuntiltheLFOstarts.

NotethatevenifKeySyncisOff,eachnotesLFO
speedmaystillbedifferentifyoumodulatethe
Frequencybynotenumber,velocity,keyscaling,or
othernotespecificAMSsources.

WhenKeySyncisOff,thedelayappliesonlytothe
firstnoteofthephrase.

Offset

82b: Frequency Modulation

[99+99]

Bydefault,almostalloftheLFOwaveformsare
centeredaround0,andthenswingallthewayfrom99
to+99.ThisparameterletsyoushifttheLFOupand
down,sothatforinstanceitscenteredon50,andthen
swingsfrom49to+149.
Forexample,letssaythatyoureusinganLFOfor
vibrato.IftheOffsetis0,thevibratowillbecentered
onthenotesoriginalpitch,bendingitbothupand
down.
IftheOffsetis+99,ontheotherhand,thevibratowill
onlyraisethepitchabovetheoriginalnote.
Offsetsettingsandpitchchangeproducedbyvibrato
Offset = 99

Offset = 0

Offset = +99

Pitch

Youcanusetwoalternatemodulationsources(AMS)
toadjustthespeedoftheLFO.

AMS1

[List of AMS Sources]

ThisselectsthefirstmodulationsourcefortheLFO
frequency.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.
NotethatyoucanuseLFO2tomodulateLFO1s
frequency.

Intensity

[99+99]

ThissetstheinitialamountofAMS1.TheIntensity
ModAMSthenaddstothisinitialamount.
WhenAMS1isatitsmaximumvalue(forinstance,
whenthejoystickispushedallthewayup),theAMS
affectsthefrequencyasshownbelow:
Intensity

TheoneexceptiontothisistheGuitarwaveform,
whichisdesignedtoemulatebendingastringona
guitarsothatthepitchonlygoesup,andnotdown.
Becauseofthis,thewaveformiscenteredon50,and
noton0.Ofcourse,youcanalwaysuseanegative
Offsettoshiftitbackdownbelow0again!

Change to LFO Frequency

+99

64x

+82

32x

+66

16x

+49

8x

+33

4x

+16

2x

Faster

219

EXi: AL-1 Analog Synthesizer

Intensity

Change to LFO Frequency

16

1/2x

33

1/4x

49

1/8x

66

1/16x

82

1/32x

99

1/64x

MIDI/Tempo Sync
Slower

Intensity Mod AMS

[List of AMS Sources]

ThisselectsasecondaryAMSmodulationsourceto
scaletheintensityofAMS1.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.EvenifthemainAMS1Intensityissetto0,
IntensityModAMScanstillcontrolthefinalamountof
AMSAoverthefull+/99range.
Forexample,ifAMS1issettothePitchEG,and
IntensityModAMSissettoAfterTouch,positive
settingsmeanthataftertouchwillincreasetheintensity
ofthePitchEGmodulationofLFOFrequency.

AMS2

[List of AMS Sources]

ThisselectsthesecondmodulationsourcefortheLFO
frequency.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

82c: Frequency MIDI/Tempo Sync

[99+99]

ThiscontrolstheamountofmodulationfromAMS2.

[Off, On]

On(checked):TheLFOwillsynchronizetothesystem
tempo,assetbyeithertheTempoknoborMIDIClock.
TheLFOspeedwillbecontrolledbytheBaseNoteand
Multiplyparameters,below.Allsettingsfor
FrequencyandFrequencyModulationwillbe
ignored.
Off(unchecked):TheFrequencysettingswill
determinethespeedoftheLFO,andthetempo
settingswillhavenoeffect.

Base Note

[r w ]

ThissetsthebasicspeedoftheLFO,relativetothe
systemtempo.Thevaluesrangefroma32ndnotetoa
wholenote,includingtriplets.

x (Multiply Base Note by)

[0132]

ThismultipliesthelengthoftheBaseNote.For
instance,iftheBaseNoteissettoasixteenthnote,and
Timesissetto3,theLFOwillcycleoveradotted
eighthnote.

t 82: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyLFO.Formoreinformation,seeCopy
LFOonpage 224.
3:SwapLFO.Formoreinformation,seeSwap
LFOonpage 224.

83: LFO 2
84: LFO 3
85: LFO 4
ThesettingsforLFOs24areidenticaltothosefor
LFO1.Formoreinformation,see82:LFO1on
page 217.

220

Program P9: AMS Mixer 91: AMS Mixer

Program P9: AMS Mixer


TheAMSMixerscombinetwoAMSsourcesintoone,
orprocessanAMSsourcetomakeitintosomething
new.
Forinstance,theycanaddtwoAMSsourcestogether,
oruseoneAMSsourcetoscaletheamountofanother.
Youcanalsousethemtomodifytheresponseof
realtimecontrollers.
TheAMSMixeroutputsappearinthelistofAMS
sources,justlikeothercontrollers.

Thisalsomeansthattheoriginal,unmodifiedinputsto
theAMSMixersarestillavailableaswell.Forinstance,
ifyouuseAftertouchasaninputtoaAMSMixer,you
canusetheprocessedversionoftheAftertouchto
controloneAMSdestination,andtheoriginalversion
tocontrolanother.
Finally,youcancascadethetwoAMSMixerstogether,
byusingAMSMixer1asaninputtoAMSMixer2.

91: AMS Mixer


91PMC

91a

91b

91a: AMS Mixer 1


Mixer Type

[A+B, Amt AxB, Offset, Smoothing,


Shape, Quantize, Gate]

Thiscontrolsthetypeofprocessingperformedby
AMSMixer1.EachoftheMixerTypesisdiscussedin
detailelsewhereinthemanual.
A+BaddstwoAMSsourcestogether.Formore
information,seeA+Bonpage 99.
AmtAxBscalestheamountofoneAMSsourcewith
theother.SeeAmtAxBonpage 99formoredetails.
Offsetaddsorsubtractsaconstantvaluetoorfroman
AMSsource.Formoreinformation,seeOffseton
page 100.
Smoothingcreatesmoregentletransitionsbetween
values,smoothingoutabruptchangessuchasaquick
moveonajoystickorasharpedgeonanLFO.For
details,seeSmoothingonpage 101.
ShapeaddscurvaturetotheAMSinput.Foranin
depthdescription,seeShapeonpage 101.

Quantizeturnssmoothtransitionsintodiscretesteps.
SeeQuantizeonpage 102formoreinformation.
GatechoosesbetweentwoAMSinputs(orfixed
values)basedonathirdAMSsource.SeeGateon
page 103formoreinformation.

91b: AMS Mixer 2


ThisisthesecondAMSMixer.Itsparametersare
exactlythesameasthoseofAMSMixer1,above.

t 91: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

221

EXi: AL-1 Analog Synthesizer

AL-1: Tone Adjust


AL1ToneAdjustDefaultSettings

Oscillators 1 & 2
Width/Phase/Detune
AMS Intensity

Filters A & B
EG Intensity

FM Amount

Drive

LFOs 1 & 2
Speed

Switches 15:
Mixer Mutes
OSC 1, OSC 2,
Sub OSC/Audio,
Ring Mod,
Noise

Switches 7 & 8:
LFOs 1 & 2
Stop

Switch 6:
Sync On/Off

EG 1 (Filter) ADSR

Amp EG ADSR

ToneAdjustprovidesanelegantphysicalinterfaceto
theAL1sparameters.Mostofthefactorysoundsuse
thedefaultlayout,asshownabove.Youcanalso
customizethelayoutforindividualsounds,ifdesired.

Oscillators common

FormoreinformationaboutToneAdjust,pleasesee
09f:ToneAdjust,onpage 30.

FMAMSIntensity(absolute)

Mixer

AL-1 Tone Adjust parameters

OSC1level(absolute)

TheAL1supportsalloftheCommonToneAdjust
parameters,asdescribedunder09f:ToneAdjust,on
page 30.Italsoaddsanumberofitsownadditional
parameters,whichapplyonlytotheAL1.

OSC2level(absolute)

Notethattheseadditionalparametersareseparatefor
eachEXi,asopposedtobeingsharedbybothEXiinthe
Program.
Alloftheadditionalparametersarelistedbelow.Each
ismarkedaseitherrelative(meaningthatitscalesthe
existingparametervalue)orabsolute(whichover
writestheexistingvalue).

SyncOn/Off(absolute)
FMAmount(absolute)

SubOSC/AudioInputlevel(absolute)
RingModlevel(absolute)
Noiselevel(absolute)

Filter A
InadditiontothestandardToneAdjustfilter
parameters,theAL1addsthefollowing:
Type(absolute)
Cutoff(absolute)

Oscillator 1

Resonance(absolute)

Tune(absolute)

FrequencyEGIntensity(absolute)

Waveform(absolute)

FrequencyLFOIntensity(absolute)

Morph(absolute)

Filter B

MorphAMSIntensity(absolute)

FilterBhasthesameToneAdjustparametersasFilter
A,above.

Detune/PulseWidth(absolute)
Detune/PulseWidthAMSIntensity(absolute)

Oscillator 2
Oscillator2hasthesameToneAdjustparametersas
Oscillator1,above.

Amp
AMS1Intensity(absolute)
AMS2Intensity(absolute)
Drive(absolute)
LowBoost(absolute)

222

AL-1: Tone Adjust 91: AMS Mixer

EGs
InadditiontosupportingthestandardToneAdjustEG
parameters,theAL1addsthefollowingseparate
controlsforbothEG3andEG4:
Attacktime(relative)
Decay&Slopetime(relative)
Sustainlevel(relative)
Releasetime(relative)

LFOs
InadditiontosupportingthestandardToneAdjust
LFOparameters,theAL1addsthefollowingseparate
controls:
LFO3Speed(relative)
LFO3Fade(relative)
LFO3Delay(relative)
LFO3Stop(absolute)
LFO4Speed(relative)
LFO4Fade(relative)
LFO4Delay(relative)
LFO4Stop(absolute)
LFO1,2,3,and4Waveform(absolute)
LFO1,2,3,and4Shape(absolute)

Step Sequencer
InadditiontosupportingthestandardToneAdjust
CommonStepSequencerparameters,theAL1adds
thefollowingseparatecontrolforthepervoiceStep
Sequencer:
Smoothing(relative)

Pitch
PitchSlope(absolute)
PitchLFOAMSIntensity(absolute)

223

EXi: AL-1 Analog Synthesizer

AL-1: Page Menu Commands


Copy Envelope

Swap LFO

ThiscopiessettingsfromoneAL1envelopeto
another.

ThisexchangessettingsbetweentwoAL1LFOs.
1. SelectSwapLFOtoopenthedialogbox.

1. SelectCopyEnvelopetoopenthedialogbox.

2. UsetheFromfieldtoselectthecopysource
envelope.
3. UsetheTofieldtoselectthecopydestination
envelope.
4. PresstheOKbuttontoexecutetheCopyEnvelope
operation.Ifyoudecidenottoexecute,pressthe
Cancelbutton.

Swap Envelope
ThisexchangessettingsbetweentwoAL1envelopes.
1. SelectSwapEnvelopetoopenthedialogbox.

2. UsetheSource1andSource2fieldstoselect
thetwoenvelopesyouwanttoswap.
3. PresstheOKbuttontoexecutetheSwapEnvelope
operation.Ifyoudecidenottoexecute,pressthe
Cancelbutton.

Copy LFO
ThiscopiessettingsfromoneAL1LFOtoanother.
1. SelectCopyLFOtoopenthedialogbox.

2. UsetheFromfieldtoselectthecopysource
LFO.
3. UsetheTofieldtoselectthecopydestination
LFO.
4. PresstheOKbuttontoexecutetheCopyLFO
operation.Ifyoudecidenottoexecute,pressthe
Cancelbutton.

224

2. UsetheSource1andSource2fieldstoselect
thetwoLFOsyouwanttoswap.
3. PresstheOKbuttontoexecutetheSwapLFO
operation.Ifyoudecidenottoexecute,pressthe
Cancelbutton.

EXi: CX-3 Tonewheel Organ


CX-3 Overview
TheCX3isadetailedmodelofaclassictonewheel
organ,basedonKorgsgroundbreakingCX3
keyboard.

Becauseofthis,youcanuseamaximumofeightCX3s
simultaneouslyinaCombinationorSong.IfotherEXis
withfixedresourcesareinuse,themaximumnumber
ofCX3swillbereducedaccordingly.EachEXiineach
Programcountstowardsthemaximum;forinstance,a
ProgramwithtwoCX3scountsastwo,notasone.

Itsawesomesoundstartswithperfecttonewheel
phasecoherency,resultinginpure,powerfulsounding
chords,justliketherealthing.Subtletiessuchas
differenttonewheeltypes,adjustableovertones,
leakage,andnoise,alongwithdetailedkeyclick
modeling,provideunparalleledrealism.

Ontheotherhand,onceaCX3isrunning,each
additionalnoteyouplaytakesuponlyasmallamount
ofadditionalpowerallowingupto200notesof
polyphony.

Ampmodeling,Vibrato/Chorus,andRotarySpeaker
effectsareincludedinthemodel,sothatyoudont
needtouseanyInsertEffectstorecreatemostclassic
organsounds.

Formoreinformation,seeCX3&otherEXi:
LimitationsonEXifixedresourcesonpage 420.

Unsupported EXi Common parameters

InEXmode,youcanintroduceadditionaldrawbar
andpercussionharmonics,lettingyouproducenew
timbresunavailableontraditionalorgans.

TheCX3supportsmostoftheEXiCommon
parametersexceptforscalesandanumberofthevoice
allocationoptions,asdetailedbelow:

IfyourefamiliarwiththeCX3keyboard,youmight
wanttocheckoutChangesfromtheoriginalCX3on
page 245foranoverviewofsomeoftheimprovements
intheKRONOSCX3.

SingleTrigger(CX3alwaysactsasifthiswasOn)
PolyLegato
MonoLegato(simpleMonoretriggermodeis
supported,however)

CX-3 uses EXi fixed resources

MonoMode(NormalorUseLegatoOffset)

TheCX3usesEXifixedresourcesforthebuiltin
rotaryspeaker,amp,vibratochorus,andsoon.These
useupasmallamountofprocessingpower,evenif
yourenotplayinganynotes.

EXi Program Structure

Common
LFO

Unison,includingNumberofVoices,Detune,and
Thickness
Scale,includingType,Key,andRandom

Common
Step Seq

Vector

KARMA

Key Track 1

EXi 1
Mixer & EQ

Effects

EXi 2

CX-3 Structure
Upper

AMS Mixer 1

Normal Drawbars

EX Drawbars

Tone Wheels

Upper Mix
Vibrato/Chorus

Expression

Amp

Rotary Speaker

Lower Mix

Percussion
Lower
Normal Drawbars
EX Drawbars

EXi 1
EXi 2

225

EXi: CX-3 Tonewheel Organ

EXi Program P0: Play


01: Main

01b

ThisisthemainpageofProgrammode.Forafull
descriptionofthispageandallofitsfunctions,please
seeEXiProgramP0:Playonpage 165.Thissection
describesonlytheoverviewdisplay,whichdiffersfor
eachindividualEXi.

CX-3
Drawbar Mode
ThisshowswhethertheDrawbarsaresettoNormalor
EXmodes.
PressthisareatojumptotheBasicpage.

01b: Overview and Page Jump

ThisshowswhethertheKeyboardSplitisturnedon,or
turnedoff.

Thegraphicsgiveyouaquickwaytocheckallofthese
settingsataglance.Theyalsoletyoujumpinstantlyto
anyofthedisplayedparameters.Justtouchoneofthe
graphics,andyoulljumptothepagecontainingits
parameters.Forinstance,ifyoutouchtheFilterEG
graphic,youllgototheFilterEGpage.

Theupperportionofthisgraphicshowsthekeyboard
splitrangewithintheCX3.

Tip:PressingEXITseveraltimeswillalwaysbringyou
backtothispage.

Display shows programmed valuesnot AMS


Thesegraphicsshowthevaluesoftheprogrammed
parameters,includinganyeditsmadeviaToneAdjust.
Theydonotupdatetoshowtemporarychangesmade
byAMSmodulation.
Forinstance,movingthejoystickup(JS+Y)willoften
switchtheRotarySpeakerbetweenfastandslow,via
AMS.Youllhearthesoundchangebutsincethe
programmedparameterisstillthesame,thedisplay
wontbeupdated.

226

Keyboard Split

Thispartofthepageshowsanoverviewofthemost
importantsettingsfortheProgramstwoEXi
instruments.Thespecificparameterswillvary,
dependingonwhichEXiarebeingused.Thespecific
parametersfortheAL1aredescribedbelow.

PressthisareatojumptotheKeyboardSplitpage.

Keyboard Split Zone/Common Key Zone

PressthisareatojumptotheKeyboardSplitpage.
ThelowerportionshowsthekeyzonesforEXi1and
EXi2,assetontheCommonsectionsProgramBasic
page,inrelationtotheentireMIDInoterange.The
rangeofthe61,73,or88notekeyboardisalso
shown,asappropriate.
PressthisareatojumptotheProgramBasicpage.

EX Percussion
ThisareashowstheEXPercussionsettings.Itwillonly
appeariftheDrawbarModeissettoEX.
PressthisareatojumptotheEXPercussionpage.

EXi Program P0: Play 01: Main

Lower

Common Voice Assign Mode

ThesegraphicswillonlybedisplayedifKeyboard
SplitisturnedOn.

ThisshowsthevoiceassignmodeoftheProgram
eitherPOLYorMONO.

Lower Drawbars

PressthisareatojumptotheProgramBasicpage.

ThisshowstheLowerdrawbarsettings.

Common Step Sequencer

PressthisareatojumptotheDrawbarspage.

ThisshowsagraphicoverviewoftheCommonStep
Sequencer.

V/C On/Off
ThisshowswhethertheVibrato/Chorusisturnedonor
offfortheLowerdrawbars.
PressthisareatojumptotheAmp/Vibrato/Chorus
page.

PressthisareatojumptotheCommonStepSequencer
page.

Common LFO Graphic


ThisshowsthewaveformoftheCommonLFO.

EX Drawbars

PressthisareatojumptotheCommonLFOpage.

ThisareashowstheLowerEXdrawbarsettings.Itwill
onlyappeariftheDrawbarModeissettoEX.

3 Band EQ Graphic

PressthisareatojumptotheEXDrawbarspage.

PressthisareatojumptotheEQpage.

Upper

IFX, MFX/TFX

Upper Drawbars

PresstheIFXareatojumptotheIFXRoutingpage.

ThisshowstheUpperdrawbarsettings.

PresstheMFX/TFXareatojumptotheMFXRouting
page.

PressthisareatojumptotheDrawbarspage.

Percussion
ThissectionshowsthePercussionHarmonicsetting,
andwhetherornotPercussionisturnedOn.
PressthisareatojumptothePercussionpage.

Thisshowsthemidsweepable3bandEQ.

KARMA GE Name
ThisshowsthenameoftheselectedKARMAGE.
PressthisareatojumptotheGESetup/KeyZones
page.

V/C On/Off
ThisshowswhethertheVibrato/Chorusisturnedonor
offfortheUpperdrawbars.
PressthisareatojumptotheAmp/Vibrato/Chorus
page.

EX Drawbars
ThisshowstheUpperEXdrawbarsettings.
PressthisareatojumptotheEXDrawbarspage.

Rotary Speaker
PressanywhereinthisareatojumptotheRotary
Speakerpage.

Rotary Speaker On/Off


ThisshowstheOn/Offsettingoftherotaryspeaker.

Mode Switch
ThisshowstherotaryspeakersModeSwitch
(Rotate/Stop)settingoftherotaryspeaker.

Speed Switch
ThisshowstherotaryspeakersSpeedSwitchsetting
(Fast/Slow).

Common
Thegraphicsalongtherightsideofthescreenshow
themostimportantCommonparameters,whichare
sharedbybothEXiintheProgram.Thissectionwill
alwaysshowthesameparameters,regardlessofwhich
EXiarebeingused.

227

EXi: CX-3 Tonewheel Organ

Program P4: Basic


41: Basic
41PMC

41a

41b
41c

Drawbar Level Curve

41a: Drawbar Mode


Drawbar Mode

[Normal, EX]

Thisisabasiccontrol,whichaffectstheparameters
availableintheDrawbarsandPercussionsections.
Normalmodemodelsastandardtonewheelorgan,
with9drawbarsandsinglepitchpercussion.
EXmodeaddsfouradditionaldrawbars,withpitches
adjustableinhalfstepincrementsbetween16andtwo
octavesabove1.Italsoallowsyoutocreatethe
percussionusinguptofivedifferentpitches,eachwith
adjustablevolumelevels.

[Vintage, Clean]

Vintageoffersanorganic,complextone.Itincludes
someamountofadditionalharmonicsforeachnote,
whichcanbefurtherincreasedbyusingtheOvertone
Levelparameter,below.Italsoaddsleakage,a
pitchednoisecausedbythemixofall91tonewheels
leakingintoeachindividualnoteacharacteristic
partoftheauthentictonewheelorgansound.The
LeakageLevelparameter,below,controlsthevolume
ofthiscomponent.
Cleangivesyouapristine,perfectsetoftonewheels,
withnoleakagenoise.Bydefault,thesetonewheels
havenoadditionalovertonesbutyoucanaddthemby
usingtheOvertoneLevelparameter,below.

228

Thiscontrolsthewayinwhichthetonewheellevels
changeinrelationtopitch,whichcontributestothe
overallbrightnessofthesound.
Brightproducesacrispeffect,slightlybrighterthan
traditionaltonewheelorgans.
Mellowproducesaslightlydarker,moretraditional
tone.

Overtone Level

[099]

Thiscontrolsthetimbreoftheindividualtonewheels.
IncreasingtheOvertoneLeveladdsmoreharmonics,
forabrighter,richertone.
TheWheelTypesetting,above,determinesboththe
specificharmonicsaddedandtheirvolumelevels.

41b: Tone
Wheel Type

[Bright, Mellow]

Leakage Level

[099]

Thisspecifiestheamountofdrawbarleakage,both
intoplayednotesandintotheconstantnoise(see
NoiseLevel,below).
ThisparameterisavailableonlywhentheWheelType,
above,issettoVintage.WhentheWheelTypeissetto
Clean,itisgrayedout.

Noise Level

[099]

Thisletsyouaddaconstantamountofnoisetothe
outputsjustlikeyoumightfindinoldervintagegear.
Thenoisewillbepresentwhetherornotanynotesare
beingplayed.

Program P4: Basic 42: Controllers

Thenoiseincludesbothcoloredbroadbandnoiseand
tonewheelleakage.Theamountofleakagewithinthe
noiseisscaledbyLeakageLevel,describedabove.

Gate Type

[Clean, Dirty]

Thisaffectsthesoundcharacterwhennotesareturned
onoroff.ItissimilarinconcepttoKeyClick,below,
buthasadifferenttimbralcharacter.
Cleandoesnotaddanyadditionalgatenoise.
Dirtyaddsasmallamountofnoiseatnoteonand
noteoff,forasmallamountofextrapunch.Youcan
alsousethisifyourelookingtoduplicatethegate
timbreoftheCX3andBX3.

41c: Key Click


Pressingdownorreleasingakeyonatonewheel
organcanresultinarcingbetweenthecontacts,
producingacharacteristicKeyClicksound.This
sectionmodelsthateffect.

Key-On Click Level

[ 099]

Thiscontrolstheamountofclicknoiseatnoteon.

Key-Off Click Level

[099]

Thiscontrolstheleveloftheclicknoiseatnoteoff.

t 41: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

42: Controllers
42PMC

42a

42b

42c

JS- X

42a: Pitch Bend


JS+ X

[-60+12]

Thissetsthemaximumamountofpitchbend,in
semitones,whenyoumovethejoysticktotheright.For
normalpitchbend,setthistoapositivevalue.
Forexample,ifyousetthisto+12andmovethe
joystickallthewaytotheright,thepitchwillriseone
octaveabovetheoriginalpitch.

[-60+12]

Thissetsthemaximumamountofpitchbend,in
semitones,whenyoumovethejoysticktotheleft.For
normalpitchbend,setthistoanegativevalue.
Forexample,ifyousetthisto60andmovethe
joystickallthewaytotheleft,thepitchwillfallfive
octavesbelowtheoriginalpitch.

229

EXi: CX-3 Tonewheel Organ

Wheel Brake

42b: Expression
Expressionadjustsboththevolumelevelandthe
amountofdistortion.AtlowerExpressionvalues,both
thelowbassandhightreblefrequenciesareslightly
emphasized.TheAmpsectioninteractswith
Expression;formoredetails,see71a:Amp,on
page 238.

AMS

[List of AMS sources]

Toallowoptimalmodulationflexibility,theAMS
worksdifferentlyfrommostotherparameters.See
Mode,below,formoredetails.

ThisselectsanAMSsourcetocontroltheWheelBrake.

Expression Minimum

AMS Mode

[030]

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

[Toggle, Momentary]

ThisspecifiestheminimumlevelwhentheExpression
LevelparameterorExpressionAMSareat0.

ThisparametercontrolsthewayinwhichtheWheel
BrakeAMSworks.

Expression Level

WhenthisissettoToggle,theWheelBrakeAMSwill
alternatebetweenpoweronandpoweroff.For
instance,ifWheelBrakeissettoOff,andAMSis
assignedtoafootswitch,thefirstpresswillcausethe
wheelrotationtoslow,andthenextpresswillbring
thembackuptospeedagain.

[099]

ThissetsthedefaultExpressionlevel.Itwillbegrayed
outiftheMode,below,issettoControlOnly.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetomodulateExpression.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.
ThisparameterisgrayedoutifMode,below,issetto
LevelOnly.
NOTE:TheMIDIExpressioncontroller(CC#11)is
hardwiredtoscalethechannelvolumelevel.So,
despitethesimilarname,itsbesttouseanother
controllerforasanAMSsource.

Mode

[Level Only, AMS Only,


Both Scale, Both Overwrite]

ThiscontrolshowtheAMSinteractswiththe
programmedExpressionLevel.
LevelOnly:TheExpressionLevelparameterhas
completecontroloverExpression.TheAMSparameter
isgrayedoutandhasnoaffect.
AMSOnly:TheAMSinputhascompletecontrolover
Expression,whiletheExpressionLevelparameteris
grayedoutandhasnoaffect.
BothScale:ThevaluesofExpressionLevelandAMS
aremultipliedtoproducetheExpressionlevel.Forthe
mathfriendly,avalueof99istreatedas1.0.
BothOverwrite:ExpressionLevelandAMSboth
writedirectlytotheExpressionlevel.IftheExpression
Levelparameterisupdated,itdirectlycontrols
Expression,andthelastvaluefromAMSisignored.If
theAMSinputmoves,italsodirectlycontrols
Expression,andthesettingoftheExpressionLevel
parameterisignored.

