EX-800 PROGRAMMABLE - POLYPHONIC SYNTHE MODULE ee OWNER’S MANUAL " PeSOOCHSSHOSHESHSSSSSSSSSSOSOCCCSCOCOSCCOCOSCORS KORG EX-800 PROGRAMMABLE POLYPHONIC SYNTHE MODULES Thank you and congratulations on your choice of the KORG EX-800. This instrument has been engi- neered for highest quality sounds and superb reli- ability. To obtain optimum performance from your new KORG EX-800, please read this manual care- Jully before using. www.synthesizer.atTABLE OF CONTENTS * IMPORTANT NOTES * FRONT PANEL NOMENCLATURE $ * REAR PANEL NOMENCLATURE & * BASIC CONNECTIONS o * FUNCTION AND OPERATIONS 10 1. INITIAL SETUP 10 2. SELECTING PROGRAMS 10 3. SOUND SYNTHESIS 12 341 What is a Synthesizer te 82 What is a Program 12 3 Digital access control system 12 34 EX-800 Synthesizor Modules and Paramoters cee 18 34.1. 060 1 19 3.4.2. MODE - 14 94.3, DCO 2 15 3.4.4, NOISE : 15 34.5. VOF 16 34.8, CHORUS 7 947. DEG 18 348, MG 0 3.49, MIDI 20 4. CREATING SOUNDS . 22 4-1 Overview 2 42 Editing programs ..... Pa 4.3 Witing programs to memory 2a 444 Moving programs 25 5. PERFORMANCE FEATURES : a7 51 Tune 2 52 Sequencer a 54 Program Up Footswitch 30 6. MUSICAL INSTRUMENT DIGITAL INTERFACE (MIDI) a 61 MIDI IN a 62 MIDI QUT 31 63 MIDI THRU a 6-4 MEMORY TRANSFER ceveeeees a1 6-5 TYPICAL CONNECTIONS - 31 7. ‘TAPE INTERFACE ou 7-4 Saving program and sequencer data on tape u 7.2 Recorded data tones 38 73 Verity 35 7-4 Loading data into the EX:800 a7 8. POWER SUPPLY 39 9. RACK MOUNTING 39 * SPECIFICATIONS/OPTIONS - 40 © MIDI IMPLEMENTATION “at www.synthesizer.ateeccce FEATURES 1. Controllable through MIDI interface, the EX-800 offers easy and low cost expansion capabilities, with eight separately articulated voices and 64-program memory. 2. DCOs provide pitch stability. Double mode pairs two voices per note, for complex layered sounds, 3. Digital Access Control System gives fast pushbutton progrm and parameter selection/adjustment. 4. Nine advanced Digital Envelope Generator (DEG) modules with six prameters per DEG. 5. Built-in Polyphonic Sequencer stores and performs up to 256 notes, and can be synced to external devices. 6. Built-in programmable stereo chorus adds rich ambience effects. 7. Tape Interface allows sets of programs and sequencer data to be saved to and loaded back from cassette tape. Fast 14-second operation. 8. Program, Sequencer and other data can be loaded to external com- puters and other devices via MIDI, for extended storage capa- bilities. www.synthesizeratIMPORTANT NOTES long life for.the EX-800,. the following “precautions should be taken: LOCATION: To avoid maltunction, do not use oF leave the EX-800 in the following locations for lang periods of time: = In direct suntight, ‘= In extromaty high or low temperature ot humidity. '* In dusty or sandy places. MUSICAL INSTRUMENT - HANDLE WITH CARE! + The EX.600 may matfunction if excessive force is apptied to the switches andior knabs or IM is dropped. CLEANING: *+ Use only a satt dry cloth to.clean the surface of the EX-800. NEVER use benzene, thinners or similar solvents, INTERFERENCE FROM OTHER ELECTRICAL APPLIANCES ‘The EX-900 uses advanced digital circuitry which may occa- ‘sionally malfunction due to interference produced by fluores: ‘Cent lamps, other digital equipment, or electrical appliances with boultin motors. We recommend that you use the EX-800 2s far ‘93 possible from such appliances. if any irregularities occur, turn the powar switch otf, wait about 30 seconds, then turn tho Bemor on again. Tis shoud hela relum the E800 tits ra ‘mal operating condition, WARRANTY ‘The EX:00 is warranted by the manufacturer against dafects in materials or workmanship. The specific conditions and terms ‘of the warranty are listed on the enclosed wasranty registration. ward, INSTRUCTIONS ‘To obtain the best possible results trom your EX-800, please. ead this manual carefully. Keep your Owner's Manual in safe Place for future reference. www.synthesizer.atFRONT PANEL’ NOMENCLATURE Parameter index [eee] ‘Bovate} watue | ? wo Reuse 2 e DEG 2 (For pco2) Poy E V7 J] PROGRAMMABLE tf POLYPHONIC SYNTHE MODULE mr Triuitti tt stow 7 rast PeED STATS VOLUME ‘'SZQUENCER Power switchivotume 2 TUNE ‘Speed Step ‘Start/Stop switch Ws ‘Sequencer section www.synthesizer.atSOSOOSHOOHOEHLESSESESOEDOOOCOCCCOOSSOCCOEO Indicator Parameter Program/Parameter ro & Number select button Bank held Programmer section] www.synthesizer.atREAR PANEL Scocccccccoccoccccoccoocs NOMENCLATURE iz. a ae Lo Hy lid 2 3 | P@Y i i@ : 1® © @ x is ; ie 4 te ® ii @ www.synthesizer.atBASIC CONNECTIONS ‘The EX-800 is an expander unit designed to work with other MIDI equipped devices, such as a POLY:800 or other MIDI ‘equipped synthesizer, remote keyboard, oF sequencer With & suitable MIDI interface and software, the EX-800 can also be connected to @ personal computer. Belore using your EX-800 please read the following instructions, 1. Make sure that the Power switeh is turned off (VOLUME control fully counterclockwise). ' TT power oF VOLUME 2. Power supply connection. Use only the exclusive AC adaptor supplied with your E800. 