PROGRAMMABLE POLYPHONIC SYNTHESIZER OWNER’S MANUALPOW-800n MAJOR FEATURES into an 8-voice, 64-program memory programmable polyphonic synthe- sizer. Delay settings can be stored in memory along with programmed sounds. Chorus, flanging, short and long delays... many kinds of stereo digital delay effects are possible. ] Digital delay (1024ms maximum) built Programmable equalizer_facilities are also built into the POLY-800Z. You can adjust bass and treble res- ponse independently and store these EQ settings with particular sounds in the 64-program memory. CSThank You and congratulations on your choice of the KORG POLY-800II. To obtain optimum performance from this advanced instrument, please read this manual carefully before operating. which can be set for repeated or “one time” playback. The REPEAT mode performs arpeggios and automatic bass lines, Sequencer data can be transfer- red over MIDI, So you can sequence sounds on other synthesizers at the same time. 3 Includes a 1000-note sequencer lators (0CO1 & DCO2), the basic . sound sources, which can be used in a double mode to create an extra fat sound. This doubles up oscillator voice ee aoe kerbosesuiting in 4-voice polyphonic keyboard operation. 4 There are two digital-controlled oscil- Three digital envelope generator (DEG) modules provide independent contouring for DCO1, DCO2, and VCF & NOISE. Each DEG has six (ADBSSA) ad- justable parameters for extremely precise control. sound and sequencer data on 6 The tape interface lets you store cassette. only 45kg. Can be worn on stage using builtin strap pins. (With a good wireless transmitter this means you have total on-stage mobility.) ] Operates on AC or batteries. Weighs 3 meIMPORTANT SAFETY PRECAUTIONS BILOCATION To avoid malfunction do not use this unit in the following locations for long periods of time: In direct sunlight. © Exposed to extremes of temperature or humidity. © In sandy or dusty places. MINPUTIOUTPUT JACKS AND CONNECTION ‘CORDS Be sure to use standard “guitar” cables with phone plugs, such as the cable supplied with this instrument, for input and output connections to the rear pane! of the POLY-800I.. Never insert any other kind of plug into these jacks. MIPREVENTING ELECTRICAL INTERFERENCE ‘As a microprocessor based device, the POLY 4001 is extremely flexible in operation, yet may possibly perform erratically if exposed to elec- trical interference from other electrical devices and fluorescent lamps. Avoid operating the POLY 80071 near possible sources of interference. If something seems to be wrong, try turning off th power, waiting about ten seconds, them turning it back on. This resets the computer circuits to their initial state so performance should return to nor- mal. HANDLE GENTLY Knobs and switches are designed to provide positive operation with a light touch. Excessive force may cause damage. TEMAINTENANCE Wipe the exterior with a soft, dry cloth. Never use paint thinner, benzene or other solvents. IEKEEP THIS MANUAL Store this manual in a safe place for future reference. MIMEMORY BACKUP © To protect your programmed memory contents, the POLY-800I utilizes a built-in rechargeable backup battery power supply. Battery life is rated at five years or more, so replacement is recommended after five years. Contact your Korg dealer of authorized service center at that time. ® For maximum security, save your sound pro- grams on tape, using the built-in tape interface system. Then if memory contents are acciden- tally erased or altered, you can simply load the data back into POLY-800 internal memery in seconds! POWER SUPPLY © This unit uses six C-type (1.5V) batteries. The KORG 8V AC adaptor lets you plug into a wall socket. © To operate this unit on AC current, never use any AC adaptor other than the KORG AC 9V adaptor for your local AC voltage. Other types of adaptors may cause malfunctions or damage. © Malfunction or erratic behavior may result if the AC adaptor is plugged into a socket having less, than about 90% of the rated voltage or more than about 10% greater than the rated voltage. © The unit can operate on batteries for about three hours under typical conditions of use (Na- tional Hi-Top/SUM-2 DG batteries, play mode, 0~40 degrees C, 47kohm load, continuous use} Actual time will depend on kind of batteries us- ed and whether or not headphones are plugged in. Replace the batteries if the display darkens, if pitch becomes unstable, or if other erratic behavior occurs. © Battery replacement procedure: © Tum off the power switch. (Remove the AC adaptor from the wall socket if used.) ® Take the cover off the battery compartment in the bottom of the unit. @ Remove all the old batteries and insert six new C-type batteries of the same kind. Be careful to keep polarity (+ & —) correct for each battery. ® Snap the cover back on the battery compart. ment.CONTENTS FEATURES & FUNCTIONS 1 Front Panel 2 Rear Panel/Basic Settings BASIC OPERATION 1 Program Selection 2 Functions for Playing CREATING SOUNDS 1 The Setup 2 Elements of Sound Synthesis 3 Program Write USING THE SEQUENCER 1 Sequencer Operation 2 Sequencer Parameters 3 Writing Sequences TAPE INTERFACE 1 Saving Program Data on Tape 2 Verify Procedure 3 Load Procedure 4 Tape Interface Precautions MIDI 1 How MIDI Works 2 POLY-800II MIDI Features MIDI IMPLEMENTATION 1 Transmitted Data 2 Recognized Receive Data 3 Using System Exclusive Messages SPECIFICATIONS & OPTIONSFEATURES & FUNCTIONS L.Front PanelFEATURES & FUNCTIONS SS hi sii, BE —_—. TAT iP roaram Numer pispLay _—T_—_,_—¥!|!]— EPARAMETER NUMBER DISPLAY > T__,!_—.M!|,— mvatue dispLay __ mPARAMETER LIST Wo —_———— awrnre key —_—.WJ mvp key So own kev —_———_dJTS RM—§§§_< BPROGRAMIPARAMETER KEY (Determines whether number keys will be used to select program numbers or parameter numbers. BANK HOLD KEY —_———.JH_—!_!——\_—_—— NUMBER KEYS 1 ~2 (Keys 1 LOAD, 4 SAVE, 7 VERIFY and 8 CANCEL are also used for tape interface operations.) 2 > ——FEATURES & FUNCTIONS ). Rear Panel/Basic Settings TAPE (TAPE SWITC: SWITCH, FROM TAI PROGRAM UP JACK MIDI CONNECTORS (iN, OUT) | _} eee lee basic settings and con- eetFEATURES & FUNCTIONS MWRITE SWITCHES (PROGRAM WRITE SWiTcH SEQUENCER WRITE SWITCH OUTPUT JACKS (LEFTIMONO, RIGHT) IPHONES JACK MDCOV JACK STRAP PINBASIC OPERATION This section is meant to get you acquainted with the basic operating procedures of the POLY-8001. A menu of 64 sounds is supplied with the synthesizer. First let’s learn how to select a sound. l. Program Selection Program numbers The POLY-8001 can store up to 64 sounds or i ee programs” in internal memory. Each program has a number. The numbering system runs from 11 to Program setecnon . . The numbers “3” Sear program memory (4 tosh 1 “program number" is ‘| Regamnaraar — 1 used whenever a program is stored or retrieved. natecn Lf] fe ae Lf 2 swan Hn ]fe | amace Te ][e si~sarn Le fe narece Ln fe 1 i 1 \ i i 1 jseace EG ' ' 1 1 1 1 Program selection method The display initially appears as shown here after the power is turned on. This indicates that program number 11 is currently selected. In this state, you can play the keyboard. Adjust the volume to a suitable level.BASIC OPERATION Changing program numbers. Follow this pro- cedure to change program numbers. Press the number keys to select the program number (11 ~88) of your choice. »To select numbers that share the same left digit, press the BANK HOLD key. This holds the left digit so that only the right digit changes when your press the number keys. Press BANK HOLD again when you want to release the left digit. Example: Selecting program number 23. 