42c: Wheel Brake


Tonewheelorgansactuallyhavephysicalwheels,
whichgraduallycomeuptospeedwhenyouturnthe
poweron,andgraduallyslowtoastopwhenyouturn
thepoweroff.Asthewheelsrotatemorequickly,the
pitchrises;astheyslowdown,thepitchfalls.
Thissectionmodelsthisbehavior,foruseasaspecial
effect.

230

[Off, On]

Thisparameterallowsyoutomanuallycontrolthe
WheelBrake.Offisthedefault;thetonewheelswill
turnnormally.ChangingthistoOnwillmakethetone
wheelsgraduallyslowdown,andeventuallystop
altogether.

Momentarymeansthatthepoweristurnedoffonly
whilethecontrollerisenabled.Continuingthe
examplefromabove,whenthefootswitchispressed
down,thewheelrotationwillslowdown;whenthe
footswitchisreleased,thewheelrotationwillspeedup
again.
AMSletsyouswitchtotheoppositeofthe
programmedsetting.Forinstance,ifWheelBrakeis
settoOn(unlikelybutpossible!),andtheAMSMode
issettoMomentary,thenpressingdownonthe
footswitchwouldcausethetonewheelstocomeupto
speed.
IfyousetAMStouseacontinuouscontroller,suchas
theJoystick,valuesof063areasiftheswitchwasoff,
andvaluesof64127areasiftheswitchwason.
Finallynotethattheassignableswitches,SW1and
SW2,canthemselvesbesettoeithermomentaryor
togglemodes,andthesesettingsarereflectedbythe
switchLEDs.Individualparametermodesettings,
suchastheWheelBrakeAMSMode,donotaffectthe
LEDs.
So,ifyoureusingSW1orSW2astheAMSsource,its
besttosettheAMSModetoMomentary,andthenjust
lettheswitchitselfdeterminethemomentary/toggle
behavior.

Wheel Brake Speed

[Slow, Fast]

Thiscontrolsthespeedatwhichthewheelswillslow
downandspeedup.

t 42: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

Program P5: Split & Drawbars 51: Keyboard Split

Program P5: Split & Drawbars


Youcansetuptheorgantouseasinglesoundacross
theentirekeyboard,ortosplitthekeyboardbetween
twodifferentsetsofdrawbars.

51: Keyboard Split


51PMC

51a

t 51: Page Menu Commands

51a: Split
Split Enable

[Off, On]

Thisturnsthesplitonandoff.
WhenSplitisOff,onlytheUpperdrawbarswillbe
used.

AMS

[List of AMS Sources]

ThisallowsyoutoassignanAMSsourcetotogglethe
splitonandoff.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

AMS Mode:

[Momentary, Toggle]

ThisdeterminesthebehaviorofSplitEnableAMS.For
details,seeAMSModeonpage 230.

Split Point

[C-1G9]

Thissetsthehighestkeyofthelowersplitrange.

Upper Octave Shift

[-2 octaves+2 octaves]

ThisraisesorlowersthepitchoftheUpperdrawbars
inoneoctavesteps.

Lower Octave Shift

[-2 octaves+2 octaves]

ThisraisesorlowersthepitchoftheLowerdrawbars
inoneoctavesteps.

231

EXi: CX-3 Tonewheel Organ

52: Drawbars
52PMC

52a

52b

ThedrawbarsaretheheartoftheCX3.Thesesettings
controlthebasicharmoniccontentofthesound,the
perceivedfundamentalpitch,andthebasicvolume
level.

Use Tone Adjust for physical drawbars


UsingToneAdjust,youcanmapthedrawbarstothe
ninefrontpanelsliders,includingbothsliders18and
theMasterslider.
Liketraditionaltonewheelorgans,thethrowofthe
slidersisreversedfromthatofamixer:allthewayup
is0,andallthewaydownisthemaximum(8).

Wrap-around
Aswithtraditionalorgans,thetonewheelsproduce
pitchesbetweenC2andF#8.Dependingonthenotes
thatyouplay,certaindrawbarsettingsmayimply
pitchesoutsideofthisrange.Inthiscase,thedrawbar
pitcheswillbewrappedaroundbyoneormore
octavestofitwithintheavailablerange.
Forinstance,the1drawbarwouldnormallysound3
octavesabovethenotethatyouplay.IfyouplayaD6
onthekeyboard,thiswouldimplythatthe1playa
D9.SincethetonewheelscantplayaD9,however,the
1drawbariswrappedaroundtothehighest
possibleDaD8.
Thesamethingwillhappenonthelowend.For
instance,the16drawbarnormallysoundsoneoctave
belowtheplayednote.IfyouplayanF1onthe
keyboard,thiswouldimplythatthe16soundatF0.
Sincethisisfarbelowtherangeofthetonewheels,the
16soundsatitslowestpossibleFanF2.

Interaction between Percussion, 1 drawbar, and


EX mode
PercussioncanbeassignedtoeithertheUpperor
Lowersplit.WhentheDrawbarModeissetto
Normal,andpercussionisturnedon,the1drawbarof
thesplitassignedtopercussionbecomessilent.The
othersideofthesplitisnotaffected.
Thismodelsthebehavioroftheoriginalinstruments,
inwhichthe1busbarwasdivertedinordertotrigger
thepercussion.
WhentheDrawbarModeissettoEX,thisrestrictionis
removed;the1drawbarcontinuestosoundregardless
ofwhetherornotpercussionisturnedon.

52a: Lower Drawbar Levels


Theseparameterscontroltheindividualdrawbar
volumelevelsfortheLowersplit.Thedrawbars
expresstheirpitchesintermsoffeet,referringbackto
pipeorgans,inwhichhalvingthelengthofapipewill
raiseitspitchbyoneoctave.So,8isanoctavehigher
than16,4isanoctavehigherthan8,andsoon.
Youcanadjusttheseparametersbyusingtheonscreen
drawbargraphics,orusethephysicalfadersviaTone
Adjust,asdescribedabove.
NotethatwhenSplitisturnedOff,onlytheUpper
drawbarsareused;theLowerdrawbarsettingswill
havenoeffect.

16

[08]

Thisisthevolumeforthelowestdrawbar.
0meansthatthedrawbarwillbesilent,and8isthe
maximumvolume.

232

Program P5: Split & Drawbars 53: EX Drawbars

5-1/3, 8, 4, 2-2/3, 2, 1-3/5, 1-1/3, 1

[08]

Thesesetthevolumelevelsfortheremaining8
drawbars.

52b: Upper Drawbar Levels


Theseparametersspecifythelevelforeachdrawbar
usedbytheUppersplit.Also,whenSplitisturned
Off,theUpperdrawbarsareusedfortheentire
keyboard.

t 52: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

ThesettingsarejustthesameasfortheLower
drawbars.Formoredetails,pleasesee52a:Lower
DrawbarLevels,above.

53: EX Drawbars
53PMC

53a

53b

53c, d

WhentheDrawbarModeissettoEX,thisaddsfour
extradrawbarstothebasicnine,withpitches
adjustableinhalfstepincrementsbetween16andtwo
octavesabove1.Youcanselectfromfourpreset
combinationsofdrawbarpitches,orcreateyourown
fromscratch.
WhentheDrawbarModeissettoNormal,thissection
isgrayedout.

Wrap-around and EX mode


AnyharmonicsaboveF#8arewrappedaroundso
thattheywillsoundoneormoreoctaveslower.
Similarly,harmonicsbelowC2willbewrapped
aroundtosoundanoctavehigher.Formoredetails,see
Wraparoundonpage 232.

53a: Lower EX Drawbars


TheseparameterscontroltheindividualEXdrawbar
pitchesandvolumelevelsfortheLowersplit.

EX Drawbar Pitch Mode

[Preset 14, Custom]

Presets14aretheCX3sdefaultPitchsettingsforthe
setoffourEXDrawbars.WhenoneofthePresetsis
selected,theEXDrawbar14Pitchparameters,below,
aregrayedout.
CustomletsyouspecifythepitchesforeachEX
drawbar,usingtheEXDrawbar14Pitchparameters.

Inparticular,thismeansthathighsettingsoftheEX
Drawbar14Pitchparameters,below,mayonlybe
perceptibleintheloweroctavesofthekeyboard.

233

EXi: CX-3 Tonewheel Organ

53b: Custom Drawbar Settings


Ex Drawbar 1 Pitch

[161 +24]

ThisspecifiesthepitchassignedtoEXDrawbar1.The
valuesareexpressedinorganfeetandsemitones,with
singlesemitonestepsfrom16to1+24semitones.
ThisparameterisonlyavailableiftheEXDrawbar
ModeissettoCustom.Otherwise,itisgrayedout.

Ex Drawbar 1 Level

[08]

ThisisthevolumeforEXDrawbar1.
0meansthatthedrawbarwillbesilent,and8isthe
maximumvolume.

Ex Drawbars 2-4 Pitch

[161 +24]

TheseparametersspecifythepitchassignedtoEX
Drawbars24.Formoreinformation,seeExDrawbar
1Pitch,above.

Ex Drawbars 2-4 Level

[08]

TheseparametersspecifythevolumesofEXDrawbars
24.Formoreinformation,seeExDrawbar1Level,
above.

53c and 53d: Upper EX Drawbars


TheseparameterscontroltheindividualEXdrawbar
pitchesandvolumelevelsfortheUppersplit.The
controlsareidenticaltothosefortheLowerEX
Drawbars,asdescribedabove.

t 53: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyDrawbars.Formoreinformation,see
CopyDrawbarsonpage 246.
3:SwapDrawbars.Formoreinformation,see
SwapDrawbarsonpage 246.

234

Program P6: Percussion 61: Percussion

Program P6: Percussion


Percussionaddsapitchedattacktothenotes,fora
morecrisp,punchytimbre.Whenyouplaylegato,
percussionwillonlysoundforthefirstnoteinthe
phrase.

61: Percussion
61c

61PMC

61a

61b

61d

61a: Percussion
Percussion

61b: Level
[Off, On]

ThistogglesthePercussionsectiononandoff.
NotethatenablingPercussionforasetofdrawbars
(UpperorLower)mayaffectthesets1drawbar;for
moreinformation,seeInteractionbetween
Percussion,1drawbar,andEXmodeonpage 232.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetoturnthePercussiononor
off.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

AMS Mode

[Toggle, Momentary]

Level

[Soft, Loud]

ThistogglesthePercussionLevelbetweenSoftand
Loud.Theactualvolumelevelsaredeterminedbythe
LoudLevelandSoftLevelparameters,below.
NotethatthePercussionLevelparametercanalso
affectthevolumeofthedrawbars,ascontrolledbythe
LoudDrawbarAttenuationparameter.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetoswitchthePercussion
LevelbetweenSoftandLoud.ForalistofAMS
sources,seeAlternateModulationSource(AMS)List
onpage 1091.

ThisdeterminesthebehaviorofthePercussionAMS.
Fordetails,seeAMSModeonpage 230.

AMS Mode

Percussion Assign

ThisdeterminesthebehavioroftheLevelAMS.For
details,seeAMSModeonpage 230.

[Lower, Upper]

Thisassignsthepercussiontoeitherthelowerorupper
drawbars.ThedefaultisUpper.SettingittoLower,
instead,allowsyoutoplayabasslinewithpercussion.
IfSplitisOff,Percussionisautomaticallyassignedto
theUpperdrawbars.

[Toggle, Momentary]

Loud Level

[0099]

Thissetsthevolumeofthepercussionwhen
PercussionLevelissettoLoud.

Soft Level

[0099]

Thissetsthevolumeofthepercussionwhen
PercussionLevelissettoSoft.

235

EXi: CX-3 Tonewheel Organ

Loud Drawbar Attenuation

[0099]

Ontraditionaltonewheelorgans,settingtheLevelto
Loud(ordisablingtheSoftbutton)reducestheoverall
drawbarvolume.
Toputitanotherway,settingtheLeveltoSoftmakes
thedrawbarslouder.
Thisparametercontrolsthedifferenceindrawbar
volumebetweentheSoftandLoudPercussionsettings.

61c: Decay
Decay

[Slow, Fast]

ThistogglesthePercussionDecaytimebetweenSlow
andFast.Theactualdecaytimesaredeterminedbythe
FastDecayTimeandSlowDecayTimeparameters,
below.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetoswitchthePercussion
DecaytimebetweenSlowandFast.ForalistofAMS
sources,seeAlternateModulationSource(AMS)List
onpage 1091.

AMS Mode

[Toggle, Momentary]

ThisdeterminesthebehavioroftheDecayAMS.For
details,seeAMSModeonpage 230.

Fast Decay Time

[0099]

ThissetsthedecaytimewhentheDecayparameteris
settoFast.

Slow Decay Time

[0099]

ThissetsthedecaytimewhentheDecayparameteris
settoSlow.

61d: Harmonic
Harmonic

[2nd, 3rd]

Thisselectsthepitchofthepercussion,inharmonics
relativetothe8drawbar.
2ndproducesthesamepitchasthe4drawbarone
octavehigherthanthe8.
3rdproducesthesamepitchasthe22/3drawbarone
octaveandafifthhigherthanthe8.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetoswitchtheHarmonic
between2ndand3rd.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

AMS Mode

[Toggle, Momentary]

ThisdeterminesthebehavioroftheHarmonicAMS.
Fordetails,seeAMSModeonpage 230.

t 61: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

236

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

Program P6: Percussion 62: EX Percussion

62: EX Percussion
62PMC

62a

WhentheDrawbarModeissettoEX,thePercussion
canuseamixofuptofivedrawbarpitches,insteadof
justone.
Theseinclude22/3or4(dependingonthesettingof
thePercussionHarmonicparameter),16,51/3,and
thepitchesofthefirsttwoEXdrawbars.Youcanset
thelevelsforeachofthefivedrawbarsindependently.
ThissectionisgrayedoutwhenDrawbarModeisset
toNormal.

t 62: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

62a: EX Percussion
Normal Percussion

[08]

Thissetsthevolumeofthe2ndor3rdharmonic(22/3
or4drawbars),dependingonthesettingofthe
PercussionHarmonicparameter.

16

[08]

Thissetsthevolumeofthe16drawbarwithinthe
Percussionpulse.

5 1/3

[08]

Thissetsthevolumeofthe51/3drawbarwithinthe
Percussionpulse.

EX Drawbar 1

[08]

ThissetsthevolumeofEXDrawbar1withinthe
Percussionpulse.

EX Drawbar 2

[08]

ThissetsthevolumeofEXDrawbar2withinthe
Percussionpulse.

237

EXi: CX-3 Tonewheel Organ

Program P7: Amp, V/C, Rotary Speaker


71: Amp & V/C
71PMC

71b

71a

71c
71d

71e

71f

Intensity

71a: Amp
Amp Type

[Type 1, Type 2, Pre Amp]

Thisselectsoneoftwoampmodels,oradirectlineout
fromtheorganspreamp.
Type1isastandardpoweredampfororgan,
producingawarm,fattone.
Type2yieldsalesscoloredtone,withmorehigh
frequenciesthanType1.
PreAmpisthesoundofadirectlineoutfromthe
organ.
Important:SincePreAmpmodelsadirectlineout,
itdisablestheRotarySpeakerentirely.Tousethe
Rotaryspeaker,setAmpTypetoType1orType2
instead.

Amp Gain

[0099]

ThisadjuststhegainwhenAmpTypeissettoType1
orType2.ItdoesnotapplyiftheAmpTypeissetto
PreAmp.
ExpressionalsoadjuststhedriveintotheAmpsection.
WithhigherAmpGainsettings,youllgetmore
overdriveanddistortionasyouincreasethe
Expressionamount.Formoreinformation,see42b:
Expression,onpage 230.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatetheAmp
Gain.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

238

[-99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationofAmpGain.

71b: EQ
Treble

[-10+10]

Thisadjuststhehighfrequencyrangeoftheamp,as
selectedbyAmpType.

Mid

[-10+10]

Thisadjuststhemidfrequencyrangeoftheamp,as
selectedbyAmpType.

Bass

[-10+10]

Thisadjuststhelowfrequencyrangeoftheamp,as
selectedbyAmpType.

71c: Vibrato/Chorus
Vibrato/Chorusisatraditionalorganeffect,similarto
butnotthesameasotherchoruseffects.Itadds
varyingdegreesofLFOdrivenflutterandrichnessto
thetimbre,andcombinesnicelywiththerotary
speaker.
Inadditiontothesixtraditionalpresets,theCX3
allowsyoutocreateyourowncustomsettings,which
canthenbemodulatedviaAMS.
ThereisasingleVibrato/Choruseffect,andeachsetof
drawbarscaneitherberoutedthroughtheeffectorgo
straightontotherotaryspeakerandoutputs.

Program P7: Amp, V/C, Rotary Speaker 71: Amp & V/C

Upper Drawbars V/C

[Off, On]

Thisroutestheupperdrawbarsthroughthe
Vibrato/Chorus.

AMS

[List of AMS Sources]

[Toggle, Momentary]

71e: Custom
TheseparametersareavailableonlyiftheMode,
above,issettoCustom.

ThisdeterminesthebehavioroftheVibrato/Chorus
AMSfortheUpperdrawbars.Fordetails,seeAMS
Modeonpage 230.

Mix

Lower Drawbars V/C

AMS

[Off, On]

Thisroutesthelowerdrawbarsthroughthe
Vibrato/Chorus.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetoturnVibrato/Choruson
orofffortheUpperDrawbars.ForalistofAMS
sources,seeAlternateModulationSource(AMS)List
onpage 1091.

AMS Mode

[Toggle, Momentary]

ThisdeterminesthebehavioroftheVibrato/Chorus
AMSfortheUpperdrawbars.Fordetails,seeAMS
Modeonpage 230.

Input Trim

[000100]

ThiscontrolstheinputleveltotheVibrato/Chorus.
Itappliesonlytotheset(s)ofdrawbarsroutedthrough
theVibrato/Chorus,viatheV/COn/Offbuttonsabove.
Youcanusethistocompensateforvolumelevel
differencesbetweentheoutputoftheVibrato/Chorus
andthedrysignal,sothatthevolumestaysconstant
whenyouswitchtheV/Conoroff.
NotethattheoutputvolumeoftheV/Cwillvary,
dependingontheselectedPresetorthesettingsofthe
Customparameters.

Mode

[05+05]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheType.

ThisselectsanAMSsourcetoturnVibrato/Choruson
orofffortheUpperDrawbars.

AMS Mode

Intensity

[Preset/Custom]

WhenModeissettoPreset,theVibrato/Choruswill
usethesettingsunderPreset,below.Thesearethe
classicV13andC13settings.
WhenModeissettoCustom,theVibrato/Chorususes
thesettingsunderCustom,below.Theseallowyouto
createyourownversionsoftheeffect.

[0100]

ThisadjuststhebalancebetweentheVibratoand
Choruseffects.0isallVibrato;100isallChorus.

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatetheMix.Fora
listofAMSsources,seeAlternateModulationSource
(AMS)Listonpage 1091.

Intensity

[-100+100]

ThiscontrolsthedepthanddirectionoftheAMS
modulationforMix.

Depth

[0100]

ThissetsthedepthofVibrato/Chorusmodulation.
Highervaluesmeangreaterpitchandvolume
modulation.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatetheDepth.For
alistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[-100+100]

ThiscontrolsthedepthanddirectionoftheAMS
modulationforDepth.

Speed

[0.2Hz20Hz]

ThiscontrolsthespeedoftheVibrato/ChorusLFO.
0is0.02Hz;230is20Hz;and180is7Hz.Tryaround
179forthemagicC3frequency.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatetheSpeed.For
alistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[-20Hz0Hz+20Hz]

ThiscontrolsthedepthanddirectionoftheAMS
modulationforSpeed.

71d: Preset
TheseparametersareavailableonlyiftheMode,
above,issettoPreset.

71f: Main Output

Type

ThisselectsoneofthesixclassicVibrato/Chorus
presets.VstandsforVibrato,andCstandsfor
Chorus.

Thiscontrolstheoveralloutputlevel,aftertheAmp
sectionandtheExpressioncontrols.Inotherwords,
thisaffectsonlythevolumeofthesound,andnotthe
tonalcharacter.

AMS

AMS

[V1, C1, V2, C2, V3, C3]

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatetheType.Fora
listofAMSsources,seeAlternateModulationSource
(AMS)Listonpage 1091.

Output Level

[000127]

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatetheOutput
Level.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

239

EXi: CX-3 Tonewheel Organ

Intensity

[127+127]

ThiscontrolsthedepthanddirectionoftheAMS
modulationforOutputLevel.

Pan

[Random, L001C064R127]

Thiscontrolsthestereopanoftheorgan.Asettingof
L001placesthesoundatthefarleft,C064inthecenter,
andR127tothefarright.

Note:youcanselectRandompanonlyfromtheon
screenUI,andnotfromMIDIortheControlsurface.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatePan.Notethat
allnotesoftheorgansharethesamePanvalue.Fora
listofAMSsources,seeAlternateModulationSource
(AMS)Listonpage 1091.

WhenthisissettoRandom,thePanpositionwill
changeateachnoteon.NotethatallnotesoftheCX3
sharethesamePanvalue,andwillmovetogetherto
thenewposition.

Intensity

YoucanalsosetthePandirectlyfromtheControl
Surfaceknobs.Todoso:

t 71: Page Menu Commands

1. PresstheControlSurfaceTimbre/Trackbutton.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

2. SettheMIXERKNOBSswitchtoINDIVIDUAL
PAN.
3. MoveKnob1tosetthepanforEXi1,andKnob2
tosetthepanforEXi2.
YoucanalsocontrolpanviaMIDIPan(CC#10).A
CC#10valueof0or1placesthesoundatthefarleft,
64placesthesoundatthelocationspecifiedbythe
Panparameter,and127placesthesoundatthefar
right.

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationforPan.

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

72: Rotary Speaker


72PMC

72a

72b

72c

72d

72e

72a: Rotary Speaker


Important:TousetheRotarySpeaker,theAmp
TypemustbesettoType1orType2.IfitssettoPre
Amp,theRotarySpeakerisdisabled.Formore
information,seeAmpTypeonpage 238.

240

Rotary On

[Off, On]

ThisenablesanddisablestheRotarySpeaker.Its
differentfromsimplystoppingtherotation(whichyou
candowiththeModeparameter,below);instead,this
islikeunpluggingtheorganfromtherotaryspeaker
entirely.

Program P7: Amp, V/C, Rotary Speaker 72: Rotary Speaker

WhentheRotarySpeakeristurnedoff,thetoneis
determinedbytheRotarySpeakerOffOutput
parameter,below.

AMS Mode

AMS

Speed

[List of AMS Sources]

ThisselectsanAMSsourcetoturntheRotarySpeaker
onoroff.

AMS Mode

[Momentary, Toggle]

ThisdeterminesthebehavioroftheRotarySpeaker
on/offAMS.Fordetails,seeAMSModeonpage 230.

Rotary Speaker Off Output

[Pre-Crossover,
Post-Crossover]

ThisdeterminesthesoundwhentheRotarySpeakeris
turnedOff,above.Italsodeterminesthedrysignal
intheWet/Drymix;fordetails,seeWet/Dryon
page 241.
PostCrossoveristhedefault,andmatchestheCX3.
Withthissetting,thespeakersimulatorandspeaker
crossoverwillstillbeactive,evenwhentheRotary
Speakerisdisabled.UsethisifyouliketheCX3
sound,andarenotsendingtheorganthrougha
separateRotarySpeakerintheInsertEffects.
PreCrossoveryieldsatonewithouttheeffectsofthe
speakersimulatorandcrossovers.Usethissettingif
youllbesendingtheorganthroughaseparateRotary
SpeakerintheInsertEffects.

Wet/Dry

[Dry,1:9999:1,Wet]

Thisadjuststhebalancebetweenthedrysignalcoming
intotheRotarySpeakerandtheoutputoftheeffect.
Thedrysignaliseithertheprecrossoverorpost
crossoverinput,asselectedbytheRotarySpeakerOff
Outputparameter;formoreinformation,seeRotary
SpeakerOffOutputonpage 241.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatetheWet/Dry
mix.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-100+100]

ThiscontrolsthedepthanddirectionoftheWet/Dry
AMSmodulation.

[Momentary, Toggle]

ThisdeterminesthebehavioroftheModeswitchAMS.
Fordetails,seeAMSModeonpage 230.

Speed Switch

[Fast/Slow]

TheRotarySpeakerhastwobasicspeeds,andthis
allowsyoutoswitchbetweenthetwo.Youcansetthe
speedsofthehornandrotorsectionsseparatelyfor
boththeFastandSlowsettings,aswellasthetimethat
ittakesthemtospeedupandslowdown.Formore
information,see72c:Hornonpage 241and72d:
Rotoronpage 242.

AMS

[List of AMS Sources]

ThisselectsanAMSsourcetoswitchbetweentheSlow
andFastspeeds.

AMS Mode

[Toggle, Momentary]

ThisdeterminesthebehavioroftheSpeedswitch
AMS.Fordetails,seeAMSModeonpage 230.

Fast Overrides Stop

[Off, On]

Whenthisisenabled,switchingtheSpeedtoFastvia
AMSwillalwayspushtheRotarySpeakerintoFast
modeevenifithadpreviouslybeenstopped.
SwitchingtheSpeedbacktoSlowwillstopitagain.
WhenFastOverridesStopisdisabled,ifthespeakeris
stopped,itwillstaystoppedregardlessofSpeedAMS.

72c: Horn
TheHorncarriesthehighfrequenciesoftheRotary
Speaker.YoucanindependentlycontroltheSlowand
Fastspeedsofthehorn,aswellasthetimeittakesto
speeduporslowdown.Youalsohaveseparatecontrol
overtheamountoftimethatthehorntakestostop
rotatingentirely,andthetimethatittakestoresume
rotationafterbeingstopped.

Fast Speed

[000100]

ThisspecifiesthespeedoftheHornwhentheSpeed
SwitchissettoFast.

Slow Speed

[000100]

72b: Mode/Speed

ThisspecifiesthespeedoftheHornwhentheSpeed
SwitchissettoSlow.

Mode

Acceleration

Mode Switch

ThissetshowlongittakestheHorntochangefromthe
SlowspeedtotheFastspeed.

[Rotate, Stop]

ThisletsyoustopthemotionoftheRotarySpeaker.
Evenwhenstopped,thespeakerwillstillaffectthe
timbre.
Thehornandrotorcaneachtakedifferentamountsof
timetostartandstoptheirrotation.Formore
information,see72c:Hornonpage 241and72d:
Rotoronpage 242.