3. When using an amplifier or mixer, connect the EX-600 rear panel output jack{s) to the amplifier or mixer input jack(s) Nom the rear panel L/MONO jack if you wast (0 connect the EX-800 ro just one amp or one miver channel. Use L/MONO ‘andl the R ousput for stereo connection. In this.case, the out- ‘put will become phase inverted stereo when the EX-800's bull | in chorus effect is turned on. 4, When using headphones: '* Plug headphones into PHONES jack. AC adaptor ‘Stereo Headananes ‘To Amp {LMONG Channel output) To Amp (Rt Chancel output) 5. MIDI connection oe809 er Ft, ‘equipped computer, a ex 600 E800 For all MIDI cannections, please use the supplied S-pin MIDI Cable, or any other MIDI compatibie cable with appropriate MIDI connectors. The use of audio-type nor-MIDI “DIN” Ca- bles may lead to undesirabla interference, and is not rexom- mended. Connect one end of the MIDI cable to the EX:600's “MIDI- IN" Jack, and the other end to the output ("MIDLOUT") from & POLY-200, POLY-61M, FIK-100 or any other synthesizer oF remote keyboard with MIDLOUT jacks. Connection to a home computer with an appropriate MID} Interface is also possible. The “MIDITHRU" jack is essentially a “bypass” or “Yoldback™ jack which directly outputs any information coming into the MIDHIN jack without modification. The MIDETHRU jack is used to add additional synthesizers, expander modules, rhiyth- ‘mers, etc. onto the same MIDI line, for “Mult-Channel” oper- ation, This Intercennection system Is known as 4 “Daisy ‘Chain’, and ensures that all devices thus connected receive ‘exactly the same MIDI information trom the sending device at the same time, ‘The EX-800's “MIDLOUT™ jack is used to send internal pro- {gram and sequencer data to an external computer ONLY, via the “COMPU-DUMP" funetion (¢00 p31} It CANNOT be used ‘to pass along MIDI "Performance Data" to-anathar synthesizer. ‘Typical EX-800 Setups Monitor Ata ag if al: ES Digital Delay ~ $00-3000 00-1000 www.synthesizer.at10 FUNCTION AND OPERATIONS When setting up the £X-600, please fallow the procedure below: 1. Make sure that everything is properly connected as described in Basic Connections, with all power turned OFF. 2. Sot the Program and Sequencer WRITE switchos and the TAPE switch (on the rear panel) to the DISABLE position. we we a 3. Tum on the power switch. (it you are using an ampitier, turn the amp Volume aif the way down BEFORE turning (on the power.) The front panel LED Display will display the following message: “This Got tignts up in BOUBLE MODE (4 Voices) 4. Ityou are using an amplifier, fist sot the amplifier Volume to a sutable position, and than adjust the EX-800 VOLUME ‘control for the desired level. If the sound becomes harsh cr distorted, turn down the EX.800 VOLUME and/or the amp Volume, 2. SELECTING PROGRAMS (2) Selecting Programs When the Powar switch is first tured on, the LED Dis- play shews the following Any at the 64 ditferent sounds programmed into the EX-800's memory may be instantly selected. Each program location is ‘dentfied by a two digit "Program Number", which is used whenever a program isstored, recalled or moved from one foe cation (Program Number) to: another (1) Program Numbers AA program number is a two digit number ranging trom to 88 (the digits 0 and 9 are not used). The first digit indicates the Program "Bank", and the second number indliates the individual progeam WITHIN that Pragram Bank. For example, Program Number 35 would be pro- ‘gram m6 in bank 3. The 64. program locations are at- ranged in 8 banks or groups of 8 programs each: Program rumbers | Nuriboratprogeams Toi ~ ule 8 2-28 es | 31-38 | ai—a8 es | 31~5B 8 of ona 1 | 178 8 8)—a8 8 ——— The display indicates Program Number “and the “POLY” mode. the normal playing mode, have been seloctod NOTH The eight number buttons are used both to SELECT PRO- GRAMS and to SELECT PARAMETERS within a program. When the EX-800 is twmed on, Program Select made is au ‘omatieally chosen (only three characters shown ih the Dis play). The PROG/PARA button is used 4 switch between the two modes, IF ALL DIGITS ARE DISPLAYED, YOU ARE IN PARAMETER MODE AND SHOULD PRESS THE "PROG/ PARA” BUTTON IN ORDER TO SELECT A NEW PROGRAM ‘www.synthesizer.atNow try selecting a diferent program, 4. Select any number from 31 10 88. Examples: Selecting program number 23. ross the Number Select Button 2, and the indicator will display the following: ‘the right hand digit position means that the EX-800 is waiting for you to select the second digit. (The ‘old program will sound until the second digit is entered) NOTE: UF the first digit was selected incorrectly, fest press the desieed ‘umber Seleet Button { 2 in the example} tice so that the correct Program: Number appears in the left-hand digit position. Then enter the correct second digit to finish seleet- ing the desired program. 2. Press the Number Select Button 3 to select the second: igi, and make sure that the DISPLAY shows 23. You can now play Program 23. a3 3, Try selecting and listening ta any of the 68 preprogrammed {factory programs, in any order you like, You"l fin that with a litle practice you ean select any desired program very uieHty, Tho Bank Hold features, described bolow, makes ‘program selection even easier in live performance sity ations, www.synthesiz (3) Bank Hold ‘Tho Bank Hold feature allows the current Program Bank Number (leftmost dig) to be “held” this enables you to Select any of the eight programs in that bank with & sin- gio press of button, for the fastest possible program access, EXAMPLE: Selecting Bank #2 aoe Bank Holy Switch HI 6 [2 8 a Leb Select any program betwoon 2: and 2 (or simply press 2") and then press Bank Hold. The DISPLAY wil show the following ‘You may now select any of the eight programs fromm 2 4 to 28 by simply pressing a single digit between i and" 8". AS long as the small LED dot next to the Blank digit ist, you ean ONLY select programs betwoon 21 and 28. To change Banks, or cancel the Bank Hold function, sien- Ply press the Bank Hokd switch again. The small LED dot ‘will go out, and the regular two-digit selection mode will bbe restored. (4) Program Up The PROGRAM UP jack (connected to-an optional foot switch) allows you to change