2 Press SI mom. *-* appears un- me il right digt 1s selected. Program selec- tion completed. selecting programs that share the left BANK HOLD Cnty the right Press SE da digit now changes | when you press | ProGhaM No, the number keys, | Dot illuminates to | confirm bank hold status. + Delay sound is momentarily interrupted when program is selected. El Double mode and Whole mode Some program numbers appear with an illumi- nated dot in the parameter display. This indicates that the eight oscillator voices are used in the “double mode.” In the double mode each note is voiced by two oscillator circuits so you can play no more than four keys at the same time. IIIf there is no dot then you are in the “whole mode” and can play up to eight keys at once. In the whole mode each key played gets one oscillator voice. Example: Program number 11. PROGRAM NO. Ma VALUE ot indicates the double mode. Example: Program number 26 PROGRAM NO. PARAMETER NO. VALUE Na dint inninatas smeBASIC OPERATION ).Functions for Playing-t__ H Joystick The joystick lets you temporarily alter pitch and apply vibrato and wah-wah effects. MMoving the joystick left and right lowers and raises the pitch, The pitch bend range is determin- ed by the BEND slider control.(Maximum is a per- fect fifth up or down.) “Push the joystick up (away trom you) to add ‘ibrato. Vibrato is a cyclic pitch variation. the joystick down (toward you) to add wah- wah. Wahewah is a cyclic variation in tone color. Key Assign Mode There are three key assign modes on this instru- ment: POLY, HOLD, and CHORD MEMORY. These give you more flexibility to obtain the kind of sound that you seek. |The POLY mode is used for conventional polyphonic playing. Press the POLY key to select this mode. (The POLY mode is automatically selected when the power is turned on.) Adds vibrato Raises pitch ‘Sets max- imum pitch change. Adds wah-wah Note: Normally, you should not play anything on the | keyboard while switching key assign modes. PoLyBASIC OPERATION -eoooe Wf you select the HOLD mode then notes played will keep sounding indefinitely after the keys are released. Press the HOLD key to select this mode. HOLD An “H" appears in the parameter display when oye the HOLD mode is selected, H'" indicates HOLD moge. PARAMETER NO. Hin the CHORD MEMORY mode the synthesizer - Example: Chord memory operation. remembers a chord formation or interval and reproduces it for each single key played Memorized chord Note played Notes proaucea thereafter. (Once the chord has been memorized, Pye , you must play monophonically.) eo eo é eo Press the CHORD MEMORY KEY to select this mode. cHoRD MEMORY ‘The display shows the letter “C” to indicate tne C™ ingieate: CHORD MEMORY mode. CHORD MERO; node PARAMETER NOBASIC OPERATION Follow this procedure to use the chord memory. © Press the HOLD key to select the hold mode. i i a TE PARAMETER NO. Press | = Be coro MEMORY @ Play the desired chord on the keyboard. The sound will be held. Take your hands off the keyboard. @ Press the CHORD MEMORY key. The chord is now memorized, a | _ BE PARAMETER NO. A chord stays in memory until you go through the process of putting a different chord in memory. So if you are playing in the POLY mode, you can start using your stored chord formation by press- ing the CHORD MEMORY button. (However. if you switch to the CHORD MEMORY mode directly from the HOLD mode then you are going through the same steps as are used to put a chord into memory. So the chard will change to whatever was being played at the time you switched modes.) Program Up HW You can advance the program number one Anumber at a time with a foot switch connected to the PROGRAM UP jack on the rear panel. Note: When a chord containing five or more notes is memorized in the WHOLE mode (évoice polyphonic) and you then change to a program using the DOUBLE (4-voice polyphonic) mode, only the first four notes will be reproduced. However, the full chord will be restored whenever you return to the WHOLE mode.CREATING SOUNDS (How to make new sounds) This section covers the theory and practice of sound synthesis, describing how to create and store sound programs. l. The Setup EH How the POLY-800II is organized. Sound signais run through distinct circuits which we refer to as “modules”. Each module helps mold the sound in a particular way, modifying its pitch, its timbre, its dynamics, and'so on. —— Sound signal ——> Control signal R ver ea DDL L/MONO KEYBOARDCREATING SOUNDS — DCO: Digital Controlled Oscillator. OCO1 and 0CO2 give you a choice of waveforms which determine the essential pitch and timbre of your sound. These are sound source modules controlled by digital data. NOISE: White noise can also be used as a sound source, together with or independently of the OCOs. Noise is the basis for wind, wave, and electronic drum sounds. VCA, DEG: Voltage Controlled Amplifier and Digital Envelope Generator. These work together to control the changes in volume level which provide individual note articulation. That is, how each note attacks, decays, etc. DEG3 modulates the VCF cutoff frequency, affecting the way the timbre (brightness, etc.) changes over time. MIXER: Adjusts the relative volume balance of the DCO1, DCO2, and NOISE sounds while mix- ing them together. PARAMETERS & VALUES Each of the synthesizer’s modules has various “parameters” which affect the sound in particular ways. By setting the values of each parameter, you can create almost any sound that you want. To use this system, you choose a “parameter number” and then adjust that parameter’s “value.” BAIl available parameters are shown on a “para: meter list" covering the right side of the front panel. For example. if you want to adjust the VCF cutoff frequency, you select parameter number 31 and change its value. El THEORY & PRACTICE WOn this synthesizer, you do not start with a blank slate. Rather, you change or edit the current pro- grams. Use the program selection procedure to find a sound that is close to what you want. Then adjust the values of some of its parameters. By starting with a sound that is related to your desired sound, you diminish the number of parameters that you will need to adjust. (After VCF: Voltage Controlled Filter. Affects the timbre of the sound by removing overtones or har- monics. The VCF can be controlled by DEG3 to produce variations in the brightness of the sound as each note is articulated EQ: Equalizer. Final tonal control. DDL: Digital Delay. Applies delay effects including chorus, flanging, and echoes to the sound. MG: Modulation Generator. Used to produce cyclic pitch variations (vibrato) by modulating the DCO, or cyclic tonal variations (wah-wah) by modulating the VCF. Details concerning these modules will be found in the section on “the elements of sound synthesis.” Example: Some VCF parameters. 