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Multi-Oscillator Synthesis System

1. Filter2out Level Pulse Noise G Example of when noise is input i lt Level Feedback gt 0 Level Freguency Comb Filter gt Level As the Feedback value increases the sound will become more pitched Frequency Feedback 0 Lo Frequency PRISER Can imh bolii in Tie 1 3a Input Input OSC2 1 Noise SubOSC Noise Filter1 Noise Filter2 Noise Pulse Noise Impulse Selects the signal that will be input to the comb filter Example of when an Impulse is input Feedback gt 0 Time As the Feedback is JComb Filter increased the decay Time time will become longer NG Time Feedback 0 Time Pluse Pluse Width 0 Width 99 Level Input Wave Level 0 99 Specifies the volume level of the signal that will be input to the comb filter Noise Level 0 99 This parameter will be available only if Input has been set to OSC2 1 Noise SubOSC Noise Filter1 Noise or Filter2 Noise It specifies the volume level of the noise generator output which will be input to the comb filter Pulse Width 0 99 This parameter will be available only if Input has been set to Pulse Noise or Impluse It specifies the length of time that the Pulse Noise or Impluse will last after being triggered AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source ss p 48 of this manual that will control the volume level of
2. 99 19 Resonance This oscillator produces a wide range of tonal change by allowing you to specify the cutoff freguency and resonance of four band pass filters BPF You can select one of the following sources to be the input for the filters the output of the other oscillator the sub oscillator the output of the noise generator or the output of filter 1 or filter 2 osc 12 Input Level BPFi Levelt 0 FB o LA gt Resonance1 Coarse1 TL__o Fiter out o aerz ei En er Input Select Gi i T PROSE Lait la 1 3a Input Input OSC 2 1 Sub OSC Noise Filter1 Filter2 Selects the signal that will be input to the four band bass filters Me If you select Resonance for OSC 1 and 2 in 1 2a Multi Oscillator Synthesis Setup and select the other oscillator as the input for each the result will be unstable the sound may be non reproduceable or you may hear no sound at all Level 0 99 Specifies the level of the signal that is input to the four band pass filters ANS1 Alternate Modulation Source 1 Off MIDI CC 83 Selects a modulation source 1 sep 48 of this manual that will control Level Intensity Level AMS1 Intensity 99 99 Specifies the depth and direction of the effect of AMS1 20 AMS2 Alternate Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 1 p 48 of this manual that will control Level Intens
3. Jt EEF reduce nA 1 2a OSC 1 Multi OSC Setup Specifies the basic pitch of oscillator 1 OSC 1 Oscillator 1 Type Standard Bowed String Model This shows the oscillator type that was selected in 1 1a Multi OSC Setup This is linked with the identi cally named parameter in 1 1a Multi OSC Setup Octave 2 32 41 4 Specifies the basic pitch of oscillator 1 in steps of an octave 32 is two octaves below 16 is one octave below 8 is standard pitch and 4 is one octave above Transpose 12 412 Adjusts the basic pitch specified by Octave in semitone steps Tune 50 50 Makes fine adjustments to the pitch in one cent steps 10 0 4 10 0 Makes fine adjustments to the pitch in 0 1 Hz steps F Offset Frequency Offset 1 2b OSC 2 Multi OSC Setup Selects the oscillator type for oscillator 2 1 2c Sub OSC Make basic settings for the sub oscillator Parameters other than Waveform are the same as for oscillator 1 Waveform Saw Sine Select the waveform of the sub oscillator 14 1 3 OSC1 Oscillator 1 Make settings for each oscillator type The oscillator type is selected in 1 1a Mult OSC Setup or 1 2 OSC Basic The parameters that are displayed will depend on the selected oscillator type Standard H EL H a lyr DW Fee Wi a 1 3 pe 2 eB vit Lc Li si el Lu hel by lel IE F This oscillator produces the wavef
4. AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source sep 48 of this manual that will control the amount of resonance Intensity Resonance AMS Intensity 99 99 Specifies the depth and direction of the effect that AMS will have on the amount of resonance 3 1d Filter B These parameters will be available if Dual BPF A B was selected as the Type in 3 1b Filter Type For details on each parameter refer to 3 1c Filter A The EG and AMS are set in 3 1c Filter A 3 2 Filter Mod Filter 1 Modulation Wm Lid F ch bork Gag EE er TT a ira 3 2a FilterA B Keyboard Track Keyboard tracking settings specify how the cutoff freguency of filter 1 will be varied according to keyboard position Filter A Key Low C 1 G9 Specifies the key at which Lower keyboard tracking will begin Key High C 1 G9 Specifies the key at which Higher keyboard tracking will begin You can also input a value by playing a note on the keyboard while you hold down the ENTER key Ramp Low 99 99 Specifies the depth and direction of cutoff frequency change that will occur below the Key Low With a setting of 50 the change will match the change in pitch Ramp High 99 99 Specifies the depth and direction of cutoff frequency change that will occur above the Key High With a setting of 50 the change will match the change in pitch
5. Insertion master effect routing and individual audio output routing for a timbre is set in the Program P8 Routing tab Refer to Multi timbral settings in this manual ES The Timbre 1 8 you select here does not have to be using a bank F program uu The actual levels of send 1 and 2 for a timbre using a bank A E or G program is determined by multiplying the timbre setting by the send level of the program but for timbres that use a bank F program the send level setting of the timbre will be the actual level 47 Appendices Cautions when using bank F Sound production when changing programs If you change bank F programs while sound is being produced the bank F program will stop sounding The newly selected program will sound at the next note on MIDI Program Change reception Depend paaa bgikpaeavalkangYhihengng cs btwcfnrgracgidiecn About noise Thenctinm cities aiem qnando heyrn witi h dukalil dad If you are using bank F programs in multiple timbres Whpiyigiiinrhaaipai tengunakuiagkogrdhe iinit bail nirdeya m Data dump compatibility Bajibganaaimpahbipo gandiBophcYIRINIT W FRIN TIYOSSTRI Affix the Sondius XG label Aid rii idr pad caRibwrbem ALLU ON OFF 4mm 48 Modulation Source List Off EG 1 EG 2 EG 3 EG 4 Amp EG LFO 1 LFO 2 LFO 3 LFO 4 Portamento Note No Linear Note No Exp Note Split High Note Split Low Velocit
6. SE 109 Up uP UP Up uP Reed Model Sweepy Sawz FastSynth 134 CrazyComputer 3 Standard OSC Standard OSC Night Lights MotionSynth 048 TEKNO stutter Organ Model VPM OSC Tine Piano Keyboard 081 Echo Chords 1 VPM OSC VPM OSC Sync Comp Dream Bell LeadSynth Bell Mallet 078 5 tone Vel Trip 001 DOWN Sync OSC VPM OSC Standard OSC Organ Model SinglePerc Organ Organ 051 Old Dance Bass 2 Organ Model Organ Model Blue Sax Woodwind Reed 079 5 tone Vel Trip Reed Model Vowel Phase Mod FastSynth 031 DanceBass Riff 2 VPM OSC Comb Filter OSC Dyna Slap Bass Bass Synth Bass 055 Funk Bass Plucked String Model Wave Drum Drums 177 Percussion Plucked String Model Sub Lead LeadSynth 124 Random Techno Standard OSC Standard OSC Ocean Calm SlowSynth 073 5 tone Trance 3 Organ Model Organ Model Metallic Bell Bell Mallet 132 CrazyComputer 1 VPM OSC VPM OSC Male Ahhs Hard Flute Vocal Airy Woodwind Reed 041 Gated Dance Bass 081 Echo Chords 1 Standard OSC Reed Model Standard OSC Dimension SE 076 2 tone Vel Trip VPM OSC Resonance OSC Arena Monster FastSynth 071 5 tone Trance 1 Standard OSC Standard OSC Butterfly Pad MotionSynth 079 5 tone Vel Trip Sync OSC Standard OSC Tremolo Synth FastSyn
7. 09 Up uP UP Up uP 002 ALTERNATE1 Tele eee Mod SW1 CC 80 Mod SW2 CC 81 F A Attack CC 73 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 B035 Moss Sax Split LeadSplits 000 UP 44 1Note Repeat Lo Mod SW1 CC 80 Lock JS Y amp Ribbon Filter Cutoff CC 74 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 B036 System Start Up MotionSynth 00 UP 000 UP uym ai Mod SW1 CC 80 Lock JS Y amp Ribbon F A Attack CC 73 F A Decay CC 75 F A Sustain CC 70 Knob Mod 4 CC 21 B037 AwesomeStringPad Strings 029 Arco Arpeggio 022 Piano Arpeggio 1 Mod SW1 CC 80 Lock JS Y amp Ribbon F A Attack CC 73 F A Decay CC 75 Knob Mod 3 CC 20 Knob Mod 4 CC 21 B038 CyberSynthBass Synth 23 Echo Riff 000 UP Fi el Mod SW1 CC 80 Portamento SW CC 65 Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 CC 20 B039 Moss BRASS Sect BrassReed Z Lead Moss Synth 49 Jazz 2 52 Heavy Rock 47 Shuffle 2 62 House 2 Mod SW1 CC 80 Mod SW2 CC 81 Octave Down Mod SW2 CC 81 Filter Cutoff CC 74 F A Release CC 72 Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Knob Mod 3 CC 20 Knob Mod 4 CC 21 C Knob Mod 4 CC 21 C Moss Srave Rhythmic Pattern 12 Techno Riff 1 75 BD HH SD 16ths Mod SW1 CC 80 Lock JS Y amp Ribbo
8. Slope Slope Time 0 99 Specifies the time from when the decay time ends until the Sustain Level is reached Release Slope Time 0 99 Specifies the time from note off when a note is released until the Release Level is reached 6 1c Level Modulation AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source sep 48 of this manual that will control the level of EG1 Intensity EG Level AMS Intensity 99 99 Specifies the depth and direction of the effect that AMS will have on the EG levels Velocity Control 99 99 Specifies the depth and direction of the effect that velocity will have on the EG levels EG changes level AMS Velocity Intensity value Note on Note on Note off Note off When keyboard is When keyboard is played softly with St played strongly with At and Br set to St At and Br set to the settings of 6 1a Level Note on Note off When keyboard is played strongly with St At and Br set to 6 1d Time Modulation AMS1 Alternate Modulation Source 1 Off MIDI CC 83 Selects a modulation source 1 xzzp 48 of this manual that will control the EG1 times Intensity EG Time AMS1 Intensity 99 99 Specifies the depth and direction of the effect that AMS 1 will have on the EG times 45 AMS2 Alternate Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 ssp 48 of this manual t
9. and set Int Speed Modulation EG Intensity to 0 Check Differential When you are pressing the ribbon controller the bowing speed will be zero so there will be no sound As you slide your finger toward the right over the ribbon controller the speed at which your finger moves will be the bowing speed and sound will be produced As you slide your finger to left and right the bowing speed will change from positive zero negative zero positive allowing you to produce performance expressions that are very similar to those of actually moving a bow back and forth Rosin 0 99 Specifies the coefficient of static friction between the bow and the string This corresponds to the amount of rosin on the bow Higher values will increase the friction between the bow and string When this value is in the region of 0 it will be difficult for playing strength to be transmit ted to the string 1 3b Bow Pressure EG EG 1 EG 4 AmpEG Selects the EG which will control the pressure of the bow on the string bow pressure Int Pressure EG Intensity 99 99 Specifies the depth and direction of the effect that the EG will have on bow pressure If this value is low the bow will rest lightly on the string AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source ss p 48 of this manual that will control bow pressure Int Pressure AMS Intensity 99 99 Specifies the depth of the effect produc