programs in sequence ‘without taking your hands at the Keyboard, This jack ac- ‘cepts “witch triggers” from a momentary contact nor ‘mally open footswitch or ather external device.A synthesizer is a set af modules or “building blocks" that can bbe used together to create many diferent types of sounds. In all synthesizers, there are three basic types of modules: sound SOURCES, sound MODIFIERS, and saund CONTROLLERS, ‘The basic sound SOURCES used in the EX-800 are eight Di- ital Controlled Oscillators (DCOs). The DCOs produce the ac- tual pitches, end the selected DCO WAVEFORM (and selection of 2”, 4° Harmonies ote.) has @ large effect on the tonal quality (imbre) cf the sound. A NOISE source is also provided. ‘The sound MODIFIERS or the EX-800 are the Veltage Con- trolled Amplifiers (VCAs), the Voltage Controlled Fier (VCF), and the Stereo Chorus. Sound modifiors take the basic sound produced by the sound sources and shape or “fine tune” the sound inte its final form — what you actually hear, ‘+ The VGF modifies the blend of overtones (and brightness) in the sound. ‘© The VCAs control the changes in volume level which pre- vide individual nate articulation .. howr each note attacks, de- cays, otc. ‘= The Stereo Chorus provides extra warmth and "‘thicknoss"” for almost any sound, The sound CONTROLLERS don't produce or modify any sounds directly — they tell the sources and mediiers what to do, Controiters in the EX-800 include the Keyboard and Key Assigner, advanced 6-stage Envelope Generaiors, Modulation Generator, Programmer, Joystick and MIDI Interface, Without controllers, there would be no way of cooeetinting the aitterent modules inthe synthesizer to produce useful sounds. MIDI (Musical Instrument Digital Interfaca) is actually an EX- TERNAL Controter, which allows diferent instruments and ‘equipment to be coordinated for a wide range of new possi bilities. Each of the sources, modifiers and controllers described above have several PARAMETERS (variable settings such as Wave- form, Cutotf, Attack Time, ete) ‘A“Program’’ is the particular collection of Parameter sot- tings that results in a specific desired sound. ‘On many synthesizers, knobs must be turned to adjust tho Parameters, and it's hard to tall what the exact values are — ‘especially when you're editing an existing program, the most ‘common way of creating new programs. (On the EX-800, each parameter and its value are expressed bby a pair of numbers: + The PARAMETER NUMBER (middie two digits of the six digit DISPLAY) identifies a paraticular Parameter, which 's like a single contro! knob on other synthesizers (Filter Cutoff, for example, is Parameter #*ti on the EX-800), ‘+ The VALUE (iighthand two digits is ko the current set- ting of that contrat knob, or Parameter (e.g, Fier Cutoll can have a Value betwoon 3 and $3} The eight Number Buttons (also used for Program Selec- tion), UP and DOWN buttons and large LED Display make iteasy to adjust and DOWN button and LED Display make it eagy to adjust each program parameter precisely for the ‘exact desired result. To change any aspect ofa programmed sound, you simply * select @ Parameter Number * adjust tts Value, using the UP and DOWN buttions * repeat above to change other Parameters, 28 needed. Further information is given in the section on “Creating Sounds”, 18) y i Value — Parameter numbor Name of Parameter www.synthesizer.at‘The basi sound sources of the EX-800 are the eight Digi ly Gontrotied Oscillators (COs), which offer pracise trequancy Tuning and stability through the use of advanced inlegrated digital technology. ‘The EX-800 DCOs aperate an a principle of additive squara- wave synthesis, Different waveforms are created by adding together, in different proportions, up to four squarewave Har- ‘monics at octave intervals, rom 16” 102" (a four octave range.) Each DCO then is separatety articulated by its own é.stage Digital Envelope Generator, which allows very complex and interesting sounds to be created, especially when two COs ‘are combined per voice in DOUBLE Mode. PARAMETER NAMES AND FUNCTIONS ce OCTAVE Determines the basic pitch range over a three octave range (High, Middle, Low). By choosing different com: binations of the Octave and Harmonies parameters, ‘you can select a basic pitch range from 1’ (highest) ‘to 82° (lowest). OCTAVE [_ VALUE HIGH a Mi a Low ' WAVEFORM ‘The Waveform parameter works together with the 16" -2" Harmonics parameters (500 below) to deter- mine the basic tonal quality (timbre) of the oscillator. ‘The Harmonics parameters turn each squarowave Harmonic ON and OFF. The Wavolorr parameter selects the actual LEVELS of the Individual square- wave Harmonies which are added together to create the final waveform, ‘The EX-800 provides a choice of two waveforms (har- monic levels): Squarewave (TL) at Value! and Savtooth (IN) at Value 2. ‘+ With a Waveform Value of of the squarewave Harmonies (that are turned GN) are added together at equal volume: ever se DS, PLean be tuned ON or OFF at 6ach feat, © re 2 Wf ae u I6 Fo. 2 ANON ‘With a Waveform Value of 2, each Harmonic (that is turned ON) is combined with a different relative volume (16 is loudest, 2° is softest): Lom Lh [ La 67 0N Stop Weve WAVEFORM | N z mn www.synthesizer.at| HARMONICS (16° 8 4” 2°) ‘The Harmonies parameters turn any combination of individual squarewave harmonics on and off, ragard- less of the Wavetorm Parameter Value. This allows a \wide variety of cifferant wavaforms to be created, For example, you could add together just the 16” and 4” harmonics, at either the same level (Square Wave- form), oF with the 16° harmonic 3 times louder than the 4” harmonic (Sawtooth Waveform). = When a Square Waveform is selacted (Value of + }, and any single ONE of the Harmonics parameters is ON, a regular square wave is produced at the selected pitch range. * Combining TWO OR MORE of the Harmonics with the Square Wavetorm selected produces actave doubling "etfects” + When the Waveform Value is 2, and ALL of the 16" -2" Harmonics are turned ON, the DCO wave- form will be @ close approximation of a sawtooth waveform, 16 8 ‘ 2 | VALUE oN oN on on 1 ofF | ofr | ore | oF 0 “With all Harmonies turned ON, the basic pitch range will be selected by the Octave parameter (11). However, several types of modified saw. tooth wavetorms are available by turning OFF 4 (oF? of the higher Harmonics, and higher-pitched savrooths are available by turing OFF the 16° or 16" & 8" Harmonics, (i) cevew The maximum level of DCO 1 can be adjusted over arange of & (off) to 31 (Full). This is useful both for adjusting the overall volume to match other pro- grams, and for balancing DCO 1 and DCO 2 in Dou- ble Mode, LeveL VALUE Max a Min. o NOTE: Since each BCG és articulated by its own Digitat Envelope Generator, the LEVEL parameter actually determines how Foud the DCO will be when the DEG reaches its Artack peck. The OCO MODE paramater determines the basic architec: ture of the EX-800: WHOLE Mode 8 individual voices with 1 DGO and 1 DEG. per vaice. (LED Dot OFF} DOUBLE Mode 4 individual voices with 2 DGOs and 2 DEGs per voice. (LED Dot ON) The LED Doi next to the Key Assign Mode Display always: shows whether the currently selected Program is in WHOLE Mode or DOUBLE Mode: = = ‘The Det is it when co DOUBLE Mode is selected 1c oe je Souate! WHOue in WHOLE Mode, all 8 DCOs are canirolled by the DCO 1 Parameters ( ;: - :3 ), and the 8 relaied DEGs are alleon- ‘rollad by the DEG 1 Parameters ($1 - S& ‘Tiying to access any DCO 2or DEG 2 Paramotors( 21 - 32 and §{ - $5)will produce a blank readout in the Value dis- play, to show that they are noi currently being used. Horiever, the previous values of these parameters are stil saved in ‘memory, and will be available again when DOUBLE Mode is selected. In DOUBLE Modo, 4 DCOs and DEGs are controlled by the CO 1 and DEG 1 parameters, and the other 4 DCOs and DEGs are controlled by the DCO 2 and DEG 2 parameters. Exceptionally dynamic and realistic sounds result from us- ing a SEPARATELY programmed 6-stage Digital Envelope ‘Generator lo control EACH of tha two OCOs that are “layered” togethar for each note) MODE VALUE poUBLE 4 Voiees) WHOLE 66 Woices) www.synthesizer.at‘3.4.3 DCO 2 (DOUBLE Mode-only) DCO 2 can be combined with DCO 110 produce a wide varie ety of warm, thick sounds. The DCO 2 parameters are only active in DOUBLE Made (see description of MQDE Parameter, PARAMETER NAMES AND FUNCTIONS 2i) octave Similar to DGO 1. The three octave range includes High, Middle and Low. 22| WAVEFORM Similar to DCO 1. There is a choice of square wave (FL), oF sawtooth (S } 23) (25, HARMONICS (16° 8° 4° 2’) jar to DCO 1, Each of the four squarewave har- manics may be individually turned ON or OFF. 2o) LEVEL Similar to DCO 1. DCO 2 is controlled by DEG 2, not by DEG 1 LEVEL VALE Max Er Min 6 34) inTervaL ‘The pitch of DCG 2 may be transposed or “ofset” so that it sounds at a constant interval above DCO 1. The range of this parameter is a full octave in semitone steps (2-12). ‘= Whan interval Value equals 3, 000 1 and DCO 2 are in Unison. When the Walue equals 7, DCO 2 will be a perfect Sth (7 semitones) above DCO 1. + With aValua of #2 , 0002 willbe an clave higher than DCO 1. This is useful for extending the range of the Kayboard, or for tuning the twa DCOs to be three octaves apart. INTERVAL Wide 1 Ocuwa Pertact Dorinamt | ° Nore: The Octave and Harmonies parameters also affect the rela- tive tuning of the BCOs. For example, if Incerval equals 7 but DCO 1 Octave equals ‘Low’ and DCG 2 Ociave equals “Middle; then DEO 2 will aetualiy be a perfect 4th BELOW DCO |, nota perfect Sth above DCQ #. This would also hap- pen if both DCOs were set the same Octave, but the DCO 116’ Harmonie wes tumed OFF, - [32] DeTuNE ‘The Detune parameter provides fine pitch adjustment ‘of DCO 2 relative to.DCO 1. Detuning DCO 2 creates a ‘fatter’ sound because of the slight pitch differences between the two oscillators + Detune Values can range from ' 8 * (no detuning) 10 * 3 * (full detuning, OETUNE VALUE Pitch diterenoe trom DOO 3 Max i Same pich as BOO 1 a 3.44 Noise. ‘The White Noise Ganerator ean be used for a varioty of spe- cial effects, either by itsel! or mixed with the COs, Unlike any other synthesizer, the EX-800 can “envelope” or articus late Noise SEPARATELY from the oscillators, whieh ean ba used to add small amounts of "breath noise" io simulated acoustic instrument sounds. + The LEVEL parameter sets the MAXIMUM noise level over a range of § (otf 0 15 (tll) ‘= Noise level is also controllod by Digital Envelope Genera- tor 3 {DEG 9}, which also cantrols the VGF The Noise LEV- EL parameter actually determines how loud Noise will be when DEG 3 reaches its Attack peak. CEvEL LEVEL VALUE am a2 Noise evel 5 Max Mn, 0 H-- www.synthesizer.atThe Voltage Controlled Filter (VCF) controls tonal quality (timbre) by selectively removing and emphasizing ditterent Overtones of he DCO waveforms. The VCF used in the EX-800 's a LOW PASS filter: passes over tones BELOW the Cutott Frequency and reduces of removes completely the overlones ABOVE the Cutoff Frequency. When RESONANCE is tured Up, any overtones very close to the Gutoff Frequency will be emphasized. Cutoff Frequency is the most important parameter of the VCF, ‘Varying the Cutot! Frequency changas the