32 RESONANCE Q 15 I Value range is 0~98. Cutoff is parameter umber 31 Rae) Smet | Macc Cicer the program in roa Corea csCREATING SOUNDS —_—_— > @ Value Editing When you change parameter values, you change the sound. Here's how. @® Select a program that sounds similar to the one that you want to create. Use the program selec- tion procedure to do this. @ Press the PROGI PARA key to switch to parameter selection. The PARAMETER NO. display should show the currently selected parameter number (To switch to a different program, press the PROG/PARA key again) a) i. — appears in PARAMETER NO. Gisplay © Look at the parameter list and choose the parameter number that you need to adjust. (The VALUE display will show the parameter's current value.) + You can press the BANK HOLD key to keep the left digit from changing. This is useful when you want to adjust several related parameters. All of the VCF parameters, for example, start with “3”. When SANK HOLD is on, only the right digit changes when you press the number keys. To release the left digit, press the BANK HOLD key again. Example: Selecting VCF CUTOFF, parameter number 31. == in right digit PARAMETER NO. until you press a second 1 number key. Press gga cami. PARAMETER NO. Example: When you want to select parameter number 30. Now only the BANK HOLD Press —emmemey =a right digit EE} changes when PARAMETER NO. you press a number key. Oot illuminates to con- firm BANK HOLD is on.CREATING SOUNDS © Press the UP or DOWN key to raise or lower the value of the selected parameter. If you keep either key depresses, the value will increase or decrease rapidly. ‘The current value is shown in the VALUE display. It changes along with the sound, as you press the VALUE DOWN and UP keys. When the value is changed from the recalled value, then a dot ap- pears in the lower right hand corner of the display. The dot will go out if you return to the original (stored) value while editing. DOWN UP ER VALUE Dot (Indicates change trom stored value.) ‘Repeat steps D and © above, calling other parameters and adjusting their vaiues. (If you want to return to the original sound and cancel all of your changes, simply press the PROG/ PARA key and then select the same program number again.) Instructions for storing your edited sound are found in the “Program Write” section.CREATING SOUNDS «Elements of Sound Synthesis (Parameters and their Values) MI 001, Dco2 Bea Fiecacrs Pelee) ri |: A: Each DCO can produce mixed outputs combining square wave harmonics of different “feet”: 16°, 8", 4", and 2’. (Each shorter foot number is T-octave higher than the previous one. 8° is an octave above 16°, 4° is another octave higher, etc.) Use this parameter to select the basic overall piten range of your sound. UR Se eC ate) Cio lefoS Lloro e ies in the “double” mode, DCO1 and DCO2 are Dee Ricle umn eRrtac tee be er Cau aera function (no value display) when in the aS ele CEL Cetra oie number 18 (DCO) is set to a value of “1”. value | OCTAVE i LOW (one octave below midcte} 2 MIDDLE 3 HIGH (one octave above micdle}CREATING SOUNDS = es WAVEFORM This parameter selects the actual levels of the in| = ——vai gg dividual squarewave harmonics that are added VALUE WAVES Orn mods together. } TH 2 N This helps determine the shape (and basic tone color) of the waveform produced by mixing the di ferent harmonics in parameters 13 ~ 16 (and 23 ~ 26). At VALUE 1( 7 ), the 16’ ~2’ harmonics are mixed at the same level, so you have a richer overtone structure. 16’ 8 4 2 “Ab | I+] IF LUUU = AT VALUE 2 (1% ), the 8’ harmonic is mixed at half the level of 16°, 4” at 1/4 the level, and 2’ at 1/8 the level. These ratios result in a stepped sawtooth waveform. 16 8B 4 2 +H LIF pupurun Fraaanannn = Select the waveform according to the kind of timbre characteristics you want.CREATING SOUNDS Bs ae) ye SEES zarwonics 16’ ~2" These parameters let you switch each of the in- dividual squarewave harmonics on or off. Together with the WAVEFOAM value (which controls the mix ing ratio) your choice of harmonics helps determine the resulting waveform and timbre. Turn each of these on or off according to the kind of timbre you want. For example, if you set the WAVEFORM to 2( \.) ang turn off the 8° parameter while leaving the other harmonics on, you will get the kind of waveform shown nere. 16’ 8 VALUE 1s | a’ a 2 a ofr | OFF on | on | oN | on oF | oF NOTE: If the 2’ harmonic is used at the OCTAVE “HIGH” setting, then the highest octave will be ! voiced at the same pitch as sounds one octave lower. 2 Plt tnnnntomemel hn a SR even Sets the maximum volume level for each DCO. This lets you adjust the balance between OCO1 and C02, It is also useful for adjusting volume to match other sounds (so volume stays the same when you switch to other programs). VALUE DCO Volume level g Silent (no output from DCO) MaximumCREATING SOUNDS MODE ie Paes a eeers ES eee Semen OOM Taxon eine) Met en enn MER UP Ure} 7 geese so SEB pco You can choose between the WHOLE mode and the DOUBLE mode. This is an 8-voice synthesizer. There are four voices in DCO1 and another four voices in DCO2. When you select the WHOLE mode, the four voices in 0CO2 are put under the control of the DCO1 set- tings. In this mode you can play up to eight keys at once. However, the DCO2 parameters, the DEG2 (FOR OCO2) parameters. and the 28 INTERVAL and 38 DETUNE parameters have no effect. If you select the DOUBLE mode then four voices are under the control of DCO1 and the other four voices are under the control of DCO2. When a key is played, you get the sound of 2 voice each from DCO1 and C02. That is, two voices sound for each key played. This produces a fatter sound. (But a max- imum of only four keys can be played at once.) VALUE DCO mode ' (e-voice ; WHOLE polyphonic) (device e DOUBLE oiyahonic) Example: In whole mode. Eight voices are under control of DCO1. Example: In double mode. DCO1 controls four voices; DCO2 controls another four voices. ER SSSEAG Up to four Ba keys can ve played together.P=) This lets you transpose or “offset” the pitch of C02 so that it sounds at a constant interval above OCO1. The value range covers a full octave in semitone steps. This is effective in the DOUBLE mode since it gives you harmonies between the notes produced by the two oscillators. However, this paramter has no effect when in the HOLE mode (18 DCO set to 1). SEED petune For fine adjustment of DCO2 pitch. By setting slight pitch differences between the two oscillators in the DOUBLE mode, you can cause beating between the frequencies, thereby creating a fatter Sound. This parameter has no effect when parameter “18 DCO" is in the WHOLE mode. CREATING SOUNDS VALUE DCO2 pitch difference g No difference (Adjustable in T I semitone steps) f2 One octave higher Example: Assuming the same basic settings for DCO1 and DCO2, we get the result shown here if the INTERVAL value is set to "7". Note played Notes produced = | —_ Sound of C02 — Sound of DCOt Js L— A perfect Sth (7 semitones) in- terval is produced. VALUE, DCO2 detuning 2 None (same pitch) 3 Maximum detuningCREATING SOUNDS EINOISE fas 37 leven id MB LeveL White noise volume adjustment. Wver fg 5) casas ete) cae eee cee ies Pees coe Ric ay eS oO RAT ELEC Te REE RS MLE tet ciate trols the volume of this noise. VALUE NOISE level ee evel No noise produced I Maximum noise volume 1 rere Aero The vottage controlled tilters remove or cg PUES rw aK ieee Ceca ele Cn Pee emu Cece Ce acict lor Se re uaa eae es PORN ne eM amc m teen Pree ues ac Rell hola at Netceera ris CMs Eee ye Mele ercuirecuie eel a eee ae CR es -1 teli CUTOFF This determines the cutoff frequency of the low-pass filter. The higher the cutoff frequency, the brighter the sound. At the highest value, “99", all harmonics contained in the DCO1, DCO2 and NOISE waveforms are passed. The lower the value, the more harmonics are cut off, so the sound becomes progressively rounder or less bright. NOTE: : In some cases you may not hear any sound if this parameter's value is at or near “0”. =) 23 RESONANCE This parameter emphasizes the harmonic: cutoff frequency, producing a characteristi bandpass, or wah-wah type of sound. The higher the value, the higher the resonance peak and the more obvious the effect. At or near the maximum value, "15", you get a self-oscillation effect at the cutoff frequency. This produces a pure sine wave, which acts as an extra pitch or sound source and can be used for special effects. CREATING SOUNDS VALUE TIMBRE a Dull or rounded I I 99 Bright, unchanged timbre Effect of cutoff frequency on low-pass fitter operation. I Frequencies lower | than cutoff frequency | are passed. ! ' ! t Frequency Cutotttrequency Value, ————_____. 