10. 80 Mod SW2 CC 81 Knob Mod 1 CC Knob Mod 2 CC Knob Mod 3 CC 20 Knob Mod 4 CC 21 51 Programs MOSS PCG Bank F War Birds Category FastSynth Arp SW Arpeggio Pattern ca 048 TEKNO stutter OSC1 Type Standard OSC OSC2 Type Standard OSC Palawan MotionSynth 083 Echo Chords 3 Resonance OSC Organ Model Whirly E P Keyboard 035 TechnoBass Riff3 Electric Piano Model Electric Piano Model Death Lead LeadSynth 048 TEKNO stutter Standard OSC Standard OSC Zoop 1 Drums 045 Funky Tekno Bass Standard OSC VPM OSC Neo Clav Keyboard 021 Funk Bass Guitar Plucked String Model Rich Strings Strings 130 Mallet Roller Comb Filter OSC Standard OSC Speed Comp MotionSynth 032 DanceBass Riff 3 andard OSC Standard OSC Phat Bass Bass Synth Bass 042 Dance Bass Comp Standard OSC Square Hollow Frequency Lead SlowSynth LeadSynth 039 Open Funk Bass 1 124 Random Techno S Standard OSC Standard OSC andard OSC Standard OSC Standard OSC Techno Seguence MotionSynth 014 BalladPicking2GT S S ync OSC Standard OSC Blue Guitar Guitar Plucked 008 Guitar Picking lucked String Model Garage Choir Vocal Airy 113 Techno Riff 2 Standard OSC Bold Trumpet Brass 060 Crazy bee P Standard OSC Brass Model Forest
11. 99 Specifies the depth and direction of the effect that velocity will have on Attack Level The effect will be as shown in the following diagram Parameter value 1 Velocity value 127 Noise Level 0 99 Specifies the level of the noise component that is included in the attack waveform As this value is increased a greater portion of noise will be included in the attack and the sound will be brighter with more overtones The noise signal used here is taken from the output of the noise generator Velocity Noise Level Velocity Control 99 99 Specifies the depth and direction of the effect that velocity will have on Noise Level For the way in which the effect occurs refer to Velocity Attack Level Velosity Control 1 3b Attack Curve Up Curre Up 0 99 Specifies the steepness of the rising edge of the attack waveform When the rising or falling edge is steep the tone will be harder Envelope of the attack waveform Volume level Curve Down Curve Up Velocity Curve Up Velocity Control 99 499 Specifies the depth and direction of the effect that velocity will have on Up For the way in which the effect occurs refer to Velocity Attack Level Velosity Control Down Curre Down 0 99 Specifies the steepness of the falling edge of the attack waveform Velocity Curve Down Velocity Control 99 4 99 Specifies the depth and direction of the effect that velocit
12. Alternate Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 sep 48 of this manual that will control the LFO frequency Intensity Frequency AMS2 Intensity 99 99 Specifies the depth and direction of the effect that AMS2 will have on the Frequency value 5 1c Frequency MIDI Tempo Sync MIDI Tempo Sync Checked The LFO frequency will synchronize to the tempo MIDI Clock In this case the settings of 5 la Frequency and 5 1b Frequency Modulation will have no effect Base Note IS Ds dD 43 4 dsd o Times 01 16 If MIDI Tempo Sync is checked these parameters specify the Base Note note value and a multiple Times relative to the J tempo These parameters will determine the frequency of the OSC1 LFO1 For example if Base Note is J quarter note and Times is 04 the LFO will cycle once every four beats Even if you change the J Tempo of the arpeggiator or seguencer the LFO will always cycle once every four beats ta If the Global mode parameter 1 1a MIDI Clock Parameter Guide p 118 is set to Internal the LFO will synchronize to the tempo specified by the program If it is set to External MIDI or External PC I F the LFO will synchronize to the MIDI Clock messages received from an external MIDI device 44 5 2 LFO 2 MES 5 3 LFO 3 MES 5 4 LFO 4 NEES LFO 2 LFO 3 and LFO 4 have the same parameter
13. Dc Decay Time AMS2 Intensity 99 99 SI Slope Time AMS2 Intensity 99 99 RI Release Time AMS2 Intensity 99 99 Specifies the depth and direction of the effect that AMS will have on each EG time Amp EG changes time AMS Velocity Intensity value Note on Note off A When keyboard is Note on Note off NA When keyboard is ote on Note off TAN When keyboard is played softly with At played strongly with played strongly with De SI and RI set to At Dc SI and RI At Dc SI and RI The settings of 4 3d set to set to AMS2 42 99 99 4 4 Output Level Pan FEP KAN 2 ALA hy NAA 7 Lpr lisi aaa 44a gt HE F 4 4b z pe us TE fer 4 4a Output Level Output Level 0 127 Specifies the output level following the amp 4 Ab Pan Pan L000 C064 R127 Set the pan stereo location of oscillator 1 L001 is far left C064 is center and R127 is far right AMS Alternate Modulation Source Off MIDI CC 83 Selects the modulation source sep 36 of this manual that will move the panning of amp 1 relative to the Pan setting Intensity Panpot AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS on the panning Program P5 Edit Common LFO This section provides four LFOs Low Freguency Oscillators These LFOs can be used as modulation sources for parameters
14. N Warning When installing servicing or replacing parts for this product do not perform any action that is not prescribed in the owner s manual Do not apply excessive force to the electronic components or connectors on the circuit board and do not disassemble it Electrical shock fire or malfunction may result Before installing this product disconnect the power supply cable of the device in which it is being installed and discon nect any cables that connect peripheral devices Failure to do so may cause electrical shock or malfunctions N Caution Do not allow this product to become wet and do not place objects on top of it Doing so will cause malfunctions Before touching this product touch a metal part of the device into which it will be installed so that any static electricity in your body will be discharged Failure to do so will risk damaging the electronic components by static electricity When handling this product be careful not to touch the leads wires protruding from the electronic components on the rear side of the circuit board Injury may result When installing this product do not touch any unrelated parts or circuit boards Electric shock or malfunction may result When installing this product be careful not to cut yourself on any sharp edges or parts of this product or of the device into which this product is being installed When installing this product be careful not to drop screws etc into the device into whic
15. approaches 0 the volume will also decrease Organ Model This is an oscillator used to produce organ type sounds The oscillator simulates three drawbars similar to electric organs of the past You can specify the footage Harmo and waveform setting for each drawbar allowing a wide range of sounds to be created Drawbar3 Drawbar2 Drawbar1 Level Wave Harmonics Sinet or Sine2 Pitch Sine3 Triangle ra Percussion Level Precussion Decay Level Mod 1 3a Tone Generator Drawbarl Wave Sine 1 Sine 2 Sine 3 Triangle Specifies the waveform for drawbar 1 Sine 1 contains only the fundamental i e a pure sine wave Sine 2 and Sine 3 are waveforms which contain the first two and the first three harmonics respectively Coarse Harmonics Coarse 1 16 16 1 Specifies the pitch of drawbar 1 relative to one octave below the oscillator pitch Fine Harmonics Coarse Fine 99 499 Makes fine adjustments to the pitch of drawbar 1 Level 0 99 Specifies the volume level of drawbar 1 AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source xs p 48 of this manual that will control the Level of drawbar 1 23 Intensity Level AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS1 Percussion 0 99 Specifies the volume level of the percussion effect for drawbar 1 Drawbar 2 Drawbar 3 The para
16. as LFO 1 Refer to 5 1 LFO 1 Program P6 Edit Common EG This section provides four general purpose EGs envelope generators The four EGs can be used as modulation sources for the parameters of other sections to create time variant change in the sound Note off Attack level Sustain level y Note on Break level i Attack time 99 Time Slope time Decay time Release time 99 6 1 EG 1 MESS Tie Pilib JE maat W rib Hamsi a mw pwn Tias Haima iaa meg a ke ans F ie JE 6 1a Level EG Level Start Start Level 99 99 Specifies the value at the time of note on Attack Attack Level 99 99 Specifies the value that will be reached after the Attack Time has elapsed Break Break Level 99 99 Specifies the value that will be reached after the Decay Time has elapsed Sustain Sustain Level 99 4 99 Specifies the value that will be reached after the Slope Time has elapsed Release Release Level 99 99 Specifies the value that will be reached after the Release Time has elapsed 6 1b Time EG Time Attack Attack Time 0 99 Specifies the time from note on when a note is played until the value reaches the attack level With a value of 0 the value will change instantly With a value of 99 the value will change slowly Decay Decay Time 0 99 Specifies the time from when the attack time ends until the Break Level is reached
17. fundamental With a value of 0 the partials will be located at integer whole number multiples of the fundamental As this value is increased the partials will move further away from integer multiple locations In general thin and flexible strings can be simulated by a low Dispersion value and thick and stiff strings can be simulated by a high Dispersion value 4a ANS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source s p 48 of this manual that will control Dispersion Dispersion If this value is raised excessively the pitch may become unstable Intensity Dispersion AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 3d Harmonics Point 0 99 Specifies the location at which the string will be pressed to play harmonics Ctrl Control Off MIDI CC 83 Selects a modulation source szp 48 of this manual that will control the harmonics effect Intensity Harmonics Control Intensity 99 99 Specifies the depth and direction of the control that Ctrl will have on the harmonics effect J amp When making the Position setting you must assign Control to a controller other than OFF and raise the Intensity value The decay time of the harmonics effect will differ depending on the keyboard location that you play 1 3e Pickup Pickup If this is checked the sound will be passed through a simulated pickup If thi
18. made independently for two or more timbres Timbre settings for insertion master effects and routing to individual audio outputs are made in the Program P8 Routing tab Use the following procedure to make settings Example 1 Set MOSS BUS Select Reference to Timbre 1 2 In the Program P8 Routing tab set the timbre 1 IFX Indiv Out BUS Select to L R All bank F programs that you selected will be sent to L R without using the insertion effects 3 Set the timbre 1 parameters Send 1 and Send 2 to 064 and 127 respectively The signal will be sent to MFX1 and MFX2 at the specified levels 4 If you wish to use an insertion effect set IFX Indiv Out BUS Select to IFX1 IFX5 If you wish to output to the AUDIO OUT INDIVIDUAL 1 4 jacks select 1 4 1 2 or 3 4 ul The actual levels of send 1 and 2 for a timbre using a bank A E or G program is determined by multiplying the timbre setting by the send level of the program but for timbres that use a bank F program the send level setting of the timbre will be the actual level This setting has no effect for bank A E or G programs 4a 6 Select Combination P1 Edit Program Mixer CHE IBAT OH PIT Edit Pregram Hixzer Eri BAG imi Canal Bee TE Hina Ami GG E i karina sare hee oe irp Irtir Li ee 222GB 2 DOTA 7 In Bank Program select a bank F program Programs can also be selected from the Category P