blend of overtones, resulting ina timbre change (which helps create dynamic and “lfelike!” sounds). Cutof! Frequency is determined by the ‘GUTOFF ( ¥ 1 ), RESONANCE ( 42), KBD TRACK ( 43 }, POLARITY ( YW ) and EGINT ( $5 ) parameters. It can be also be affected by DEG 3 andlor by the Modulation Gener- ator (MG), PARAMETER NAMES AND FUNCTIONS (42) cutorr ‘This parameter directly sets the Cutoff Frequency of ‘the low pass titer Cutott Frequency VOLUME — 0 Value sa ‘When the Cutoff Value is setto $9 (assuming both KBD Track (3) and EG INT ( %$.) are set to 2), all waveform overtones from the DCOs are passed without any effect, and the sound is very bright. ‘As Cutoff Value is reduced, mora and more harrnon: les are cutoff, producing a more rounded or less bright sound, When the Cutoff Frequency Value is near 9 , nearly all of the waveform is filtered out, resulting in almost no sound. wee Bg unehenged tnbie | of DCO weveorn Soft timbre 4] RESONANCE Resonance emphasizes the harmonics near the Cutolt Frequency, producing a characteristic "walyor "band ass” type of sound, Harmonics near nthe Culott Frequency VOLUME —__, ‘The higher the Value, the stronger the efect of the Finer on the tonal quality (timbre). Resonance can [procluce typical synthesizer “wahawan" sounds, helps Make instrumental sounds more realistic, and gener- ally provides @ good variety of subtle and dramatic effects, Eed o» tne quay — ‘aie Large (Viry peaky sound | 8 1 seat 1 None ° 3] KBD TRACK Keyboard Tracking controls how the VGF Cutott Fre- quency changes as you play up and down the key. board. There are three Values: Full, Half and Ot Full ( 2} Cutotl Frequency rises and falls in EXACT PROPORTION to the pitch of the HIGH- EST note sounding at any given time (whether played on the keyboard or pro duced by the Chord Memory feature). This tends to keep timbre (tonal quality) relatively constant as you play up and down the keyboard www.synthesizeratHalf (#) Cutoff changes only 1 HALF OCTAVE FOR EVERY OCTAVE change in the high- est note played, This terids 10 make low: fer notes brighter (more avartones) than higher notes, sinee the VCF cuts out mare asthe pitch of a note Off (2) Cutoff is NOT AFFECTED by keyboard pitch. Lower notes are much brighter than F notes, as explained above, Kp TRACK 009% 2 5086 It oF 0 ‘The next three parameters, POLARITY, EG INT and TRIG- GEA, all ffect the way that the VOF wvelopes” or changes timbre over the life ofa single note. These contours (produced bby DEG 3) are very important in creating expressive sounds. Getting & sound ‘just right” will often require you to go back and forth between ALL of the WGF parameters several times, since they aif interact in producing the final sound, a POLARITY ‘The Polarity parameter determines how the Cutot! Fre- -quency is affected by Digital Envelope Generator #3. + When Polarity equals 2, the Gutolf Frequency is ‘swept UP during the attack portion of the envelope, and dewn during the decay portion etc., for a “nor- mal" envelope effect. + When Polarity equals # , the Cutoff Frequency is swept DOWN during the attack portion of the enve- lope (the envelope is inverted), ‘#1 EG INT ( +5.) is zer0, the Polarity param no effect, regardless of its setting. has POLARITY VALUE is 2 Vv ' EG INT EG Intensity controls how much the VOF Cutott Fro- quency is affected (swept) by Digital Envelope Gener- aor #3 (DEG 3). (The Polarity parameter controls which direction the VCF is swept in.) + EG Intensity has a range of 8 (no sweep) to iS (maximum sweep). TRIGGER ‘Selects one of two keyboard triggering modes for DEG 3, which controls the VOF (as well as Noise). ingle (} ) DEG 3 will be triggered by the FIRST note layed, causing a normal Attack - Decay - Broak Point - Slope cycle te sweep the VCF. The Envelope attack cycle will NOT bbe retriggered (restarted) by any new Keys layed untit ALL Keys are released and a new “first key’ is played. This allows you to use your playing style to control when new VCF attacks will oc- cur. For example, legato playing could produce smooth even sounds, while stac- cato playing could produce sharp percus- sive sounds. Multi (2) DEG 3 willbe triggered whenever a new note is played, even if other keys are stil being held down ‘This mode allows fast and fluid playing ‘without having to lift fingers off precisely to produce a consistent sound, ___TRIGGER ~ VALUE Mus 2 Single ' Thi NOTE: always triggered whenever a new note is assigned ta the cor- responding DCO: Je Trigger parameter oniy affects DEG 3. DEG I and 2 are ‘The builtin Stereo Ghorus produces a warm, subtle ambience that enriches many types of sounds. It is especially effective when headphones or both tine outputs (panned separately) are used. The Chorus effect may be programmed ON or OFF. www.synthesizeratCHORUS VALUE on 1 OFF 0 3.4.7 DEG The EX-800 has nine Digital Envelope Generators (OEGs), Bol he DEGs (DEG 1 oF DEG 1 & 2) control the volumes of the 8 individual OCQs, providing individual articulation (at- lack, decay, ete.) for each note, The remaining DEG (DEG 3) dynamically changes the VCF Cutatl and Noise level. i @ a ® w © attack | becay | sneak P.| SLOPE | SUSTAIN] RELEASE, All Digital Envelope Generators use an advanced 6 stage do- sign. In addition to the normal Attack, Decay, Sustain and Release functions, they include BREAK POINT and SLOPE functions, which control an extra envelope stage thal can cre- ate either a second attack or a second decay. NOTE: Allthree DEGs have the same types of parameters, ancl ald Durumeters have the same range (0-31). These DEGs provide highly improved percussive and in- strumental sounds and many new special effects. In WHOLE Modo, the 8 DEGs that provide DCO articulation (Volume Envelopes) are all controlled by the DEG 1 Parameters (#5 !