3F VALUE EFFECT None I I Ringing “peaky” sound. / ‘Harmonics near cutoff frequency are emphasized, Volume + FrequencyCREATING SOUNDS be BES kp TRACK Keyboard tracking affects how the cutoff frequency changes as you play notes higher or lower on the keyboard. At higher values (1 of 2) cutoff rises with keyboard pitch, increasing total brightness as is characteristic of most musical instruments. : NOTE: Thisis the parameter toadjust if you want the same brightness from low notes as high notes when you ‘play the upper and lower octaves of the keyboard at the same time. POLARITY Determines how the cutoff frequency is affected by DEGS. You can choose a normal (VALUE 2) polarity, so that brightness increases in proportion to volume {as with most_musical instruments); or inverted polarity (VALUE 1) for special sounds where you want the opposite effect. aE; EG INT This “EG intensity” parameter's value determine the degree to which OEG3 affects the cutoff frequency The higher the value, the more obvious will be the change in timbre VALUE Keyboard tracking effect 1%: No change in cutott ag ore (0%: No change i frequency} é HALF (50%) 2 | FULL (100%: Maximum tracking) | VALUE | _Effect on DEGS envelope ‘ | Wa cutott frequency is swept down during the attack por- tion of the envelope. lessen- ing the inital brightness of the sound. 2 Po Cutott frequency is swept up during the attack portion of the envelope. so. the sound first becomes bright er belore it returns 10 normal VALUE _|Intensity of DEG3 effect on VCF a No modulation (No change in timbre) I Maximum modulation *“2+EI triccer Selects thé kind of trigger used for DEG3 modula- tion of the VCF cutoff frequency. At value "1" (single trigger) DEG3 is triggered by the first note played and no new envelope is generated until all keys are released and a new “first key” is played. At value "2" (multiple trigger) DEGS is trig- gered with each key played, so you get a new envelope (attack, decay, etc. cycle) for each note. DEG, DEG2 eeku CREATING SOUNDS VALUE TRIGGER é SINGLE 2 | MULTI E Tt Seer oi] Rae tea ears rene ee Ma a= aes rrp leoni Sao ia |= In the DOUBLE mode DEG1 controls DCO1 while DEG2 provides independent control over Dco2. In the WHOLE mode, all voices are under the control of DEG1. In this case, DEG2 parameter Ste MUC Mra) neve eed Beier BCR ema iC me CULL Romaeeneints cuca era asCREATING SOUNDS D t CE EB ence Controls how long it takes for the volume to rise from zero to its maximum level after a note is played on the keyboard. & ; BUBAS DECAY (Rate) Determines how long it takes for the volume to fall from its maximum attack level to the break point level. i) Dae LS ’ Ed BREAK P. (Break Point Level) Determines the level at which volume stops dropping during the decay. If this is set to the same value as the sustain level, then the envelope becomes a conven- tional ADSR type (as if it had no break point or slope parameters). = FE en Determines how long it takes for volume to change from the break point level to the sustain level. Note that if the break point is lower than the sustain level, then the slope functions as a second attack. If the break point is higher than sustain, then slope func- tions as a second decay. VALUE Attack time ag Short I I 3i Long VALUE Decay time a Short zi Long VALUE Break point level & ° zt Max. VALUE | Slope time Short a I q 3! Long ‘Second Decay Second Attack Volume —=75 ue , EEF sustain (Level) Determines the level at which volume is held after the attack, decay, and slope phases are completed, for as long as the note is held down on the keyboard ycecer A 5 RELEASE (Rate) Determines how long it takes for the sound to fade away after you release the note on the keyboard. pecs Prete) Cope oem CREATING SOUNDS vALUE | Sustain level — ev; g ° 3! Max VALUE Release time a Short zi Long The timbre or tone color and noise level can also be varied dynamically over time. This is the job of isecs DSpace a Nemeteimis nmr anecue ear POLARITY and 35 EG INT parameters. (See sec- PRCA eee serio) DEG3 also adjusts the noise level dynamically. (The DEG3 output voltage fluctuations: are con- Peete ere eee) Pec oti ae re cl CMC oo Ma oe meters as shown here. Deru eyCREATING SOUNDS Em ATTACK (Rate) The parameter controls how long it takes for the DEG3 output voltage to rise from zero to its maximum level. a DECAY (Rate) This parameter controls how long it takes for DEG3 output voltage to fall from its maximum level (after an attack time) to the break point level. aes} pe LURES BREAK P. (Break Point Level) This parameter determines the DEG3 output voltage after the decay time. If this is set to the same value as the sustain level, then the envelope becomes a con- ventional ADSR type. par] De ‘SLOPE (Rate) This parameter controls how long it takes for the DEGS output voltage to change from the break point level to the sustain level. , pa EES sustain (Level) This parameter determines the DEG3 output voltage after the slope time. VALUE Attack ti o | Shor zt Long VALUE Decay time a ‘Short wo Long VALUE Break point level &g 0 3: Max. VALUE Slope time 8 Short ji Long VALUE Sustain level a ga= RELEASE (Rate) This parameter determines how long it takes for the DEGS output voltage to fall to zero level after the note is released on the keyboard. DIGITAL DELAY Pree Fa Ma 0 --99 eae) N00 Ire Pa Lae eer) ve oS SBE tie The value of this parameter determines the delay time. Smaller values produce shorter delays, suitable for chorus. flanging, and doubling effects. Larger values Produce longer delays, up to a maximum of about s024ms. ee ba G FEEDBACK Controls how much (if any) of the delayed sound is sent back into the input of the delay circuitry. With longer delay times, feedback determines the ‘dumber of times that the echo is repeated. Short delay times and a high feedback level are used (with modulation) to produce flanging. CREATING SOUNDS VALUE Release time a Short Long Dear eee Ren) Peco kce set ark eee aiies BU cue n ue meso ke soc ef RUCweten eine Soe suc mu aod Pubes rae Sue ee gion ce VALUE Delay time a Short 99 Long (About 1024ms) Feedback level No feedback MaximumCREATING SOUNDS = MOD FREQUENCY This controls the frequency (cycles per second) of the low frequency oscillator which can be used to modulate the delay time. Modulation is used for chorus and flanging effects. Hz MOD INTENSITY Determines the depth to which the delay 1@ will be affected by the low frequency oscillator (MOD. FREQUENCY). When this value is “0”, there is no modulation of the Gelay time. Adjust the value as necessary for chorus, flanging, and related effects. MAES erect Leven This controls the volume of the digital delay sound in the output mix. (The signal from the digital delay is mixed with the normal synthesizer signal in the out- put.) When this value is "0", no delay is heard. VALUE Modulation frequency 3 Slow 3 Fast VALUE, ‘Modulation depth a No modulation 3 Deep VALUE Delay effect volume a No delay effect a (digital delay not used) I I 5 MaximumBea iS} once rears or me TREBLE Provides boost or attenuation in the high frequency range around 2kHz. Values above "0" boost the treble response. Values below “0” (with a minus sign to the left of the number) attenuate the response. At “0” there is no change. Ll sass Provides boost or attenuation in the low frequency range around 3002, Values above “0” (with no“ response, Values below “0” attenuate the response. At “0” there is no change. sign) boost the bass CREATING SOUNDS Sek ere er es tone controls which can be used to “fine tune” icctia Be ge Re ue aged Rue snr aR ais ga Pees ee 4 VALUE Equalization -6 Reduced treble (minimum) g No equalization applied Elevated treble response & (maximum) VALUE | Equalization -5 Reduced bass (minimum) a No equalization applied | Elevated bass response § | (maximum)CREATING SOUNDS EMG Beemer leet ee Boers toe Teaco oh me er Re Sree eno mre ae La te eo ee Ey CCIE eRe Mosc UCM aes Thad effects. Ui FRea Adjusts the speed of the vibrato or wah-wah effect. This parameter’s value also determines the speed of the OCO and VCF modulation effects produced when moving the joystick. (See section on joystick.) LEEES petay Determines the amount of delay following key depres- sion prior to the onset of vibrate or other modulation effects. At0, there is no delay, and modulation begins immediately when the first note is played. The higher the value, the longer the delay. o ES 00 (vibrate depth) Controls the amount of pitch variation in the vibrato ef- fect (that is, the depth of frequency modulation). a IEEE vcr (fitter mod depth) Controls the depth of cyclic filter mod effects (that is, the depth of VCF cutoff frequency modulation). VALUE Speed of vibrato or filter mod & Slow is Fast VALUE Delay time 3 None: modulation effect starts 1 immediately is Long delay VALUE Vibrato depth g No effect 1S Deep VALUE Filter mod depth g No effect tT | I3. Program Write CREATING SOUNDS (Putting sounds into programmer memory) Hl Program write procedure Follow this procedure to store edited sounds in memory. D Create a sound (as described in the previous sec- tion of this manual) 2 Set the rear pane! PROGRAM WAITE switch to the ENABLE position. 3 Press the WRITE key on the front panel. The PROGRAM NO. display will start flashing. pocram = -OUTP nuswosias Ff scone = © a i Zz PROGRAM NO. whe @ Use the NUMBER keys (1 ~8) to select a 2-igit number under which to store your sound. When you input the second (right) digit of the number, the previous data stored under that pro- gram number is erased and replaced by the new sound data that you have created. x The previous contents of a program number are not erased until you specify the right digit of the number. If you make a mistake in the left digit (and have not yet selected the right digit) then you can start over by pressing the WRITE key again. Or you can cancel the procedure by returning the rear panel PROGRAM WRITE switch to the DISABLE position, Example: Storing your sound under program number 34 3 wa ine Press = dicates waiting = EB for right digt PROGRAM NO, input Program write | 4 rotten BR] OF= PROGRAM NO.CREATING SOUNDS © Return the PROGRAM WRITE switch to the = oes, Loure DISABLE position. PONT ofits oleitiecine T * Always return the rear panel PROGRAM WRITE ‘switch to the DISABLE position after completing this procedure. This protects against accidental overwriting (erasure) of memory contents 25 can © m happen if you unintentionally press the WRITE key. Note: Values of parameters 11 ~84 can be stored in pro- | grammer memory. Values of parameter numbers 85 and 86 (SEQ) and ! 87 and 88 (MIDI) can not be stored in programmer memory. Program transfer and editing 1 Settings stored under one program number can be transterred to a different program number. This capability lets you rearrange your settings in the other in which you intend to use them when Performing. Follow this procedure to transfer settings. © Set the rear panel WRITE switch to the ENABLE Fe xe TER, (our position. PMT oulatomane eumecsne & © Use the number keys to select the program | number of the sound that unr want tn tranetarCREATING SOUNDS 7 Press the front panel WRITE key. The program number selected in the previous step will flash. PROGRAM NO. Flashing © Press the number keys to select the program number under which you wish to store the sound. When a number has been specified, the sound will be stored under it. (At the same time, any previous sound stored under that number will be erased) If you want to transfer to a number which con- tains desired sound, first transfer the destination number's current sound to yet another number. ro) Repeat steps 2~Z above to rearrange your programs. When transter and editing are complete, retum the rear panel WRITE switch to the DISABLE position.USING THE SEQUENCER L.sequencer Operation This ouilt-in polyphonic sequencer automatically plays music according to your instructions. Se. quences of up to 1000 notes are possible. There is already 2 sample sequence stored in memory. First let's learn how to reproduce this data. Follow the instructions as illustrated here. E Check to be sure that the rear panel SE- QUENCER WRITE switch is set to the DISABLE position, * If you operate the sequencer when the switch is at the ENABLE position then all of the data will be erased (ENABLE is the position used to write new data) Confirm that the switch is at DISABLE before playing back stored data. * The “poly” key assign mode must be selected when using the sequencer. Confirm that the Parameter number indicator shows “P”. PARAMETER NO. SS ication Press the STARTI/STOP key on the front panel. This starts playback of the stored sequence. Fast| ll am Foe = (See section on sequencer parameters.) Adjust the SPEED slider to obtain the desired | Press = playback speed. = Syagr sow l = /sTor SPEED Adjust paypack speed 3 To stop playback; press the STARTISTOP key again Durin ore * Playback stops automatically at the end of the wing eee Gata if in the ONE TIME mode (parameter ag | Playback SEES MODE value of ~ Press START 7STOPUSING THE SEQUENCER ) Sequencer Parameters Be gms oe operates. The procedures for calling these param- Cee eu pte eee eta other parameters. Pen ee eS tained when power is turned off and on. How- ever, they can not be stored in programmer Pca EE ove You can opt to have the sequencer play back the entire data once and then stop (value “1"), or play back the entire data repeatedly (value "2"), EJ cik (clock) Determines whether playback (speed and start/stop) will be controlled intemally (value “1") or by external Clock and control signals received through MIDI (value oy (See section on synchfonized play with other se- quencers.) Note: When the CLK parameter value is "2" (EXT), then the POLY-8001's STARTISTOP key does not have any effect on sequencer operation. VALUE ‘Sequencer mode ! | ONE rie oe Se ‘through ovee) 2 repeat ( Soy ces oun ) VALUE Clock t INT (internal) e EXT — (External, through MID!)USING THE SEQUENCER 3, Writing Sequences MThis sequencer uses a procedure called “step write” to put music data into memory. This means that you decide the smallest note (or rest) length that will be needed and call that a “step”. To write notes longer than a single step, you extend the length by pressing the STEP key (Sort of like using a tie to link short notes). To write rests, you press the STEP key the number of times that adds up to the desired length of the rest. Sequences are written by repeating this kind of procedure. Play the desired note(s) on the keyboard. It does not matter how long you hold down the keys. A step is written when you release the keys. To write notes longer than a single step, keep the keyboard keys depressed and press the step key for. the number of “ties” that you will need. Then release the