19. same structure as the 4 1a Amp 1 parameters 4 3 Amp EG Amplifier Envelope Generator MES Eriam JE EH TEPE FEE S E HH H H i alor prera m Here you can make settings for the Amp EG The Amp EG lets you specify how the sound will change over time Since the Amp EG can also be used as a general purpose controller it can create time variant change in parameters other than volume Time variant change in volume created by the amp EG Note off Sustain level y 4 Break level N Attack level Volume Attack Decay Slope Release time time time time 4 3a Level Amp EG Level Attack Attack Level 0 99 Specifies the volume that will be reached after the Attack Time has elapsed Break Break Level 0 99 Specifies the volume level that will be reached after the Decay Time has elapsed Sustain Sustain Level 0 99 Specifies the volume level that will be reached after the Slope Time has elapsed 4 3b Time Amp EG Time Attack Attack Time 0 99 Specifies the time from note on when a note is played until the volume reaches the attack level With a value of 0 the volume will change instantly With a value of 99 the volume will change slowly Decay Decay Time 0 99 Specifies the time from when the attack time ends until the break level is reached Slope Slope Time 0 99 Specifies the time from when the decay time ends until the sustain level is reached Release Release T
20. triggered monophonic playing When Poly is selected the Retrigger Control and Threshold parameters will be unavailable Retrigger Retrigger Contol _ Off MIDI CC 83 Retrigger refers to the action of resetting the EG and LFO at the time of note on the EG will return to its start level and the LFO will return to the beginning of the cycle of its waveform Here you can select the controller which will specify whether or not the sound will be retriggered when a note on occurs Threshold Retrigger Control Threshold 1 127 Specifies the value at which EG and LFO will be retriggered by a note on The state of the controller selected by Retrigger Control i e whether the controller value is above or below the specified Threshold value will determine whether or not the sound will be retriggered when a note on occurs The operation of this function will differ depending on the Voice Assign Mode setting With a setting of Mono Single retriggering will occur if the controller is above the threshold value If Retrigger Control is OFF retriggering will not occur With a setting of Mono Multi retriggering will occur if the controller is below the threshold value If Retrigger Control is OFF retriggering will always occur 4a If a note on occurs when all notes are off retriggering will always occur LFO s whose Key Sync is turned OFF will not be reset even if retriggering occurs Priority Low High
21. will control that LFO CC 79 Filter EG Intensity Filter A EG Intensity Program P3 Filter 1 2 tab Filter B EG Intensity Program P3 Filter 1 2 tab 4 Parameters This document explains the parameters that appear the screen pages that are added when the EXB MOSS is installed For details on the other screen pages refer to the Parameter Guide and Basic Guide etc of the TRITON In Program mode you can use the Write Program page menu command to write an edited program into the specified program number note When you press the front panel REC WRITE key the Update Program dialog box will appear Here too you can write to the cur rently selected program 4a Be sure to write important programs that you edit If you turn off the power or select another program before you write your edits cannot be recovered Refer to Saving data on p 37 of the TRITON Basic Guide Program mode Program P0 Play 0 1 Perf Edit Performance Edit Here you can select a program and perform simple editing For details on the parameters refer to p 1 1 Program mode of the TRITON Parameter Guide Parameters that can be controlled from the Performance Editor Octave Octave of OSC 1 OSC2 and Sub OSC Pitch Cannot be used for bank F OSC Balance OSC 1 and 2 levels of OSC Mixer 1 and 2 Amp Level Output level Attack Time Amp EG EG1 2 3 4 Attack Time Time Modulation At controls the EG selected by
22. will invert the phase OSC2 OSC2 Output Level These parameters adjust the level at which the oscillator 2 signal is output from mixer output 1 and specify a modulation source that will control this level Sub OSC These parameters adjust the level at which the sub oscillator signal output is output from mixer output 1 and specify a modulation source that will control this level Noise These parameters adjust the level at which the output of the noise generator is output from mixer output 1 and specify a modulation source that will control this level Feedback These parameters adjust the level at which the feedback from the amp section is output from mixer output 1 and specify a modulation source that will control this level Raising the Feedback level excessively may cause the sound to distort 1 6b Mixer2 These parameters adjust the level at which the oscillator 1 signal is output from mixer output 2 and specify a modulation source that will control this level Refer to the above explanation of 1 6a Mixer 1 1 7 Contoller Setup LL SL TIN GE YR ED TER UT 7 gm aml ihi duu byu TH TF o EF ran How pama Kabi Ceuta bl Maa ryn Hw l i Ha jon a 5 1 7a 1 7b Ee iH 1 7a Panel Switch Assign Assign the function of the front panel SW1 and SW2 keys t Refer to TRITON Parameter Guide p 217 SW1 SW Assign List Since the SW1 and SW2 set
23. with the TRITON s preloaded programs of banks A and B Same as the preloaded data of the TRITON When you load MOSS PCG Programs combinations drum kits arpeggio patterns and global settings will be written into the TRITON s internal memory y When you load MOSS PCG all the current contents of internal memory will be erased and overwritten When you load MOSS SNG Demo songs that use the bank F programs etc of MOSS PCG will be loaded These songs can be played in Seguencer mode y When you select and load MOSS SNG all the current contents of seguencer memory will be erased and overwritten Selecting a program combination In Program PO Play you can select a bank F program 000 127 in the same way as for banks A E You can also select programs from the Category Program Select menu or the Bank Program Select menu Combinations can be selected in Combination PO Play and also from the Category Combination Select menu or the Bank Combination Select menu For a list of the programs combinations in the included floppy disk refer to Voice Name List on p 49 of this manual Editing a program If a bank F MOSS tone generator program is selected in Program PO Play you can use PI P9 to edit the program parameters For details on the program parameters refer to the Parameters section that begins on p 11 of this manual The performance editor parameter Pi
24. 99 the pulse width will be 0 meaning that there will be no sound If the modulation value is a negative number the results will be inverted Triangle wave APA PAPA PAA 99 25 0 25 50 75 99 Waveform modulation will modify a ramp wave as shown below creating time variant change in the sound When modulation is 0 a triangle wave will result and as the modulation value increases the waveform will become a ramp wave a waveform in which the slope is broken in two At a modulation value of 50 a trapezoidal wave will result and at a value of 99 the waveform will once again be a triangle wave If the modulation value is a negative number the results will be inverted Compared to sawtooth or pulse waves this waveform produces a strong fundamental with fewer overtones making it particu larly suitable for bass sounds etc 1 3a Wave Main Wave Saw Pulse Selects the main waveform Select either Saw sawtooth wave or Pulse pulse wave Level 0 99 Specifies the output level of the main waveform Wave Edge 0 99 Adjusts the amount of high range overtones for the main waveform As the pitch rises this effect will become stronger and in the low range there will be little effect Lower settings of this parameter will produce a more mellow sound and in the vicinity of 0 the volume will also decrease Triangle Level 0 99 Specifies the output level of the triangle waveform It will be output mixed with the main wav
25. AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source mp 48 of this manual that will control H D Intensity High Damp AMS Intensity 99 99 Specify the depth and direction in which AMS will affect high damp 18 VPM The output of a carrier is phase modulated by a modulator and output through wave shape processing By controlling the wave shaping parameters and the feedback gain tonal changes that are different than simple phase modulation can be produced Carrier Pitch Modulator Pitch Basic Pitch Modulator Wave Shape Parameter Modulator Level Carrier Level Carrier Output 1 3a Carrier Wave Saw Square Triangle Sine Selects the carrier waveform Level 0 99 Specifies the output level of the carrier This will determine the output level of the VPM oscillator AMS1 Alternate Modulation 1 Source Off MIDI CC 83 Selects a modulation source 1 ssp 48 of this manual that will control Level Intensity Level AMS1 Intensity 99 99 Specifies the depth and direction of the effect of AMS1 AMS2 Alternate Modulation 2 Source Off MIDI CC 83 Selects a modulation source 2 ssp 48 of this manual that will control Level Intensity Level AMS2 Intensity 99 99 Specifies the depth and direction of the effect of AMS2 Wave Shape 0 99 Specifies the number of cycle of wave shaping As t
26. Computer 3 Standard OSC Standard OSC Pad Rize MotionSynth 141 Cresc Decresc Comb Filter OSC Standard OSC Light Res Synth FastSynth U U U U031 DanceBass Riff 2 U U U097 Staccato Tech P Standard OSC Standard OSC Resomotor MotionSynth 004 RANDOM Resonance OSC Comb Filter OSC Dirty Strato Gtr Guitar Plucked 013 BalladPicking GT Plucked String Model Female Voice Saw Horn Vocal Airy FastSynth 059 Happy Dog P003 ALTERNATE2 Standard OSC Standard OSC Organ Model Standard OSC Mad Scientist SE P000 UP VPM OSC Standard OSC Rezzit Oiid Category FastSynth Arp SW Arpeggio Pattern 112 Techno Riff 1 OSC1 Type Standard OSC OSC2 Type Standard OSC Harbinger MotionSynth 134 CrazyComputer 3 Resonance OSC Comb Filter OSC Misty Synth FastSynth 091 House Organ Organ Model Organ Model Soft Syn Brass FastSynth cqjcia 126 Trance Riff 2 Standard OSC Standard OSC Science Laws MotionSynth rg 004 RANDOM Ring Modulation OSC Sync OSC Rockin Bee Organ 031 DanceBass Riff 2 Organ Model Organ Model Hybrid Hardsyn FastSynth 129 Speed Sequence VPM OSC Standard OSC Inner Space E amp Syn Bass MotionSynth Bass Synth Bass 044 TB Bass Drone 043 Trance Bass Riff andard OSC lucked String Mo
27. Cutoff 99 frequency p mis0 450 0 i Ramp lt 0 c Go 39 Filter B Here you can adjust the settings for Filter B These parameters have the same structure as the Filter A parameters 3 2b Filter A B Modulation Filter A ANS1 Alternate Modulation Source 1 Off MIDI CC 83 Selects a modulation source 1 xxp 48 of this manual that will control Frequency Intensity Cutoff Frequency AMS1 Intensity 99 99 Specifies the depth and direction of the effect that AMS 1 will have on the cutoff frequency AMS2 Alternate Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 ssp 48 of this manual that will control Freguency Intensity Cutoff Frequency AMS2 Intensity 99 99 Specifies the depth and direction of the effect that AMS2 will have on the cutoff frequency Filter B Adjust the Intensity of AMS1 and AMS2 specified for Filter A 3 3 Filter2 For details on the parameters refer to 3 1 Filter 3 4 Filter2 Mod Filter 2 Modulation For details on the parameters refer to 3 2 Filter 1 Mod 40 Program P4 Edit Amp Here you can make volume related settings There are two independent amps and the signals which are input to each amp are determined by the setting of 3 1a Routing 13p 47 of this manual 4 1 Amp Level Amplifier 1 Level 4 1a Amp Level Amp Level 0 99 S