- 55), $0 that all notes are articulated in simitar way. in this mode the DEG 2 paramaters have no effect (and appear blank if you try to access them). Im DOUBLE Modo, two DCOs and two DEGs aro assigned to each note, Each DEG (and DCO) may be programmed Separately, creating a wide range of complex, dynamic sounds. DCO tis controlled by DEG 1 (a5 = $8 } and DCO 2 is controlled separately by DEG 2 (#5 i ~ §§), (S00 sec- tion an OCG MODE for further information), PARAMETER NAMES AND FUNCTIONS (58]-[82)- [72] artack eratey Controls how long it takes for the envelope contour to rise from zero to its maximum fevel after the key aA SLOPE [SUSTAIN RELEASE forse from 2 “te “a ee tt ' ' ot z Bf T wore: | 3 A 3 The maciruum envelope fevet ean carrespond to the snaxl $ e | 4 ‘in DCO ov Nake taunts ery BEPC noo nf a a 7 22, 234, In can also correspond tw the highes! (or VCE Cutofy Frequency (as set by POLARITY #4 and EG INT #45, www.synthesizerat[52] - [32] DECAY (Rate) ermines the rate at which the envelope contour {alls from the maximum (Attack) level to the BREAK POINT level, alter the ATTACK phase is completed, ‘* IFBREAK POINT equals 31, the DECAY parameter has no effect. There needs to beatleasta i num- ber difference in starting & ending Levels for Rate parameters to have an effect (the Attack peak is al- ways 34. } The bigger the difference, the longer the actual time produced by @ given DEGAY value. * For example, assume DECAY is 34, with BREAK POINT (G.P)= 30, the actual Decay cycle lasts ‘about 05 seconds. With BF= 26, itlasts about 1.2 8900nds (DECAY= 31).AIBR= 25, it lasts: ‘about 3seconds, and at 28, abaut 5 seconds. * SLOPE and RELEASE are similarly affected by ‘changes to BREAK POINT andior SUSTAIN lov- ‘els. The bigger the dotterence between starting '& ending levels, the longer the actual time produced by a particular Rate value. #[53|: (53) -[73] BREAK P. (Break Point, Level) Determinas the envelope level at which the Deeay rate changes to the Siope rate. This allows complex two- part decay or decayiattack transients to be created (se@ Siope description below for examples), ‘If the Break Point level is set 10 maximum ( 3: ). the extra envelope stage is effectively disabled, and the envalops becomes a conventional ADSR type. (ln this case, SLOPE is used instead of DECAY to ‘361 the actual decay rate from the ATTACK peak to the SUSTAIN level ) * You can also produce a regular ADSR by setting BREAK POINT to the same value as SUSTAIN lev- 3. This method allows DECAY to control the dacay rate, but requires you to change BREAK POINT whenever yau change SUSTAIN. #(54]: [5%] - [74] sLope (Rate) Determines the rate at which the envelope contour ‘Maves from the BREAK POINT level to the SUSTAIN evel. the Break Point level is LOWER than the Sustain level, then SLOPE functions as a second ATTACK. (the envelope movos UP towards the Sustain loved + lithe Break Point level is HIGHER than the Sustain level, then SLOPE functions as @ second DECAY nvelope moves DOWN towards the Sustain * Slope has no effect when Break Point and Sustain ‘are set to the same value, VOLUME —~ VOLUME —= Tie TE ‘Compreser Guitar Sound wwsing a vecond atack Prarorvne Emvetone wing a ‘second decay. #(53 + [85] [35] sustain (Lever ‘Doterminos the constant envelope level at which the sound is sustained after the Aitack, Decay and Slope phases are completed, for as long as the koy is kept depressed «| 56] [68]- [2S] RELEASE (Rate) Datermines the rate at which the envelope cantour falls from the Sustain level to zero after the key is released. * if the envelope has not yet reached the Sustain tev- el (it stil in the Attack, Decay or Slope phase), then the envelope level will fall from ite CURRENT value ta zero at the Susiain rate. * As with Decay and Slope, changing the Sustain level automatically changes the actual Release TIME (be- cause Release is a cate.) Rtack | Desey Break Slope Sustain Retoaco} ya me tne. | POE ae LUE Fes | ime tev | time techs! Highes: Long | Long | lang | Leng tong | Long | at PTT i Shot shot | 9 | Shot © Short www.synthesizer.ata4 MG “The Modulation Generator (MG) is a low froquoney eontral ‘oscillator used for regular, cyclic modulstion of DOO pitch and ‘VCF cutolf requency. The MG can be used for vibrato, grow!, ‘automatic wah-wah and other “repetitive” effects. MG effects ‘can be programmed into a given sound, added during pa formance with the Jaystick, (or by external devices via MIDI), or both. PARAMETER NAMES AND FUNCTIONS FREQ Frequency determines the speed of the eyctic varia- tion in pitch oF tone quality (vibrato, wah-wah, etc). Frequency has a range of 3 - 45 ; the higher the value, the faster the speed, ivsaniak epee ‘wie Fest is Sou 0 82) DELAY Delay determines the delay (if any) between the time: when you play the key and the time when vibrato, wah wah, ott. begins. Delay has a range of 9 - 45. With a value of & . the effect begins as soon as you play the key. The greater the value, the longer the da lay before the effect begins, {Depressing additional Keys while holding one or more dawn does NOT retrig- ‘g¢r the delay function.) Daiay o NG value Long 18 No dt the efiect begins as soon a 1s the key 3 playet on NOTE: Delay also affects modulation added through the Foystick. [83] pco Determines vibrato depth (depth of DCO frequency modulation). Vero Sep VALUE Degp Is t 1 No eect o 84) ver Determines depth of Cutotf Frequency modulation (wah-wah or “grows!” effect, etc:) Wanaan depeh Valve ‘Deep Is t : No effect 0 Eo MID! i @ data