keyboard keys. Chords and intervals are played in the same way. Note: To write a series of single notes you must be sure to completely release each key before depressing the next key. Whenever more than one key is depressed, the notes ate interpreted as a chord. | Therefore, you should not play legato style while programming the sequencer. : Wests are inserted by pressing the STEP key without depressing any.keys on the keyboard. Press the step key once to write a rest that is the length of one step. For rests that are longer than one step, press again to extend the rest another step, and so on, until you achieve the desired length. It you make a mistake, press the STARTISTOP key to back up as far as necessary. (Take your fingers off the keys when you co this.) Each press of the STARTISTOP key takes you back ‘one step (and deletes the previous data at that step). Then input the correct data from the point where the mistake occurred. Example: Conceptualization of this rhythmic phrase: 3 > )S72; op diD2 4 | aa ae Lig steps per measure (tay —— Example: Assuming that the shortest note (or rest) is a 16th note, here is how to input a quarter note “C”. @ Play “C" on the keyboard. Play “0 @ Keep “C” depressed and at the same time press the STEP key three times. Press three times STEP Release “C". Example: Assuming that the shortest note (or rest) is a 16th note, here is how to input a quarter rest. Press four times STEP Takes you Press back a step ata time, STARTUSING THE SEQUENCER eee Chords of up to eight notes can be written into the sequencer if the currently selected program isin the WHOLE mode. (In the DOUBLE mode, chords of up to four notes can be written.) If you write chords of more than four notes in the WHOLE mode and play back the sequence using a program in the DOUBLE mode, then only four of the notes will be reproduced. Now let's try writing a sample sequence. Here is a short musical phrase which we will put in- to the sequencer. 29909 @06@ 9®@ ®@0888 The smallest time value is a 16th note, so all notes and rests will be based on steps of that value. * Prepare to write: = ae NRE Set the rear panel SEQUENCER WRITE switch to M1 eikteSite oumee the ENABLE position. © | | | | | Press the STARTISTOP key. Previous sequencer data is now all erased. You can now begin writing in new data. * The PARAMETER NO. and VALUE displays show the next step number which can be written. sSTOP Number of next step to be writen "S" for sequencer mode.USING THE SEQUENCER DPlay “G", hold it, press the STEP key once, and release the note, The display should show C03. Play and hold A A Press once and 6 release note sv cnn of = Play “A”, hold it, press the STEP key once, and release the note, The display should show 005. Pl r Tea f lay and hold Press releese note once and oo Ccnine = @To insert a quarter rest, press the STEP key four times (without playing any notes). Press | four times, ami. rrning oy awe ‘The display should show 008. sve While holding down an “F, A, C, E" chord, press the ] STEP key twice and then release the notes. | Play and hold Press fy twice and PReE release note - i) m= 1£ The display should show 012. = Play the same chord again and release it. Tag Pray and = bee EE} release SOMETER VALLE The display should show 013. FACE S Quarter note rest. Press the STEP key four times. The display should show 017. Press sterUSING THE SEQUENCER 7 While holding down an “F, A, B, ” chord, press the STEP key twice and then release the notes. The display should show 020. Press {¥_ twice anc I Play and hold LIL release note F AB srer cnioar ~ 3 Play the same chord again and release it The display should show 021. Play and release sMameeTNo VE Cp FAB E ® insert an 8th rest by pressing the STEP key twice. ra Press twice mm Ba] iy Et PasaeTER NOL VALUE The display should show 023. ste “G”, press the STEP key once, then release the | Il im Play and hold Press fy once ane 6 The display should show 025 . press the STEP key once, then release the ] 5 e | A | 8 | e . Play and hold UL Li Press j§ SUES. ane oe A se Pe — EA The display should show 027. re aor 2 Play “C", press the STEP key once, then release the note. | ‘ Play and noid LLL! Press fl ee oe te oe | _. GEE‘Ax COLSHLYVIS OU) BuIssad 210;9q vonisod 318 YSIG au OF YOIIMS SIM ESONSNO “BS 8 WRIA! O1 Bins aq ‘e1ep 4MOK yoaI0Id OL “uon!sod STEYNS eu) TE SI LOUMS SLM HBONSNOS [UEC sea au) se Buoj se ,epow SIUM, BY) Ul SUeWal JeoUeNbes aU) ‘JeKaMoH “uoneoIpul Jeouanbas-uoU 0} wma! 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When Omni mode is OFF, a synth will respond only to messages ‘sent on its particular specified channel. If you turn off Omni mode, then be sure that the sending synth is set to the same channel number as the receiving synth. Note: POLY-800II is set to the OMNI ON mode when powered ON. EES sees Used for synchronizing rhythm machines ana se- quencers. Includes timing clock and starystop data. 4. SYSTEM COMMON MESSAGES Used when there are many MIDI units, including rhythm ‘machines and sequencers, in a complex system. These messages include “song Select” to specify song to be played and “song position pointer” to tell the units to Start at the same time. 5. SYSTEM EXCLUSIVE MESSAGES Can be used for passing data pertaining to one manufacturer's products (since each manufacturer has his own particular ID numben. Usually used for program SAVE/LOAD and parameter-change operations. [BI POLY MODE ON, MONO MODE ON This determines ‘whether NOTE ONINOTE OFF will be handled as polyphonic (chords) or monophonic (one note played at a time). In the po- ly mode, the receiving synth will, of course, be limited by the number of voices that it has. In the mono mode, only one note will be played at a time, even if multiple note data is received. (E)ALL NOTES OFF This message stops all notes currently being voic- ed. (“All notes off" capability is possessed by OMNI MODE ON, OMNI MODE OFF, POLY MODE ON, and MONO MODE ON messages.)MIDI | ).POLY-800I MIDI Features _ Ui TransmittedReceived Messages ihe POLY-800I can send and receive the following MIDI data. Note OFF (velocity fixed) Note OFF (velocity ignored) Note ON (velocity fixed) Note ON (velocity ignored) 1 Control Change Control Change No.1 DCO modulation No.1 DCO modulation | No.2 VCF modulation No.2 VCF modulation | | 1 Program Change @ Program Change | @ Pitch Bender Change Pitch Bender Change i i Omni Mode OFF Omni Mode ON | Timing Clock Start ‘Stop i System Exclusive Message | Timing Clock Start Stop System Exclusive Message ® Note ON/Note OFF note number range is 3684. @ Parameter for MIDI eS CaaS OM Ne 87 ome 1 += 16 Follow the procedures described in “Value eee ear mcas Uae eC CT ee Le aT RS Cees a rr imeemi I CHANNEL This parameter is used to select a channel for data send and receive. The same channel must be specified for sending and receiving data. (Different channels can- not be selected independently for send and receive) At power ON, the data send/receive channel is set for that Previously selected. When the POLY-800II power switch is tumed on, the OMNI ON mode is selected automatically so the 'syn- thesizer receives data on all channels. However, OMNI is tumed OFF if and when you “call” this parameter. From that moment on, the synthesizer will only receive on the selected channel. To switch back to OMNI ON, and OMNI Mode ON message must be received from the controlling synthesizer, or you can turn the power off and then on again. PROGRAM CHANGE This determines whether the POLY-800II will respond to PROGRAM CHANGE messages received on MIDI. At value “0” the