28. Filter 1 2 Filter EG Amp 1 2 and Amp Level EG Amp EG EG 1 2 3 4 Decay Time Slope Filter controls the EG selected by Filter 1 2 FilterEG Amp1 2 and Amp Level EG IFX Balance Wet dry balance of each effect IFX1 5 MFX Balance Master effect return 1 2 Decay Time pri GRH Em Ir GRH Em Uu Li Hari A Gahe Ehel Uc LU Miah Him Porferserey Kaiba Depending on the oscillator types or effect types used by the programs a certain interval of time may be required after a program is selected until it actually changes 4a 0 2 Arpeggio Here you can perform simple editing of the arpeggiator For details on the parameters refer to p 3 0 2 Arpeggio of the TRITON s Parameter Guide Pai RJ paaa UF Deta GRI 11 Program P1 Edit Basic Here you can select programs and perform simple editing 1 1 Program Basic T HAS bam E na lampara 1 1a Multi OSC Setup Here you can make settings for the oscillator The parameters that are set in 1 3 OSC 1 and 1 4 OSC 2 will differ depending on the oscillator type that is selected here Link 1 2a 1 2b OSC 1 Oscillator 1 Type Standard Bowed String Model Selects the oscillator type for oscillator 1 For details on the oscillator types refer to Features of the oscillator on p 4 of this manual Single Size Standard Comb Filter VPM Variable Phase Moulation Resonance Ring Modulation Cross
29. Last Specifies the priority order that will be used when the number of keys pressed exceeds the maximum polyphony Low The lowest note will take priority High The highest note will take priority Last The last pressed note will take priority Hold When this is checked the note will continue to sound after the key is released However if the EG selected by 4 1 Ampl Amp2 normally the Amp EG is used has a sustain level of zero the note will decay naturally 1 1d Scale Specifies the scale type Type Scale Type Egual Temperament User Octave Scale 15 Selects the basic scale for the internal tone generator The user scales can be specified in Global mode 3 1 User Scale cepage 127 in Parameter Guide Equal Temperament The most widely used scale consisting of equally spaced semitone steps Pure Major The major chords of the selected key will be per fectly in tune Pure Minor The minor chords of the selected key will be per fectly in tune Arabic This reproduces a quarter tone scale of Arabic mu sic Pythagorean A scale based on ancient Greek musical theory suit able for playing melodies Werckmeister Werkmeister lll An equal tempered scale used in the later Baroque period Kirnberger Kirnberger III A scale created in the 18th century and used mainly for tuning harpsichords Slendro An Indonesian gamelan scale in which the octave consists of 5 notes If the Key para
30. MS1 AMS2 Alternate Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 ep 48 of this manual that will control the Frequency Intensity Cutoff Frequency AMS2 Intensity 99 99 Specifies the depth and direction of the effect of AMS2 1 6 OSC Mixer The mixer allows you to set the levels at which the five signals OSC 1 OSC 2 Sub OSC Noise Genera tor Feedback will be combined into the two mixer outputs You can also select a modulation source to control each level and specify its intensity 1 6a Mixer These parameters adjust the level at which the oscillator 1 signal is output from mixer output 1 and specify a modulation source that will control this level OSC1 OSC1 Output Level 00 99 Specifies the signal level that will be output to mixer output 1 34 AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source sep 48 of this manual that will control output level Intensity Level AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS With positive settings higher values of the modulation source will increase the output level With negative settings lower values of the modulation source will increase the output level If EG or LFO has been selected as the AMS positive settings will cause the original phase of the EG or LFO to be used and negative settings
31. Model Organ Model Dirty Sax U U137 Step Saw Down U042 Dance Bass Comp Reed Model Flute Moss SlowSynth P004 RANDOM Reed Model Freaky Rez Bass Bass Synth Bass 037 Acid Bass Riff Plucked String Model Noise Virus Phunk Rez Lead SE LeadSynth 059 Happy Dog 028 String Melody Standard OSC Standard OSC Comb Filter OSC Standard OSC Comb Flute Pad FastSynth U U U U 073 5 tone Trance 3 Comb Filter OSC Standard OSC Water Bell Bell Mallet P004 RANDOM Resonance OSC Resonance OSC n Bass Bass Synth Bass 034 TechnoBass Riff2 Standard OSC VPM OSC Cave Flute Reed Model Cyber Zone SE U U044 TB Bass Drone U102 ONCE VPM OSC Resonance OSC HiPass Stuff FastSynth P003 ALTERNATE2 Standard OSC Standard OSC Sunflower MotionSynth P001 DOWN Resonance OSC Comb Filter OSC Brass Ensemble FastSynth U101 Vice Squad VPM OSC VPM OSC Unison PWM This is Zee One LeadSynth MotionSynth P001 DOWN 087 Flashin Arp Standard OSC Resonance OSC Standard OSC Standard OSC Analog Comb FastSynth 063 Trance Comp Comb Filter OSC Comb Filter OSC Antique Strings Strings 137 Step Saw Down Standard OSC Standard OSC 1000 Knives LeadSynth Standard OSC Ring Modulation OSC Deep Top Bass Bass Synth Bass 134 Crazy
32. Modulation Sync Modulation Organ Model E Piano Model Double Size Brass Model Reed Model Plucked String Model Bowed String Model When Double Size Brass Model Reed Model Plucked String Model or Bowed String Model are selected OSC 2 cannot be used 12 OSC 2 Oscillator 2 Type Standard E Piano Model Selects the oscillator type for oscillator 2 Refer to OSC 1 1 1b Unison Here you can make settings for unison mode Unison OFF 2voices 3voices 6voices Specifies the number of notes which will be sounded in unison With a setting of OFF unison will not be used The maximum polyphony will be three notes with a setting of 2voices two notes for a setting of 3voices and one note for a setting of 6voices Mode Fixed Dynamic Specifies how the number of voices specified by the Unison setting will be allocated With a setting of Fixed the number of voices specified by the Unison setting will always sound With a setting of Dynamic the number of voices will be determined by the current note playing situation Detune 0 99 Detunes the notes that are sounded simultaneously by the Unison function 1 1c Voice Assign Mode Here you can specify how notes will sound when keys are pressed Poly Mono Single Multi Selects whether the sound will be played monophoni cally or polyphonically Poly Polyphonic playing Mono Single Single triggered monophonic playing Mono Multi Multi
33. Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 cep 48 of this manual that will control pressure Intensity Pressure AMS2 Intensity 99 4 99 Specifies the depth and direction of the change in pressure controlled by AMS2 Breath Noise 0 99 Specifies the volume level of the breath noise Since 26 this uses the signal from the noise generator the filter of the noise generator can be used to modify the tone of the noise Strength 0 99 Adjusts the tone Higher settings of this value will produce a overdriven sound 1 3c Lip Character Lip 0 99 Specifies the tonal change that is produced by lip position and tension Higher settings of this value will produce a harder more firmly blown sound Lower settings will produce a softer tone AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source szp 48 of this manual that will control Lip Intensity Lip Character AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 3d Bell Character Tone 0 99 Specifies the tone of the bell As this value is in creased the low freguency portion will disappear producing a less solid tone Resonance 0 99 Specifies the level at which the freguency region in the area of the Tone will be boosted As this value is increased the resonance effect will become stronger 1 3e Peaking EQ Frequency 0 49
34. PIN mornin GY GA E la oie 11 ProgramiP tEdrt B SlOsu sc ce iY hace eed cet AN cated 12 Program P2 EAP ICi en a i 36 Program P3 Edit Filter eeccccceeeesseceeeeeesseneeeeesseeeeeeesseneeeseeseaaeees 38 Program P4 Edit Amp ceeeeeseeeeeeeeeneeeeeeeneeeeeseeaeeeeeeeneeeeeseeeaaeees 40 Program P5 Edit Common LFO ssseseseesseesereesirsrrrssrirsrrrrsrrrrereenes 43 Program P6 Edit Common EG ssssesseeeseessseereerireerrrerrrerirserrrsrrnsens 45 Program P7 Edit Arpeggiator eeeeeseeseeeeeeireeeesirrreerrrrserrrnnserrrnnsee 46 Program P8 Edit Insert Effect 0 cccccceeeseeeseeeeeeeeeeeeeeeeeseneeeeeeaeeees 46 Program P9 Edit Master Effect ccccecceseseseeeeeeeeeeeeseeeseeeeenees 46 Combination mode cccccceeesseseeeeeseeeeesseneeeeeeeeeeeeeeeeeeseeneeees 47 Combination P4 MOSS Setup Uu nan nnnwwwnann nna a aannnwa wanna 47 ADpendiceS ae 2 ced a AA 48 Cautions when using bank F u 1 1111 2 0 nanana nnawa wanna nanananananaaasanasana 48 Affix the Sondius XG label ccccceseecceceeeeeessssenseeeeeeeeeseeesees 48 Modulation Source List pA Gw i EGG Dn abet 48 Voice Name w EN eS e E Naka LAG Ana Baan 49 1 Introduction Thank you for purchasing the Korg EXB MOSS DSP synthesizer board In order to enjoy long and trouble free use please read this manual carefully and use the EXB MOSS correctly A Before you use this product you must read the Safety Precaution
35. Specifies the center freguency of the freguency range that will be boosted or attenuated by the Peaking EO Increasing this value will raise the center freguency G 0 29 Specifies the width of the Peaking EO freguency band Increasing this value will narrow the freguency band that is boosted or attenuated Gain 18 18 Specifies the amount by which the area specified by Frequency and Q will be boosted or attenuated Reed Model This oscillator is a physical model which simulates woodwind reed instruments such as a saxophone or oboe By using key velocity or the modulation wheel to control Pressure the strength with which the reed is blown you can use performance expressions that are very close to those of an actual woodwind instrument Also by modulating the characteristics of the reed you can produce tonal changes that correspond with the way in which a reed is blown Signal Flow Reed Model Bell Character Peaking EO Wave Shape Reed Reed Character Inst Type Specify the vibrational Select a model to specify the bore length and shape of the instrument to be simulated characteristics of the reed po i pean Specify the force of the breath that is blown into the reed Noise Specify the amount of breath noise Baga mm Bra TAHAN LLU AH 1 3a Inst Type Inst Type Hard Sax 1 Reed Synth Selects the type of instrument whose bore shape and reed characteristics
36. Synth Nu Gtr Pad ArpSw Guitar Plucked U144 1Note Repeat L 00 UP 00 UP 00 UP Mod SW1 CC 80 Mod SW2 CC 81 Mod SW1 CC 80 Mod SW2 CC 81 Sle Slo aS Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 Knob Mod 4 Knob Mod 3 CCH20 Knob Mod 4 CC 21 B051 UnisonMoss ST Synth 071 5 tone Trance 062 Stepping Note Mod SW1 CC 80 Octave Down Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 B052 Session Split BassSplits 146 Shuffle 1 150 Bossa Nova Mod SW1 CC 80 Lock JS Y Mod SW1 CC 80 Knob Mod 2 CC 19 Knob Mod 3 CC 20 B053 MosStrings ArpSW Strings asi I ead ar ac 144 1Note Repeat L 000 UP a Lock Ribbon Lock JS Y Filter Cutoff CC 74 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 B054 FluteInAmbySauce LeadSplits a 144 1Note Repeat L 000 UP rg Mod SW1 CC 80 Mod SW2 CC 81 Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 B055 Windy Guitar Guitar Plucked rg 004 RANDOM 102 ONCE Mod SW1 CC 80 Lock JS Y amp Ribbon Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 4 CC 21 Knob Mod 3 CC 20 Knob Mod 4 CC 21 B056 3FingerGateGame Rhythmic Pattern 150 Bossa Nova 033 TechnoBass Riffl eee Mod SW1 CC 80 M