AMS

[List of AMS Sources]

Deceleration

[000100]

[000100]

ThissetshowlongittakestheHorntochangefromthe
FastspeedtotheSlowspeed.

Start Acceleration

[000100]

ThissetshowlongittakestheHorntocomeupto
speedaftertheModeSwitchhaschangedfromStopto
Rotate.

ThisselectsanAMSsourcetostartandstoptheRotary
Speaker.

241

EXi: CX-3 Tonewheel Organ

Stop Deceleration

[000100]

Thissetshowlongittakesthehorntocometorest
aftertheModeSwitchhaschangedfromRotateto
Stop.

Mic
TheRotarySpeakermodelincludestwopairsofstereo
micsonepairfortheHorn,andtheotherforthe
Rotor.

Horn Mic Distance

[000100]

ThisadjuststhedistancebetweentheHornandits
microphones.Lowervaluesbringthemicsclosertothe
speaker.

Horn Mic Spread

[000100]

ThisadjuststhedistancebetweenthetwoHorn
microphones,towidenthestereofield.Highervalues
increasethestereoeffect.

72d: Rotor
TherotorcarriesthelowfrequenciesoftheRotary
Speaker.Itsparametersareidenticaltothoseofthe
Horn,above.

Fast Speed

[000100]

[000100]

ThisadjuststhedistancebetweenthetwoRotor
microphones,towidenthestereofield.Highervalues
increasethestereoeffect.

72e: Horn/Rotor
Horn/Rotor Balance

[Rotor, 199, Horn]

Thissetstheoutputbalancebetweenthehigh
frequenciesoftheHornandthelowfrequenciesofthe
Rotor.

Speaker Simulator

[Off, On]

Thisenablesanddisablesmodelingofthespeaker
tone.NotethatiftheRotarySpeakerOffOutputisset
toPreCrossover,thespeakersimulationwillalsobe
leftoutofthedrysignal.

Horn Stop Phase

[Free, -180+180]

WhentheModeSwitchissettoStop,theHorn
graduallycomestorestpointingonewayoranother.
Thisallowsyoutocontrolwhereitwillstop.
Freeletsitcometorestnaturally,atamoreorless
randomspot.Theothersettings,180to+180,letyou
forceittolandinaspecificposition.

ThisspecifiesthespeedoftheRotorwhentheSpeed
SwitchissettoFast.

Thespeakerpositionhasadramaticeffectonthetone,
sospecifyingafixedpositionallowsyoutoachieve
consistenttimbralresults.

Slow Speed

Rotor Stop Phase

[000100]

ThisspecifiesthespeedoftheRotorwhentheSpeed
SwitchissettoSlow.

Acceleration

[000100]

ThissetshowlongittakestheRotortochangefrom
theSlowspeedtotheFastspeed.

Deceleration

[000100]

ThissetshowlongittakestheRotortochangefrom
theFastspeedtotheSlowspeed.

Start Acceleration

[000100]

ThissetshowlongittakestheRotortocomeupto
speedaftertheModeSwitchhaschangedfromStopto
Rotate.

Stop Deceleration

[000100]

SpecifiesthetimeitwilltakefortheRotortoactually
cometorestafterrotationisswitchedoff.
ThissetshowlongittakestheRotortocomerestafter
theModeSwitchhaschangedfromRotatetoStop.

Mic
TheRotarySpeakermodelincludestwopairsofstereo
micsonepairfortheRotor,andtheotherforthe
Rotor.

Rotor Mic Distance

[000100]

ThisadjuststhedistancebetweentheRotorandits
microphones.Lowervaluesbringthemicsclosertothe
speaker.

242

Rotor Mic Spread

[Free, -180+180]

ThisdetermineswheretheRotorwilllandwhenthe
ModeSwitchissettoStop.Formoredetails,seeHorn
StopPhase,above.

t 72: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

Program P9: AMS Mixer 91: AMS Mixer

Program P9: AMS Mixer


TheAMSMixerscombinetwoAMSsourcesintoone,
orprocessanAMSsourcetomakeitintosomething
new.
Forinstance,theycanaddtwoAMSsourcestogether,
oruseoneAMSsourcetoscaletheamountofanother.
Youcanalsousethemtomodifytheresponseof
realtimecontrollers.
TheAMSMixeroutputsappearinthelistofAMS
sources,justlikeothercontrollers.

Thisalsomeansthattheoriginal,unmodifiedinputsto
theAMSMixersarestillavailableaswell.Forinstance,
ifyouuseAftertouchasaninputtoaAMSMixer,you
canusetheprocessedversionoftheAftertouchto
controloneAMSdestination,andtheoriginalversion
tocontrolanother.
Finally,youcancascadethetwoAMSMixerstogether,
byusingAMSMixer1asaninputtoAMSMixer2.

91: AMS Mixer


91PMC

91a

91b

91a: AMS Mixer 1


Mixer Type

[A+B, Amt AxB, Offset, Smoothing,


Shape, Quantize]

Thiscontrolsthetypeofprocessingperformedby
AMSMixer1.
A+BaddstwoAMSsourcestogether.Formore
information,seeA+Bonpage 99.
AmtAxBscalestheamountofoneAMSsourcewith
theother.SeeAmtAxBonpage 99formoredetails.
Offsetaddsorsubtractsaconstantvaluetoorfroman
AMSsource.Formoreinformation,seeOffseton
page 100.
Smoothingcreatesmoregentletransitionsbetween
values,smoothingoutabruptchangessuchasaquick
moveonajoystickorasharpedgeonanLFO.For
details,seeSmoothingonpage 101.
ShapeaddscurvaturetotheAMSinput.Foranin
depthdescription,seeShapeonpage 101.

GatechoosesbetweentwoAMSinputs(orfixed
values)basedonathirdAMSsource.SeeGateon
page 103formoreinformation.

91b: AMS Mixer 2


ThisisthesecondAMSMixer.Itsparametersare
exactlythesameasthoseofAMSMixer1,above.

t 91: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

Quantizeturnssmoothtransitionsintodiscretesteps.
SeeQuantizeonpage 102formoreinformation.

243

EXi: CX-3 Tonewheel Organ

CX-3: Tone Adjust


CX3ToneAdjustDefaultSettings
V/C Type

Amp Gain

Expression Overtone Level Key-On Click Level EQ Bass

EQ Mid

EQ Treble

Switch 7:
Wheel Brake

Switches 14:
Percussion
On/Off,
Loud/Soft,
Fast/Slow,
2nd/3rd

Switch 8:
Split On/Off

Switches 56:
Vibrato/Chorus
Lower On/Off,
Upper On/Off

Switches 1416:
Rotary Speaker
On/Off,
Rotate/Stop,
Slow/Fast

Upper Drawbars 19

ToneAdjustprovidesanelegantphysicalinterfaceto
theCX3sparameters.Mostofthefactorysoundsuse
thedefaultlayout,asshownabove.
Youcanalsocustomizethelayoutforindividual
sounds,ifdesired.Forinstance,mostofthefactory
soundsusetheslidersfortheupperdrawbars;ifyou
like,youcanreassignthemtothelowerdrawbars
instead.

PercussionOn/Off
LevelSoft/Loud
DecaySlow/Fast
Harmonic2nd/3rd
EXPercussionlevels15

FormoreinformationaboutToneAdjust,pleasesee
09f:ToneAdjust,onpage 30.

Vibrato/Chorus

CX-3 Tone Adjust parameters

UpperDrawbarsV/COn/Off

TheCX3issubstantiallydifferentfromotherEXi
instruments,soitdoesnotsupporttheCommonTone
Adjustparameters.Instead,itaddsanumberofits
own,uniqueparameters,asdescribedbelow.

Vibrato/ChorusType
LowerDrawbarsV/COn/Off

Expression
ExpressionLevel

Alloftheseparameterareabsolute,whichmeansthat
theyoverwritethestoredparametervalues.

Amp

NotethatthesecontrolsareseparateforeachEXi,as
opposedtobeingsharedbybothEXiintheProgram.

EQBass

Drawbars

EQTreble

UpperDrawbars19
LowerDrawbars19
UpperEXDrawbars14
LowerEXDrawbars14
Noiselevel
Leakagelevel
WheelBrake
OvertoneLevel
KeyOnClickLevel

244

Percussion

AmpGain
EQMid

Split
SplitOn/Off

Rotary Speaker
On/Off
Rotate/Stop
Slow/Fast

Changes from the original CX-3 91: AMS Mixer

Changes from the original CX-3


WiththeKRONOSCX3,Korghastakentheoriginal,
groundbreakingCX3modelandmadeitevenbetter.
IfyoudliketoconvertsoundsfromtheoriginalCX3,
thefollowingnotesdescribethesechangesindetail.

Noise Level range improved


TheNoiseLevelparameternowoffersmorefine
controloverthemostusefulrangeofvalues.When
convertingsounds,multiplytheoriginalCX3Noise
Levelby10.

EX Mode enhanced
OntheoriginalCX3,therewerefourglobalsettings
fortheEXModedrawbarfrequencies.TheKRONOS
CX3offersfourglobalpresets,whichmatchthe
factorydefaultsoftheoriginalCX3,andthenalso
allowsyoutosetdifferentfrequenciesforeach
Programifdesired.
TherangeoftheEXdrawbarpitcheshasalsobeen
extendedtogoallthewaydownto16,insemitone
steps.
Finally,theKRONOSCX3supportskeyboardsplits
withfullEXdrawbarsonbothupperandlowersides
ofthesplit.

Rotary Speaker Acceleration and Deceleration


TheRotarySpeakerAcceleration/Deceleration
parameterswerenamedTransitontheoriginalCX3.
Tobeconsistentwiththerestofthesystem,the
KRONOSvaluesrangefrom0(slowest)to100(fastest),
whiletheoriginalCX3wentfrom99(slowest)to0
(fastest).
Additionally,fortheHornonly,themaximum
acceleration,deceleration,start,andstoprateshave
beenincreasedtoabouttwicethatoftheoriginalCX3.
Theminimumratesarestillthesame.
ToconvertsettingsfromtheoriginalCX3Horn
Transitparameters,usethefollowingformula,
roundingasnecessary:
KRONOSvalue=(100(originalCX3value))/100x52
Inotherwords,theKRONOSvaluerangeof520is
equivalenttotheoriginalCX3rangeof099,and
KRONOSvalues53andhigherareallfasterthanthe
originalCX3.
ToconvertsettingsfromtheoriginalCX3Rotor
Transitparameters,theformulais:
KRONOSvalue=100(originalCX3value)

Split Transpose increased

Rotary Speaker Stop Phase added

Youcannowtransposebothsidesofthesplitupor
downbyuptotwooctaves,formoreflexiblezoningon
largerkeyboards(suchas73and88keyinstruments).

YoucannowsetthephaseatwhichtheHornand
RotorwillsettlewhentheRotarySpeakerstops.

Expression parameters per-Program


Theexpressionrelatedparameterscanbeset
separatelyforeachProgram.

Percussion for either lower or upper drawbars


Thepercussioncanbeassignedtoeithertheloweror
upperdrawbars,insteadofjusttheupperdrawbars.
Thisallowsyoutoplayabasslinewithpercussion,as
inELPsTarkus.

Percussion parameters changed to absolute


values
Insteadofrelativeoffsets,youcandirectlysetthe
valuesforPercussionSlowandFastDecay,and
PercussionLoudandSoft.

Vibrato Chorus custom mode added


Inadditiontothesixtraditionalpresets,youcancreate
yourowncustomsettings,whichcanthenbe
modulatedviaAMS.

Rotary Speaker Mic Modeling


ForconsistencywiththerestoftheKRONOS,the
valuerangesofthemicmodelingparametershave
beenchangedslightly.OntheoriginalCX3,theywere
099;intheKRONOS,theyare0100.
Additionally,theparameterrangesoftheHornand
RotorMicDistanceparametersarereversed.To
converttheseparametersfromtheoriginalCX3,use
thefollowingformula:
MicDistance=100(originalCX3micdistance)

245

EXi: CX-3 Tonewheel Organ

CX-3: Page Menu Commands


Copy Drawbars
ThiscopiesdrawbarorEXdrawbarsettingswithinthe
CX3oscillator.
1. SelectCopyDrawbarstoaccessthedialogbox.

2. UsetheFromfieldtospecifythecopysource
drawbars.
3. UsetheTofieldtospecifythecopydestination
drawbars.
4. PresstheOKbuttontoexecutetheCopyDrawbars
operation.Ifyoudecidetocancel,presstheCancel
button.

Swap Drawbars
ThisexchangesdrawbarorEXdrawbarsettingswithin
theCX3oscillator.
1. SelectSwapDrawbarstoaccessthedialogbox.

2. UsetheSource1andSource2fieldstospecify
thetwosetsofdrawbarsyouwanttoexchange.
3. PresstheOKbuttontoexecutetheSwap
Drawbarsoperation.Ifyoudecidetocancel,press
theCancelbutton.

246

EXi: STR-1 Plucked String


STR-1 Overview
TheSTR1PluckedStringoffersacomprehensiveand
sophisticatedsetofphysicalmodelingsynthesistools,
capableofcreatingbothtraditionalsounds(acoustic
andelectricguitarsandbasses,clavinetsand
harpsichords,harps,bells,electricpianos,ethnic
instruments,etc.)andunique,experimentaltimbres.
Someofthefeaturehilightsinclude:

Dualmultimoderesonantfilters(includingKorgs
MultiFilter,asfirstintroducedintheAL1),plusan
additionalmultimoderesonantfilterdedicatedto
thestringexcitation
Liveaudioinput,includingmodeledfeedback
Upto40voicepolyphony

Physicallymodeledstring,includingdamping,
decay,dispersion,nonlinearity,andharmonics

FourpervoiceLFOs,fiveretriggerableEGs,two
keytrackinggenerators,astringtrackinggenerator,
andfourAMSmixers

Stringexcitationviaaselectionofplucktypes,a
noisegeneratorwithsaturationanddedicatedfilter,
andanymonosamplesfromROM,EXs,Sampling
Mode,orUserSampleBanks(usingKorgsultra
lowaliasingPCMoscillator,asfirstintroducedin
theHD1)

AccesstoallstandardEXiProgramfeatures,
includingtheCommonLFO,CommonStep
Sequencer,KeyTrack1&2,KARMA,EQ,and
effectsaswellaslayeringwithanyotherEXi
(includingusingtwoSTR1stogether!)

STR-1 Overview

LFO1-4
LFO1
LFO1
LFO1

EG1-4
LFO1
LFO1
LFO1

String
TrackLFO1
1-2

Fret
Position

AMS
Mixer
1-4
LFO1
LFO1
LFO1

PCM
Pickup 1

Pluck
Pickup 2
Mixer

Noise

Excitation
Filter

+
String

Feedback

Damping & Disp.


String Track

Legend
Audio, per-voice

Modulation

Main Filter

Amp

Filter Key
Track

Amp Key
Track

EQ

Audio,
per-Program

Audio
Modulation

247

EXi: STR-1 Plucked String

STR-1 uses EXi fixed resources


TheSTR1usesEXifixedresourcesforitsmodeled
feedback.Thisusesupasmallamountofprocessing
power,evenifyourenotplayinganynotes.
Becauseofthis,youcanuseonlysixteenSTR1s
simultaneouslyinaCombinationorSong.IfotherEXis
withfixedresourcesareinuse,themaximumnumber
ofSTR1swillbereducedaccordingly.EachEXiineach
Programcountstowardsthemaximum;forinstance,a
ProgramwithtwoSTR1scountsastwo,notasone.
Formoreinformation,seeCX3&otherEXi:
LimitationsonEXifixedresourcesonpage 420.

Unsupported EXi Common parameters


TheSTR1supportsalloftheEXiCommon
parameters,exceptfortwoofthevoiceallocation
options:PolyLegatoandMonoMode(Normal/Use
LegatoOffset).
Alloftheothervoiceallocationoptionsarefully
supported,includingMono,MonoLegato,Unison,etc.

248

EXi Program P0: Play 01: Main

EXi Program P0: Play


01: Main

01b
Excitation
Pluck
Excitation
PCM Oscilltor
Excitation
(Mixer)
Key Zone
String (Main)
String (Damping / Dispersion)

ThisisthemainpageofProgrammode.Forafull
descriptionofthispageandallofitsfunctions,please
seeEXiProgramP0:Playonpage 165.Thissection
describesonlytheoverviewdisplay,whichdiffersfor
eachindividualEXi.

01b: Overview and Page Jump


Thispartofthepageshowsanoverviewofthemost
importantsettingsfortheProgramstwoEXi
instruments.Thespecificparameterswillvary,
dependingonwhichEXiarebeingused.Thespecific
parametersfortheSTR1aredescribedbelow.
Thegraphicsgiveyouaquickwaytocheckallofthese
settingsataglance.Theyalsoletyoujumpinstantlyto
anyofthedisplayedparameters.Justtouchoneofthe
sections,andyoulljumptothepagecontainingits
parameters.Forinstance,ifyoutouchtheFilterEG
graphic,youllgototheFilterEGpage.
Tip:PressingEXITseveraltimeswillalwaysbringyou
backtothispage.

Excitation
Pluck

Red:ROM,EXs,andUserSampleBank
Multisamples
Green:SamplingModeMultisamples
Grey:Off
Touchthisareatojumptothe42PCMOscillator
page.

Excitation (Mixer)
ThisshowstheexcitationLevelforthePluck,andthe
AMS1IntensitiesfortheNoiseGeneratorandPCM
Oscillator(sincetheselevelswilloftenbecontrolled
completelyviaAMS).
Touchthisareatojumptothe44ExcitationMixer
page.

String
String Main
ThisshowstheExcitationPositionandDecaysettings
forthestring.
Touchthisareatojumptothe45StringMainpage.

Damping and Dispersion

ThisareashowstheselectedPluckTypeandWidth.

ThisshowstheDampingandDispersionsettingsfor
thestring.

Touchthisareatojumptothe41PluckandNoise
page.

Touchthisareatojumptothe46Dampingand
Dispersionpage.

PCM Oscillator

Output

ThisareashowsthefourMultisamplesselectedforthe
PCMOscillator.Colorsareusedtodistinguish
betweenthevariouspossibilities,asdetailedbelow.

Filter
Thisshowsagraphicrepresentationofthefilter
frequencyresponse,includingcutoffandresonance.

249

EXi: STR-1 Plucked String

Pressthisareatojumptothe51FilterBasicpage.

Amp
ThisshowstheAmpsectionsPanandAmpLevel
values.
Pressthisareatojumptothe61Amppage.

EGs and LFOs


EG 14, Amp EG Graphics
TheseshowtheshapesofthefiveEGs.Touchanyof
themtojumpdirectlytothecorrespondingeditpage.

LFO 1, 2, 3, 4 Graphic
Theseshowthewaveformsandshapesofthefour
LFOs.Touchanyofthemtojumpdirectlytothe
correspondingeditpage.

Key Zone
Key Zone
ThisshowsthekeyzonesforEXi1andEXi2,asseton
theCommonsectionsProgramBasicpage,inrelation
totheentireMIDInoterange.Therangeofthe61,73,
or88notekeyboardisalsoshown,asappropriate.
PressthisareatojumptotheProgramBasicpage.

Common
Thegraphicsalongtherightsideofthescreenshow
themostimportantCommonparameters,whichare
sharedbybothEXiintheProgram.Thissectionwill
alwaysshowthesameparameters,regardlessofwhich
EXiarebeingused.

Common Voice Assign Mode


ThisshowsthevoiceassignmodeoftheProgram
eitherPOLYorMONO.
PressthisareatojumptotheProgramBasicpage.

Common Step Sequencer


ThisshowsagraphicoverviewoftheCommonStep
Sequencer.
PressthisareatojumptotheCommonStepSequencer
page.

Common LFO Graphic


ThisshowsthewaveformoftheCommonLFO.
PressthisareatojumptotheCommonLFOpage.

3 Band EQ Graphic
Thisshowsthemidsweepable3bandEQ.
PressthisareatojumptotheEQpage.

IFX, MFX/TFX
PresstheIFXareatojumptotheIFXRoutingpage.
PresstheMFX/TFXareatojumptotheMFXRouting
page.

KARMA GE Name
ThisshowsthenameoftheselectedKARMAGE.
PressthisareatojumptotheGESetup/KeyZones
page.

250

Program P4: String 4-1: Pluck and Noise

Program P4: String


4-1: Pluck and Noise
41PMC

41a

41b

ResonantPulse.ThisissimilartoSmoothPulse,but
brighterandmoreresonant.

4-1a: Pluck
Type

[Ac Guitar 1Harpsichord]

Thisselectionmodelsdifferenttypesofplucking
actions,includingpicksandfingerplucking.Thepluck
typesetsthebasictoneofthepluckedstring.
YoucanalsopluckthestringusingtheNoise
Generator,aswellasPCMsamples.Youcaneven
combineallthreetypesofexcitationtogether,tocreate
specifictones.
AcGuitar1.Thistypeisalittleunusual,inthatit
includesthepluckpositionintheplucksounditself.
Becauseofthis,itsprobablybesttosettheExcitation
PositionToneto0,sothattheExcitationPositionitself
hasnoeffect.(Formoreinformation,seeToneon
page 262.)
AcGuitar2.ThisissimilartoA.Guitar1,butdoesnot
includethepluckpositioninthesound.Aswith
mostoftheothertypes,itwillgenerallyworkbetter
withExcitationPositionTonesetto100.
DarkE.Guitar,BrightE.Guitar,ResonantE.Guitar,
DarkJazzGuitar,BrightJazzGuitar,BrighterJazz
Guitar.WithalloftheE.GuitarandJazzGuitarpluck
types,settheExcitationPositionbetween5and35.
SquarePluck.Withrandomizationturnedup,this
soundslikebrightclavorharpsichord.
MidrangePluck.ThisissimilartoSquarePluck,but
withmoremidrangeharmonics.
SmoothPulse.Thishasveryfewharmonics,fora
mellowandfulltone.

DarkClav,MidrangeClav,BrightClav.Theseoffer
variationsonclavinetsounds.
Harpsichord.Thistypeincludessmallamountofnoise
beforethemainpluck.

Randomization

[0100]

Thisaddsasmallamountofvariationtoeachstrikeof
thepluck,byaddinginasmallamountoftheNoise
Generatorsoutput.Thetoneoftherandomizationis
affectedbytheUseSaturation&Filterparameter,
below.

Use Saturation & Filter

[Off, On]

ThiscontrolswhetherornotRandomization,above,is
affectedbytheNoiseGeneratorsSaturationandFilter
Frequencyparameters.
TousesimplewhitenoisefortheRandomization,
whichwillgenerallyyieldthebrightestplucktimbre,
turnthisOff(unchecked).

AMS

[List of AMS Sources]

Thisselectsamodulationsourcetocontrolthe
Randomization.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

Intensity

[100+100]

Thiscontrolsthedepthanddirectionofthe
RandomizationAMSmodulation.

251

EXi: STR-1 Plucked String

Delay (milliseconds)

[0...250]

YoucandelaythePluckbyupto250msaftertheinitial
noteon.Thisletsyoucreatedoublestrikeeffectsand
complexattacks.Forinstance,tryusinganenvelope
withaslowattacktimetocontrolthevolumeorfilter
cutoffofthePCMOscillatororNoiseGenerator,and
thencombiningthiswithadelayedPluck.

AMS

[List of AMS Sources]

ThisselectsamodulationsourcetocontroltheDelay.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

Inthemainmixer,usethepickupsinsteadofthe
directstringoutput.
SettheExcitationFilterTypetoHighpass,and
trackitscutofffrequencywithNoteNumber.
SetthemainFilterTypetoHighpass,andtrackits
cutofffrequencywithNoteNumber.Ifyouare
usingFilterAasalowpassfilter,settheRoutingto
SerialandthenmakeFilterBthehighpassfilter.

[-100.0+100.0]

4-1b: Noise Generator


ThenoisegeneratorincludesSaturation,forcreating
uniqueandchaoticnoiseeffects,andadedicated1
polefiltertocontrolnoisecolor.

Thismodelsthetimethatthepickisincontactwiththe
string,whichisacombinationofthesizeandthickness
ofthepick,andthespeedatwhichthepickismoving.

Forstandardwhitenoise,settheSaturationto0,and
theFilterFrequencyto99.

Thewidthadjuststhetoneoftheinitialstring
excitation;lowsettingsemphasizelowerfrequencies,
andhighsettingsemphasizehighfrequencies.

Forcolorednoise(suchaspinknoise),setthe
Saturationto0,andreducetheFilterFrequencyas
desired.

Toputitanotherway,100.0isverywide,and+100.0
isverynarrow.

Tocreatespecklednoisesuchasrocketsoundsand
thunder,setSaturationto99,andFilterFrequencyto
10.

Lowornegativewidthsettingsmaycausethumpiness
atthehighendofthekeyboard,butthiscanbesolved
usinganumberofdifferenttechniques.Formore
information,seeTipsforavoidingthumpy
excitation,below.

AMS 1

[List of AMS Sources]

Thisselectsthefirstmodulationsourcetocontrolthe
Width.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-100.0+100.0]

ThiscontrolsthedepthanddirectionoftheWidth
AMSmodulation.

AMS 2

[List of AMS Sources]

Thisselectsthesecondmodulationsourcetocontrol
theWidth.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-100.0+100.0]

Thiscontrolsthedepthanddirectionofthesecond
WidthAMSmodulation.

252

TrysettingtheExcitationPositionToneto100.

[250+250]

ThiscontrolsthedepthanddirectionoftheDelay
AMSmodulation.

Width

thattheybecomeshorterasyouplayhigheronthe
keyboard.

Tocreatekeycontactnoise(suchasyoumightfindon
vintageanalogsynths),createspecklednoiseas
describedabove,andthenuseafastEGtocontrolits
volumeinthemixer.

Saturation

[0100]

Thiscontrolclipsthenoisesignal,foraddedcrunch.
Subtlevariationsinsaturationaremorenoticeable
withverylowFilterFrequencysettings(seebelow),
allowingyoutocreateorganic,rumblingtimbres.

Filter Frequency

[0100]

Thisisasimple,1polelowpassfilterforcontrolling
thecolorofthenoise.

AMS

[List of AMS Sources]

Thisselectsthefirstmodulationsourcetocontrolthe
noisegeneratorsFilterFrequency.ForalistofAMS
sources,seeAlternateModulationSource(AMS)List
onpage 1091.

Intensity

[-100+100]

Tips for avoiding thumpy excitation

ThiscontrolsthedepthanddirectionoftheFilter
FrequencyAMSmodulation.