and protocol format for control and communi= cations between synthesizers, sequencers, rhythm machines, and personal computers, (See page 31 for mora details.) ‘Although you are free 10 set all parameter values as you ke, MIDI85-88 parameters can not be given particular values for Particular programs. MIDI parameters will cermain the same regardless of which program you select. if you change a MIDI value, that new valuo wil then apply to all programs in memory. Note that parameter 85 (ACV CH) and 8 7 (BEND) values can be saved along with program data and loaded trom tape 10 internat memory. However, parameter 85 (PROG CHANGE) and 88 (SEQ CLK) cannot be saved to oF loaded from tape, D @ @ @ www.synthesizer.atPARAMETER NAMES AND FUNCTIONS [85] RCV CH (Receive Channel), This determines which MIDI channel will be received by the EX-800. There are 16 possible channels for MIDI reception, When connected to a POLY-800, selecting RCV CH-1 on the £X-800 will enable it to receive and play the POLY:800's keyboard data, Selecting RCV CH-2 will allow the EX-800 to play the POLY-800's Sequencer nate data. Selecting channels ‘3 thru 16 will allow the EX-800 to receive BOTH Koy- board and Sequencer note data from the POLY-800. ‘The selected MIDI channel number is maintained when power is turned off and on again RECEIVING CHANNEL | VALUE GH-16 6 1 1 cH ' [85] PROG CHANGE (Program Change} ‘AMID! equipped synthesizer (such as the POLY-800), remote keyboard, or personal computer can be used {o select different EX-800 progeams. Far example, if onnected to a POLY-800, both synthesizers can Change program numbers together. The best use of this function isto arrange the programs on beth synthe 80 that they match the arder in which desires pro- grams will be selected during performance. Yo enable the external program select fur_Jon, the value of the PROG CHANGE parameter ( 85 ) must be set to "1" (enabled). ‘The value of this parameter is reset to "0" (disabled) when the EX-800's power is initially turned on, PROG CHANGE [aun Program change | No change o BEND ‘The EX-800 can respond to pitch bend data received {om a MIDI equipped romote keyboard or synth. For ‘example, if you use the joystick to bend up on the POLY-800, then the EX-800 pitch will also bend up. However the amount that the pitch bends on the EX-800 will depend on its BEND parameter value. At ‘2 there is.n0 bend. This can be set to.any value trom 9 to G4. At the maximum valle, pitch ean change up ‘o-pertectfith (700 cents) BEND VALUE Pich bend width ‘Wide cy Nartow ' Nore o [88] sea cLx (Sequencer Ctock) This parameter dotermines whether EX800 se- quiencer timing will be controlled by its internal clock or by an external unit via MIDI. This parameter's “default” value is ¢ (Internal clock} whan the EX-200 is frst turned an, SEQOLK LUE Exerna’ lock 2 Inewnal Cock 1 www.synthesizeratNew sounds are created on the EX-800 by changing er EDIT: ING old programs, Since the Digital Control system provides ‘camplete, detailed information about all programs in momory, no Manual mode (ound in older synthesizers) is: needed (471 OVERVIEW 7] To create a new sound, frst solect one of the 6¢ existing pro- ‘rams thar’s cose to what you want (ne program is lose, any program may be used as a starting point). Nex, select in dividual parameters of that program (rom the Parameter Ta ble) and edit them, one at a time, until the sound maiches your ‘mental image as closely as possible. By adjusting the various parameters, you can create vinualy any type of sound you wank ‘The sound created at this point isa TEMPORARY edit of the ‘riginal program. The original program is stil in memory, and the temporary edit will be ERASED if you reselect the original program or select ‘@ new program. * Ta make the temporary edit PERMANENT, you must WRITE the edited program into one of the 64 Progam Numbers (the Program memory). * The samo Program Number can be used (erasing the origi fl program), or a diferent Program Number can be used (Caving the original program, but erasing 4 ditferent ono). ‘The procedures far creating sounds and storing them in mamory will now be described in detail MEMORY BACKUP * Sound and sequencer program data stored in EX-800 memory are protected by a builtin battery powored circuit 50 thal thoy wil net be last or erased when powere Is tured ‘ff, Under normal conditians (0~ 40°C) the battery wil pro tect memory for mote than five years from the dala of manufacture, you find that memory contents are lost ater turning off the Power and then turning it on again, please contact your nearest KORG dealer distributor or service center Not You can also use the procedures below for “ine tuning’ sounds (0 compensuie for room acoustics, amplifier eharae teristics, etc., as well as for creating new saunls [4.2 EDITING PROGRAMS J 21 Selecta Program —] Setect a sound from the program memory that resembles the kind of sound that you want (or choose any sound). Using the Number Select Buttons (see section 2, Selecting Programs, i you're net sure how to do this) Cy (4.2.2 Select Parameter Mode a Press the PROG/PARA switch to select Parameter Mode. The middie two digits show the current PARAMETER NUMBER, and the right two digits show the curren! VALUE of the Parameter. PROGIPARA Site " 4.2.3 Select a Parameter Err All Parameters are referred to by a two digit number ranging from $1 te 88 (ust like Program Numbers) Look up the number of a Parameter that you think should be ‘changed in the Parameter Table, and enter it using the Num. bber Select Buttons ( ; = g ). EXAMPLE: Selecting VCF Cutoff (4; ) By looking in the Parameter Table, you'll find that all the VOF Parameters star with the nurnber'', and that WCF Cutott is 1. First, press Number Select button The DISPLAY will shows something like the following syed unt Ye nest entered 19 for nou) www.synthesizerat* Ahorizontal line appears untl you select the next digit (which ‘means the programmer is waiting for an input) + I the first digit selected was wrong, simply press the ‘4’, bbutton TWO times, so that the number *¢ appears in the lett hand digit of the Parameter Number Display. 