37. U U U 125 Trance Riff 1 Standard OSC andard OSC Zoop 3 Drums P004 RANDOM VPM OSC ing Modulation OSC Prophetic Pulse Huge Strings FastSynth Strings U072 5 tone Trance 2 004 RANDOM Standard OSC Comb Filter OSC andard OSC andard OSC Rubbery Comp FastSynth 066 Gated Pattern 2 Standard OSC wl a m alo andard OSC Dark Pop Bass Bass Synth Bass 031 DanceBass Riff 2 VPM OSC VPM OSC Soft Pad SlowSynth 130 Mallet Roller Standard OSC Standard OSC Emmer s Sun Syn FastSynth 037 Acid Bass Riff Standard OSC Standard OSC Victory Pad MotionSynth 111 Random Up Standard OSC Cross Modulation OSC Nylon Acoustic Guitar Plucked 008 Guitar Picking Plucked String Model AEIOU Choir Vocal Airy 078 5 tone Vel Trip Standard OSC Organ Model Bold Trombone Brass 091 House Organ Brass Model TREXvsHELICOPTER Golden Synth SE FastSynth 100 Exressive Triad 030 DanceBass Riff 1 Reed Model Standard OSC Standard OSC Vision Makers MotionSynth 062 Stepping Note Standard OSC Sync OSC Dyna Expressive Keyboard 025 Piano Comp 2 Flectric Piano Model Flectric Piano Model Deep Sync Lead LeadSynth Sync OSC Standard OSC U K Synth Bell FastSynth 128 Quarks Standard OSC Standard OSC Pipe Organ Full Organ Organ
38. ay CC 75 Knob Mod 3 CC 20 Knob Mod 4 CC 2 Trance Leader Synth ya 118 Techno Riff 7 000 UP Mod SW1 CC 80 Portamento SW CC 65 F A Attack CC 73 F A Sustain CC 70 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Sweep amp Cool Keyboard 150 Bossa Nova 164 New Disco 2 Mod SW1 CC 80 Mod SW2 CC 81 Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Moss Stencil Pads 109 Up uP UP Up uP 107 8th Chunk Mod SW1 CC 80 Lock JS Y amp Ribbon Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 2 Gaterhythm Rhythmic Pattern 158 Drum n Bass 6 043 Trance Bass Riff Mod SW1 CC 80 Mod SW2 CC 81 F A Decay CC 75 Knob Mod 2 CC 19 Filter EG Int CC 79 Knob Mod 4 CC 21 UnisonMoss SYNC Synth 148 Jazz 1 060 Crazy Bee Mod SW1 CC 80 Octave Down Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Metallic Clavi Keyboard ccc Ccc ccc rg 125 Trance Riff 1 000 UP Mod SW1 CC 80 Lock JS Y amp Ribbon F A Attack CC 73 F A Decay CC 75 F A Sustain CC 70 Knob Mod 4 CC 21 Moss Soprano SP LeadSplits Topper Split BassSplits caida rg 164 New Disco 2 107 8th Chunk 051 Old Dance Bass 2 000 UP On Off Mod SW1 CC 80 Lock Ribbon Mod SW1 CC 80 Lock JS Y Knob Mod 1 CC Knob Mod 2 CC 19 F A Atta
39. ble Type Clip Reso Use the radio buttons to select the wave shaping table which will modify the input waveform For the way in which the table will modify the waveform refer to the Wave Shape diagram shown in Standard erpage 16 of this manual Offset 99 99 Specifies the offset value that will be added to the Reed OSC signal that is input to wave shaping Shape 0 99 Specifies the character of the table that will shape the input waveform For details on how the waveform will change refer to the Shape diagram page 16 of this manual for the Standard OSC AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source ssp 48 of this manual that will control Shape Intensity Shape AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS 28 1 3f Peaking EQ Frequency 0 49 Specifies the center freguency of the range that will be boosted or attenuated by the Peaking EO Increasing this value will raise the center freguency G 0 29 Specifies the width of the Peaking EO freguency band Increasing this value will narrow the freguency band that is boosted or attenuated Gain 18 18 Specifies the amount by which the range specified by Frequency and Q will be boosted or attenuated Plucked String Model This oscillator is a physical model which simulates plucked string instruments such as a guitar or bass guitar You can sp
40. center of the vertical vibration of the tone generator causing the second partial to be emphasized and the fundamental to be less audible AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source sep 48 of this manual that will control Location Intensity Pickup Location AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 3e Low EQ Makes settings for a Low EQ shelving type that will adjust the output signal Frequency 0 49 Specifies the cutoff frequency of the Low EQ shelving type that will be applied to the output signal Gain Specifies the gain of the Low EQ 18 418 Brass Model This oscillator is a physical model which simulates lip reed instruments such as a trumpet or trombone By using key velocity or modulation wheel to modulate the Pressure the force of breath blown into the mouth piece you can produce performance expressions that are very similar to those of an actual lip reed instrument The parameters are as follows Inst Type determines the model which simulates the bore length and shape of the instrument Breath Pressure indicates the force of breath that is blown into the mouthpiece Lip Character produces the tonal changes that result from lip position or tension Bell Character produces the tonal changes that result from the shape of the end of the bore and Peaking EQ performs a final tonal adjustment Signal Fl
41. cifies the depth and direction of the effect of AMS Ring Modulation This multiplies the modulator and carrier and outputs the signal produced One of four types of waveform can be selected as the carrier Since the result will be a metallic sound with little sense of pitch this is suitable for producing sound effects The Ring Modulation oscillator contains an internal carrier oscillator The output of the other oscillator etc can be selected as the modulator By modifying the pitch of the oscillator you can produce characteristic ring modulation effects 1 3b gt gt wi a ie ie le pw 1 3a Wave Input OSC 2 1 Sub OSC Noise Filter1 Filter2 Specifies the modulator ka If Ring Modulation is selected for both OSC 1 and 2 and the input of the other is selected for each some parameter settings may produce no sound Carrier Saw Square Triangle Sine Specifies the carrier waveform Wave Edge 0 99 Specifies the amount of high freguency harmonics for the carrier waveform As this value is decreased the sound will have less high freguency harmonics and as it approaches 0 the volume will also decrease Type 1 2 Selects the modulation type The two types differ in the tone of the high range Type 2 will produce a brighter sound than type 1 1 3b Modulation Depth Depth 0 99 Specifies the depth of modulation At a setting of 0 the carrier waveform will be output without c
42. ck CC 73 F A Decay CC 75 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Talkabout Complex amp SE 145 8 Beat 151 Latin drums On On Mod SW1 CC 80 Mod SW2 Knob Mod 1 CC Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Flute Moss Split LeadSplits 165 Smooth Hop 034 TechnoBass Riff2 On On Mod SW Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 DigiStrat Guitar Guitar Plucked ajccjdcad rg 000 UP 016 Soul Strum GT On Off Mod SW1 CC 80 Lock JS Y amp Ribbon Knob Mod 1 CC 17 F A Decay CC 75 Knob Mod 3 CC 20 Knob Mod 4 CC 2 120 To Syne Rhythmic Pattern On 000 UP 145 8 Beat On Off Mod SW1 CC 80 Lock JS Y Mod SW2 CC 81 F A Attack CC 73 Filter Resonance CC 71 Knob Mod 3 CC 20 Knob Mod 4 CC 21 BIG Synth Saws Synth Off ajza mo 000 UP 125 Trance Riff 1 On Off Mod SW1 CC 80 Lock JS Y amp Ribbon F A Attack CC 73 F A Decay CC 75 F A Sustain CC 70 Knob Mod 4 CC 21 Sleepy Bells Bell Mallet Perc Off U P000 UP 143 Penta Fall On Off Mod SW F A Attack CC 73 F A Decay CC 75 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Wurlysizer ArpSW Keyboard On P000 UP P000 UP On Off Mod SW1 CC 80 Lock JS Y amp R
43. del Organ Model Noise Burst Drums 164 New Disco 2 andard OSC Standard OSC Rezo Bass Bass Synth Bass 038 Hip Hop Bass1 andard OSC Standard OSC Ground Synth FastSynth 004 RANDOM andard OSC Standard OSC Grand image Pad FastSynth 036 Tribal Bass andard OSC Standard OSC Big Bass Bass Synth Bass 041 Gated Dance Bass andard OSC Standard OSC Laughter SE 125 Trance Riff 1 Reed Model 54 ANALOG INIT FastSynth Gere eal se cnc cla 064 Trance Comp Maj andard OSC Standard OSC
44. e Type Reso Output level Output waveform A iN Input level Input Level Input Level InputLevel Input Level Input waveform AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source p 48 of this manual that will control Input 15 Intensity Input Level AMS Intensity 99 99 Specifies the depth and direction of the waveform modulation controlled by the AMS Type Wave Shape Table Type Clip Reso Use the radio buttons to select the wave shaping table which will modify the input waveform Clip clip type and Reso resonant type tables will modify the waveform as shown by the diagrams in Shape below Offset Wave Shape Offset 99 99 Specifies an offset amount that will be added to the signal specified by Input Example of when Offset is modified Table Type Clip Output level Output waveform gt Offset 50 Offset Offset 50 bayag Input waveform Input Level fixed Shape 0 99 Specifies the characteristics of the table which will modify the input waveform The characteristics of the table will change as follows Shape of the wave shaping table and the Shape parameter CLIP type Qutput level gt gt Input gt Shape 0 pan Shape 99 level i Waneta Output of the clip type table when a sawtooth waveform is input E Waveform before being input to the table WE LZ gt Input gt Shape 0 lt Sha
45. e and below which keyboard tracking will begin to apply to the Damp effect nofe You can also input a value by playing a note on the keyboard while you hold down the ENTER key Ramp Low 99 99 Specifies the depth and direction in which the Damp amount will change for notes below the Damp KTr Key Positive settings will cause Damp to increase for notes below the Damp KTr Key Negative settings will cause Damp to decrease for notes below the Damp KTr Key Ramp High 99 99 Specifies the depth and direction in which the Damp amount will change for notes above the Damp KTr Key Positive settings will cause Damp to increase for notes above the Damp KTr Key Negative settings will cause Damping to decrease for notes above the Damping KTr Key Dispersion 0 99 Specifies the inharmonicity of the higher partials relative to the fundamental With a value of 0 the partials will be located at integer whole number x multiples of the fundamental As this value is in creased the partials will move further away from integer multiple locations In general thin and flexible strings can be simulated by a low Dispersion value and thick and stiff strings can be simulated by a high Dispersion value 4a ANS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source mp 48 of this manual that will contr
46. e as the programs of other banks Settings are made by the Program P7 Edit Arpeggiator and Program P8 Edit Insert Effect parameters LFO This section provides four LFO units Each LFO can be used as a modulation source for various param eters to apply cyclic change to the sound Settings are made by the Program P5 Edit Common LFO parameters L Mono R INDIVIDUAL 1 2 3 4 Joy Stick Ribbon Controller amp other controllers EG This section provides four general purpose EG units Each EG can be used as a modulation source for various parameters to apply time variant change to the sound Settings are made by the Program P6 Edit Common EG parameters Arpeggiator The arpeggiator can be used in the same way as for the programs of other banks Settings are made by the Program P7 Edit Arpeggiator parameters Program Basic Here you can make settings for functions such as Scale Key Assign and Controllers joystick ribbon controller etc Settings are made by the 1 1 Prog Basic and 1 7 Controller Setup parameters Features of the oscillator In a bank F program you can choose from 13 oscillator types for OSC1 and 9 oscillator types for OSC2 In Program P1 1 1 Program Basic or 1 2 OSC Basic you can select the oscillator type for OSC1 and OSC2 and use them together If a Single Size oscillator Standard E Piano Model is selected fo