POLY-8001 will not change programs even if programs are changed on the connected synth. At value “1" the POLY-800I will change programs whenever the connected synth changes programs. The current value of this parameter is retained when the power is turned off and on. MIDI Value | __ Send/Receive channel f cht 16 | ch 16 Note: POLY-800II sequencer data is always sent on chan- nel 2. (This can not be changed) VALUE | _ Program change response a | DISABLE (No external contra! of pro- g ‘gram change.) : | ENABLE (Exernal cortrol ot program ‘ change.)MIDI @ MIDI connections Tum off the power on all units before making or changing connections. This will help avoid unpre- dictable effects. © Using the POLY-800I to control another synthesizer ‘oF sound source unit. * Use a MIDI cable to connect the POLY-800I MIDI OUT jack to the other unit's MIDI IN jack. Set the receiving unit's MIDI receive channel to the same number as the POLY-800I's MIDI channel number. ¥* However, POLY-8001 sequencer data is always sent on MIDI channel 2, regardless of the parameter 87 CHANNEL setting. Therefore, if you are going to use sequencer data to control another synth, then be ‘sure to set the receiving synth’s MIDI receive channel to number 2. © Using a remote keyboard or other unit to control the POLY-8000. * Use a MIDI cable to connect the controlling unit's MIDI OUT jack to the POLY 8001's MIDI IN jack. Set the POLY-8001 MIDI receive channel to match the MIDI send channel of the controlling unit. MoroUT to MIDI IN, Pence meron sean as from MIDI OUT uber rere PRsMIDI ss Ei Synchronized play with another sequencer. To enable synchronized play, the POLY-800IT can be set to respond to start, stop, and timing clock message from a MIDI sequencer or rhythm machine, ising the POLY-800I sequencer to control another rhythm machine or sequencer. * Connect the POLY.800II MIDI OUT jack to the other unit's MIDI IN jack. Be sure that the POLY-00I's parameter 86 CLK value is 1 (INT). The connected unit should be set so that it will respond to external clock data and so that it is ready to start playback * Now when you start the POLY-800I sequencer, a “start” message will be sent on MIDI so that the ‘other unit will start at the same instant. Tempo is ad- justed by the SPEED slider on the POLY-800. Likewise, when you stop the POLY-800I, a “stop” message is sent so that the other unit will stop at the same time. Using another unit to control the POLY-800l sequencer, % Set the POLY-B00II's parameter 86 CLK value to 2 (EXT), The connected unit should be set for its inter- ral clock mode (so that it can send timing clock and staristop messages). % Now when you start the-connected sequencer, the POLY-S00I sequencer will start at the same time. (Gut it will not Start with “continue start” data) ‘Tempo is determined by the controlling unit. When you stop sequencer playback on the controlling unit, the POLY-800I will stop,at the same time. * Start, stop, and tempo control must all be performed on the controlling unit. (The POLY 80011 STARTISTOP key and SPEED slider have no effect) One “step” on the POLY-80011 sequencer is equiva- lent to a MIDI 16th note (or rest).MIDI IMPLEMENTATION lL. Transmitted Data CHANNEL MESSAGES 1000 anan 0100 0000 Note Off kk KK KK K=36~84 0100 0000 Note On Kak kk KK =36~84 1001 anan Oki k kKkkK (bit resolution) 1Olt annan | 9000 0010 Ovvy voae VOF Modulation | (4b resolution) 1100 onan Spee ppp — Program Change PPP PPD p= 0~63 (NOTE!) lott anan | 0000 0001 | Ovvy vooo 200 Moduiaton | (bit resolution) Viv vv vv v=84 : Center LSB is not used 111d nanan | 0000 0000 Ovvv vvvy Pitch Bender Change * nnn =0~15: The channel number set in parameter 87. But sequencer data is fixed at channel 2 NOTE 1. The relationship between MIDI program numbers OpppppeP) and display program numbers is shown here, Display number MIDI Program number #1129 #12——_______- #87 62 #88———____-53 @ SYSTEM REAL TIME MESSAGES | litt tooo Timing Clock (NOTE 2) | titi roo Stent (NOTE 2) bert tioo | Stop (NOTE 2) | NOTEMIDI IMPLEMENTATION —— © SYSTEM EXCLUSIVE MESSAGES DDATA DUMP | litt oooo | 0100 0010 | oo10 0001 og0a 1100 0000 dade 0000 aeae 0000 ssss 0000 ssss rrraousg Exclusve Status KORG 10 aH Format ID 21H POLY-80001 ID OCH 1 2) ay ca ed MSB bit (S376 Byte) | LSB abit) } Check Sum ase ana} Cheek Sum data EOX NOTE DATA OUMP is sent only when a DATA DUMP request is received. Also, the "(RAM data 1 word}, least significant 8 bits are check sum data. 2 DATA ERROR 1111 0000 o1o0 0010 oo1o ooo! ooo0 1100 oo10 0006 rratours Exclusive status KORG ID 42H Format 10 21H | POLY-800T1 10 och | Data Error 20H Ex NOTE ‘Sent only when a check sum error occurs during a data dump.MIDI IMPLEMENTATION . Recognized Receive Data. HICHANNEL MESSAGES 1000 nana OkKK KKK Oxxx xxxx Note Off (NOTE 1) Velocity will be ignored 1001 aann Okkk KkKK Ovuvvevy | Note On (NOTE 1) Velocity wil be ignored | (vvvvyv>0) 1001 anan Dkk KKK | 0000 0000 Note Off 1011 mana 0000 0001 Ovvv vxxx CO Modulation (4 bit resolution) Ovvy vxxx VOF Modulation (4 bit resolution) 1011 nana orttiiag 0000 o000 OMNI Mode Off 0 rho oo000 coco (OMNI Mode On 1100 nana Oopp sone —— Program Change (NOTE 2) Frid nana Oxxx xexx Ovvy vvvy Pitch Bender Change LSB wil be ignored MSB wil be recognized * nnnn=0~15: Channel number set in parameter 87. When OMNI mode is ON, all messages are received, regardless of channel number setting. When OMNI mode is OFF, the synthesizer responds only to messages received on the currently selected channel number. ‘The “power on” default is OMNI ON. NOTE 1. Note number (kkk kkk) tave within the range. 2, Program number (Oppp ppp) = 0 ~ 63. Data higher than 63 is interpreted as the difference obtained by subtracting 64 from the data. = 36 ~84. Received data beyond this range is voiced as the same note in the nearest oc- SYSTEM REAL TIME MESSAGES riii tooo Timng Clock (NOTE ! ) rrit oie | Start brit rrooMIDI IMPLEMENTATION oS ee SYSTEM EXCLUSIVE MESSAGES | DATA DUMP fii acer | eae eee | gioo 0010 | KORG ID. 42H oo10 o001 Format 10 21H | aoo0 1100 | POLY-800 10 OCH | 0000 ddeq LSB abit RAM data | word | Gboe ceee vse ae) OY ges | : | 0000 ssss {$8 at) | c000ssss SB it) Cheek Sum cata | prit ores 0x NOTE The "(RAM cata 1 word), least significant 8 bits are check sum data. 2 DATA OUMP REQUEST rri1 000g d1o00 0010 o010 0001 oooo 1100 0001 0000 pert onit Exclusive status KORG 10 aH Format 10 20H POLY-s00I 1D ocH Data Qump Request 10H Ox NOTE After receiving a DATA DUMP REQUEST, there is a delay of about 300ms before the POLY-S00II begins DATA DUMP. transmission.MIDI IMPLEMENTATION 3, Using System Exclusive Messages____ Hl Communication between the POLY-8001 and a computer, Bm The FOLY S000 can send and receive the following kinds of information via system exclusive messages, This enables sequencer and other data exchange with a computer equipped with a MIDI interface and suitable software. DATA DUMP: This includes the sound data stored in the 64 programs in memory, sequencer data, settings of Parameters 85, 86, 87, and 88, and chord memory data. This is sent in response to a DATA DUMP. REQUEST. DUMP ERROR: Sent when a check sum error occurs during reception of DATA DUMP data. DATA DUMP: ‘The program data loaded to the POLY-800IL. The contents of this data replace the sound Gata stored in the 64 programs in memory, sequencer data, settings of parameters 85, 86, 87, and 88, and chord memory data. DATA DUMP REQUEST: A command to transmit program data. When this request is received, the POLY 80011 be. DATA DUMP transmission after a 300ms delay. ins Setup is