Toavoidlowendthumpsatthetopendofthe
keyboard:

t 41: Page Menu Commands

Makesurethedurationoftheexcitationinputis
aboutthesameasoneperiodofthewaveform.To
dothiswhenusingthePluckastheexcitation,
youllprobablyneedtousenotenumberorKey
TrackingtoscalethePluckWidthsothatitgets
morenarrow(highervalues)asyouplayhigheron
thekeyboard.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

Similarly,whenusingthePCMoscillatorornoise
generatorastheexcitation,useanEGtocontrolthe
levelattheExcitationmixer(orthecutoffofthe
ExcitationFilter),andthenscaletheEGtimesso

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

Program P4: String 4-2: PCM Oscillator

4-2: PCM Oscillator


42PMC

42a

Using PCM in the STR-1


Using PCM samples to pluck the string

Using the string as a comb filter for PCM


YoucanusethestringasacombfilterforthePCM
Oscillator.Todoso:

InadditiontothePluckandtheNoiseGenerator,you
canalsopluckthestringwithPCMsamples.In
general,thiswillworkbestifyouuseafastenvelopeto
controlthelevelofthePCMintheExcitationMixer,so
thatitbecomesjustashortattacktransient.

1. FollowthestepsunderCreatinganinitialized
STR1Programonpage 254.

Forinstance:

YoucanusethistechniquewithanyMultisample,but
asawtoothwaveformwillmaketheeffectparticularly
clear.

1. FollowthestepsunderCreatinganinitialized
STR1Programonpage 254.
2. PresstheEXi1tab,togettotheSTR1parameters.
3. GototheExcitationMixerpage(P44).
4. SetboththePluckandPCMLevelsto0.

2. PresstheEXi1tab,togettotheSTR1parameters.
3. OnthePCMOscillatorpage(P42),setMS1touse
Multisample0433POWERSAW.

4. OntheExcitationMixerpage(44),setthePluck
Levelto0,andthePCMLevelto25.
5. OntheEG2(Pitch)page(P72),settheAttack
Timeto50,andtheDecayTimeto70.

5. SetthePCMLevelAMS1sourcetoEG3,andthe
AMS1Intensityto50.

6. SettheBreakandSustainLevelsto+25.

6. GototheEG3page(P73).

7. SettheAttackandDecayCurvesto+5.

7. SettheStartandSustainLevelsto0,andthe
AttackandBreakLevelsto99.

8. OntheStringPitchpage(P47),intheEGsection,
settheIntensityto+36.00.

8. Asafirstpass,settheAttackTimeto0,theDecay
Timeto10,andtheSlopeTimeto2.

EG2(Pitch)isalreadyselected,bydefault.Inthis
setup,thestringspitchcontrolsthefrequencyofthe
combfilter.

Withthesesettings,theAttackTimecontrolshowfast
theEGattacks,theDecayTimesetstheduration,and
theSlopeTimecontrolsthedecay.
9. UseKeyTrackorNoteNumbertomodulatethe
DecaytimeviaAMS,sothatitisshorterforhigher
notes,andlongerforlowernotes.
IfyouuseloopedPCMastheexcitation,withoutEG
controloftheamplitude,itwilltendtosoundlike
bowing.Inthiscase,usingabitofconstantHarmonic
Pressurecanproduceagoodeffect;amongother
things,thisremovessomeenergyfromthestring.

9. Playanoteinthelowerpartofthekeyboard.
NoticehowtheProgrammakesasweepingsound,
withsomeresemblancetooscillatorsync.Thatsthe
soundofthecombfilter.
10.ExperimentwiththeStringsDecayparameter.
Decaycontrolstheresonanceofthecombfilter.
11.ExperimentwiththeDampingandDispersion
parameters.

253

EXi: STR-1 Plucked String

Thesecanchangethecharacterofthecombfilterin
interestingways.

Layering PCM with modeled string timbres


YoucanalsosimplylayerPCMsampleswithstring
timbres.Todoso,settheFilterRoutingtoParallel,
andthenusetheMixerpagetoroutethePCM
OscillatortoFilterA,andtheStringtoFilterB(orvice
versa).Formoreinformation,see51a:Routingon
page 274,and49:Mixeronpage 272.

Creating an initialized STR-1 Program


Fortheexamplesabove,itcanbeusefultostartwith
thedefaultSTR1settings.Todoso:
1. InProgrammode,selectINTA040FelixsDaKat.
2. PresstheCommontab,andthentheBasic/Vector
tab,togototheBasic/Vectorpage(P44).
3. UnderEXiInstrumentType,selectSTR1Plucked
String.
Now,youhaveaninitializedSTR1Program.

42a: Multisamples
ThissectionselectstheMultisamplestobeusedforthe
stringexcitation.

Velocity splits
Asmentionedabove,eachOscillatorhasfourvelocity
zones,namedMS1(High)throughMS4(Low).Eachof
thesezonescanplayadifferentMultisample,andhas
separatesettingsforLevel,StartOffset,andsoon.
Notethat,unliketheHD1,crossfadesandlayersare
notsupported.

MS1 (High)

Ifyouwanttocreateasimplesetupwithonlyasingle
Multisample,justsetupMS1asdesired,andthenset
theBottomVelocityto1.

[Off, Multisample]

ThisselectswhetherMS1willplayaMultisample,or
nothingatall.Youcanusethistodisableanyofthe
fourMultisamples.

Bank

[List of Multisample Banks]

TherearefourtypesofMultisampleBanks:ROM,
SamplingMode,EXs,andUserSampleBanks.

EXsMultisamplebanksarePCMexpansionsets
createdespeciallyfortheKRONOS.Eachhasitsown
uniquenumber;forinstance,theROMExpansionis
EXs1,andtheConcertGrandPianoexpansionisEXs2.
OnlythecurrentlyloadedEXsbankswillappearon
thismenu.
UserSampleBanksbringthebenefitsofEXstoyour
ownsamplelibraries.Youcanloadandplaygigabytes
ofyourcustomorconvertedsamplesatonce,using
VirtualMemory.Thenameisshownasapathtothe
KSCfile,includingthefilenameandthenamesofall
enclosingdirectories.OnlythecurrentlyloadedUser
SampleBankswillappearinthismenu.
IfasoundreferstoaUserSampleBankwhichisnoton
theinternaldrive(s),thenamewillappearas
UnknownSampleBank[number]whenthebank
selectdialogisopen,shortenedto??[number]when
thedialogisclosed.
Formoreinformation,seeUserSampleBankson
page 154oftheOperationGuide.
NotethatunliketheHD1,youcanonlyselectmono
Multisamples.

[List]

ThisparameterletsyouselectaMultisampleforthe
velocityzone.YoucanuseanymonoMultisample,or
theleftorrightchannelofastereoMultisample.
SomeMultisamplesmayhaveanupperlimitto
theirkeyboardrange,overwhichtheymaynot
produceanysound.
Note:ifthestoredselectionusesEXsorUserSample
Bankdatawhichisnotcurrentlyloaded,itwillnot
makeanysound.Asanindicationofthis,thename
willbeshowninred.ThemessageSamplesNot
Loadedwillalsoappearatthetopofthedisplay.To
fixthis,loadtherequiredsampledata.

Multisample Select menu

ROMMultisamplesarethebuiltinfactorysounds,
andarealwaysavailable.

ToselectaMultisample:

Smp(SamplingMode)Multisamplesaretheonesthat
youcanseeandeditinSamplingMode.Afterthe
abbreviationSmp,severaldifferentthingsmay
appear,asdescribedbelow.

2. Usethetabstoselectacategoryandsubcategory.

Smp:OldRAMmeansthatthisisanolderProgram
pointingtothelegacyRAMbank.Insteadof
pointingtoaspecificUserSampleBank,itwilluse
whateverMultisampledataisloadedintoSampling
Mode.Updatingtothenewformatiseasy;formore
information,seeConvertingoldersoundson
page 155oftheOperationGuide.

254

Smp:[filename]willappearwhenaUserSample
BankhasbeenloadedintoSamplingMode.Thename
isthefilenameitselfalongwiththoseofallits
enclosingfolders.

Multisample Select

Thesearethesettingsforthefirstandhighestvelocity
zone.

Type

Smp:NewSamplingSessionwillappearwhentheres
datainSamplingModewhichhasntyetbeensavedto
diskasaUserSampleBank.Forinstance,thismight
happenifyouveloadedanoldKSCfile,loaded
individualSamplesorMultisamples,orrecordedsome
newsamples.OncetheKSCissavedtodisk,thename
willupdatetoshowthefilepath(asdescribedbelow).

1. PresstheMultisampleSelectpopupbuttonto
opentheMultisampleselectmenu.
3. SelectaMultisamplefromwithinthat
category/subcategory.
4. PresstheOKbuttontoconfirmyourselection,or
presstheCancelbuttontoexitwithoutmakinga
change.

Program P4: String 4-2: PCM Oscillator

ThelistshowsallofthemonoMultisamplesinthe
Bank.IftheBankcontainsstereomultisamples,youll
alsoseetheleftandrightchannelsasseparate,mono
multisamples,withLandRappendedtotheendof
thename.

Reverse

[Off, On]

Thisletsyouplaytheselectedmultisamplebackwards,
withoutlooping.
Note:IftheindividualsampleswithinaMultisample
arealreadysettoReverse,theywillstillplayin
reverse,regardlessofthissetting.
Note:ReverseisnotavailableforEXsMultisamples
loadedusingVirtualMemory.TousereversewithEXs
data,settheLoadMethodtoRAM.Formore
information,seeChangeloadmethodonpage 766.
On(checked):TheMultisamplewillplaybackin
reverse.
Off(unchecked):TheMultisamplewillplayback
normally.

Level

[0127]

Thissetsthebasicvolumelevelofthemultisample.
Usethistoadjustthebalancebetweenthefourvelocity
zones.
TheExcitationMixer,mainMixer,andAmpsections
canmodifythisbasiclevelextensivelywithenvelopes,
LFOs,keyboardtracking,andothermodulation;for
moreinformation,see44:ExcitationMixer,on
page 259,49:Mixer,onpage 272,and61:Amp,
onpage 283.

Bottom Velocity

[1127]

ThissetsthelowestvelocityatwhichtheMultisample
orwillsound.MS1sBottomVelocitycanbeequalto,
butnotlowerthan,thanthatofMS2.

MS23 and MS4 (Low)


Thesearethesettingsfortheremainingvelocityzones.
TheparametersforMS2andMS3areexactlythesame
asthoseforMS1(High),above.
TheparametersforMS4(Low)arealsosimilartothose
forMS1,exceptthatMS4hasnosettingforBottom
Velocity(whichisalwaysfixedat1).

t 42: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:RemapMS/SampleBanks.Formore
information,seeRemapMS/SampleBankson
page 163.

Dependingonthemultisample,highLevelsettings
maycausedistortionwhenplayingmanynotesata
time.Ifthisoccurs,lowertheLevel.
WithSamplingModeMultisamples,eachSamplealso
hasa+12dBoption.Ifthisisturnedon,theSample
willplaybackapproximately12dBlouder.Youcan
configurethisparameterforeachSampleinSampling
mode.Formoreinformation,see+12dBonpage 701.

Start Offset

[Off, 1st8th]

Inadditiontosimplystartingplaybackfromthe
beginning,ROMandEXsMultisamplescanhaveupto
8differentpreprogrammedalternatestartingpoints.
Similarly,SamplingModeandUserSampleBank
Multisamplescanplayeitherfromthebeginningofthe
waveform,orfromtheloopstartpoint.

Start Offsets: ROM and EXs


WithROMandEXsMultisamples,theStartOffset
specifieswhethertousethenormalstartpoint(Off),or
touseoneofthealternatestartpoints(1st8th).
SomeROMandEXsMultisamplesmayhavefewer
than8preprogrammedpoints,inwhichcaseonlythe
availablepointscanbeselected.

Start Offsets: Sampling Mode and User Sample


Banks
WithSamplingModeandUserSampleBank
Multisamples,onlyOffand1stareavailable.Offuses
thenormalstartpoint,and1stusestheloopstart
instead.2ndthrough8thwillbegrayedout.

255

EXi: STR-1 Plucked String

4-3: PCM Oscillator Pitch


42PMC

43a

43b

43c

43d

43e

ThissectioncontrolsthepitchmodulationforthePCM
oscillator.
Important:whenusingthePCMOscillatorasan
excitationforthestring,thepitchofthePCMwill
affectthetimbreofthestring,andnotthepitchofthe
overallsound.
Ontheotherhand,whenthestringisusedasa
resonatororcombfilter(bysettingthestringsDecay
andDampingtomoderatevalues),thePCMOscillator
willcontroltheoverallpitchofthesound.

[2[32], 1[16], +0[8], +1[4]]

ThissetsthebasicpitchofthePCMOscillator,in
octaves.Thedefaultis+0[8].

Transpose

[12+12]

Thisadjuststhepitchinsemitones,overarangeof1
octave.

Tune

[1200+1200]

Thisadjuststhepitchincents,overarangeof1
octave.Acentis1/100ofasemitone.

Frequency Offset

[10.0Hz +10.0Hz]

Thisadjuststhepitchbyincrementsof0.1Hz.
FrequencyOffsetisdifferentfromTuneinthat,when
usedtodetunethetwooscillators,itcancreatea
constantbeatfrequencyacrosstherangeofthe
keyboard.

Pitch Slope

[-1.00+0.00+2.00]

Normally,thisshouldbesettothedefaultof+1.00.

256

Whenthisissetto0,playingdifferentnotesonthe
keyboardwontchangethepitchatall;itwillbeasif
yourealwaysplayingC4.Thiscanbeusefulforspecial
effectssounds,forinstance.
Ifyouwanttocreatemorecomplexeffects,youcanuse
oneoftheKeyTrackgeneratorsasasourceforPitch
ModulationAMS.

Ribbon

4-3a: Main
Octave

Positive(+)valuescausethepitchtoriseasyouplay
higheronthekeyboard,andnegative()valuescause
thepitchtofallasyouplayhigheronthekeyboard.

[-60+60 semitones]

Youcanusetheribboncontrollerforpitchbend.This
parameterspecifies,insemitones,theribbonspitch
bendrange.
Positive(+)valuesmakethepitchrisewhenyoupress
theribboncontrollertotherightofcenter,and
negative()valueswillcausethepitchtofall.
Whenyouliftoffoftheribbon,thepitchwillsnapback
tothecenter(unlessyoureusingtheSW1/2Ribbon
Lockfeature).So,bytappingontherightedgeofthe
ribbonandthenreleasingquickly,youcancreate
guitarstylehammeroneffects.

JS+X

[-60+60 semitones]

Thissetsthemaximumamountofpitchbend,in
semitones,whenyoumovethejoysticktotheright.For
normalpitchbend,setthistoapositivevalue.

JS-X

[-60+60 semitones]

Thissetsthemaximumamountofpitchbend,in
semitones,whenyoumovethejoysticktotheleft.For
normalpitchbend,setthistoanegativevalue.

Program P4: String 4-3: PCM Oscillator Pitch

4-3b: Portamento

4-3c: LFO

Portamentoletsthepitchglidesmoothlybetween
notes,insteadofchangingabruptly.

LFO Select

Portamento and MIDI

ThisselectsanLFOtomodulatethePCMOscillators
pitch.

IfPortamentoiseitherenabledforboththeStringand
thePCM,oroffforboth,thenMIDICCs5(Portamento
Time)and65(Portamentoon/off)affectboththeString
andthePCM.
IfPortamentoisenabledforonlyoneofthetwo,only
thatelementcanbeaffectedbytheMIDICCs.The
otherelementwillalwayshavePortamentooff,
regardlessoftheMIDICCs.

Enable

[Off, On]

On(checked):TurnsonPortamento,sothatpitch
glidessmoothlybetweennotes.
Off(unchecked):TurnsoffPortamento.Thisisthe
defaultstate.

Fingered

[Off, On]

ThisparameterallowsyoutocontrolPortamento
throughyourplayingstyle.Whenitsenabled,playing
legatowillturnonPortamento,andplayingdetached
willturnitoffagain.
ThisoptionisonlyavailablewhenPortamentoEnable
isturnedon.
On(checked):TurnsonFingeredPortamento.
Off(unchecked):TurnsoffFingeredPortamento.

Mode

[Constant Rate, Constant Time]

ConstantRatemeansthatPortamentowillalwaystake
thesameamountoftimetoglideagivendistancein
pitchforinstance,onesecondperoctave.Putanother
way,glidingseveraloctaveswilltakemuchlongerthan
glidingahalfstep.

TheLFOIntensity,JS+YIntensity,andAMSareall
summedtogethertoproducethefinalamountofLFO
pitchmodulation.

LFO Intensity

Negative()settingswillinvertthephaseoftheLFO.
BoththeStringandPCMPitchLFOIntensitiesare
scaledbyMIDICC#77.

JS+Y Intensity

Asthisvalueisincreased,movingthejoystickinthe
+YdirectionwillcausetheLFOtoproducedeeper
pitchmodulation.
Negative()settingswillinvertthephaseoftheLFO.
Youcanalsousethistoreducetheinitialamountofthe
LFO,assetbyLFO1Intensity,above.

AMS

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

EG Select

[List of AMS Sources]

ThisselectsanAMSsourcetocontrolthePortamento
Time.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.
Themodulationoccursonlyatnoteon.Thismeans
thatyoucanchangethetimeforthenextpitchglide,
butyoucantchangeanyglideswhicharealreadyin
progress.

Intensity

[-127+127]

[AMS Sources]

ThisselectsanAMSmodulationsourcetoscalethe
amountoftheLFOappliedtopitch.

Time

AMS

[48.00+48.00]

Movingthejoystickupfromthecenterdetent
position,awayfromyourself,producestheJS+Y
controller.Youcanusethistoscaletheamountofthe
LFOappliedtothepitch.Thisparametersetsthe
maximumamountofLFOmodulationaddedbyJS+Y,
insemitones.

Intensity

[000...127]

[48.00+48.00]

ThiscontrolstheinitialeffectoftheLFOonthepitch,
insemitones,beforeanyJS+YorAMSmodulation.

ConstantTimemeansthatPortamentowillalwaystake
thesameamountoftimetoglidefromonenoteto
another,regardlessofthedifferenceinpitch.Thisis
especiallyusefulwhenplayingchords,sinceitensures
thateachnoteinthechordwillenditsglideatthe
sametime.

Thiscontrolstheportamentotime.Highervaluesmean
longertimes,forslowerchangesinpitch.WhenTime
issetto0,thepitchwillbereachedinstantlyjustasif
PortamentoEnablewasturnedOff.

[LFO 1, LFO 2, LFO 3, LFO 4,


Common LFO]

[48.00+48.00]

ThiscontrolsthedepthanddirectionoftheLFOAMS
modulation,insemitones.

4-3d: Pitch EG
[EG 1 (Filter), EG 2 (Pitch),
EG 3, EG 4, Amp EG]

ThisselectsanEGtomodulatethePCMOscillator
pitch.
TherearefourassignableEGs,inadditiontotheAmp
EG.Eachofthesecanbeusedasamodulationsource
tocontrolawidevarietyofparameters.
Inthemidstofallthisflexibility,wethoughtitwould
alsobegoodtoprovidealittlestructure.Withthisin
mind,EG1isnamedEG1(Filter)andEG2islabeled
EG2(Pitch).
Pleasetakethesenamesassuggestions,ratherthan
restrictions.Ifyoulike,yourefreetousetheseEGsto
controlanyEGorAMSdestination,ortouseotherEGs
tocontrolFilterFrequencyandPitch.

Thiscontrolsthedepthanddirectionofthe
PortamentoTimeAMSmodulation.

257

EXi: STR-1 Plucked String

Intensity

[-48.00+48.00]

ThiscontrolstheinitialeffectofthePitchEGonthe
PCMOscillator,inhalfsteps,beforeanyAMS
modulation.
ThePitchEGsshapecanswingallthewayfrom+99to
99.WhentheIntensityissettoapositive(+)value,
positivevaluesfromtheEGraisethepitch,and
negativevalueslowerthepitch.
WhentheIntensityissettoanegative()value,the
effectoftheEGisreversed;positiveEGvaluesmean
lowerpitches,andnegativeEGvaluesmeanhigher
pitches.

AMS

[AMS Sources]

ThisselectsanAMSmodulationsourcetoscalethe
amountofthePitchEGappliedtothePCMOscillator.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[-48.00+48.00]

ThiscontrolsthedepthanddirectionofthepitchEG
AMSmodulation.TheAMSmodulationandtheinitial
IntensityareaddedtogethertodeterminethePitch
EGsfinaleffect.

4-3e: Pitch Modulation


AMS 1

[List of AMS Sources]

Thisselectsthefirstmodulationsourceforcontrolling
thePCMOscillatorspitch.ForalistofAMSsources,
seeAlternateModulationSource(AMS)Liston
page 1091.

Intensity

[+/-48.00 semitones]

ThiscontrolsthedepthanddirectionoftheAMS1
pitchmodulation,insemitones.

Intensity Mod AMS

[List of AMS Sources]

YoucanmodulateAMS1sIntensityfromanother
AMSsource.Thisselectsthatsource.

Intensity

[+/-48.00 semitones]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS,insemitones.Theresultissummedwith
themainAMS1Intensitytoproducethefinalpitch
modulationamount.

AMS 2

[List of AMS Sources]

Thisselectsasecondmodulationsourceforcontrolling
thePCMOscillatorspitch.ForalistofAMSsources,
seeAlternateModulationSource(AMS)Liston
page 1091.

Intensity

[+/-48.00 semitones]

ThiscontrolsthedepthanddirectionoftheAMS2
pitchmodulation,insemitones.

Intensity Mod AMS

[List of AMS Sources]

YoucanmodulateAMS2sIntensityfromanother
AMSsource.Thisselectsthatsource.

258

Intensity

[+/-48.00 semitones]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS,insemitones.Theresultissummedwith
themainAMS2Intensitytoproducethefinalpitch
modulationamount.

t 43: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

Program P4: String 4-4: Excitation Mixer

4-4: Excitation Mixer


44PMC

44b

44a

44c

44d

AMS 2

4-4a: PCM Oscillator


Level

[0100]

ThiscontrolsthePCMOscillatorsinputleveltothe
String.

Phase Invert

[Off, On]

ThisinvertsthephaseofthePCMOscillatorsinputto
theString.Ifyouusetwoinputs,andonehasan
invertedphase,itsasiftheywerepushingthestringin
oppositedirections.

Use excitation filter

[Off, On]

Thischeckboxsetswhetherornotthesignalgoes
throughtheExcitationFilter,whichcontrolsthetoneof
thesignalgoingintothestring.

AMS 1

[List of AMS Sources]

Thisselectsthefirstmodulationsourcetocontrolthe
PCMOscillatorLevel.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

Intensity

[-100+100]

ThiscontrolsthedepthanddirectionofthePCM
OscillatorLevelAMSmodulation.

Intensity Mod AMS

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatetheintensityof
AMS1.

Intensity

[-100+100]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.

[AMS Sources]

Thisselectsasecondmodulationsourcetocontrolthe
PCMOscillatorLevel.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

Intensity

[-100+100]

ThiscontrolsthedepthanddirectionofAMS2.

4-4b: Pluck
TheseparameterscontrolthePluckTablesinputlevel
totheString.TheyareidenticaltothoseforthePCM
Oscillator;formoreinformation,see44a:PCM
Oscillatoronpage 259.

4-4c: Noise Generator


TheseparameterscontroltheNoiseGeneratorsinput
leveltotheString.Theyareidenticaltothoseforthe
PCMOscillator;formoreinformation,see44a:PCM
Oscillatoronpage 259.

4-4d: Excitation Filter


Thisisa2pole,resonantmultimodefilter,fortailoring
theexcitationtothestring.
Note:MIDICCs74(Cutoff)and71(Resonance)donot
affectthisfilter.

Filter Type

[Low Pass, High Pass,


Band Pass, Band Reject]

Thefilterwillproduceverydifferentresults
dependingontheselectedfiltertype.

259

EXi: STR-1 Plucked String

LowPass.Thiscutsoutthepartsofthesoundwhich
arehigherthanthecutofffrequency.LowPassisthe
mostcommontypeoffilter,andisusedtomakebright
timbressounddarker.
HighPass.Thiscutsoutthepartsofthesoundwhich
arelowerthanthecutofffrequency.Youcanusethisto
maketimbressoundthinnerormorebuzzy.

Trim

[00100]

Thisadjuststhevolumelevelattheinputtothefilter.If
younoticethatthesoundisdistorting,especiallywith
highResonancesettings,youcanturntheleveldown
here.
Notethatthefilterwillnotclipinternally.

Frequency

[00100]

BandPass.Thiscutsoutallpartsofthesound,both
highsandlows,exceptfortheregionaroundthecutoff
frequency.Sincethisfiltercutsoutbothhighandlow
frequencies,itseffectcanchangedramatically
dependingonthecutoffsettingandtheoscillators
multisample.

ThiscontrolsthecutofffrequencyofFilterA,in
incrementsof1/10ofanoctave.Thespecificeffectof
thecutofffrequencywillchangedependingonthe
selectedFilterType,asdescribedabove.

Withlowresonancesettings,youcanusetheBand
Passfiltertocreatetelephoneorvintagephonograph
sounds.Withhigherresonancesettings,itcancreate
buzzyornasaltimbres.

Thisselectsthefirstmodulationsourceforcontrolling
theFrequency.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

BandReject.Thisfiltertypealsocalledanotchfilter
cutsonlythepartsofthesounddirectlyaroundthe
cutofffrequency.Trymodulatingthecutoffwithan
LFOtocreatephaserlikeeffects.

AMS 1

Intensity

[-100+100]

ThiscontrolsthedepthanddirectionoftheAMS1
Frequencymodulation.

Intensity Mod AMS

FilterTypesandCutoffFrequency

[List of AMS Sources]

[List of AMS Sources]

YoucanmodulateAMS1sIntensityfromanother
AMSsource.Thisselectsthatsource.

Intensity

[-100+100]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.TheresultissummedwiththemainAMS1
IntensitytoproducethefinalFrequencymodulation
amount.

Low Pass

AMS 2

[List of AMS Sources]

Thisselectsasecondmodulationsourceforcontrolling
theFrequency.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

High Pass

Intensity

[-100+100]

ThiscontrolsthedepthanddirectionoftheAMS2
Frequencymodulation.
Band Pass

Resonance

[00100]

Resonanceemphasizesthefrequenciesaroundthe
cutofffrequency.
Whenthisissetto0,thereisnoemphasis,and
frequenciesbeyondthecutoffwillsimplydiminish
smoothly.

Band Reject

Atmediumsettings,theresonancewillalterthetimbre
ofthefilter,makingitsoundmorenasal,ormore
extreme.
Atveryhighsettings,theresonancecanbeheardasa
separate,whistlingpitch.