47. ecify aspects of the model such as the attack waveform that is produced when the string is plucked by a pick or finger the characteristics of the string the location of the pickup etc Signal Flow String Model Pickup H Low EQ amp Low Boost String Model Parameters relating to the attack waveform Attack Level Specify the strength of playing the level of the attack waveform Noise Specify the level and tone of the noise included in the attack waveform Attack Curve Specify the envelope of the attack waveform Delay Release A Specify the ratio of the wave transmitted along the string T which is reflected back from the bridge decay release time my rv UI y s gt N Bridge Bridge Parameters relating to the characteristics of the string String Position g z Damping Specify the high frequency attenuation of the Specify the location 2 i hich thi raid k wave transmitted along the string To simulate muted at which the string is struck playing techniques control this parameter Dispersion Specify tonal change caused by inharmonicity of the higher partials Harmonics Position Specify the string location to be pressed to play harmonics Harmonics Mod Source Mod Int Specify the controller which will control the harmonics effect and the depth of control 1 3a Attack Attack Level 0 99 Specifies the force with which the string is plucked Velocity Attack Level Velocity Control 99
48. ed by AMS 32 1 3c String Bowing Point 0 99 Specifies the location at which the bow contacts the string A setting of 0 is the end of the string 50 is near the middle and 99 is at the other end AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source sep 48 of this manual that will control Bowing Point Changing the location at which the string is bowed will also change the overtone structure Intensity Bowing Point AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS Damp 0 99 Specifies how the high frequency components will be attenuated by the characteristics of the string and by the way in which the string is pressed onto the fingerboard of the violin or cello As this value is increased the high frequency components of the wave transmitted along the string will be attenuated more greatly producing a darker sound In general you should use higher values to simulate instruments which have flexible strings or unfretted instruments and lower values to simulate instruments with stiff strings or fretted instruments AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source sz p 48 of this manual that will control Damp Intensity Damp AMS Intensity 99 4 99 Specifies the depth and direction of the effect of AMS Damp KTr Key Damp Keyboard Track Key C 1 69 Specifies the key abov
49. effect on bank A E or G programs 4 3 MOSS Setup Specify the number of voices that will be used by bank F programs and how they will be routed through effects and the individual audio outputs CHE BATION Pl Edit Zerm Ctrl Badi BAG im ee fy Tir PA ha Bar E q Heir Farii Wied is acs icy YY Fema ATkradimu Mrprrws Tobe Aeetirgiees fi GB a a a a a B hiii ig Gabi Refer ence Farlur wra Tinira Errem Voice Allocation Reserve Total Max 6voices O 6 For each timbre specify the number of voices for when a bank F program is selected Make settings so that the total for all timbres does not exceed six voices If this is set to O a bank F program selected for that timbre will not sound When using the EXB MOSS multi timbrally refer to Multi timbral settings 4a When you change the bank program of a timbre to change from a bank A E or G program to a bank F program it will sound according to these settings Timbres that are set to 0 will not sound if they are switched to a bank F program Before you select a bank F program set this parameter appropriately MOSS BUS Select Reference Timbre Timbre8 Specify the insertion master effect routing and individual audio output routing for all timbres that use bank F programs The settings of the timbre you select here will determine the insertion master effect and individual audio output routing of these timbres They cannot be set independently
50. eform Sine Level 0 99 Specifies the output level of the sine waveform It will be output mixed with the main waveform Phase Shift Triangle amp Sine Phase Shift 99 4 99 Specifies the phase difference between the main waveform and the triangle and sine waveforms The triangle and sine waveforms will always be in phase with each other 1 3b Waveform Waveform Modulation Waveform 99 4 99 Specifies the waveform For the way in which this value will affect the waveform refer to the diagrams shown on the previous page for sawtooth wave pulse wave and triangle wave LFO LFOT LFO4 Selects the source LFO for waveform modulation LFO settings are made in the Program P5 Intensity Waveform Modulation LFO Intensity 99 99 Specifies the depth and direction of the waveform modulation that will be controlled by the LFO specified in LFO AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source 3 p 48 of this manual that will control Waveform Intensity Waveform AMS Intensity 99 499 Specifies the depth and direction of the waveform modula tion controlled by the AMS For negative settings the polarity of the modulation source will be inverted 1 3c Wave Shape Input Input Level 0 99 Specifies the level of the signal that is input from the standard oscillator to the wave shaping table Example of when Input Level is modified Tabl
51. en Damp 25 when Damp 50 when Damp 75 AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source sep 48 of this manual that will control Damp Intensity Damp AMS Intensity 99 99 Specifies the depth and direction of the effect that AMS will have Decay 0 99 Specifies the decay time over which the sound will decay if you continue pressing a note Higher settings of this value will produce a longer decay time 4a Depending on the settings of 4 3 Amp EG the setting you make here may not have audible results If you raise the EG break level and sustain level it will be easier to hear the result of this setting 30 KTr Decay Keyboard Track 99 499 Specifies how the Decay amount will be affected by the keyboard location With positive settings the decay will become faster as you play notes above C4 With negative settings it will become slower when Decay 25 when Decay 50 when Decay 75 Release 0 99 Specifies the length of time over which the sound will decay after you release the note Higher settings of this value will produce a longer release time 4M Depending on the settings of 4 3 Amp EG the setting you make here may not have audible results You may need to raise the EG release level it will be easier to hear the result of this setting 0 99 Specifies the inharmonicity of the higher partials relative to the
52. ency will rise Since the Band Pass A and Dual BPF A B filter types use filters with differing characteristics their actual cutoff freguency may differ even if their settings are identical EG Cutoff Freguency Modulation EG EG1 EG4 AmpEG Selects the EG that will create time varying change in the cutoff freguency of filter 1 Intensity Cutoff Frequency Mod EG Intensity 99 4 99 Specifies the depth and direction of the control that EG Cutoff Frequency Modulation EG will have on the cutoff frequency With positive settings of this parameter the tone will become brighter when the various EG levels rise into the area the setting of the Frequency will be reached when the EG levels are at 0 and darker when the EG levels fall into the area With negative settings of this parameter the tonal change will take place in the opposite direction Resonance 0 99 This setting emphasizes the overtones in the region of the Frequency to add character to the sound Higher values will produce a stronger effect With high settings of resonance the output signal of the filter may distort If this occurs reduce the A Trim setting With the Dual BPF A B filter type the overtones in the vicinity of each cutoff freguency will be affected in the same way as by a Band Pass A The effect of resonance Low Pass High Pass lalala l Low resonance value p High resonance value
53. fect of the instrument being blown strongly If you select Joy Stick X moving the joy stick toward the right will produce this effect Intensity Pressure AMS1 Intensity 99 99 Specifies the depth and direction of the change in pressure controlled by AMS1 AMS2 Alternate Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 m p 48 of this manual that will control pressure Intensity Pressure AMS2 Intensity 99 99 Specifies the depth and direction of the change in pressure controlled by AMS2 Breath Noise 0 99 Specifies the volume level of the breath noise Since this uses the signal from the noise generator the filter of the noise generator can be used to modify the tone of the noise 27 1 3c Reed Character AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source ssp 48 of this manual that will modulate the characteristics of the reed Intensity Reed AMS Intensity 99 99 Specifies the depth of the modulation effect that AMS will have on the reed 1 3d Bell Character Tone 0 99 Specifies the tone of the bell As this value is in creased the low freguency portion will disappear producing a less solid tone Reso 0 99 Specifies the level at which the freguency region in the area of the Tone will be boosted As this value is increased the resonance effect will become stronger 1 3e Wave Shape Type Wave Shape Ta
54. fer to Step Joystick Step X 4a If the Step Joystick Step X or Step Joy stick Step X settings are greater than the settings for JS X and JS X the pitch will not change 2 4b Common Pitch Modulation Creates time varying changes in the pitch of all oscillators oscillators 1 and 2 and the sub oscillator AMS Alternate Modulation Source Off MIDI CC 83 Selects the modulation source ssp 48 of this manual that will control the pitch of all oscillators oscillators 1 and 2 and the sub oscillator Intensity Common Pitch AMS Intensity 99 99 Specifies the depth and direction of the effect pro duced by AMS 2 4c Portamento These settings specify how portamento will be applied Portamento creates a smooth change in pitch from one note to the next Enable Check this when you wish to use portamento Fingered Check this when you want to apply portamento only when a note is pressed while continuing to hold the previous note Time 0 99 Specifies the portamento time Higher values will cause the pitch to change more slowly AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source s p 48 of this manual that will control Time Intensity Portamento Time AMS Intensity 99 99 Specifies the dipth and direction in which the portamento time will be controlled by the AMS 37 Program P3 Edit Filter Here you can make settings f
55. ff MIDI CC 83 Selects a modulation source sep 48 of this manual that will control the amplitude of the LFO waveform Intensity Amplitude AMS Intensity 8 99 99 Specifies the depth and direction of the effect that AMS will have on the amplitude of the LFO waveform Key Sync Off by Timbre by Voice Use the radio buttons to select the key sync setting i e whether or not the phase of the LFO waveform will be returned to its initial state when a note on occurs Off The LFO will operate regardless of note on by Timbre Key sync will occur for the LFOs of all voices at the time of the first note on that occurs in a state when no keys are on by Voice Key sync will occur independently for the individual LFO of the voice for which note on occurred Key Sync byTimbre byVoice KAMAY Note On Note On Key Sync Off A Note On Note On 43 Fade 0 99 Specifies the time over which the amplitude of the LFO will increase from O until it reaches the maxi mum value 5 1b Freguency Modulation You can use two alternate modulation sources to control the freguency of the LFO ANS1 Alternate Modulation Source 1 Off MIDI CC 83 Select a modulation source 1 sep 48 of this manual that will control the LFO freguency Intensity Frequency AMS1 Intensity _ 99 99 Specifies the depth and direction of the effect that AMS 1 will have on the Freguency value AMS2