shown here: Communications Examples © First the computer obtains sound program and sequencer data from the synthesizer for editing, After editing, the data is sent back to the synthesizer. Zaing etomes «= a Rea csrog cts our Uren ” Send =a =. Es = SendMIDI IMPLEMENTATION 2 if an imegularity is detected in the data loaded from the computer. Poot Seng Receive Receive Seng RAM data structure The RAM data portion of DATA DUMP data is organized as shown here. MIDI CHANNEL, 00H SEO DATA ooln~3e8H 1009 | (UNDEFINED) 3E9H~3FOH 8 | CHORD MEMORY 3FIH~3F8H 8 | SEO MODE 3FSH 1 SEO CKL 3FAH 1 | (UNDEFINED) 3FCH-3FFH 4 | PROG DATA 400H~ATFH 1864 1 Actually, when this data is transmitted on MIDI, each byte is split at its least significant four bits and sent starting from relative address OOOH. (UNDEFINED data does not affect internal operation; it is only used in the check sum)MIDI IMPLEMENTATION El RAM data organization Bit map for MIDI CHANNEL, SEQ MODE, SEQ CLK, and PROG CHANGE. | 3 2 “| gooH | 0 | 0 of 8 [++ =o cone, ———] aren | 0 |e oe 0 0 0 ee Liseax | oo | oo o | 0 0 0 0 + 8e--| 3reH | oo o [ o 0 0 0 0 ipoheeg a! * Bit map relationship with parameter values on front panel. MOOI CHANNEL cook | 53-00 ooo0~-111i=1-16 a7 SEO MODE srax | b0 0 =! (ONE TIME), | = 2 (REPEAT) 85 SEO OLK raw | bo 0 = 1 GNT), 1 =2 (ExT) 86 PRoG CHANCE DE | 3FeH | 90 = 0 (DISABLE), | = | (ENABLE) 88 BH Sequencer data has the following structur = | | Lor | on | Rest iv | oa | Tie | ! [tk kk in ks is | If most significant bit is 0: Other notes exist at same time. —wdw3d2 \f most significant bit is 1: Block end at that point in time. | | a | cael ‘Same as MIDI note number. F Oke ke kr kr ke ke ke 24H 54H, 3 [os mm | ( I. CHORD MEMORY has the following structure. Okekokekekekaks: ‘Same as MIDI note number. Data: 84H. 02H. 85H. 02H. 01H, O1H, 87H. 39H. 34H, 37H,MIDI IMPLEMENTATION 0 [F-0C02 WAVEFORM —v|-—DCOIWAVEFORM—» |--—0002 OCTAVE—»|<—0c0! octave —| 1 Oco2 16 ~2: DCO! 16—2" | 2 UNDEFINED |~o¢0 Mode —| UNDEFINED poo DeTuNe— 3 NOISE LEVEL. DCO INTERVAL re VOF EG NT 5 _funoeFineo ‘0002 LEVEL. + | ee Vor cuTOFF | [7 IMG DELAY: MG FREQ | | SMG _VCF INT: [ MG 0CO INT | 9 [roar oEcay DEG! ATTACK 1 | 0 [« DEG! BREAK P. *| " +—0EG! SUSTAIN. ‘DEG! SLOPE *| 2 |e DEG! RELEASE. *! 3 | DEG2 DECAY + |-—— a2 atrack: * 16 |*#0EG2 SLOPE OEG2 BREAK 3 ls DEG2 SUSTAIN —— * 6 fs E03 ATTACK: 4DEG2 RELEASE. * 7 [+s DEGS DECAY. . [8 |-———-0#ss s. ope ——_____-] 53 preax Po Lis | 063 REL Eas] fe as sustain 20 [|F-vor 80 TRACK—+|———_voF_ Resonance >], 21 [uNogFine! DDL TIME | 22 [> 001 EFFECT Lever. + | —______"p._ Feenaacx ——__+ | I 23 UNDEFINED 008. mon FREO | 2% UNDEFINED t_————— 001 woo int ——+] 28 0 Bass. — £0 TREBLE | Exceeds byte unit UNDEFINED data can have any value: it is only nised in tha checl etoMIDI IMPLEMENTATION TT * Relationships between bit map and parameter values listed on the front panel (per program co! OCTAVE O bi—a0 00=1 (LOW), 01 =2(MIO),0=3(HIGH), 11 =INHIGIT 1 0CO2 OCTAVE { 0 bamee | oo=1(Low)o1=2iMo)10=30GH).tt=neT [21 COI WAVE FORM ° bsmed | 00=1(7L).01 = 20) 1011 S INHIBIT 2 | 0c02 WAVE Form | 0 eres oom irt).ol=aN)to—ti sina | ae 0co1 16 I bo =0(0FF).1=1 (ON) 3 Dcol 8 i Ty 0=0(OFF),1=1 (ON) 14 ocor 4 | 1 be =0(0FF),1=1 (ON) 15 | ocol 2 1 83 0=0(0FF),1=1(ON) 16 oco2 16 1 ba O=0(0FF), 1=1(0N) | oa | oco2 8 bs O=0(0FF).1=1(ON) 2 i ocoz 4 1 26 0=0(0FF), 1 =! (ON) 6 | oco2 2 1 o7 0=0(0FF).1=1 (ON) 25 DCO DETUNE 2 vireo [oo~11=0—3 28 CO MODE 2 be 0=1 (WHOLE), 1=2(DOUBLE) 1B DCO INTERVAL 3 ba-00 | 0000—1100=0—12, 11011111 = INHIBIT 28 NOISE LEVEL 3 vive | o000—1 111 =0—15 37 VCF EG INT 4 | e300 foot =0—15 [os | | ver Ec PovariTy 4 be O= 14). 1 =2(0) [3 co! LEVEL 4 b7—05,b1—b0 | o0000—11111 =0—31 | C02 LeveL S| tee ooo ini 0-31 a VGF CUTOFF 6 é—00 |e —enr-=omsona0— i =ReBT a VCF TRIG Move | 6 | 07 = 1 (SINGLE), 1=2(MULT)) 36 | MG FREQ 7 | 0000—1111=0—15 a MG DELAY 7 | 0000=1 111 =0—15 82 MG DCO INT 8 3 | MG VCF INT 8 a | DEG! ATTACK aMIDI IMPLEMENTATION -_ beat GREAK | eect |ooong sini sonar 3 DEG! SLOPE I-10 b3—b0,b7, 00000—11111=0—31 4a DEG! SUSTAIN lah 0,67 —b4 00000—1-1111=0—31 45 DEG! RELEASE 12 es—o1 [00000-11111 = 46 DEG2 ATTACK 13 —12 b2—b0,b7—b6 | 00000—11111 51 DEG2 DECAY 13 e7—3— | aoo00— 1111 52 DEG2 BREAK P. 14 bd—d0 00000—1 1111 =0—31 53 DEG2 SLOPE IS—14 bI—b0.b7—85 | 00000—11111 =0—3! 34 DEG2 SUSTAIN 1s, b6—b2 o0000—11111=0—31 s DEG? RELEASE 16-15, 03—0.b7, 0000—1 1111 =0—31 56 DEG3 ATTACK 116 bob7—b4 | o0000—11111=0—31 éI DEG3 DECAY 7 S81 00000—111/1=0—3) 62 DEG3 BREAK P. 18—17 | be—oi e706 | o0000—11111=0—31 83 DEG3 SLOPE 18 b7—b3 0000—11111=0—31 6 DEG3 SUSTAIN 19 bé—vo | ooo00—11111=0—31 65 DEG3 RELEASE 20-19 bi—bO, b7—bS} OVOGG—H111=O—31 - 66 VCF RESONANCE 20 T bS—b2 0000—1111 0-15 32 CF. KBD TRACK 7 D786. | 0 0(0FF).01=1 HALF) tO 2(FULL),11=INBIT 33 DDL TIME a be—bo | oooooog—iso0011 0-8 1100t00—1111111 =I 7 ODL FEEDBACK 2 b3—b0 0000—1111=0—15 72 | ODL EFFECT LEVEL” 2 b7—b4 0000—1 111—O—1S 5 DoL mop FREQ |, 23 ba—bo | o0000—11111 =0—31 3 DOL MOD INT ° 2a bd—b0 00000—11111 =0—31 4 EQ TREBLE [2 300 | oooo-a110—1100= (5) 0-6, 1O1— 111 = nes we EQ BASS | 25 b7—bé | oooo—o110—1100= (—8)—9-81101— 1111 = INT 7mSPECIFICATIONS & OPTIONS DEGI, 2,3: Digital Delay: Equalizer: ‘Sequencer: Key assign mode: Programmer: Indicator. Tape interface: Input jacks: DC 8V jack: Strap pin: Dimensions: Weight: Accessories: Options: 49 keys (CO) 8 voice WHOLE mode), 4 voice (OOUBLE Mode) Octave (LOW, MID, HIGH), Waveform (M .T7L), 16’, 8’, 4’, 2° (ON, OFF), Level adjustment Octave ‘LOW, MID, HIGH), Waveform (N. 7.), 16", 8”, 4’, 2’ (ON, OFF), Level adjustment, Inter- val (1S: i tone-perfect 8th), Detune (~20 cent Max) WHOLE. DOUBLE, Level adjustment Cutoff frequency adjustment, Resonance adjustment, Keyboard track (OFF, HALF, FULL), ES intensity, EG polarity (/\.\, EG trigger mode (SINGLE, MULT) Attack time, Decay time, Break point level, Slope time, Sustain level, Release time Time (1024 ms Max, Feedback level, Modulation frequency, Modulation intensity, Effect level Bass, Treble Frequency, Delay time, OCO intensity, VCF intensity Mode (ONE TIME, REPEAT), SEQ clock (INT, EXT) ‘Sendireceive channel (ch 1-16), Program change (ENABLE, DISABLE) =50 cents OFF, Volume adjustment X axis (Pitch bend), + axis (OCO modulation), —Y axis (VCF modulation) Pitch bend width adjustment (+700 cents Max) STARTISTOP, STEP, SPEED (Slow-Fast) POLY, CHORD MEMORY, HOLD Number key (18), Programyparameter key, BANK HOLD key, Value (UP, DOWN) key, WRITE key PROGRAM NO. display, PARAMETER NO. display, VALUE display, Bank hold display, Edit display Save. Load, Verify, Cancel FROM TAPE jack (HIGH/LOW switch), Program up jack (=. gno) OUTPUT (R, LIMONO) jack, PHONES jack, TO TAPE jack ENABLE/DISABLE PROGRAM WRITE switch, SEQUENCER WRITE switch IN, OUT AC adaptor jack 2 780) x 87.6(H) x 286(0) 4.4 kg (including battery) Preload data tape, Battery (C-type x 6), Connection cord, AC adapter Memory expander MEX-8000, Pedal switch PS-1, Dynamic stereo headphones KH-1000, Stand STB, Hard case, Light bag LB-800, Keyboard strap (black, brown), MIDI cable 12, 10, 7m) % Specifications subject to change without notice. N ° T 1 c E Korg orocuets are manulactures uncer stict specifications ang voltages Feauiree by each country. These stocuets are waranted By ihe Xorg {siatibutor only im each country Anw xorg sroguet not S010 with 3 warranty2s s 1e ena tan ME ASIEN ts PRELOAD PROGRAM LISTKEIO ELECTRONIC LABORATORY CORPORATION 15-12, Shimotakaido 1-chome, Suginam:-ku, Tokyo, Japan. {OKEIO ELECTRONIC LABORATORY CORP. 1985 ‘8012 OTH PRINTED IN JAPAN