Cutoff Frequency

Bypass

[Off, On]

Tomaketheresonancetrackthekeyboardpitch,see
KeyFollow,onpage 280.

Thisletsyoubypassthefiltercompletely.

AMS

IfBypassisOff,thefilterfunctionsnormally.

Thisselectsamodulationsourcetocontrolthe
Resonanceamount.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

WhenBypassisOn,thefilterhasnoeffectonthe
excitationsignal.

Intensity

[AMS Sources]

[-100+100]

ThiscontrolsthedepthanddirectionoftheResonance
modulation.

260

Program P4: String 4-5: String Main

t 44: Page Menu Commands

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

4-5: String Main


45PMC

45a

45c

45b

45d

ExcitationPosition

4-5a: Excitation
TheExcitationistheforcethatmakesthestringstartto
vibrate.Foraphysicalstring,thismightbeaguitar
pick,afingernail,ahammeronaclavinet,aplectrum
onaharpsichord,andsoon.

Position

Position = 0.0

Position = 100.0

[0100.0]

Thismodelsthepositionoftheexcitation(suchasthe
pluck)alongthestring,whichhasastrongeffectonthe
timbre.
Important:theToneparameter,below,mustbenon
zeroinorderforPositiontohaveanyeffect.
0.0isoneendofthestring,atthebridge;100.0isthe
otherendofthestring,atthenut(justbeforethe
headstock).Usually,valuesbetween8.0and25.0
shouldworkwell.
50.0isthemiddleofthestring.Thetimbresofdifferent
valuesareapproximatelysymmetricaroundthis
position,exceptforveryneartheendsofthestring.In
otherwords,60.0producesasimilartimbreto40.0,
75.0issimilarto25.0,andsoon.Thedelaybetweenthe
excitationandthepickupswillchange,however.

How Position affects the timbre


DependinguponthePosition,someovertoneswillbe
emphasized,andothersdeemphasized.Atspecific
positions,certainovertoneswilldisappearcompletely,
asdetailedbelow.
YoucanalsothinkofthePositionasafractionofthe
totalstringlength.Forinstance,50.0meansthatthe
excitationishalfwayalongthestring;33.3meansthat
excitationis1/3ofthewayalongthestring;25.0is1/4
ofthewayalongthestring,andsoon.
Reachingbackintomathclassforamoment,the
numberunderthefractioniscalledthedenominator.
Forinstance,thedenominatorof1/5is5.

261

EXi: STR-1 Plucked String

Asaruleofthumb,harmonicswhicharemultiplesof
thedenominatorwillbesilent.Forinstance,ifthe
Positionissetto20.0,theratiois1/5,andsoeveryfifth
harmonicwillbesilent:5,10,15,etc.Thisislikeacomb
filter,withsuccessive,evenlyspacednotches.
Thegraphicbelowshowstheshapeofthiscombfilter,
andtheresultingbasicharmonicstructure.(Comb
filtersarenamedbecausetheirshapelooksalittlelike
theteethofacomb.)
HarmonicstructurewithPosition=20.0(ratio=1/5)
Volume
Shape of comb filter:

Keyboardscalesthepositionaccordingtopitch,
withouttakingtheStringsettingsintoaccount.This
mightbemoreappropriateforclavsounds,for
instance.

Tone

[-100+100]

ThiscontrolstheaffectofthePositionontheoverall
tone.WhenToneissetto0,Positionhasnoeffect.
100isgenerallythemostrealistic,althoughother
settingsmaygivegoodresultsdependingonthe
particularexcitationsignal.100alsoworkswellto
counteractthelowendthumpwhichcanbecaused
bylowfrequencyexcitationsignals,includingplucks
withverylow(ornegative)Widthvalues.
OtherTonesettingswillmakethecombfilter
describedunderPosition,above,workdifferently.
Settingsbetween100and0willreducetheeffectof
thefilter,untilat0ithasnoeffectatall.Positive
settingswillmakethefilterworkinreverse,
reinforcingharmonicsinsteadofeliminatingthem.

What does Tone do?


Harmonics: 1

Silent Harmonics:

6 78 9
5

10

15

Thetablebelowshowsafewmoresettingswhich
canceloutspecificharmonics:
EffectofExcitationPositiononharmonicstructure
Position

Ratio of string
length

Effect

50.0

1/2

Odd harmonics are silent,


like a square-wave.

33.3

1/3

Every third harmonic is


silent: 3, 6, 9 etc.

25.0

1/4

Every fourth harmonic is


silent: 4, 8, 12 etc.

20.0

1/5

Every fifth harmonic is


silent: 5, 10, 15 etc.

YoucanalsoadjustthepositionsofthetwoPickups,
whichproducesimilarcombfilteringeffects.(Formore
information,see48a:Pickup1onpage 270.)The
filteringproducedbytheexcitationpositionandthe
twopickupsiscumulative,andcanproducecomplex
patternsofpeaksandvalleysintheoverallfrequency
response.

AMS

[List of AMS Sources]

Thisselectsamodulationsourcetocontrolthe
Position.Modulationisappliedonlyatnoteon;while
thenoteissounding,changingthemodulationhasno
effect.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-100.0+100.0]

ThiscontrolsthedepthanddirectionofthePosition
modulation.

Tracking Mode

[String Track, Keyboard]

Thiscontrolstherelationshipbetweenthepickup
Positionandthepitch.
StringTrackscalesthepositionaccordingtothe
currentString,assetintheStringTracksection.

262

Whenyoupluckarealstring,thestringvibrates
outwardinbothdirectionsfromtheexcitation
position.Thesetwovibrationsbounceofftheir
respectiveendsofthestring,returnintheopposite
direction,andinteractwitheachotheralongtheway,
affectingthetimbreofthestring.
Intherealworld,thiscantbechangedbuttheTone
parameterletsyoubendthephysicsabit.Thisis
useful,inpart,becausesomeofthethingsyoucanuse
topluckthestringsuchasaPCMsamplearent
thingsyoucoulduseintherealworld,either.TheTone
parametergivesyouanothertooladjustthewaythat
theseunusualexcitationsaffectthetimbre.
Putsimply,Toneletsyoupluckthesamestringtwice,
inthesameplace,withthewavesfromeachpluck
movinginonlyonedirection.Oneoftheseplucks
thinkofitastheonethatmovesthewaveforward
alwaysworksinthephysicalway.Tonecontrolsthe
pluckthatmovesthewavebackwards.
PluckingthestringwithdifferentTonesettings
Excitation Position
Wave

Wave
String

Tone = -100

Tone = 0

Tone = +100

Program P4: String 4-5: String Main

4-5b: Harmonic
Thismodelspressingdownlightly(orfirmly)inthe
middleofthestring,likeplayingharmonicsona
guitar.

Use Excitation Position

[Check-box]

Thismakestheharmonicusethesamepositionasthe
excitation,includingAMSmodulation.Usingthis
optioncreatesaninterestinghybridpluck/chime
timbre.
Whenthisischecked,therestofthePosition
parameterswillbegrayedout.

Position

[0100.0]

Thiscontrolsthepositionatwhichthestringisbeing
presseddown.Aswhenplayingharmonicsonareal
string,theharmonicwillbeloudestwhentheposition
alignswiththeharmonicseries.
WhentheHarmonicTrackingModeissetto
Keyboard,itseasytomakethepositionmatcha
specificharmonic,asshownbelow.WhenTracking
ModeissettoString,thevaluesbelowarecorrectfor
theopenstringnotesonly;onothernotes,the
harmonicswilllineupwithslightlyhighervalues.
HarmonicPositionandtheHarmonicSeries,whenTracking
Mode=Keyboard

Keyboardscalesthepositionaccordingtopitch,
withouttakingtheStringsettingsintoaccount.This
mightbemoreappropriateforclavsounds,for
instance.
IfUseExcitationPositionisOn,thisparameteris
grayedout.

Pressure

Thiscontrolshowhardthestringisbeingpressed
down.Nonzerosettingscancreateinterestingspecial
effectsbutforstandarduse,thisshouldbeleftat0.0,
andthenmodulatedviaAMS.Forinstance:
1. FollowtheinstructionsunderCreatingan
initializedSTR1Programonpage 254.
2. AssignEG3toHarmonicAMS1,andsetthe
Intensityto+100.0.
3. OntheEG3page(P73),settheBreakandSustain
levelsto+00.
4. AdjusttheDecayTimebetween0and20,and
listentothewaythesoundchanges.
Thiscontrolstheamountoftimethatthestringisbeing
presseddown.Asyouincreasethistime,theharmonic
tonewillbecomemoreandmoreprominent.Around
1820,theharmonictonetakesovercompletely.Asyou
increasefrom20to50,thetonebecomesmorepure,
andlessbright.

AMS 1

Position
Value

Harmonic

Pitch

[0.0100.0]

[List of AMS Sources]

Thisselectsthefirstmodulationsourcetocontrolthe
Pressure.Often,itwillmakesensetouseanenvelope
here.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

100.0

Fundamental

Unison

50.0

1st

1 octave up

33.3

2nd

1 octave + fifth

Intensity

25.0

3rd

2 octaves up

20.0

4th

2 octaves + maj. third

ThiscontrolsthedepthanddirectionofthePressure
modulation.

16.6

5th

2 octaves + fifth

Intensity Mod AMS

14.2

6th

2 octaves + flat seventh

12.5

7th

3 octaves up

ThisselectsaAMSmodulationsourcetoscalethe
intensityofPressureAMS1.ForalistofAMSsources,
seeAlternateModulationSource(AMS)Liston
page 1091.

IfUseExcitationPositionisOn,thisparameteris
grayedout.

AMS

[List of AMS Sources]

Thisselectsamodulationsourcetocontrolthe
Position.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.
IfUseExcitationPositionisOn,thisparameteris
grayedout.

Intensity

[-100.0+100.0]

ThiscontrolsthedepthanddirectionofthePosition
modulation.

Intensity

[-100.0+100.0]

[AMS Sources]

[-100.0+100.0]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.EvenifthemainAMSIntensityissetto0,
IntensityModAMScanstillcontrolthefinalamount
ofAMSoverthefull+/100range.

AMS 2

[List of AMS Sources]

Thisselectsthesecondmodulationsourcetocontrol
thePressure.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-100.0+100.0]

IfUseExcitationPositionisOn,thisparameteris
grayedout.

ThiscontrolsthedepthanddirectionofthePressure
modulation.

Tracking Mode

Intensity Mod AMS

[String Track, Keyboard]

Thiscontrolstherelationshipbetweentheharmonic
Positionandthepitch.
StringTrackscalesthepositionaccordingtothe
currentString,assetintheStringTracksection.

[AMS Sources]

ThisselectsaAMSmodulationsourcetoscalethe
intensityofPressureAMS2.ForalistofAMSsources,
seeAlternateModulationSource(AMS)Liston
page 1091.

263

EXi: STR-1 Plucked String

Intensity

[-100.0+100.0]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.EvenifthemainAMSIntensityissetto0,
IntensityModAMScanstillcontrolthefinalamount
ofAMSoverthefull+/100range.

4-5c: Decay
Decay

[0100]

Thiscontrolstheoveralldecaytimeofthestring
withoutaffectingfrequencycontent.Thisinteracts
withDamping,whichcontrolsthedecaytimeforhigh
frequencies.Formoreinformation,see46a:
Dampingonpage 265.
Note:theAmpEGstillcontrolstheoutputlevelofthe
STR1asawhole,sothefinaldecaytimewillbea
combinationoftheStringDecayandtheAmpEG.As
ageneralrule,theAmpEGcanmaketheoveralldecay
timeshorterthantheStringDecay,butnotlonger.
Forinstance,iftheStringDecayissettoahighvalue
(foralongdecay),buttheAmpEGDecayisshort,the
finalresultwillbeashortdecay.
Formoreinformation,see63:AmpEGonpage 286.

AMS 1

[List of AMS Sources]

Thisselectsthefirstmodulationsourcetocontrolthe
Decay.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-100+100]

ThiscontrolsthedepthanddirectionofAMS1.

AMS 2

[List of AMS Sources]

Thisselectsasecondmodulationsourcetocontrolthe
Decay.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-100+100]

ThiscontrolsthedepthanddirectionofAMS2.

Release

[0100]

Thissetstheoverallreleasetimeforthestringthetime
thatittakestofadeawayafternoteoff.
Note:theAmpEGstillcontrolstheoutputlevelofthe
STR1asawhole,sothefinalreleasetimewillbea
combinationoftheStringReleaseandtheAmpEG.
Formoreinformation,seeDecay,above.

AMS

[List of AMS Sources]

ThisselectsamodulationsourcetocontroltheRelease.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[-100+100]

ThiscontrolsthedepthanddirectionoftheRelease
modulation.

264

4-5d: Nonlinearity
Amount

[-100.0100.0]

Thismodelstheinstabilityofthestringsbridge.
Greaternonlinearitymeansalessrigidbridge.At
higherlevels,thiscausesthecharacteristicbuzzing
soundofsomenonwesternstringedinstruments,such
asthesitar.

AMS1

[List of AMS Sources]

Thisselectsthefirstmodulationsourcetocontrolthe
Nonlinearity.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-100.0+100.0]

Thiscontrolsthedepthanddirectionofthe
Nonlinearitymodulation.

AMS2

[List of AMS Sources]

Thisselectsasecondmodulationsourcetocontrolthe
Nonlinearity.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-100.0+100.0]

Thiscontrolsthedepthanddirectionofthesecond
Nonlinearitymodulation.

t 45: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

Program P4: String 4-6: Damping and Dispersion

4-6: Damping and Dispersion


46PMC

46a

46b

AMS 2

4-6a: Damping
Damping

[0100.0]

Thiscontrolsthedecaytimeforthestringshigh
frequencies.Highersettingsmeanashorterhigh
frequencydecaytime,forabrightattackandamore
mellowsustainedtone.Lowersettingsletthestring
ringbrightlyforalongerperiodoftime.
DampinginteractswiththeDecayparameter,which
controlstheoveralldecaytime.Formoreinformation,
see45c:Decayonpage 264.
TocreateacombfilteredeffectwithPCMoraudio
input,insteadofastringmodel,setDampingtoa
moderatevalue.

AMS 1

[List of AMS Sources]

Thisselectsthefirstmodulationsourcetocontrolthe
Damping.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-100.0+100.0]

ThiscontrolsthedepthanddirectionoftheDamping
AMSmodulation.

Intensity Mod AMS

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatetheintensityof
AMS1.

Intensity

[-100.0+100.0]

[List of AMS Sources]

Thisselectsasecondmodulationsourcetocontrolthe
Damping.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-100.0+100.0]

ThiscontrolsthedepthanddirectionofAMS2.

AMS 3

[List of AMS Sources]

Thisselectsathirdmodulationsourcetocontrolthe
Damping.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-100.0+100.0]

ThiscontrolsthedepthanddirectionofAMS3.

String Track
String Track Intensity

[-100.0+100.0]

ThiscontrolstheoveralldepthanddirectionofString
TrackingseffectontheDamping.Youcanadjustthe
offsetsforeachstringusingtheStrings1...6
parameters,asdescribedbelow.

String 1...6

[-100.0+100.0]

ThesesettheindividualDampingoffsetsforthesix
Strings,assetunder99b:Stringsonpage 291.These
valuesarealsoavailableformodulatingother
parametersviaAMS;theyappearintheAMSlistas
DampingStringTrack.

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.

265

EXi: STR-1 Plucked String

String Track

4-6b: Dispersion
Dispersion

[0100.0]

Thismodelstherigidityofthestring.Highervalues
correspondtothickergaugestrings,andincreasethe
inharmonicityofthestring.(Inharmonicitymeans
thatthepitchesoftheovertonesbecomeoutoftune
withthefundamental.)Atextremevalues,itwillcreate
bellliketimbres,asifyouwerehittingabarofmetal.
DispersioncanbemodulatedbythreeAMSsources,
whichareaddedtotheDispersionsetting.

Character

[Bell, String]

Thischangesthewaythattheupperharmonics
becomedetunedasDispersionisincreased.
WiththeBellsetting,asyouincreasetheDispersion
amount,thelowerharmonicswillgooutoftune
gradually,buttheupperharmonicswilldosovery
steeply.Thehighertheharmonic,themoreoutoftune
itwillbecome.Theresultinginharmonicityissimilar
tothesoundofabell.
WiththeStringsetting,theupperharmonicswillstill
becomemoreoutoftunethanthelowerharmonics,
butwithamoregradualslope.Uptomoderatelyhigh
Dispersionsettings,thisretainsastringlikecharacter.

AMS 1

[List of AMS Sources]

Thisselectsthefirstmodulationsourcetocontrolthe
Dispersion.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-100.0+100.0]

ThiscontrolsthedepthanddirectionoftheDispersion
AMSmodulation.

Intensity Mod AMS

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatetheintensityof
AMS1.

Intensity

[-100.0+100.0]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.

AMS 2

[List of AMS Sources]

Thisselectsasecondmodulationsourcetocontrolthe
Dispersion.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-100.0+100.0]

ThiscontrolsthedepthanddirectionofAMS2.

AMS 3

[List of AMS Sources]

Thisselectsathirdmodulationsourcetocontrolthe
Dispersion.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-100.0+100.0]

ThiscontrolsthedepthanddirectionofAMS3.

266

String Track Intensity

[100.0+100.0]

ThiscontrolstheoveralldepthanddirectionofString
TrackseffectonDispersion.Youcanadjusttheoffsets
foreachindividualstringusingtheString1...6
parameters,asdescribedbelow.

String 1...6

[100+100]

ThesesettheindividualDispersionoffsetsforthesix
Strings,assetunder99b:Stringsonpage 291.For
instance,youmightsetthelowerstringstogreater
values,tomodeltypicalguitarstrings.
Thesevaluesarealsoavailableformodulatingother
parametersviaAMS;theyappearintheAMSlistas
Disp.StringTrack.

t 46: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

Program P4: String 4-7: String Pitch

4-7: String Pitch


47PMC

47a

47c

47b

47d

47e

4-7a: Main
Octave

[2[32], 1[16], +0[8], +1[4]]

ThissetsthebasicpitchoftheString,inoctaves.The
defaultis+0[8].

Transpose

[12+12]

Whenyouliftoffoftheribbon,thepitchwillsnapback
tothecenter(unlessyoureusingtheSW1/2Ribbon
Lockfeature).So,bytappingontherightedgeofthe
ribbonandthenreleasingquickly,youcancreate
guitarstylehammeroneffects.

JS+ X

[-60+60 semitones]

Thisadjuststhepitchinsemitones,overarangeof1
octave.

Thissetsthemaximumamountofpitchbend,in
semitones,whenyoumovethejoysticktotheright.For
normalpitchbend,setthistoapositivevalue.

Tune

JS- X

[1200+1200]

Thisadjuststhepitchincents,overarangeof1
octave.Acentis1/100ofasemitone.

Pitch Slope

[-1.00+0.00+2.00]

Normally,thisshouldbesettothedefaultof+1.00.
Positive(+)valuescausethepitchtoriseasyouplay
higheronthekeyboard,andnegative()valuescause
thepitchtofallasyouplayhigheronthekeyboard.
Whenthisissetto0,playingdifferentnotesonthe
keyboardwontchangethepitchatall;itwillbeasif
yourealwaysplayingC4.Thiscanbeusefulforspecial
effectssounds,forinstance.
Ifyouwanttocreatemorecomplexeffects,youcan
assignkeytrackingasanAMSsource.

Ribbon

[-60+60 semitones]

Youcanusetheribboncontrollerforpitchbend.This
parameterspecifies,insemitones,theribbonspitch
bendrange.
Positive(+)valuesmakethepitchrisewhenyoupress
theribboncontrollertotherightofcenter,and
negative()valueswillcausethepitchtofall.

[-60+60 semitones]

Thissetsthemaximumamountofpitchbend,in
semitones,whenyoumovethejoysticktotheleft.For
normalpitchbend,setthistoanegativevalue.

4-7b: Portamento
Portamentoletsthepitchglidesmoothlybetween
notes,insteadofchangingabruptly.

Portamento and MIDI


IfPortamentoiseitherenabledforboththeStringand
thePCM,oroffforboth,thenMIDICCs5(Portamento
Time)and65(Portamentoon/off)affectboththeString
andthePCM.
IfPortamentoisenabledforonlyoneofthetwo,only
thatelementcanbeaffectedbytheMIDICCs.The
otherelementwillalwayshavePortamentooff,
regardlessoftheMIDICCs.

Enable

[Off, On]

On(checked):TurnsonPortamento,sothatpitch
glidessmoothlybetweennotes.
Off(unchecked):TurnsoffPortamento.Thisisthe
defaultstate.

267

EXi: STR-1 Plucked String

Fingered

[Off, On]

ThisparameterallowsyoutocontrolPortamento
throughyourplayingstyle.Whenitsenabled,playing
legatowillturnonPortamento,andplayingdetached
willturnitoffagain.
ThisoptionisonlyavailablewhenPortamentoEnable
isturnedon.
On(checked):TurnsonFingeredPortamento.
Off(unchecked):TurnsoffFingeredPortamento.

Mode

[Constant Rate, Constant Time]

ConstantRatemeansthatPortamentowillalwaystake
thesameamountoftimetoglideagivendistancein
pitchforinstance,onesecondperoctave.Putanother
way,glidingseveraloctaveswilltakemuchlongerthan
glidingahalfstep.
ConstantTimemeansthatPortamentowillalwaystake
thesameamountoftimetoglidefromonenoteto
another,regardlessofthedifferenceinpitch.Thisis
especiallyusefulwhenplayingchords,sinceitensures
thateachnoteinthechordwillenditsglideatthe
sametime.

Time

Asthisvalueisincreased,movingthejoystickinthe
+YdirectionwillcausetheLFOtoproducedeeper
pitchmodulation.
Negative()settingswillinvertthephaseoftheLFO.
Youcanalsousethistoreducetheinitialamountofthe
LFO,assetbyLFO1Intensity,above.

AMS

[AMS Sources]

ThisselectsanAMSmodulationsourcetoscalethe
amountoftheLFOappliedtopitch.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[48.00+48.00]

ThiscontrolsthedepthanddirectionoftheLFOAMS
modulation,insemitones.

4-7d: Pitch EG
EG Select

[000...127]

[EG 1 (Filter), EG 2 (Pitch),


EG 3, EG 4, Amp EG]

Thiscontrolstheportamentotime.Highervaluesmean
longertimes,forslowerchangesinpitch.WhenTime
issetto0,thepitchwillbereachedinstantlyjustasif
PortamentoEnablewasturnedOff.

ThisselectsanEGtomodulatetheStringpitch.

AMS

ThisselectsanAMSsourcetocontrolthePortamento
Time.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Inthemidstofallthisflexibility,wethoughtitwould
alsobegoodtoprovidealittlestructure.Withthisin
mind,EG1isnamedEG1(Filter)andEG2islabeled
EG2(Pitch).

Themodulationoccursonlyatnoteon.Thismeans
thatyoucanchangethetimeforthenextpitchglide,
butyoucantchangeanyglideswhicharealreadyin
progress.

Pleasetakethesenamesassuggestions,ratherthan
restrictions.Ifyoulike,yourefreetousetheseEGsto
controlanyEGorAMSdestination,ortouseotherEGs
tocontrolFilterFrequencyandPitch.

Intensity

Intensity

[List of AMS Sources]

[-127+127]

TherearefourassignableEGs,inadditiontotheAmp
EG.Eachofthesecanbeusedasamodulationsource
tocontrolawidevarietyofparameters.

[-48.00+48.00]

Thiscontrolsthedepthanddirectionofthe
PortamentoTimeAMSmodulation.

ThiscontrolstheinitialeffectofthePitchEGonthe
String,inhalfsteps,beforeanyAMSmodulation.

4-7c: LFO

ThePitchEGsshapecanswingallthewayfrom+99to
99.WhentheIntensityissettoapositive(+)value,
positivevaluesfromtheEGraisethepitch,and
negativevalueslowerthepitch.

LFO Select

[LFO 1, LFO 2, LFO 3, LFO 4,


Common LFO]

ThisselectsanLFOtomodulatetheStringspitch.
TheLFOIntensity,JS+YIntensity,andAMSareall
summedtogethertoproducethefinalamountofLFO
pitchmodulation.

LFO Intensity

[48.00+48.00]

ThiscontrolstheinitialeffectoftheLFOonthepitch,
insemitones,beforeanyJS+YorAMSmodulation.
Negative()settingswillinvertthephaseoftheLFO.
BoththeStringandPCMPitchLFOIntensitiesare
scaledbyMIDICC#77.

JS+Y Intensity

[48.00+48.00]

Movingthejoystickupfromthecenterdetent
position,awayfromyourself,producestheJS+Y
controller.Youcanusethistoscaletheamountofthe

268

LFOappliedtothepitch.Thisparametersetsthe
maximumamountofLFOmodulationaddedbyJS+Y,
insemitones.

WhentheIntensityissettoanegative()value,the
effectoftheEGisreversed;positiveEGvaluesmean
lowerpitches,andnegativeEGvaluesmeanhigher
pitches.

AMS

[AMS Sources]

ThisselectsanAMSmodulationsourcetoscalethe
amountofthePitchEGappliedtotheString.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[-48.00+48.00]

ThiscontrolsthedepthanddirectionofthepitchEG
AMSmodulation.TheAMSmodulationandtheinitial
IntensityareaddedtogethertodeterminethePitch
EGsfinaleffect.

Program P4: String 4-7: String Pitch

4-7e: AMS
AMS 1

[List of AMS Sources]

Thisselectsthefirstmodulationsourceforcontrolling
theStringspitch.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

Intensity

[+/-48.00 semitones]

ThiscontrolsthedepthanddirectionoftheAMS1
pitchmodulation,insemitones.

Intensity Mod AMS

[List of AMS Sources]

YoucanmodulateAMS1sIntensityfromanother
AMSsource.Thisselectsthatsource.

Intensity

[+/-48.00 semitones]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS,insemitones.Theresultissummedwith
themainAMS1Intensitytoproducethefinalpitch
modulationamount.

AMS 2

[List of AMS Sources]

Thisselectsasecondmodulationsourceforcontrolling
theStringspitch.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

Intensity

[+/-48.00 semitones]

ThiscontrolsthedepthanddirectionoftheAMS2
pitchmodulation,insemitones.

Intensity Mod AMS

[List of AMS Sources]

YoucanmodulateAMS2sIntensityfromanother
AMSsource.Thisselectsthatsource.