56. gher settings will produce a brighter sound Force Velocity Curve OFF 0 99 Specifies how changes in velocity will affect Force As this value is increased velocity will have a greater effect on Force allowing more dynamic tonal change to be produced With a setting of OFF the Force will be constant Width Hammer Width 0 99 Simulates the shape of the hammer As this value is increased the width of the hammer will become narrower and the sound of the tone generator and hammer noise will become sharper Click Noise Level 0 99 Specifies the volume of the hammer noise that occurs at the attack 1 3b Tone Generator The Decay and Release that you specify here will control the output level of the oscillator In order for these settings to have an effect they must be set longer than the decay and release of the EG which you are using for the Amp Decay 0 99 Specifies the decay time of the tone generator Release 0 99 Specifies the release time of the tone generator 1 3c Overtone Level 0 99 Specifies the volume of the higher overtones that are produced when the tone generator vibrates Freguency 0 99 Specifies the freguency of the overtones Decay 0 99 Specifies the decay time of the overtone volume 1 3d Pickup Location 0 99 Specifies the location of the pickup in relation to the tone generator With low settings the pickup will be placed in the
57. h this product is being installed The manufacturer makes no warrantee regarding possible malfunctions or damage that may result from improper use or modification The manufacturer also will take no responsibility for any damages that may result from loss or disappear ance of data Installing this product For the procedure of installing this product refer to the owner s manual of the device into which the product is being installed If you have any guestions please contact your local Korg distributor Cautions when installing an option board In order to install the board correctly please pay attention to the following points Be careful of static electricity which may damage components inside the product or on the board Before beginning the installation touch an unpainted metal part of the chassis or the grounding terminal of a grounded device to discharge any static electricity that may be present in your body Perform the installation according to the steps given in the directions making sure that the board is installed correctly and in the correct orientation Verify that the option board has been installed correctly If installation is incorrect faulty connections or a shorted power supply can cause malfunctions All the screws that are removed will be used so be careful not to lose any Using screws of the incorrect shape or length can cause malfunctions or damage to the product Use only the screws that were included with t
58. hange ANS1 Alternate Modulation Source 1 Off MIDI CC 83 Selects a modulation source 1 cep 48 of this manual that will control Depth Intensity Modulation Depth AMS1 Intensity 99 99 Specifies the depth and direction of the effect of AMS1 AMS2 Alternate Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 rsp 48 of this manual that will control Depth Intensity Modulation Depth AMS2 Intensity 99 99 Specifies the depth and direction of the effect of AMS2 21 Cross Modulation This uses a modulator to freguency modulate a carrier You can select one of four waveforms as the carrier In general a pitch envelope is applied to the modula tor A carrier oscillator is built in to the Cross Modulation OSC You can select the output of the other oscillator etc as the modulator By modifying the pitch of the modulator oscillator you can produce characteristic cross modulation effects 1 3a Wave Input OSC2 1 Sub OSC Noise Filter1 Filter2 Specifies the modulator Carrier Saw Square Triangle Sine Specifies the carrier waveform Wave Edge 0 99 Specifies the amount of high frequency harmonics for the carrier waveform As this value is decreased the sound will have less high frequency harmonics and as it approaches 0 the volume will also decrease 1 3b Modulation Depth Depth 0 99 Specifies the depth of modulation At a
59. hat will control the EG1 times At Attack Time AMS2 Intensity 99 99 Dc Decay Time AMS2 Intensity 99 99 SI Slope Time AMS2 Intensity 99 99 RI Release Time AMS2 Intensity 99 99 Specifies the depth and direction of the effect that AMS will have on each EG time EG changes time AMS2 Velocity Intensity value Note on Mh NO ea Note off PA PAK Itt When keyboard is played softly with At Dc SI and RI set to The settings of 6 1d AMS2 When keyboard is When keyboard is 6 2 EG 2 IEB 6 3 EG 3 MEE 6 4 EG 4 IEB EG 2 EG 3 and EG 4 have the same parameters as EG 1 Refer to 6 1 EG 1 46 played strongly with At played strongly with At De SI and RI set to Dc SI and RI set to Program P7 Edit Arpeggiator Here you can make arpeggiator related settings For details on the parameters etc refer to TRITON Parameter Guide p 22 Program P7 Program P8 Edit Insert Effect Here you can make settings for the insertion effects For details on the parameters etc refer to TRITON Parameter Guide p 24 Program P8 Program P9 Edit Master Effect Here you can make settings for the master effects For details on the parameters etc refer to TRITON Parameter Guide p 27 Program Edit P9 Combination mode Combination P4 MOSS Setup Here you can specify how bank F programs will be sounded These settings have no
60. he option board or the screws that were fastened in the instrument When installing or removing the board be careful not to drop parts or the option board into the instrument Make sure that the attaching screws are tightened firmly and are not loose Handle the board with care Subjecting it to physical shock by dropping or pressing it may cause damage or malfunctions Be careful not to touch any exposed metal portions of the circuit board or any parts that are not essential to the installation process Installing this product unLnn lt lt 2 Cautions when installing an option board 2 TIniroduc Hon aaa AA do 4 Features of the EXB MOSS eecceceeeeeneeeeeeeeneeeeeeeneeeeeeeeaaeeees 4 2 The structure of bank F programs 5 Program Structure anakan ma GAAN OF dd Y 5 Features of the oscillator 1 7 mmaanwwwanaanuaaanaanannanananananawanannan 6 3 Bank F Operallon amp ANAN 7 Loading the preset programs ccccceeeesseeccceeeeeeeeeeseeeeeeeeeeeeeeetees 7 Selecting a program combination eccceeceeeeeeeetteeeeeeeeteeeeeeeees 7 Ediling a program ud GR EKK FOD 7 Editing a combination Y eu Gh a 8 Sequencer and Song Play modes ccccssceeeeeeeceeeeeeeeeeeeeeeenees 9 Control change transmission reception for the EXB MOSS 10 4 Parameters aaa AA 11 Program Mode maa AABANGAN ANAN 11 Program PO
61. his value is increased the number of cycles will increase causing more overtones to be added to the high frequency range of the sound Table valiation Y MW Nu MW Wave Shape lt lt lt gt Wave Shape 99 Type Wave Shap Type 1 2 The signal after wave shaping will be output without further change If Shape is set to the minimum value the phase modulated signal will be output essentially without change 2 A rounded waveform will be obtained regardless of the Shape value AMS1 Alternate Modulation Source 1 Off MIDI CC 83 Selects a modulation source 1 ep 48 of this manual that will control Wave Shape value Intensity Shape AMS1 Intensity 99 99 Specifies the depth and direction of the effect of AMS1 AMS2 Alternate Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 p 48 of this manual that will control Wave Shape value Intensity Shape AMS2 Intensity 99 99 Specifies the depth and direction of the effect of AMS2 Feedback 0 99 Specifies the amount of the output after wave shaping that will be fed back to the carrier 1 3b Modulator Wave Saw Square Triangle Sine OSC2 1 Sub OSC Filter 1 Filter2 Select the waveform of the modulator This selects the other oscillator or sub oscillator etc IfyousetthisioOSC2 1 SubOSC Filteri or Filte2 theFrequencyCoarse andollowing settings will not be available Le
62. ibbon Mod SW2 CC 81 Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Moss Brass Split BrassReed Off U175 BD HH SD 16ths On U054 Walkin Bass On Mod SW1 CC 80 Mod SW2 CC 81 F A Attack CC 73 F A Release CC 72 Knob Mod 3 CC 20 Knob Mod 4 CC 21 49 B030 Name Category B029 Soul DrumOnKnob1 Off LeadSplits Geronimoss Rhythmic Pattern Arp SW Pattern A Pattern B 44 1Note Repeat Lo 66 HipHop 1 45 8 Beat 000 UP Perec Mod SW1 Mod SW2 Mod SW1 CC 80 Lock JS Y amp Ribbon Lock JS Y amp Ribbon Mod SW2 CC 81 Knob Mod 1 CC 17 Knob Mod 2 CC 19 Mod SW CC 80 Knob Mod 2 CC 19 b Mod 3 CC 20 b Mod 4 CC 21 Knob Mod 3 CC 20 B031 Moss Power Split BassSplits 030 DanceBass Riff 1 000 UP IC Mod SW1 CC 80 Mod SW2 CC 81 F A Attack CC 73 F A Release CC 72 Knob Mod 3 CCH20 Knob Mod 4 CC 21 B032 Bright Moss Keyboard 55 Drum n Bass 3 035 TechnoBass Riff3 Mod SW1 CC 80 Lock JS Y amp Ribbon Mod SW2 CC 81 Knob Mod 2 CC 19 Knob Mod 4 CC 21 Knob Mod 3 CC 20 Knob Mod 4 CC 21 B033 Tell me Thelma Rhythmic Pattern 46 Shuffle 1 65 Smooth Hop Lock JS Y amp Ribbon Mod SW2 CC 81 Knob Mod 1 CC 17 Knob Mod 2 CC 19 Mod SW2 CC 81 Knob Mod 4 CC 21 B034 SguareTubeSea Pads
63. ilter band pass filter Settings are made by the 1 5 Noise Generator parameters Mixer This section mixes the signals from oscillators 1 and 2 the sub oscillator the noise generator and the feedback from the amp and outputs the result to multi mode filters 1 and 2 filter section Settings are made by the 1 6 Mixer parameters Filter EST EG EG3 EG4 Amp EG Ta rara roa MP Filter 1 LPF HPF BPF BRF 2BPF p Eu Filter 2 LPF HPF BPF BRF 2BPF Ame2 Feedback Filter This section processes the waveform by attenuating or boosting specific frequency ranges Two multi mode filters are provided As filter types you can select from low pass high pass band pass band reject or dual band pass filters These filters can be used to modify the brightness of the sound You can also select the connection routing between the two filters and the mixer and amp Settings are made by the Program P3 Edit Filter parameters Amp This section modifies the volume of the sound that is output from the filter There are two independent amps The signal that is input to each will depend on the filter connections The amp section also provides a special envelope generator for controlling the amp Amp EG These settings are made by the Program P4 Edit Amp parameters Effect This section applies effects to the signal that is output from the amp It has the same parameter structur
64. ime 0 99 Specifies the time from note off when a note is released until the volume falls to zero 4 3c Level Modulation AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source sep 48 of this manual that will control the level of the Amp EG Intensity EG Level AMS Intensity 99 99 Specifies the depth and direction of the effect that AMS will have on the level of the Amp EG 41 Time Velocity Control Specifies the depth and direction of the effect that velocity will have on the level of the amp EG Amp1 EG changes level AMS Velocity Intensity value Note on Note on ote on Note off Note off W When keyboard is When keyboard is played softly with a played strongly with Sustain of 0 and Attack each Level set to and Break set to the settings of 4 3a Level AA When keyboard is played strongly with each Level set to 4 3d Time Modulation ANS1 Alternate Modulation Source 1 Off MIDI CC 83 Selects a modulation source 1 sep 48 of this manual that will control the Amp EG times Intensity EG Time AMS1 Intensity 99 99 Specifies the depth and direction of the effect that AMS 1 will have on the Amp EG times AMS2 Alternate Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 ssp 48 of this manual that will control the Amp EG times At Attack Time AMS2 Intensity 99 99