2. Next, push the Number Select button : . The VCF Cutoff Parameter has now been selected, NOTE: If you enter numbers that are not in the Parameter Table ( 28 or 35. , for example), the number will be accepted but the VALUE section of the Display will be blank. This will also happen if you try 10 access DCO 2 or DEG 2 puraneters ia WHOLE Mode (they are only available in DOUBLE Mode). 4.2.4 Edit the Parameter) ja) s cue ‘The UP and DOWN switches in the Value saction are used to ‘change the Value of the selected parameter. The current value ‘of the parameter is show in the VALUE section of the Display: pown = uP in UPMDOWN Switch The: oti let. TS Press the UP button to INCREASE the value; press the DOWN button to DECREASE the value. you press and release either ‘of these buttons quickly, the value will change one step at a time. If you keep either button depressed, the value will increase or decrease rapidly after a short pause. No’ | Uf the VOF Cutoff Value is reduced (o near 8. the volume of the sound will also te reduced. When you select a Parameter and then change it, a small LED dot will turn on in the lower right comer of the VALUE Display. ‘This dot shows that the parameter Value has been changed; if you restore the parameter to ils previcus Value, the dot wi 0 out. However, if you leave the new value in place (LED dat is on), select another parameter, and then resslect the frst (al- tered) parameter — the LED dot will NOT turn an, The LED dol only shows when @ Parameter has been changed since you selected it. It DOESN'T tell you whether or not the Parameter Value is the samo as in the original (“permanent”) Program being edited. 4.2.8 Edit the Remaining Parameters: a ‘Attar editing one parameter to your satistaction, repeat steps 3 and 4 for the next parameter, and so an. Continue editing parameters (re-eciting if necessary) until the desired sound is achieved, ‘+ If you don't like the edited sound, you ean cancel ALL of the edits and restore the original programmed sound. Just press the PROG/PARA switch to select Program Made, and reselect the original Program Number. + To make the ectted version PERMANENT, you must write it into: memory (390 Section 4.3 blow) 4.2.8 Using the BANK HOLD Feature ‘The BNAK HOLD feature allows the current Parameter Bank ‘number (left hand digit of the Parameter Display) ta be “held” This enables you to select any of the Parameters in that bank ‘with a single press of a button, for easy editing of particular Poly-800 Module, Bark hese site LI BANK HOLD. EXAMPLE: Editing the VF Parameters ‘= Solect any VOF Parameter (euch as Cutoff, 1) as explained above, and then press the BANK HOLD switch. The Dis- play will show the following: The: dot i www.synthesizer.at 23* You may now select any of the VOF parameters by press- ing one of the Number buttons, For example, press ‘3" 10 ‘select KBD TRACK, ‘5 to soloct EG INT, and so on. You may also press g 'to select the Chorus ON/OFF Paramoter, *Pressing ‘ 7' will result in a blank VALUE Display.) Press BANK HOLD again to cancel the Bank Held function and retum to the normal two-digit selection method, ‘Tomako any edited or newly created sound PERMANENT, you ‘must write into one of the 64 Program Numbers in the memory 1-88). Sound data stored in memory is protected by @ back-up bat- tery crcult so it will not be erased even if power is disconnect- ed from the EX-800, NOTE: You can only WRITE the cwrrentiy selected sound to memary. Af you have aiready resetecied the osiginat version, the edited version is lost nner MEMORY WRITE PROCEDURE. 1. Set the Program Write switch on the rear panel to the ENA- BLE position. — write —, SEQUENCER PROGRAM DISABLE ENABLE DISABLE > oo = 2, Make a mental note of the current Program Number, it you ‘want to write an edited version “over the original program. ’3, Press the WRITE button. The Program Number inthe Dis- play will be relaced by 8 pair of flashing lines, to show that you are in Write mode, Ey Oo “ 4, Press the Number buttons to select the Pragram Number where you want to store the edited sound. NOTE: EXAMPLE: To store the eciited sound in Program Number 2", press the Number Select buttons 3 and then ¥ . After but- ton * 3‘ is pressed, the DISPLAY will show the fol- Howit '3 Gislped unt the next eae ‘S entered (Wating for pul) Ee Nor? ALihis point (before the secarid bulton is pressed), the "old" sownd in memory és still unchanged. If you pressed the wrong number Jor the first digit (AND ARE ABOUT TO ERASE THE WRONG PROGRAMS: * Switch the rear panel Program Write switch to the DISA, BLE position. * switch it back to the ENABLE position ‘+ press WRITE button again * thon press the correct Number buttons {° 3 ' and then “ay ‘The edited sound is: now stored in Program Number 3. 5. Set the rear panel Program Write switch to the DISABLE position — write — SEQUENCER PROGRAM ENABLE DISABLE EARLE DISABLE m rm ( 6 Protecting Memory | After WRITING a progeam to memory, it's a good idea to always set the Program Write switch to DISABLE. This pre- vers accidental erasure or change af your programs (and, of course, doesn't interfere with selectine programs at al). www.synthesizer.at