Intensity

[+/-48.00 semitones]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS,insemitones.Theresultissummedwith
themainAMS2Intensitytoproducethefinalpitch
modulationamount.

t 47: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

269

EXi: STR-1 Plucked String

4-8: Pickups and Feedback


48PMC

48b

48a

48c

4-8a: Pickup 1
Position

[0100.0]

Thisadjuststhelocationofthepickupalongthestring.
YoucanmodulatethisviaAMS,tocreateeffects
similartochorusing.UnliketheExcitationPosition,
youcanmodulatethePickupPositionwhilethenote
issounding.Typically,valuesbetween8.0and25.0will
workwell.
TheeffectofthePickupPositionissimilartothatof
theExcitationPosition.Thecombfilteringproduced
bytheexcitationandthetwopickupsiscumulative,
andcanproducecomplexpatternsofpeaksand
valleysinthefrequencyresponse.
Thepositionisapproximatelysymmetricaround50for
allofthenoteswhenTrackingModeissetto
Keyboard;inotherwords,avalueof60isroughlythe
sameas40.WhenTrackingModeissettoString,
however,thepointofsymmetryvariesforeachnote.
Formoreinformation,seeHowPositionaffectsthe
timbreonpage 261.

Harmonic and Pickup Positions


IfthePickupPositionissameastheHarmonic
Position,thepickupwontproducemuchsoundwhen
HarmonicPressureisapplied.

Pickup Position and Note


Thenotebeingplayeddefinesanotherpositionalong
thestring.Forinstance,withaguitar,thenoteisthe
positionofthefingeronthefretboard,asitpresses
downonthestring.Thiscreatesatemporaryendpoint
forthestring.Atthisendpoint,thestringvibratesvery
little;beyondit,thestringdoesntvibrateatall.

270

Pickupsdontheartheentirestring;theyonlyhear
thepartofthestringdirectlyabovethem.Ifthatpartof
thestringisntvibrating(forinstance,ifitsbeingheld
down!),theresverylittleforapickuptolistentoand
thusthepickupwontproducemuchsound,ifit
producesanyatall.
Forexample,letssaythatyouwerelisteningonlyto
Pickup1.
SetthePickupPositionto50(themiddleofthe
string),andtheTrackingModetoStringTrack.The
opennoteofthetopstring,E4,willsoundfine.Asyou
playhighernotes,however,thesoundwillbecome
thinner,untilitbecomesveryquietatE5.
Whathappenedhere?
Thepickupstaysinsamelocation,rightinthemiddle
ofthestring.Witheachsemitone,thepointatwhich
thestringisbeingpresseddownmovesuponefret.
Whenyoureachanoctaveup(atE5),thestringis
beingpresseddowninthemiddleofthestring,right
overthepickup.
Ifyouplayevenhigher,thepickupproducesnosound
sinceitisnowoutsidethepartofthestringthatis
vibrating.(TheSTR1modelassumesthatyourfinger
canholddownthestringperfectly,sothatno
vibrationsgetpastit.)
ThehigherthePickupPosition,thelowertherangein
whichthiscanoccur.Thenormalrangeofaguitaris
muchlessthanthatofa73or88notekeyboard,and
higherpickuppositionsmaymakesense(andmake
sound!)onlywhenplayingwithinthatnormalguitar
range.
Also,notethatthiscanonlyhappenwhenthe
TrackingModeissettoStringTrack.

Program P4: String 4-8: Pickups and Feedback

PickupPosition
Position = 0.0

Position = 100.0

AllthreefeedbackparametersDistance,Orientation,
andLevelcanbemodulatedinrealtime.Youcanuse
thistomodeltheclassiceffectofholdinganelectric
guitarnearanampuntilitfeedsback,andthen
varyingthepitchofthefeedbackbychangingthe
guitarsorientationinrelationto,anddistancefrom,
theamp.
Youcanalsorouteliveorrecordedaudiothroughthe
stringan/orfilters,inrealtimeandweresurethat
youllbeabletothinkofothercreativeuses!

Source and Channel


AMS

[List of AMS Sources]

Thisselectsamodulationsourcetocontrolthe
Position.TryusinganLFO,forinstance.Foralistof
AMSsources,seeAlternateModulationSource(AMS)
Listonpage 1091.

Intensity

[-100.0+100.0]

ThiscontrolsthedepthanddirectionofthePosition
AMSmodulation.

Tracking Mode

[String Track, Keyboard, Off]

Thefeedbacksourceandchannel(left,right,orL+R
summation)areselectedbytheInputSourceand
ChannelparametersinthecurrentProgram,
CombinationTimbre,orSongTrack.
Formoreinformation,see42:EXiAudioInputon
page 174(Programmode),26:EXiAudioInputon
page 461(Combinationmode),and26:EXiAudio
Inputonpage 573(Sequencermode).

Distance (meters)

[0.23...10.00]

Thiscontrolstherelationshipbetweenthepickup
Positionandthepitch.

Thismodelsthedistanceoftheguitarfromtheamp.
Usually,itsbesttosetthisverylow,buthighersettings
mayproduceinterestingeffects.

StringTrackscalesthepickuppositionaccordingto
thecurrentString,assetintheStringTrackingsection.

AMS

Keyboardscalesthepickuppositionaccordingto
pitch,withouttakingtheStringsettingsintoaccount.
Thismightbemoreappropriateforclavsounds,for
instance.

[List of AMS Sources]

Thisselectsamodulationsourcetocontrolthe
Distance.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-10.00+10.00]

Offdisablespitchrelatedscaling.Thissettingworks
wellwhensweepingthepositionviaAMS(suchasby
anLFO)forchorusingeffects,asdescribedbelow.

ThiscontrolsthedepthanddirectionoftheDistance
AMSmodulation.

Creating chorusing with the pickups

Thismodelsturningtheguitarawayfromtheamp.
Turningtheguitarprimarilyaffectsthetoneofthe
feedback,butalsoaffectsthepitchandthevolume.

Forachoruslikeeffect,setthepickupTrackingMode
toOff,andmodulatethepickuppositionwithanLFO.
WiththepickupTrackingModesettoKeyboard,the
modulationdepthvarieswithnote,sothatthedepthis
largeonthelowendofthekeyboardandsmallatthe
top.WiththepickupTrackingModesettoString,the
depthwillsteptoanewvalueateachopenstring.

4-8b: Pickup 2
Thisisthesecondpickup.Ithasthesameparameters
asPickup1,above.

4-8c: Feedback
ThisletsyourouteaudiofromelsewhereinKRONOS
throughthestring.Youcanuseanyoftheaudio
inputs,anyoftheaudiooutputs,theRECbuses,theFX
Controlbuses,ortheoutputsofanyoftheInsert,
Master,orTotalEffects.
ThemainpurposeofthisistoprocesstheSTR1
throughoneormoreInsertEffects,suchasan
overdriveorampmodel,andthensendthataudio
backintotheSTR1,fortraditionalelectricguitar
feedbackeffects.

Orientation (degrees)

AMS

[-180...+180]

[List of AMS Sources]

Thisselectsamodulationsourcetocontrolthe
Orientation.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[-180...+180]

Thiscontrolsthedepthanddirectionofthe
OrientationAMSmodulation.

Level

[0100]

Thiscontrolstheoverallgainofthefeedbackintothe
string.Unliketheotherfeedbackparameters,thiscan
bedifferentforeachvoice.

AMS

[List of AMS Sources]

ThisselectsamodulationsourcetocontroltheLevel.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[-100+100]

ThiscontrolsthedepthanddirectionoftheLevelAMS
modulation.

271

EXi: STR-1 Plucked String

t 48: Page Menu Commands

0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.

ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.

1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

4-9: Mixer
49PMC

49a

49b

49c

49d

49e

TheMixerpagecontrolsthevolumelevelsandfilter
routingforthemainStringoutput,aswellasthedirect
outputs(bypassingthestring)ofthePCMoscillator
andNoiseGenerator.Forinstance,youcan:
ControlthevolumelevelsfortheString,thePCM
Oscillator,andtheNoiseGenerator.
ModulatethesevolumelevelsviaAMS.
WhentheFilterRoutingissettoeitherSerialor
Parallel,youcanrouteeachofthefiveelements
throughFilterA,FilterB,oracombinationofthe
twoandthenmodulatethatroutingviaAMS.For
instance,youcancreatealayerbysettingtheFilter
RoutingtoParallel,andthensendingthePCM
OscillatortoFilterA,andtheStringtoFilterB.

Balance

ThiscontrolsthefilterroutingfortheString.Itapplies
onlywhentheFilterRoutingissettoeitherSerialor
Parallel;otherwise,itisgrayedout.
0isthedefault,andmeansthattheStringgoesinto
FilterA.IftheFilterRoutingissettoSerial,itwillalso
passthroughFilterB.
99meansthattheStringgoesintoFilterB.
Inbetween,theStringwillgotoacombinationofboth
filters.BymodulatingtheBalanceviaAMS,youcan
crossfadebetweenroutingthroughFilterAandFilter
B.Formoreinformation,seeInteractionbetweenthe
filtersandthemixer,onpage 274.

AMS

4-9a: String
Level

[0100]

[List of AMS Sources]

ThisselectsanAMSsourcetocontroltheString
Balance.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

ThiscontrolsthevolumelevelfortheString.

Intensity

AMS

ThiscontrolsthedepthanddirectionoftheString
BalanceAMSmodulation.

[List of AMS Sources]

ThisselectsanAMSsourcetocontroltheStringLevel.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[-100+100]

ThiscontrolsthedepthanddirectionoftheString
LevelAMSmodulation.

272

[0100]

Phase Invert
ThisinvertsthephaseoftheString.

[-100+100]

[Off, On]

Program P4: String 4-9: Mixer

4-9b: PCM Oscillator


ThiscontrolsthevolumelevelandbalanceforthePCM
Oscillator.Ithasthesameparametersasdescribed
under49a:String,above.

4-9c: Noise
TheNoiseGeneratorhasthesamemixerparametersas
describedunder49a:String,above.

4-9d: Pickup 1
Pickup1hasthesamemixerparametersasdescribed
under49a:String,above.
Tryinvertingthephaseforoneofthetwopickups;this
canproduceaninterestingeffect.

4-9e: Pickup 2
Pickup2hasthesamemixerparametersasdescribed
under49a:String,above.

t 49: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

273

EXi: STR-1 Plucked String

Program P5: Filter


5-1: Filter Basic
51PMC

51a

51b

51c

Interaction between the filters and the


mixer
WhentheFilterRoutingissettoeitherSingleor
24dB/oct,theroutingfromtheStringsectionintothe
Filtersectionisfairlysimple.Theresonlyasingle
filter,andthatfilterprocessestheentiresound.
ThingscangetmoreinterestingwhentheFilter
RoutingissettoSerialorParallel.Inthesemodes,The
MixerpagesBalanceparametersletyouseparately
controlthefilterroutingforeachofthefiveinputs:the
String,thePCMOscillator,theNoiseGenerator,
Pickup1,andPickup2.
WhenaninputsBalanceissetto0,itgoesintoFilterA.
(NotethatiftheFilterRoutingissettoSerial,the
signalwillalsopassthroughFilterB.)
IftheinputsBalanceissetto99,itgoesdirectlyinto
FilterB,regardlessofwhethertheroutingissetto
SerialorParallel.

Standard serial configuration


Tocreateastandardserialfilterconfiguration:
1. SettheFilterRoutingtoSerial.

2. SetallofthemixersBalancecontrolsto50.
Thisroutesalloftheinputstobothfilters,atequal
volumes.

Dual signal paths


YoucanalsosendtheStringthroughFilterA,andthe
PCMOscillatorthroughFilterB(orviceversa),to
createalayeredsound.Forinstance:
1. SettheFilterRoutingtoParallel.
2. SettheStringsBalanceto0.
ThisroutestheStringtoFilterA.
3. SetthePCMOscillatorsBalanceto99.
ThisroutesthePCMOscillatortoFilterB.

Anywhere in-between
IfaninputsBalanceissetbetween1and98,itwillgo
toacombinationofbothfilterssothatmanyin
betweenfiltereffectsareavailable.
Finally,bymodulatinganinputsBalanceviaAMS,
youcancrossfadebetweenroutingthroughFilterA
andFilterB.

ThisconnectstheoutputofFilterAtotheinputof
FilterB.

5-1a: Routing

2. SetallofthemixersBalancecontrolsto0.

Filter Routing

ThismakesalloftheinputsgotoFilterAfirst,and
thenthroughFilterB.

Therearetwofilters,FilterAandFilterB.This
parametercontrolswhetheroneorbothofthefilters
areused,andifbothareused,itcontrolshowtheyare
connectedtoeachother.

Standard parallel configuration


Tocreateastandardparallelfilterconfiguration:

274

1. SettheFilterRoutingtoParallel.

[Single, Serial, Parallel, 24dB/oct]

Program P5: Filter 5-1: Filter Basic

Single.ThisusesonlyFilterAasasingle2pole,
12dB/octavefilter(6dBforBandPassandBandReject).
Whenthisoptionisselected,thecontrolsforFilterB
willbegrayedout.
Serial.Thisusesbothfilters.TheoutputofFilterAis
processedthroughFilterB.

FilterTypesandCutoffFrequency

Low Pass

Parallel.ThisalsousesbothFilterAandFilterB.
UnlikeSerial,above,theoutputsofthetwofiltersare
keptseparate,withindividualcontroloverbothlevel
andpan.
24dB/oct.Thismergesbothfilterstocreateasingle4
pole,24dB/octavefilter(12dBforBandPassandBand
Reject).IncomparisontoSingle,thisoptionproducesa
sharperrolloffbeyondthecutofffrequency,aswellas
aslightlymoredelicateresonance.Manyclassicanalog
synthsusedthisgeneraltypeoffilter.
When24dB/octisselected,onlythecontrolsforFilter
Aareactive;thecontrolsforFilterBwillbegrayedout.
Also,notethattheMultiFilterisnotavailableinthis
mode.

High Pass

Band Pass

51b: Filter A
Filter Type

[Low Pass, High Pass, Band Pass,


Band Reject, Multi Filter]

Band Reject

Thefilterwillproduceverydifferentresults
dependingontheselectedfiltertype.Theselections
willchangeslightlyaccordingtotheselectedFilter
Routing,toshowthecorrectcutoffslopeindBper
octave.
LowPass.Thiscutsoutthepartsofthesoundwhich
arehigherthanthecutofffrequency.LowPassisthe
mostcommontypeoffilter,andisusedtomakebright
timbressounddarker.
HighPass.Thiscutsoutthepartsofthesoundwhich
arelowerthanthecutofffrequency.Youcanusethisto
maketimbressoundthinnerormorebuzzy.
BandPass.Thiscutsoutallpartsofthesound,both
highsandlows,exceptfortheregionaroundthecutoff
frequency.Sincethisfiltercutsoutbothhighandlow
frequencies,itseffectcanchangedramatically
dependingonthecutoffsettingandtheoscillators
multisample.
Withlowresonancesettings,youcanusetheBand
Passfiltertocreatetelephoneorvintagephonograph
sounds.Withhigherresonancesettings,itcancreate
buzzyornasaltimbres.
BandReject.Thisfiltertypealsocalledanotchfilter
cutsonlythepartsofthesounddirectlyaroundthe
cutofffrequency.Trymodulatingthecutoffwithan
LFOtocreatephaserlikeeffects.
MultiFilter.Thisisacomplexfilterwhichiscapableof
alloftheabovefiltertypes,andmanymorebesides.
Formoreinformation,see52:MultiFilter,on
page 277.
TheMultiFilterisavailableonlyforFilterA,andonly
whentheFilterRoutingissettoSingle,Serialor
Parallel.

Cutoff Frequency

Bypass

[Off, On]

ThisletsyoubypassFilterAcompletely.
IfBypassisOff,FilterAfunctionsnormally.
WhenBypassisOn,FilterAhasnoeffectontheinput
signal.

Trim

[0099]

ThisadjuststhevolumelevelattheinputtoFilterA.If
younoticethatthesoundisdistorting,especiallywith
highResonancesettings,youcanturntheleveldown
here,orattheOutputLevel.
Notethatthefilterwillnotclipinternally,sothereisno
differencebetweenadjustingtheInputTrimandthe
OutputLevel.Eitherofthesecontrolswillallowyouto
minimizeclippinglaterinthesignalchain,suchas
mayoccurinsomeeffects.

Output Level

[0099]

ThiscontrolstheoutputlevelofFilterA.Youcanuse
thistobalancethevolumesofFiltersAandBwhenthe
RoutingissettoParallel,ortoturndownthevolume
toavoidclippinglaterinthesignalchain.

AMS

[AMS Sources]

ThisselectsamodulationsourcetocontroltheOutput
Level.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheOutput
Levelmodulation.

275

EXi: STR-1 Plucked String

Frequency

[0099]

[AMS Sources]

ThisselectsanAMSsourcetomodulatePan.Foralist
ofAMSsources,seeAlternateModulationSource
(AMS)Listonpage 1091.

Frequency Fine

ThiscontrolsthedepthanddirectionofthePanAMS
modulation.

[-99+99]

Thisprovidesfinecontrolofthefiltercutofffrequency.
Eachstepofthisparameterisequalto1/100ofastepof
themainFrequencyparameter,above.

Resonance Type

[Standard, High]

Thiscontrolsthestrengthofthefilterresonancewhen
theFilterRoutingissetto24dB/oct.Whentherouting
issettoSingle,Serial,orParallel,thisparameteris
grayedout.

Intensity

[99+99]

51c: Filter B
FilterBisavailablewhentheFilterRoutingissetto
SerialorParallel.Otherwise,itsparameterswillbe
grayedout.

Highcreatesamorepronouncedresonance.

FilterBisalmostthesameasFilterA,butwithoutthe
MultiFiltermode,andwiththeadditionoftheLink
controls,asdescribedbelow.Forallotherparameters,
pleaseseethedescriptionsunder51b:FilterA,on
page 275.

Resonance Bass

Link

Standardprovidestheresonancecharacterofatypical
analog4polefilter.

[Tight, Full]

[Off, On]

Thiscontrolsthecharacterofthefilterresonanceatlow
cutofffrequencies.Itseffectismostnoticeablewith
highResonancesettings.

WhenLinkisOn,mostofFilterBsparametersare
grayedout,andareinsteadcontrolledbythesettings
forFilterA.

Tightproducesamorerestrainedresonance,similarto
aclassic,American,woodpaneledmonophonic
synthesizer.

Specifically,FilterBwilluseFilterAssettingsfor
Resonance,ResonanceBass,andallFrequencyand
Resonancemodulationsettings.FilterBsFrequencyis
alsolinkedtothatofFilterA,withanoptional
frequencyoffsetviatheLinkFrequencyOffset
parameter,below.

Fullproducesawide,boomyresonance,reminiscent
ofafamousfivevoiceAmericansynthesizer.

Resonance

[0099]

Resonanceemphasizesthefrequenciesaroundthe
cutofffrequency.
Whenthisissetto0,thereisnoemphasis,and
frequenciesbeyondthecutoffwillsimplydiminish
smoothly.
Atmediumsettings,theresonancewillalterthetimbre
ofthefilter,makingitsoundmorenasal,ormore
extreme.
Atveryhighsettings,theresonancecanbeheardasa
separate,whistlingpitch.
Tomaketheresonancetrackthekeyboardpitch,see
KeyFollow,onpage 280.

Resonance Mod by AMS

[AMS Sources]

Thisselectsamodulationsourcetocontrolthe
Resonanceamount.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheResonance
modulation.

Pan

[Random, L001C064R127]

ThiscontrolsthestereopanforFilterAsoutput.Itis
availableonlywhenFilterRoutingissettoParallel.
WhentheFilterRoutingissettoSingle,Serial,or
24dB/oct,thePanparameterswillbegrayedout.

276

AMS

ThiscontrolsthecutofffrequencyofFilterA,in
incrementsof1/10ofanoctave.Thespecificeffectof
thecutofffrequencywillchangedependingonthe
selectedFilterType,asdescribedabove.

TheBypass,Type,InputTrim,OutputLevel,Output
LevelAMS,Pan,andPanAMSparametersarestill
controlledseparately.

Link Frequency Offset

[99+99]

ThisoffsetsFilterBsFrequencyfromthatofFilterA,
andappliesonlywhenLinkisOn.
WhenLinkisOff,thisparameterisgrayedout.

t 51: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

Program P5: Filter 5-2: Multi Filter

5-2: Multi Filter


52PMC

52a

52b

52c

52c

ThispageisavailableonlywhentheFilterATypeis
settoMultiFilter.

5-2b: Mode Crossfade

Whats a Multi Filter?

Mode 1

Standardmultimodefiltersgeneratelowpass,
highpass,andbandpassfilterssimultaneouslybut
onlyallowyoutouseoneofthematatime.

ThissetsthefiltertypeforMode1.

TheMultiFiltergivesyouaccesstoallthreefilter
modessimultaneously,inanycombination,alongwith
thedryinputsignal.Youcanchoosefromalarge
numberofpresetcombinations,orcreateyourown
complexfiltermodesusingtheManualcontrols.
Thisiscapableofsomecoolsoundsinandofitself,but
thingsreallygetinterestingwhenyouusethe
Crossfadecontrols.Theseallowyoutocrossfade
betweentwoofthesefiltersettings(Mode1andMode
2),usingAMSsourcessuchasEGs,LFOs,orrealtime
controllers.

52a: Filter A
[Off, On]

Frequency

[0099]

Fine
Resonance

LowPass,HighPass,BandPass,andBandRejectare
thestandardfiltertypes.Formoreinformation,see
FilterType,onpage 275.
Thefollowingtypescombinetwoormorefiltersat
equalvolumes.Dryistheunfilteredinputsignal.The
minussign()indicateswhenthephaseofafilteris
reversed:LP+BP,LPBP,LPHP,BP+HP,BPHP,
Dry+LP,DryLP,Dry+BP,DryBP,Dry+LPHP,
Dry+LPBP,Dry+BPLP,Dry+BPHP,Dry+HPLP,
Dry+HPBP,LP+HP+BP.
AllOnusestheLowPass,HighPass,BandPass,and
Drysignalsatequalvolumes.
Manual1letsyoucreateyourownmixofthefilters.
Formoreinformation,see52c:Manual1,below.

Mode 2

Bypass

[99+99]
[0099]

Thesearethesameasthesimilarlynamedparameters
ontheFilterBasicpage,asdescribedunder51b:
FilterAonpage 275.
Editstothevaluesonthispagewillbereflectedonthe
FilterBasicpage,andviceversa.

[List of filter types]

[List of filter types]

Mode2hasthesameselectionsasMode1,exceptthat
thelistendswithManual2insteadofManual1.

Mode 1-2 Crossfade

[099]

ThisfadesbetweentheMode1andMode2settings.
0isallMode1,99isallMode2,and198are
intermediatevaluesbetweenthetwoModes.

AMS

[AMS Sources]

ThisselectsamodulationsourcetocontroltheMode1
2Crossfade.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

277

EXi: STR-1 Plucked String

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheMode12
Crossfademodulation.

Intensity Mod AMS

[List of AMS Sources]

ThisselectsanAMSsourcetomodulatetheintensityof
themainMode12CrossfadeAMS.
Forinstance,youcansetAMStouseoneoftheLFOs,
andthensettheIntensityModAMStoJSY.Youcan
thenusethejoysticktomodulatetheamountofthe
LFO.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.

5-2c: Manual 1
Theseparametersletyoucreateyourownmixofthe
filters.WhenMode1issettoManual1,itwilluse
thesesettings.
YoumaywonderwhyBandRejectisnotincluded
here.Thisisbecauseitsnotafiltermodeperse.
Instead,itscreatedbyanequalcombinationofHigh
PassandLowPass.Tryitandsee!

Lowpass

[99+99]

ThiscontrolsthevolumeoftheLowpassfilteroutput.
Negativevaluesinvertthephase.

Highpass

[99+99]

ThissetsthevolumeoftheHighpassfilteroutput.

Bandpass

[99+99]

ThiscontrolsthevolumeoftheBandpassfilteroutput.

Dry

[99+99]

Thissetsthevolumeofthedrysignal.

5-2d: Manual 2
TheManual2parametersareidenticaltothoseof
Manual1,asdescribedabove.

t 52: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

278

Program P5: Filter 5-3: Filter Modulation

5-3: Filter Modulation


53PMC

53a

53b

53c

53c

ThispagecontainsallofthesettingsforFilter
Frequencymodulation(exceptfortheLFOs,whichare
ontheirownpage).Amongotherthings,youcan:
Setupcomplexkeyboardtrackingshapes,and
controlhowthetrackingaffectsfiltercutoff.
ControltheeffectoftheFilterEnvelopeonfilter
cutoff.
AssignAMSmodulationforfiltercutoff.
FilterBisavailablewhentheFilterRoutingissetto
SerialorParallel.Otherwise,theparametersforFilter
Bwillbegrayedout.

53a: Keyboard Track


Mostacousticinstrumentsgetbrighterasyouplay
higherpitches.Atitsmostbasic,keyboardtrackingre
createsthiseffectbyincreasingthecutofffrequencyof
alowpassfilterasyouplayhigheronthekeyboard.
Usually,someamountofkeytrackingisnecessaryin
ordertomakethetimbreconsistentacrosstheentire
range.
TheKRONOSkeyboardtrackingcanalsobemuch
morecomplex,sinceitallowsyoutocreatedifferent
ratesofchangeoveruptofourdifferentpartsofthe
keyboard.
TheSTR1sFilterkeyboardtrackingparametersare
identicaltotheHD1s.Formoredetailedexplanations
oftheparameters,pleasesee32a:KeyboardTrack,
onpage 72.
Thereisonedifferencebetweenthetwo,however:the
STR1sFiltertrackingisaffectedbyPortamento,so
thatitchangessmoothlyduringglides.

Intensity to A

[99+99]

Thiscontrolshowmuchthekeyboardtrackingwill
affectFilterAscutofffrequency.Theoveralleffectof
theKeyboardTrackisacombinationofthisIntensity
valueandtheoverallKeyboardTrackshape.

Intensity to B

[99+99]

Thiscontrolshowmuchthekeyboardtrackingwill
affectFilterBscutofffrequency.
IntensitytoBappliesonlywhentheFilterRoutingis
settoSerialorParallel,andwhenLinkisOff.In
Singleand24dB/octmodes,orifLinkisOn,this
parameterisgrayedout.

Key
Low Break

[C1G9]

Thissetsthebreakpointnotebetweenthetwolower
ramps.

Center

[C1G9]

Thissetsthecenterofthekeyboardtracking.Atthis
key,thekeyboardtrackinghasnoeffectonthefilter
frequency,oronanyAMSdestinations.

High Break

[C1G9]

Thissetsthebreakpointnotebetweenthetwohigher
ramps.

Ramp
Theeffectonthefiltercutoffisacombinationofthe
rampvalues,assetbelow,andtheIntensitytoAandB
parameters.WhenIntensityissetto+99,arampof50
changesthefilterfrequencyby1octaveforevery

279

EXi: STR-1 Plucked String

octaveofthekeyboard,andarampof+99changesthe
frequencyby2octavesforeveryoctaveofthe
keyboard.

TherearefourassignableEGs,inadditiontotheAmp
EG.Eachofthesecanbeusedasamodulationsource
tocontrolawidevarietyofparameters.

+InfandInfarespecialsettingswhichcreateabrupt
changesforsplitlikeeffects.Whenarampissetto+Inf
orInf,thekeyboardtrackingwillgotoitsextreme
highestorlowestvalueoverthespanofasinglekey.

Inthemidstofallthisflexibility,wethoughtitwould
alsobegoodtoprovidealittlestructure.Withthisin
mind,EG1isnamedEG1(Filter)andEG2islabeled
EG2(Pitch).

Formoredetailedexplanations,pleasesee32a:
KeyboardTrack,onpage 72

Pleasetakethesenamesassuggestions,ratherthan
restrictions.Ifyoulike,yourefreetousetheseEGsto
controlanyEGorAMSdestination,ortouseotherEGs
tocontrolFilterFrequencyandPitch.

Bottom-Low

[-Inf, 99+99, +Inf]

ThissetstheslopebetweenthebottomoftheMIDI
noterangeandtheLowBreakkey.Fornormalkey
track,usenegativevalues.

Low-Center

[-Inf, 99+99, +Inf]

ThissetstheslopebetweentheLowBreakandCenter
keys.Fornormalkeytrack,usenegativevalues.

Center-High

[-Inf, 99+99, +Inf]

[99+99]

ThisletsyouusevelocitytoscaletheamountoftheEG
appliedtoFilterA.

EG Intensity

[99+99]

ThiscontrolstheinitialeffectoftheEGonFilterAs
cutofffrequency,beforeanyvelocityorAMS
modulation.

ThissetstheslopebetweentheCenterandHighBreak
keys.Fornormalkeytrack,usepositivevalues.

AMS

High-Top

ThisselectsanAMSmodulationsourcetoscalethe
amountoftheEGappliedtoFilterA.

[-Inf, 99+99, +Inf]

ThissetstheslopebetweentheHighBreakkeyandthe
topoftheMIDInoterange.Fornormalkeytrack,use
positivevalues.

TocreatetheclassicKeyFolloweffect,inwhichthe
filterfrequencytracksthepitchofthekeyboard:

[AMS Sources]

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

Key Follow

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulation.

1. SettheFilterFrequencyto30.

Filter B

2. SettheKeyboardTrackIntensityto+99.

TheEGparametersforFilterBarethesameasthose
forFilterA,above.

3. SettheBottomLowandLowCenterrampsto50.
4. SettheCenterHighandHighToprampsto+50.
5. SettheCenterKeytoC4.
ThesettingsfortheLowBreakandHighBreakkeys
dontmatterinthiscase.

WhenLinkisOn,orwhentheFilterRoutingissetto
Singleor24dB/oct,alloftheseparametersaregrayed
out.

5-3c: Filter Modulation

5-3b: Filter EG

Filter A Frequency

TheEGsmodulatetheFilterAandBcutofffrequencies
overtime.Youcancontrolhowstronglytheywill
affectthefiltersinthreedifferentways:

AMS 1

SetaninitialamountofEGmodulation,usingthe
EGIntensityparameters.
UsevelocitytoscaletheamountoftheEGapplied
tothefilter.
UseanyAMSsourcetoscaletheamountoftheEG
appliedtothefilter.

[AMS Sources]

ThisselectsthefirstmodulationsourcetocontrolFilter
AsFrequency.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheFrequency
modulation.

Intensity Mod AMS

[List of AMS Sources]

Youcanuseallthreeoftheseatonce,andtheresults
areaddedtogethertoproducethetotalEGeffect.

ThisselectsanAMSsourcetomodulatetheintensityof
AMS1.

TosetuptheEGsthemselves,includingattackand
releasetimes,levels,andsoon,see71:EG1(Filter),
onpage 289.

Intensity

Filter A
EG Select

[99+99]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.

AMS 2
[EG 1 (Filter), EG 2 (Pitch),
EG 3, EG 4, Amp EG]

ThisselectsanEGtomodulateFilterAsFrequency.

280

Velocity Intensity

[AMS Sources]

Thisselectsasecondmodulationsourcetocontrol
FilterAsFrequency.ForalistofAMSsources,see
AlternateModulationSource(AMS)Liston
page 1091.

Program P5: Filter 5-4: Filter LFO Mod

Intensity

[99+99]

ThiscontrolsthedepthanddirectionofAMS2.

Filter B Frequency
ThesettingsforFilterBarethesameasthoseforFilter
AFrequency,above.
WhenLinkisOn,orwhentheFilterRoutingissetto
Singleor24dB/oct,alloftheseparametersaregrayed
out.

t 53: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

5-4: Filter LFO Mod


54PMC

54a

54b

TherearethreeLFOtoFrequencycontrolsforeach
filter:abasicamount(LFOIntensity),joystickY
controlofLFOamount(JSYIntensity),andAMS
controlofLFOamount(AMSIntensity).Thethree
controlsaresummedtogethertodeterminethefinal
LFOamount.

5-4a: Filter A
LFO Select

TheLFOIntensity,JSYIntensity,andAMSareall
summedtogethertoproducethefinalamountofLFO
pitchmodulation.

[99+99]

[99+99]

Movingthejoystickdownfromthecenterdetent
position,towardsyourself,producestheJSY
controller.Youcanusethistoscaletheamountofthe
LFOappliedtoFilterA.
ThisparametersetsthemaximumamountofLFO
modulationaddedbyJSY.

AMS
[LFO 1, LFO 2, LFO 3, LFO 4,
Common LFO]

ThisselectsanLFOtomodulateFilterAscutoff
frequency.

LFO Intensity

JS -Y Intensity

[AMS Sources]

ThisselectsanAMSmodulationsourcetoscalethe
amountoftheLFOappliedtoFilterAscutoff
frequency.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheLFOAMS
modulation.

ThiscontrolstheinitialeffectoftheLFOonFilterAs
cutofffrequency,beforeanyJS+YorAMSmodulation.
Negative()settingswillinvertthephaseoftheLFO.

281

EXi: STR-1 Plucked String

5-4b: Filter B
ThesettingsforFilterBarethesameasthosefor54a:
FilterA,above.
WhenLinkisOn,orwhentheFilterRoutingissetto
Singleor24dB/oct,alloftheseparametersaregrayed
out.

t 54: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

282

Program P6: Amp 6-1: Amp

Program P6: Amp


Thesepagesletyoucontrolthesoundsvolume(also
calledamplitude,orampforshort),pan,andthe
dedicatedampenvelopesandkeyboardtracking
generators.Forinstance,youcan:

Setthepanpositionandpanmodulation.
Controlamplevelandmodulation,including
keyboardtracking,theampenvelope,LFO
modulation,andAMScontrol.

6-1: Amp
61PMC

61a

61b

ThispagecontrolsthebasicsettingsfortheAmp
section.Here,youcan:
Settheinitialvolumelevel.
Controlthepanpositionandpanmodulation.

61b: Pan

61a: Amp Level


Amp Level

IfbothCC#7andCC#11areusedsimultaneously,
theonewiththelowervaluedeterminesthe
maximumvolume,andtheonewiththehigher
valuescalesdownfromthatmaximum.

[0127]

ThiscontrolsthebasicvolumeleveloftheSTR1,
beforekeyboardtracking,velocity,andother
modulation.

The Control Surface and volume


YoucanalsocontrolthevolumesofEXi1and2
directlyfromtheControlSurfacesliders.Thesevolume
levelsareseparateparameters,inadditiontothe
individualEXiAmpLevels.Todoso:

Pan

[Random, L001C064R127]

ThiscontrolsthestereopanoftheEXi.Asettingof
L001placesthesoundatthefarleft,C064inthecenter,
andR127tothefarright.
WhenthisissettoRandom,thepanpositionwillbe
differentforeachnoteon.
YoucanalsosetthisPanparameterdirectlyfromthe
ControlSurfaceknobs.Todoso:
1. PresstheControlSurfaceTimbre/Trackbutton.

1. PresstheControlSurfaceTimbre/Trackbutton.

2. SettheMIXERKNOBSswitchtoINDIVIDUAL
PAN.

2. MoveSlider1tosetthevolumeforEXi1,and
Slider2forEXi2.

3. MoveKnob1tosetthepanforEXi1,andKnob2
tosetthepanforEXi2.

MIDI and volume


YoucancontroltheProgramsoverallvolumevia
MIDIusingbothVolume(CC#7)andExpression
(CC#11).Whenusedoneatatime,thetwo
controllersworkinexactlythesameway:aMIDI
valueof127isequaltotheAmpLevelsetting,and
lowervaluesreducethevolume.

YoucanalsocontrolpanviaMIDIPan(CC#10).A
CC#10valueof0or1placesthesoundatthefarleft,
64placesthesoundatthelocationspecifiedbythe
Panparameter,and127placesthesoundatthefar
right.
Note:youcanselectRandompanonlyfromtheon
screenUI,andnotfromMIDIortheControlsurface.

283

EXi: STR-1 Plucked String

AMS

[AMS Sources]

ThisselectsanAMSsourcetomodulatePan.Foralist
ofAMSsources,seeAlternateModulationSource
(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationforPan.
Forexample,ifPanissettoC064andAMSissetto
NoteNumber,positive(+)intensitieswillcausethe
soundtomovetowardtherightasyouplayhigher
thanC4,andtowardtheleftasyouplaylowerthanC4.

Negative()intensitieswillhavetheoppositeeffect.

t 61: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

6-2: Amp Modulation


62PMC

62a

62b

ThispagecontainsthesettingsfortheSTR1sAmp
levelmodulation.Amongotherthings,youcan:
Setupcomplexkeyboardtrackingshapestocontrol
theAmplevel.
AssignAMSmodulationfortheAmplevel.
ControltheeffectoftheLFOsontheAmplevel.
Thetotaleffectsofthemodulationcanincreasethe
volumetoamaximumoftwotimeslouderthanthe
AmpLevelsetting.

62a: Keyboard Track


Keyboardtrackingletsyouvarythevolumeasyou
playupanddownthekeyboard.Usually,some
amountofkeytrackingisnecessaryinordertomake
thevolumeconsistentacrosstheentirerange.
TheSTR1sAmpkeyboardtrackingparametersare
identicaltotheHD1s.Formoredetailedexplanations
oftheparameters,pleasesee42a:KeyboardTrack,
onpage 84.

284

Thereisonedifferencebetweenthetwo,however:the
STR1sAmptrackingisaffectedbyPortamento,so
thatitchangessmoothlyduringglides.

Key
Low Break

[C1G9]

Thissetsthebreakpointnotebetweenthetwolower
ramps.

Center

[C1G9]

Thissetsthecenterofthekeyboardtracking.Atthis
key,thekeyboardtrackinghasnoeffectonthevolume,
oronanyAMSdestinations.

High Break

[C1G9]

Thissetsthebreakpointnotebetweenthetwohigher
ramps.

Program P6: Amp 6-2: Amp Modulation

Ramp

Intensity Mod AMS

Bottom-Low

ThisselectsasecondaryAMSmodulationsourceto
scaletheintensityofAMS1.

[-Inf, 99+99, +Inf]

ThissetstheslopebetweenthebottomoftheMIDI
noterangeandtheLowBreakkey.Fornormalkey
track,usenegativevalues.
Ramp

Change in level

[AMS Sources]

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.EvenifthemainAMS1Intensityissetto0,
IntensityModAMScanstillcontrolthefinalamountof
AMSAoverthefull+/99range.

-Inf

Silent in one half-step

99

Silent in one whole-step

95

Silent in one octave

48

Silent in two octaves

25

Silent in four octaves

00

no change

Forexample,ifAMS1issettoLFO1,andIntensity
ModAMSissettoAfterTouch,positivesettings
meanthataftertouchwillincreasetheamountofLFO
modulation.

+25

x2 in four octaves

AMS2

+50

x2 in two octaves

+99

x2 in one octave

+Inf

x2 in one half-step

ThisselectsasecondmodulationsourcefortheAmp
level.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

[AMS Sources]

Intensity
Low-Center

[-Inf, 99+99, +Inf]

ThissetstheslopebetweentheLowBreakandCenter
keys.Fornormalkeytrack,usenegativevalues.

Center-High

[-Inf, 99+99, +Inf]

ThissetstheslopebetweentheCenterandHighBreak
keys.Fornormalkeytrack,usepositivevalues.

High-Top

[-Inf, 99+99, +Inf]

ThissetstheslopebetweentheHighBreakkeyandthe
topoftheMIDInoterange.Fornormalkeytrack,use
positivevalues.

62b: Amp Modulation


YoucanmodulatetheAmplevelbyvelocityandtwo
AMSsources.EachoftheAMSsourcesalsohasits
ownsecondaryintensitymodulation.
ThismodulationscalesthebasicAmplevelandAmp
EGlevelparameters.Iftheseoriginallevelsarelow,the
maximumvolumeavailablewithmodulationwillalso
bereduced.
NotethatthereisanupperlimittoAmpmodulation.
Oncethevolumelevelreachesdoublethe
programmedAmpLevelandAmpEGlevelsettings,it
cannotbeincreasedanyfurther.

Velocity Intensity

[99+99]

Withpositive(+)values,thevolumewillincreaseas
youplayharder.
Withnegative()values,thevolumewilldecreaseas
youplayharder.

AMS1

[AMS Sources]

[99+99]

ThissetstheinitialamountofAMS2.TheIntensity
ModAMSthenaddstothisinitialamount.

Intensity Mod AMS

[AMS Sources]

ThisselectsasecondaryAMSmodulationsourceto
scaletheintensityofAMS2.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Intensity

[99+99]

ThiscontrolsthedepthanddirectionoftheIntensity
ModAMS.EvenifthemainAMS2Intensityissetto0,
IntensityModAMScanstillcontrolthefinalamount
ofAMSAoverthefull+/99range.

AMS3

[AMS Sources]

ThisselectsathirdmodulationsourcefortheAmp
level.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[99+99]

ThissetstheinitialamountofAMS3.

t 62: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.

ThisselectsthefirstmodulationsourcefortheAmp
level.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

[99+99]

ThissetstheinitialamountofAMS1.TheIntensity
ModAMSthenaddstothisinitialamount.

285

EXi: STR-1 Plucked String

6-3: Amp EG
63PMC

63a

63b

63c

63d

TheSTR1sAmpEGisidenticaltotheHD1s.For
moredetailedexplanationsoftheAmpEGfeatures,
pleasesee43:Amp1EG,onpage 87.

maymeanthattheEGdoesntresetatall.Ifthis
happens,reducetheThresholduntiltheEGtriggers
consistently.

Otherenvelopescanbeusedasadditionalcontrolsvia
AMS,ifdesired.

63b: Amp EG

6-3a: EG Reset

TheseparametersspecifyhowtheampEGwillchange
overtime.

AMS

[AMS Sources]

ThisselectsanAMSsourcetoresettheEGtothestart
point.Forinstance,youcanuseatemposyncedLFO
totriggertheEGinarepeatingrhythm.Thisresetisin
additiontotheinitialnoteon,whichalwayscausesthe
EGtostart.

AmpEG
Start
Level

ThissetstheAMSlevelwhichwilltriggertheEGreset.
Amongotherthings,youcanusethistoadjustthe
exactpointinanLFOsphaseatwhichtheEGwillbe
reset,effectivelycontrollingitsgrooveagainstother
rhythmiceffects.
Whenthethresholdispositive,theEGtriggerswhen
passingthroughthethresholdmovingupwards.When
thethresholdisnegative,theEGtriggerswhen
passingthroughthethresholdmovingdownwards.
Note:withsomeLFOshapes,andwithfasterLFO
speeds,theLFOmaynotalwaysreachtheextreme
valuesof+99or99.Inthiscase,settingtheThreshold
tothesevaluesmaycauseinconsistentbehavior,or

286

Sustain
Level

Time
Attack
Time

ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

[99+99]

Break
Level

Volume

Note:OncetheAmpEGisinitsReleasesegment,it
cannotbereset.(Otherwise,thesoundmightkeep
playingforever!)

Threshold

Attack
Level

Note-on or reset

Decay
Time

Slope
Time

Release
Time
Note-off

Level
Start

[0099]

Thissetstheinitialvolumelevelatnoteon.

Attack

[0099]

ThissetsthelevelattheendoftheAttacktime.

Break

[0099]

Break,shortforBreakPoint,setsthelevelattheendof
theDecaytime.

Sustain

[0099]

ThissetsthelevelattheendoftheSlopetime.Onceit
reachestheSustainlevel,theEGwillstaythereuntil
noteoff(unlessitisresetviaAMS).

Program P6: Amp 6-3: Amp EG

Time
Highervaluesmeanlongertimes.Forachartshowing
equivalentsinmilliseconds,pleaseseeTimeon
page 88.

Attack

[0099]

ThissetshowlongtheEGtakestomovefromtheStart
leveltotheAttacklevel.
Theminimumattacktimeis2/3ofamillisecondas
fastasthemostpunchyofclassicanalogsynths.
Forthefastestpossibleattacktime,youcansetthe
Startlevelto+99;inthiscase,theEGwillstart
instantaneouslyatitsmaximumvalue.

Decay

[0099]

ThissetsthetimeittakestomovefromtheAttacklevel
totheBreaklevel.

Slope

[0099]

ThissetshowlongtheEGtakestomovefromthe
BreakleveltotheSustainlevel.Onceitreachesthe
Sustainlevel,theEGwillstaythereuntilnoteoff
(unlessitisresetviaAMS).

Release

[0099]

ThissetshowlongittakestheEGtomovefromthe
Sustainleveltosilence.

Curve
Classicanalogsynthenvelopescreatedcurvedshapes
naturally.TheKRONOSgoesastepfurtherthan
vintagesynths,however,andletsyoucontrolthe
amountofcurvatureseparatelyforeachofthefour
envelopesegments.
Whenyouchangethecurvature,theEGtimesremain
thesame.However,greatercurvaturewilltendto
soundfaster,becausethevaluechangesmorequicklyat
thebeginning.
Youmayfindthatdifferentamountsofcurvatureare
suitableforsegmentswhichgoupandsegments
whichgodown.
Forinstance,acurveof3isagooddefaultsettingfor
upwardsegments,suchasAttack.Ontheotherhand,a
curveof6ormoreisgoodfordownwardsegments,
suchasDecayandRelease.

Attack

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheAttacksegmentthe
transitionfromtheStartleveltotheAttacklevel.

Decay

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheDecaysegmentthe
transitionfromtheAttackleveltotheBreaklevel.

Slope

[0 (Linear), 19, 10 (Exp/Log)]

6-3c: Level Modulation


ThesesettingsletyouuseanAMSsourcetocontrolthe
LevelparametersoftheEG.TheStart,Attack,and
BreaklevelsshareasingleAMSsource,butcaneach
havedifferentmodulationintensities.
Note:OncetheEGhasstartedasegmentbetweentwo
points,thatsegmentcannolongerbemodulated.For
instance,iftheEGisinthemiddleoftheDecaytime,
youcannolongermodulateeithertheDecaytimeor
theBreaklevel.
ThisalsomeansthatmodulatingtheStartlevel,Attack
level,orAttacktimewillnotaffectnotesthatare
alreadysounding,unlesstheEGisthenresetviaAMS.

AMS

[AMS Sources]

ThisselectsanAMSsourcetocontroltheEGsLevel
parameters.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Start

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheStartlevel.

Attack

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheAttacklevel.

Break

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheBreaklevel.

6-3d: Time Modulation


ThesesettingsletyouusethreedifferentAMSsources
tocontroltheTimeparametersoftheEG.Foreachof
thethreeAMSsources,theAttack,Decay,Slope,and
Releasetimeseachhavetheirownmodulation
intensities.

AMS1

[AMS Sources]

SelectsthefirstAMSsourcetocontroltheEGsTime
parameters.VelocityandKeyboardTrackcanbothbe
usefulhere,forinstance.
ForalistofAMSsources,seeAlternateModulation
Source(AMS)Listonpage 1091.

Attack

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheAttacktime.
WhentheAMSsourceisatitsmaximumvaluefor
instance,whenVelocityisat127asettingof+8will
makethesegmenttimealmosttwiceaslong,anda
settingof8willcutthesegmenttimealmostinhalf.

ThissetsthecurvatureoftheSlopesegmentthe
transitionfromtheBreakleveltotheSustainlevel.

Decay

Release

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheDecaytime.

[0 (Linear), 19, 10 (Exp/Log)]

ThissetsthecurvatureoftheReleasesegmentthe
transitionfromtheSustainleveltotheReleaselevel.

Slope

[99+99]

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheSlopetime.

287

EXi: STR-1 Plucked String

Release

[99+99]

ThiscontrolsthedepthanddirectionoftheAMS
modulationfortheReleasetime.

AMS2 and AMS3


TheseselectthesecondandthirdAMSsources,
respectively,forcontrollingtheEGsTimeparameters.
EachhasitsownintensitiesforAttack,Decay,Slope,
andRelease.TheparametersofbothAMS2andAMS3
areidenticaltothoseofAMS1,above.

t 6-3: Page Menu Commands


ThenumberbeforeeachcommandshowsitsENTER+
numberkeyshortcut.Formoreinformationonthese
shortcuts,seeENTER+09:shortcutsformenu
commandsonpage 147.
0:WriteProgram.Formoreinformation,seeWrite
Programonpage 147.
1:ExclusiveSolo.Formoreinformation,see
ExclusiveSoloonpage 147.
2:CopyEnvelope.Formoreinformation,see
CopyEnvelopeonpage 224.
3:SwapEnvelope.Formoreinformation,see
SwapEnvelopeonpage 224.

288

Program P7: EG 1-4 7-1: EG 1 (Filter)

Program P7: EG 1-4


TheSTR1hasfourassignableEGs,inadditiontothe
AmpEG.EachofthesecanbeusedasanAMS
modulationsourcetocontrolawidevarietyof
parameters.

Inthemidstofallthisflexibility,wethoughtitwould
alsobegoodtoprovidealittlestructure.Withthisin
mind,EG1isnamedEG1(Filter),andEG2isnamed
EG2(Pitch).

TherearealsotwoparameterswithdedicatedEG
modulationinputs:FrequencyforFiltersAandB.Any
ofthefourEGscanbeusedforthesemodulation
routings.

Pleasetakethesenamesassuggestions,ratherthan
restrictions.Ifyoulike,yourefreetousethese
envelopestocontrolanyEGorAMSdestination,orto
useotherEGstocontrolFilterFrequencyorPitch.

7-1: EG 1 (Filter)
7-2: EG 2 (Pitch)
7-3: EG 3
7-4: EG 4
TheSTR1sEGs14areidenticaltotheAL1sEG1.For
detailedexplanations,pleasesee71:EG1(Filter),
onpage 211.

Program P8: LFO 1-4


TheSTR1hasfourassignableLFOs,inadditiontothe
EXiProgramsCommonLFO.Eachofthesecanbe
usedasanAMSmodulationsourcetocontrolawide
varietyofparameters.

8-1: LFO 1
8-2: LFO 2
8-3: LFO 3
8-4: LFO 4
TheSTR1sLFOs14areidenticaltothoseoftheAL1.
Fordetailedexplanations,pleasesee82:LFO1,on
page 217.

289

EXi: STR-1 Plucked String

Program P9: AMS Mixers and String Track


AMS Mixers
TheAMSMixerscombinetwoAMSsourcesintoone,
orprocessanAMSsourcetomakeitintosomething
new.
Forinstance,theycanaddtwoAMSsourcestogether,
oruseoneAMSsourcetoscaletheamountofanother.
Youcanalsousethemtomodifytheresponseof
realtimecontrollers.
TheAMSMixeroutputsappearinthelistofAMS
sources,justlikeothercontrollers.
Thisalsomeansthattheoriginal,unmodifiedinputsto
theAMSMixersarestillavailableaswell.Forinstance,
ifyouuseAftertouchasaninputtoaAMSMixer,you

canusetheprocessedversionoftheAftertouchto
controloneAMSdestination,andtheoriginalversion
tocontrolanother.
Finally,youcancascadetheAMSMixerstogetherfor
instance,youcanuseAMSMixer1asaninputtoAMS
Mixer2.

String Track
TheStringTracktrackinggeneratorsallowyouto
scaleparametersbasedonthestringonwhichthenote
isplayed.Thishelpstomodelthesoniccharacteristics
ofthedifferentstrings,suchasdifferentmaterials(as
withthenylonandsteelstringsofanacousticguitar),
differentgaugesofstrings,andsoon.

9-1: AMS Mixers 1-2


9-2: AMS Mixers 3-4
TheSTR1sAMSMixersareidenticaltothoseofthe
AL1(althoughtheSTR1hasfour,totheAL1stwo).
Fordetailedexplanations,pleasesee91:AMS
Mixer,onpage 221.

9-9: String Track


99PMC

99a

99b

99c

Multistringedinstruments,suchasguitars,often
includestringsofdifferentthicknesses,orstrings
createdusingdifferenttechniquesormaterials.For
instance,stringsmaybe:
Roundwound,flatwound,orunwound
Steel,brass,copper,ornylon
Thicker(heavygauge)orthinner(lightgauge)

290

Forinstance,electricguitarsmayusewoundlow
stringsalongwithunwoundhighstrings.Similarly,
classicalguitarsgenerallyusenylontreblestrings
alongwithwoundmetalbassstrings.

Program P9: AMS Mixers and String Track 9-9: String Track

Thismeansthatsomestringsmaysoundverydistinct
fromothers,quiteasidefromthedifferencesinpitch.
Itsalmostasifeachstringwasasubinstrumentofits
own.
Inordertophysicallymodelthesedifferences,its
sometimeshelpfultomodulatecertainparameters
separatelyforeachstring,suchasDamping,Decay,
Dispersion,Inharmonicity,etc.
StringTrackletsyoudoexactlythis.Itsavariationof
keyboardtracking,whichdividesthekeyboardinto6
zones,correspondingto6strings.Youcanthensetfour
differentoffsetsforeachstring:oneeachforDamping
andDispersion,andthenthetwogeneralpurpose
StringTrack1and2.AllfourcanbeusedasAMS
sourcesthroughouttheSTR1.

Fret Number AMS Source


Stringsmayalsochangeintimbreasyoumoveupthe
neck,playinghigherandhighernotes.Tomodelthis,
youcanuseanadditionalAMSsource,FretNumber.
FretNumberprovidesthedistanceuptheneckforthe
currentnote.Whenthenoteisanopenstring,Fret
Numbersvalueiszero.Asnotesmoveupthe
fretboard,FretNumberincreases.Oncethenextopen
stringisreached,FretNumbergoesbacktozero,and
startsoveragain.

9-9a: Fret Position


Fret Position

[Open, 148]

Todothis,FretPositionshiftstherelationshipbetween
notesplayedonthekeyboard(orviaMIDI)andthe
selectedStringpitches.Thischangesthebreakpoints
foralloftheStringTrackgeneratorsatonce.
ThismeansthatastheFretPositionincreases,the
samenotewillbeplayedinhigherpositionsonthe
neck,usinglowerstrings.
Thecurrentfretposition(inotherwords,the
combinationofFretPositionanditsAMS)isitself
availableastheAMSsourcenamed,appropriately,Fret
Position.

[List of AMS Sources]

ThisselectsamodulationsourcetocontroltheFret
Position.ForalistofAMSsources,seeAlternate
ModulationSource(AMS)Listonpage 1091.

Intensity

Strings 1-6

[C1G9]

Thesesixparameterssetthepitchesofthestrings,from
thelowestpitch(String1)tothehighestpitch(String
6).Thesedefinekeyboardzones,asshownbelow.
ThesameStringsettingsareusedforallStringTrack
generators,includingthoseforDampingand
Dispersion.TheyarealsousedfortheExcitation,
Harmonic,andPickuppositionswhentheirTracking
ModeparametersaresettoStringTrack.
Formoreinformation,see45a:Excitationon
page 261,45b:Harmoniconpage 263,46a:
Dampingonpage 265,46b:Dispersionon
page 266,48a:Pickup1onpage 270,and48b:
Pickup2onpage 271.
StringTrackstringsandzones

String 1

String 1:
E2

Thiscontrolsthepositionatwhichthenotesareplayed
alongtheneck.Thiscanhaveasignificanteffectonthe
timbre,sinceitmaychangethestringonwhichanote
isplayed.

AMS

9-9b: Strings

String 6

String 6:
E4

String 2:
A2

String 5:
B3

String 3:
D3
String 4:
G3

9-9c: String Track 1


(Strings) 1...6

[100.0+100.0]

ThesesetindividualoffsetsforthesixStrings.Youcan
usethesetomodulateanyAMSdestination;they
appearintheAMSlistasStringTrack1.

9-9d: String Track 2


ThisisasecondsetofindividualStringoffsets,which
appearintheAMSlistasStringTrack2.The
parametersareidenticaltothoseof99c:StringTrack
1,above.

[-48+48]

ThiscontrolsthedepthanddirectionoftheFret
PositionAMSmodulation.

291

EXi: STR-1 Plucked String

STR-1: Tone Adjust


STR1ToneAdjustDefaultSettings

Damping Dispersion

Decay

Nonlinearity

Excitation
Position

Harmonic
Position

Pickup 1
Position

Pickup 2
Position

Switches 7, 8, 15, 16:


LFOs 1, 2, 3, 4 Stop

Switches 1 & 2:
PCM Transpose +12,
String Transpose +12

Pluck Type

Pluck Width

Pluck Randomization

String Level

Harmonic Pressure
AMS Intensity

ToneAdjustprovidesanelegantphysicalinterfaceto
theSTR1sparameters.Mostofthefactorysoundsuse
thedefaultlayout,asshownabove.Youcanalso
customizethelayoutforindividualsounds,ifdesired.

Noise
Level

Pickup 1 Pickup 2
Level
Level

PluckWidth
PluckWidthAMS1Intensity

Noise

FormoreinformationaboutToneAdjust,pleasesee
09f:ToneAdjust,onpage 30.

NoiseSaturation

STR-1 Tone Adjust parameters

PCM Oscillator

TheSTR1supportsalloftheCommonToneAdjust
parameters,asdescribedunder09f:ToneAdjust,on
page 30.Italsoaddsanumberofitsownadditional
parameters,whichapplyonlytotheSTR1.

PCMOscMSSelect(PROG/016383)

Notethattheseadditionalparametersareseparatefor
eachEXi,asopposedtobeingsharedbybothEXiinthe
Program.

PCMOscMSMax#(meta)

Alloftheadditionalparametersarelistedbelow.Tone
Adjustparametersmayaffecttheinternalparameters
inoneoftwoways:theymaybeRelative,inwhich
casetheyscaletheexistingparametervalue,or
Absolute,inwhichcasetheyoverwritetheexisting
value.Unlessotherwisenoted,alloftheSTR1
parametersareAbsolute.
Thefullnameofthecurrentlyselectedparameteris
showninthestatuslineatthetopoftheControl
Surfacepage,aswellasinthepopupmenu.Some
parameterswithlongernamesmayshowan
abbreviationfortheslider,knob,andswitchlabels.

Pluck
PluckType
PluckRandomization
PluckDelay

292

PCM Osc
Level

NoiseFilterFrequency

PCMOscMSBank(MS:ROMMonoEXs7Mono)
PCMOscMSMin#(meta)
PCMOscStartOffset
PCMOscReverse

PCM Pitch
PCMTune(1200...+1200,relative)
PCMTranspose(12...+12,relative)
PCMPitchSlope
PCMPitchLFOAMSIntensity

Excitation Mixer
ExcitationPCMOscillatorlevel
ExcitationPluckLevel
ExcitationNoiseLevel

Excitation Filter
ExcitationFilterType
ExcitationFilterFrequency
ExcitationFilterResonance

STR-1: Tone Adjust 9-9: String Track

String

LFOs

ExcitationPosition

InadditiontosupportingthestandardToneAdjust
LFOparameters,theSTR1addsthefollowing
separatecontrols:

HarmonicPosition
HarmonicPressureAMS1Intensity
Decay
Nonlinearity
Damping
Dispersion

LFO1,2,3,and4Waveform
LFO1,2,3,and4Shape
LFO3Speed(relative)
LFO3Fade(relative)
LFO3Delay(relative)

String Pitch

LFO3Stop

StringTune(1200...+1200,relative)

LFO4Speed(relative)

StringTranspose(12...+12,relative)

LFO4Fade(relative)

StringPitchSlope

LFO4Delay(relative)

StringPitchLFOAMSIntensity

LFO4Stop

Pickups
Pickup1Position
Pickup2Position

Feedback
FeedbackLevelAMSIntensity
FeedbackDistanceAMSIntensity
FeedbackOrientationAMSIntensity

Mixer
StringLevel
PCMOscillatorLevel
NoiseLevel
Pickup1Level
Pickup2Level

Filter A
InadditiontothestandardToneAdjustfilter
parameters,theSTR1addsthefollowing:
FilterAType
FilterACutoff
FilterAResonance
FilterAEGIntensity
FilterALFOIntensity

Filter B
FilterBhasthesameToneAdjustparametersasFilter
A,above.

Amp
AmpAMS1Intensity
AmpAMS2Intensity

EGs
InadditiontosupportingthestandardToneAdjustEG
parameters,theSTR1addsthefollowingseparate
controlsforbothEG3andEG4:
Attacktime(relative)
Decay&Slopetime(relative)
Sustainlevel(relative)
Releasetime(relative)

293

EXi: STR-1 Plucked String

294

EXi: MS-20EX
MS-20EX Overview
TheMS20EXisaflexible,semimodularvirtualanalog
synthesizer.Atitsheartisafaithfulrecreationofthe
originalKorgMS20,includingbothitsfeaturesandits
distinctive,oftenaggressivetimbralsignature.

OriginalMS20MGandsampleandhold,plusfour
additionalLFOs

Tothiscore,weaddedfeaturesfirstintroducedinthe
KorgLegacyMS20plugin.Then,weadded
significantpatchpanelmodificationsinspiredbythe
MS20sbigbrother,theMS50,plusmanyother
KRONOSonlyenhancements.Featuresinclude:

Liveaudioinput

KorgsproprietaryCMT(ComponentModeling
Technology)
Upto40voicepolyphony
Twooscillators(includingringmodulation),noise
generator,andresonant,selfoscillatinghighpass
andlowpassfilters
ManymodificationstothePatchPanel,including
separateaccesstoVCOs1&2,LPF,HPF,BPF,and
VCA
Twonewpatchable2in,1outaudioratemixers,
forcombiningandscalingaudioandcontrolsignals
OriginalMS20HADSRandDARenvelopes,plus
fouradditionalmultistageEGs

AMSmodulationofalloriginalMS20parameters,
alongwithfourAMSMixers
ExternalSignalProcessor,withdedicatedfilters,
triggering,andaudiotoCVconversion
AccesstoallstandardEXiProgramfeatures,
includingtheCommonLFO,CommonStep
Sequencer,KeyTrack1&2,KARMA,EQ,and
effectsaswellaslayeringwithanyotherEXi
(includingusingtwoMS20EXstogether!)

MS-20EX uses EXi fixed resources


TheMS20EXtakesupaverysmallamountof
processingpower,evenifyourenotplayinganynotes
onthekeyboard.Thisamountisaround1/12thatof
theCX3,butifotherEXiareusinglargeamountsof
fixedresources,thenumberofMS20EXthatyoucan
loadmaybelimited.EachEXiineachProgramcounts
towardsthemaximum;forinstance,aProgramwith
twoMS20EXscountsastwo,notasone.
Formoreinformation,seeCX3&otherEXi:
LimitationsonEXifixedresourcesonpage 420.

MS-20EX Overview
EG 3--6
LFO1
LFO1
LFO1

AMS
Mixer
1-4
LFO1
LFO1
LFO1

LFO 1-4
LFO1
LFO1
LFO1

VCO 1
VCO
Mixer

HPF

LPF

VCA

Noise

S&H

MVCA

Mixer 1

MG

EG1

EG2

Mixer 2

EQ

VCO 2

External Signal Processor


Audio
Input

Amp

HPF &
LPF

Audio-toCV

Env
Follower

Legend
Audio, per-voice

Audio,
per-Program

Modulation

Audio
Modulation

295

EXi: MS-20EX

Unsupported EXi Common parameters

Alloftheothervoiceallocationoptionsarefully
supported,includingMono,MonoLegato,Unison,etc.

TheMS20EXsupportsalloftheEXiCommon
parameters,exceptfortwoofthevoiceallocation
options:PolyLegatoandMonoMode(Normal/Use
LegatoOffset).

On-screen knobs and switches and the Parameter Details area


Parameter Details
TheLCDdisplaysincludegraphicknobsforallofthe
mainMS20EXparameters.Theseletyouviewand
editparametersquicklyandeasily.
YoucanprogramanyoriginalMS20soundusingonly
theseknobs.Ifyouwantmoreflexibilityandcontrol,
however,theMS20EXoffersfouradditionalEGsand
LFOs,fourAMSmixers,accesstotheEXiPrograms
CommonLFO,CommonStepSequencer,andVector
features,andAMSmodulationforalmostevery
originalMS20parameter.
Theentrywaytotheseadvancedfeaturesisthe
ParameterDetailsarea,locatedinthelowerrighthand
partofthescreen.Thisshowsinformationforthe
selectedknoborswitch,includingitsparametergroup
andparametername,itsexactvalue,anditsAMS
assignments:
ParameterDetailsarea

Editing on/off switches


Toeditanon/offswitch,suchastheMGKEYSYNC
button,simply:
1. Touchtheswitchtotogglethevalue.

Assigning AMS modulation


MostparameterssupportmodulationviaAMS.
SourcesandintensitiescanbeeditedintheParameter
Detailsarea:
1. Touchtheknob.
IftheparametersupportsAMSmodulation,the
ParameterDetailsareawillshowoneormoreAMS
sourcesandintensities.
2. EdittheAMSsettingsintheParameterDetails
area.
Note:thegraphicknobsalwaysshowtheirstored
value.AbsoluteToneAdjustsettingseditthesevalues,
justasifyouwereeditingtheparametersthemselves,
andsothegraphicswillshowtheresults.However,
AMSmodulationdoesnoteditthestoredvalue,andso
thegraphicsdonotincludetheresultsofAMS.
NotealsothatAMScansometimesmodulate
parametersoutsidetherangeofthestoredvalues,asif
youwerepushingtheparameterbeyondtheendsof
theknob.

Using the graphic parameters


Editing knobs
Toeditknobs:
1. Touchtheknob.
Ayellowsquarewillappeararoundtheknob,showing
thatithasbeenselected.TheParameterDetailsarea
willchangetoshowthenameandvalueofthecurrent
parameter,alongwithotherrelatedinformation.
2. Useanyofthedataentrycontrolstoeditthevalue.
Youcanusethevalueslider,theinc/decbuttons,the
rotarydial,orthenumerickeypad.
Asyoueditthevalue,noticethatthegraphicknob
moves,andthatthevalueintheParameterDetailsarea
changesaswell.

296

EXi Program P0: Play 01: Main

EXi Program P0: Play


01: Main

01b

ThisisthemainpageofProgrammode.Forafull
descriptionofthispageandallofitsfunctions,please
seeEXiProgramP0:Playonpage 165.Thissection
describesonlytheoverviewdisplay,whichdiffersfor
eachindividualEXi.

Patch Panel
ThissectionshowsaminiatureoverviewofthePatch
Panel,withitscablesandjacks.Touchthisareatojump
directlytothePatchPanelpage.

EGs and LFOs

01b: Overview and Page Jump

EG 36 Graphics

Thispartofthepageshowsanoverviewofthemost
importantsettingsfortheProgramstwoEXi
instruments.Thespecificparameterswillvary,
dependingonwhichEXiarebeingused.Thespecific
parametersfortheMS20EXaredescribedbelow.

TheseshowtheshapesofthefourmultistageEGs.
Touchanyofthemtojumpdirectlytothe
correspondingeditpage.

Thegraphicsgiveyouaquickwaytocheckallofthese
settingsataglance.Theyalsoletyoujumpinstantlyto
anyofthedisplayedparameters.Justtouchoneofthe
sections,andyoulljumptothepagecontainingits
parameters.Forinstance,ifyoutouchtheFilter
graphic,youllgototheOscillatorandFilterpage.

Theseshowthewaveformsandshapesofthefour
LFOs.Touchanyofthemtojumpdirectlytothe
correspondingeditpage.

Tip:PressingEXITseveraltimeswillalwaysbringyou
backtothispage.

ThisshowsthekeyzonesforEXi1andEXi2,asseton
theCommonsectionsProgramBasicpage,inrelation
totheentireMIDInoterange.Therangeofthe61,73,
or88notekeyboardisalsoshown,asappropriate.

Oscillators and Filters


ThissectionshowsthewaveformsforOscillators1and
2,andthecutofffrequenciesfortheHighpassand
Lowpassfilters.Touchthisareatojumpdirectlytothe
Oscillators&Filterspage.

MG/EG/Mod
Thissectionshowsthewaveformandfrequencyofthe
MG,andtheAttackandReleasetimesforEGs1and2.
TouchthisareatojumpdirectlytotheMG,EG,&
Modulationpage.

LFO 14 Graphics

Key Zone
Key Zone

PressthisareatojumptotheProgramBasicpage.

Common
Thegraphicsalongtherightsideofthescreenshow
themostimportantCommonparameters,whichare
sharedbybothEXiintheProgram.Thissectionwill
alwaysshowthesameparameters,regardlessofwhich
EXiarebeingused.

297

EXi: MS-20EX

Common Voice Assign Mode


ThisshowsthevoiceassignmodeoftheProgram
eitherPOLYorMONO.
PressthisareatojumptotheProgramBasicpage.

Common Step Sequencer


ThisshowsagraphicoverviewoftheCommonStep
Sequencer.
PressthisareatojumptotheCommonStepSequencer
page.

Common LFO Graphic


ThisshowsthewaveformoftheCommonLFO.
PressthisareatojumptotheCommonLFOpage.

3 Band EQ Graphic
Thisshowsthemidsweepable3bandEQ.
PressthisareatojumptotheEQpage.

IFX, MFX/TFX
PresstheIFXareatojumptotheIFXRoutingpage.
PresstheMFX/TFXareatojumptotheMFXRouting
page.

KARMA GE Name
ThisshowsthenameoftheselectedKARMAGE.
PressthisareatojumptotheGESetup/KeyZones
page.

298

Program P4: Oscillators & Filters 4-1: Oscillators & Filters

Program P4: Oscillators & Filters


4-1: Oscillators & Filters
41b

41c

41d

41e

41PMC

41a

41f

PW

4-1a: Oscillators
VOLTAGE CONTROLLED OSCILLATOR 1
WAVE FORM

[0.0010.00 (50%0%)]

ThisadjuststhepulsewidthwhenOscillator1s
WaveformissettoSquare/Pulse.

ThissetsthebasictimbreofOscillator1.
(TriangleWave):Thisisaverybasicwaveform
withfewharmonicsandasoft,roundedtonecolor.
YoucancreateasinewavebyprocessingtheTriangle
WavethroughtheLowpassFilter.TheoriginalMS20
manualnotesthatTrianglewavesareexcellentfor
flute,vibesandothersucheffects.
Note:TheTriangleisalittlemorecomputationally
intensivethantheotherwaveforms,sousingitwill
resultinslightlylowerpolyphony.
(Sawtooth):Thisisthefoundationofthe
traditional,buzzyanalogsynthsound.Theoriginal
MS20manualdescribesitthisway:Awaveformrich
inalltheharmonics,andoneofthemostusefultothe
synthesist.Usedforstring,brass,voiceandother
harmonicallyrichsounds.
(Square/PulseWave):Thisisavariable
waveformshape,whosetimbredependsuponthePW
setting,asdescribedbelow.

0.00producesasquarewave.Increasingthevalue
producesnarrowerpulses,untilat10.00thepulseisso
narrowastobesilent.
TheoriginalMS20didntsupportpulsewidth
modulation,exceptbysweepingtheknobmanually.
WiththeMS20EX,however,youcanmodulatePWvia
AMS.TryusingamediumspeedtriangleLFO,ora
sweepingEG.

More on Pulse Width


Pulsewaveformsaresimple,rectangularshapes.The
PulseWidthsetsthepercentageofthewaveformspent
intheupposition.Afewexamplesareshowninthe
diagrambelow.Notethatasquarewaveisjustapulse
wavewithPW/PWMsetto0.00.
Thewidthcontrolsthetimbreoftheoscillator,from
pureandhollowat0.00(asquarewave)tothin,reedy,
andnasalathighersettings.
Atthemaximumsettingof10.00,thePulsewavewill
besilent,sincethiseliminatesthepulsealtogether.
Pulse Width = 0.00

Pulse Width = 5.00

Pulse Width = 9.00

(WhiteNoise):Thisisanunpitchedsound,
containingequalamountsofallfrequencies.The
originalMS20manualsuggestsusingthisforwind,
surf,gunshot,percussion,andothersucheffects.

299

EXi: MS-20EX

SCALE

[32, 16, 8, 4]

AdjuststhepitchofOscillator1instepsofanoctave.
Witheachhalvingofthefeetvalue,thepitchgoesup
oneoctave.Forexample,4isoneoctavehigherthan
8,and16isoneoctavelowerthat8.

VOLTAGE CONTROLLED OSCILLATOR 2


WAVE FORM

, RING]

Now,theselectedswitchwillenableanddisable
Portamento.ItwillalsosendtheMIDIPortamento
controller,CC#65.
EvenifyoudontassignSW1/2toPortamento,you
canstilluseMIDIController#65toturnPortamento
onandoff.

FINE TUNE

ThissetsthebasictimbreofOscillator2.

FINE TUNE

(Sawtooth):Thisproducesthetraditional,buzzy
analogsynthsound.Formoreinformation,seeWAVE
FORMonpage 299.

Thisadjuststhepitchoftheoscillators,instepsof1/5
ofacent(foratotalrangeof+/1semitone).

(SquareWave):Thisisahollowsounding
waveform,containingonlyoddnumberedharmonics.
TheoriginalMS20manualnotesthatthisisusedto
simulatereedinstrumentsandotherclosedpipe
sounds.

EachoftheFREQUENCYMODULATIONcontrols
affectsbothVCO1andVCO2.

(PulseWave):Thisisarelativelynarrowpulse
waveform,withanasaltonequalityandstrongupper
harmonics.TheoriginalMS20manualsuggeststhatit
beusedtosimulatedoublereedinstruments(e.g.,the
oboe)andcertainpluckedstringsounds(e.g.,
harpsichordandclavinet).
RING(RingModulator):Thissettingcombinesthe
twoVCOstocreatesumsanddifferencesofalltheir
harmonics,creatingacomplextone.TheoriginalMS
20manualdescribesitthisway:Theresultisa
clangorous,metallicsoundwhichisusefulforgong,
chimeandothersucheffects.VCO1andVCO2
SCALE,PITCH,andPWallaffecttheresultingsound,
andshouldbeusedjudiciouslytocreatethedesired
effect.

PITCH

[12.00+12.00]

ThisadjuststhepitchofOscillator2upanddownby
oneoctave,inonecentsteps.Youcancreatethicker
soundsbymovingthisslightlyawayfrom0.00,sothat
thetwooscillatorsbeatagainstoneanother.

SCALE

[16, 8, 4, 2]

ThisadjuststhepitchofOscillator2instepsofan
octave.Notethattherangeisoneoctavehigherthan
thatofOscillator1.

PORTAMENTO
TIME

[0.0010.00]

Thiscontrolstheamountoftimeittakestoglidefrom
onepitchtothenext.
ThisisscaledbyMIDICC#5.Youcanalsoenable
anddisablePortamentousingMIDICC#65
(PortamentoSwitch).

Assigning SW1 or SW2 to Portamento On/Off


Youcanusethetwoassignableswitches,SW1and
SW2,toturnportamentoonandoff.
Todoso:
1. GotoProgrampage18,ControllerSetup.
2. UnderPanelSwitchAssign,seteitherSW1orSW2
toPortamentoSW(CC#65).

[5.00+5.00]

FREQUENCY MODULATION

MG/T.EXT

IfnothingisconnectedtothepatchpanelsTOTAL
inputjack,thisadjuststhedepthofpitchmodulation
fromtheMGsTriangleWave.
IfacableisconnectedtotheTOTALinputjack,this
controlsthedepthofpitchmodulationfromthat
signal.
Formoreinformation,seeTOTALinputjackon
page 309.
ThisisscaledbyMIDICC#77.

EG1/EXT

[0.0010.00]

IfnothingisconnectedtothepatchpanelsFREQjack,
thiscontrolsthedepthofpitchmodulationfromEG1.
IfacableisconnectedtotheFREQjack,thiscontrols
thedepthofpitchmodulationfromthatsignal.
WithnothingconnectedtotheFREQjack,try
increasingtheEG1/EXTvalue,andthenplayanoteon
thekeyboard.Noticethatthepitchofthenoterisesand
fallscorrespondingtoEG1sDELAY,ATTACK,and
RELEASEcontrols.
WiththenormalledconnectiontoEG1,thepitch
alwaysstartslow,risestotheplayednote,andthen
fallsagainonrelease.ThesettingoftheEG1/EXTknob
determinesthelowpointofthismodulation,whilethe
highpointstaysconstant.
Youcancreateadifferenteffectbymanuallypatching
theEG1OUTjackintotheFREQjack.Inthiscase,the
pitchwillstartattheplayednote,riseuptothe
EG1/EXTsetting,andthenfallbacktotheplayednote.

VCO Mixer
ThismixercontrolsthelevelsofthetwoVCOsintothe
HighpassFilter.
Notethatbothfilterswillshowsomeamountof
saturationandoverdrivewhentheirinputlevelsare
high,andPEAKsettingsaremoderateorhigh.Youcan
controltheresultingtonebyrasingorloweringthe
VCOlevelsinthismixer.

VCO 1 LEVEL

[0.0010.00]

ThisadjuststhevolumeofOscillator1.

VCO 2 LEVEL
ThisadjuststhevolumeofOscillator2.

300

[0.0010.00]

[0.0010.00]

Program P4: Oscillators & Filters 4-1: Oscillators & Filters

4-1b: High Pass Filter

Formoreinformation,seeTOTALinputjackon
page 309.

HPF

EG2/EXT

Thisfiltercutsoutthepartsofthesoundwhichare
lowerthanthecutofffrequency.Youcanusethisto
maketimbressoundthinnerormorebuzzy,orto
enhancebasssounds(seeUsingtheHPFasasub
oscillatorforbasssounds,below).

IfnothingisconnectedtotheHPFsCUTOFFFREQ
inputjack,thisadjuststhedepthtowhichEG2will
modulatethefiltercutofffrequency.

FREQUENCY

[0.0010.00]

IfacableisconnectedtotheHPFsCUTOFFFREQ
inputjack,thiscontrolsthedepthofmodulationfrom
thatsignal.

ThiscontrolsthecutofffrequencyoftheHighpass
Filter.

4-1c: Low Pass Filter

PEAK

LPF

[0.0010.00]

Peakcontrolstheresonanceofthefilter,which
emphasizesthefrequenciesaroundthecutoff
frequency.
Whenthisissetto0,thereisnoemphasis,and
frequenciesbeyondthecutoffwillsimplydiminish
smoothly.
Atmediumsettings,theresonancewillalterthetimbre
ofthefilter,makingitsoundmorenasal,ormore
extreme.
Atveryhighsettings,theresonancecanbeheardasa
separate,whistlingpitch.Nearthemaximumsetting,
thefilterwillselfoscillate.

PEAK and filter saturation


Iftheinputlevelishigh,raisingthePEAKsettingwill
causeincreasingamountsofsaturationandoverdrive,
creatingamoreaggressivetone.Tocontrolthis,raise
orlowertheinputlevelatthesourceforinstance,in
theVCOMIXER.

Using the HPF as a sub-oscillator for bass sounds


WithPEAKsetrelativelyhigh,andFREQUENCY
turneddownlow,theHPFcansomewhatcounter
intuitivelybeusedtoenhancelowendharmonics,
creatingthunderouslydeepbasssounds.Todoso:
1. Startwithasimplebasssound.
2. OnthePatchPanel,connecttheKBDCVOUTto
theHPFCUTOFFFREQinput.
ThisallowstheHPFtotrackthekeyboard.
3. SettheHPFPEAKtoaround7or8.
4. SettheHPFFREQUENCYverylow,butnotquite
at0.
5. SettheEG2/EXTknobtoabout5.
6. Whileplayingthesound,adjusttheFREQUENCY
andEG2/EXTsettingssothatthefilterresonance
tracksthepitchcorrectlyintheintendedplaying
range.
Withthissetup,theresonancewillonlymatchthe
oscillatorpitchesoveraboutoneandahalfoctaves.

CUTOFF FREQUENCY MODULATIO