65. is is unchecked the pitch will rise smoothly as on most synthesizers JS X Joystick X Specifies how the pitch will change when the joystick is moved in the X direction toward the left 4a If Jump Bend X and Jump Bend X are checked notes may not sound depending on the position of the joystick and the pitch range setting For details on setting the pitch range of the joystick refer to 2 4a Picth Bend 1 3b Breath Pressure EG EG 1 EG 4 Amp EG Selects the EG which will control pressure For details on the settings for each EG refer to Program P6 for EG 1 4 and 4 3 Amp EG for Amp EG Intensity Pressure EG Intensity 99 4 99 Specifies the depth and direction of the effect that the EG will have on the pressure ANS1 Alternate Modulation Source 1 Off MIDI CC 83 Selects a modulation source 1 cep 48 of this manual that will control pressure If you select After Touch pressing down on the keyboard will produce the effect of the instrument being blown strongly If you select Joy Stick X rotating the Joy Stick in the direction will produce this effect In this case setting Intensity Pressure EG Intensity to 0 will allow you to completely control the breath pressure by operating the specified controller Intensity Pressure AMS1 Intensity 99 4 99 Specifies the depth and direction of the change in pressure controlled by AMS1 AMS2 Alternate
66. ity Level AMS2 Intensity 99 99 Specifies the depth and direction of the effect of AMS2 1 3b BPF Parameters Here you can make settings for each band pass filter 1 4 Level 0 99 Specifies the output level Coarse 1 16 Specifies the harmonic overtone of the oscillator pitch at which the center freguency of the filter will be located You can specify from the first to the 16th harmonic AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source sz p 48 of this manual that will control Coarse Int BPF Frequency AMS Intensity 15 415 Specifies the depth and direction of the effect of AMS Positive settings will allow the Coarse value to be increased and negative settings will allow the Coarse value to be decreased At this time the center freguency of band pass filter 1 will change in steps of harmonics creating the impression that the pitch is changing step wise Fine 99 499 Makes fine adjustments to the center frequency of band pass filter 1 specified by the Coarse parameter Reso Resonance 0 99 Specifies the resonance Increasing this value will produce a stronger effect 1 3c Resonance Modulation AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source sep 48 of this manual that will control the resonance that was specified for each band pass filter Intensity Resonance AMS Intensity 8 99 99 Spe
67. kal Hawaii roire sl i a 2 a a B hidi Dis Gwed Reference Parkuranza Tinira Errem 4 Set the Voice Allocation Reserve parameter to specify the polyphony for each timbre For each timbre specify the number of voices that will be allocated when a MOSS tone generator program is selected A total of six voices can be allocated For example you might allocate two voices to timbre 1 for a bass type MOSS program and up to four voices to timbre 2 for an electric piano MOSS program 4a These settings have no effect on the programs of banks A E and G When the timbre bank program is changed to switch a timbre from a bank F program to a bank A E or G program the bank A E or G program will sound as usual When the timbre bank program is changed to switch a timbre from a bank A E or G program to a bank F program it will sound according to the setting you make here Timbres for which a value of 0 is set will not sound if a bank F program is selected 5 Set the MOSS BUS Select Reference The bank F programs will be routed to the insertion master effects or individual audio output according to the settings of the timbre you select here KO The timbre 1 8 you select here does not have to be using a bank F program Bank F programs can be used for two or more timbres according to the Voice Allocation Reserve setting However settings for insertion master effects and routing to individual audio outputs can not be
68. l TE 029 Arco Arpeggio 001 DOWN Mod SW1 CC 80 Lock JS Y F A Attack CC 73 F A Decay CC 75 Knob Mod 3 CC 20 Knob Mod 4 CC 21 RETRO Rocket Spl LeadSplits rg 004 RANDOM 095 Retro Pattern Portamento SW CC 65 Lock JS Y amp Ribbon F A Decay CC 75 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 MossTrumpets Cut BrassReed Zajac 068 7 tone Ostinato 000 UP Mod SW1 CC 80 Octave Down F A Attack CC 73 F A Release CC 72 Knob Mod 3 CC 20 4 5 Splitmoss BassSplits 145 8 Beat 151 Latin drums Mod SW1 CC 80 Mod SW2 CC 81 Knob Mod 1 CC 17 F A Attack CC 73 Knob Mod 4 CC 21 Knob Mod 3 CC 20 F A Decay CC 75 Telegraph Unison Rhythmic Pattern Pure Ac Guitar Guitar Plucked 147 Shuffle 2 162 House 2 102 ONCE 000 UP Mod SW1 CC 80 Octave Down Mod SW1 CC 80 Lock JS Y amp Ribbon Knob Mod 1 CC 17 Knob Mod 2 CC 19 F A Attack CC 73 Volume CC 07 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Cyber Sly Heart Complex amp SE CCS cccog 150 Bossa Nova 155 Drum n Bass 3 Mod SW1 CC 80 Lock JS Y amp Ribbon Filter Resonance CC 71 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Winter Bells Bell Mallet Perc wy 001 DOWN 000 UP Mod SW1 CC 80 Lock JS Y F A Attack CC 73 F A Dec
69. li Bells Bell Mallet 130 Mallet Roller Plucked String Model Digital Dulcimer Guitar Plucked 004 RANDOM Plucked String Model Soprano Sax Woodwind Reed 123 Echo Riff Reed Model Moving Picture MotionSynth SCE CGE CECE CETA C eae E ENGE e aar E e rA G G EE GE GEE EE eE ee ee e e 052 Stagger Bass Standard OSC Standard OSC Touch FingerBass Category Bass Synth Bass Arp SW Arpeggio Pattern 050 Old Dance Bass 1 OSC1 Type Plucked String Model OSC2 Type Rhythmic Seg MotionSynth 042 Dance Bass Comp Standard OSC Resonance OSC mini Lead LeadSynth 062 Stepping Note Standard OSC andard OSC Osiris Reso Bell FastSynth Bell Mallet 112 Techno Riff 1 094 Kalimba groove Standard OSC Comb Filter OSC andard OSC esonance OSC Portamento Pad MotionSynth 140 Trickle Standard OSC andard OSC Analog Brass FastSynth Standard OSC andard OSC LFO gating MotionSynth 058 Syncopation Standard OSC andard OSC Full Synth FastSynth 073 5 tone Trance 3 Standard OSC andard OSC Motion Comb MotionSynth 131 Comb amp Pipe Ring Modulation OSC alal noel need Rood tol Recline omb Filter OSC Direct E P Keyboard 062 Stepping Note VPM OSC ui lectric Piano Model Morph 3003 Dist Bass Synth Bass U U U U U U096 Stab Rhythm U U
70. meter is set to C use the C D F G and A keys Other keys will produce the same pitches as egual temperament Pelog An Indonesian gamelan scale in which the octave consists of 7 notes If the Key parameter is set to C use only the white keys The black keys will produce the same pitches as egual temperament Stretch This is a tuning used on acoustic pianos User All Notes Scale This is the full range scale C 1 G9 that you cre ate in Global mode 3 1b User All Notes scale mspage 121 in TRITON Parameter Guide User Octave Scale 00 15 This is the one octave scale that you create in Glo bal mode 3 1a User Octave Scale rspage 121 in TRITON Parameter Guide Key Scale Key C B Specify the tonic note of the selected scale This settinghasnoeffectforEgualTemperament Sireika A If a scale other than equal temperament is selected certain combinations of this param eter and the Key parameter may cause the tuning of the base key for example A 440 Hz to become incorrect If this occurs you can adjust the Master Tune Global PO Basic tab Random 0 99 As this value is increased the pitch of the note will become increasingly unpredictable Normally you will leave this set at zero Adjust this parameter when you wish to simulate instruments whose pitch is naturally unstable such as tape mechanism organs or acoustic instruments 13 1 2 OSC Basic Osillator Basic
71. meters are structured identically to those of 1 3a Drawbar 1 Level AMS Level Alternate Modulation Source Off MIDI CC 83 Selects a modulation source mp 48 of this manual that will control the percussion level of each drawbar Intensity Level AMS Intensity 99 4 99 Specifies the depth and direction of the effect of Level AMS on the percussion level Trigger Single Multi Use the radio buttons to specify how the percussion effect will be triggered With a setting of Single the percussion effect will apply to the first played note from a condition of no sound With a setting of Multi the percussion effect will apply to each note that is played Decay 0 99 Specifies the decay length of the percussion As this value is increased the decay time will become longer 24 E Piano Model This oscillator simulates an electric piano There are four groups of parameters Hammer which specifies how the shape and motion of the hammer will affect tonal change and attack noise Tone Generator which vibrates in response to being struck by the hammer Pickup which specifies the tonal change that occurs when the vibration of the tone generator is converted into an electrical signal and Low EQ which is a shelving type low EQ to adjust the low range Pickup Pickup Location Hammer 1 3a Hammer Force 0 99 Specifies the Strength with which the hammer strikes the tone generator Hi
72. n Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 NewTouchGuitar Guitar Plucked 093 Bossa Arpeggio 004 Guitar Strum 5 Mod SW1 CC 80 Lock JS Y Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 CCH20 Knob Mod 4 CC 21 Water Exchange MotionSynth 09 Up uP UP Up uP 09 Up uP UP Up uP GC Ii en end Len gel Len Le ee Mod SW1 CC 80 Lock JS Y Filter Cutoff CC 74 F A Attack CC 73 Filter Resonance CC 71 Crystal Bells Bell Mallet Perc P000 UP P001 DOWN Mod SW1 CC 80 Mod SW2 CC 81 ZIA F A Attack CC 73 F A Decay CC 75 Knob Mod 3 Knob Mod 4 1 3 Splitmoss BassSplits U145 8 Beat U151 Latin drums Mod SW1 CC 80 Mod SW2 CC 81 ZI Knob Mod 1 CC 17 F A Attack CC 73 Knob Mod 3 F A Decay CC 75 Knob Mod 4 CC 21 Cutt Da Clav Keyboard U046 Euro Bass P000 UP Mod SW1 CC 80 Lock JS Y amp Ribi LS T o 5 Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Calm Move MotionSynth P000 UP P002 ALTERNATE1 Mod SW1 CC 80 Lock JS Y amp Rib LS T o 5 Mod SW2 CC 81 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Moss Stamina Rhythmic Pattern U175 BD HH SD 16ths P000 UP Mod SW1 CC 80 Mod SW2 CC 81 Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 Knob Mod 4 Palawaters Motion
73. nsity Pitch AMS2 Intensity 99 99 Specifies the depth of the pitch modulation effect controlled by AMS2 2 2 OSC2 P Mod Oscillator 2 Pitch Modulation 2 3 SubOSC P Mod Sub Oscillator Pitch Modulation OSC2 P Mod and SubOSC P Mod have the same parameter as OSC 1 Refer to 2 1 OSC1 P Mod 2 4 Common P Mod 2 4a Pitch Bend Specifies the width of pitch change that will occur when the joystick is moved to left and right JS X Joystick Intensity X 60 24 Specifies the amount and direction of pitch change in semitone units that will occur when the joystick is moved to the right With positive settings the pitch will rise and with negative settings the pitch will fall A setting of 12 will produce one octave of change Step Joystick Step X Continuous 1 8 1 4 1 2 1 12 Specifies how the pitch will change when the joystick is moved to the right Continuous Smooth change 1 8 Change in 1 8 semitone steps 1 4 Change in 1 4 semitone steps 1 2 Change in 1 2 semitone steps 1 12 Change in steps of the specified number of semitones up to 1 octave JS X Joystick Intensity X 60 24 Specifies the amount and direction of pitch change in semitone units that will occur when the joystick is moved to the left Step Joystick Step X Continuous 1 8 1 4 1 2 1 12 Specifies how the pitch will change when the joystick is moved to the left Re
74. o oscillators are used page 23 of this manual Since each drawbar can use one of four types of waveform a wide range of tones can be produced E Piano Model electric piano model This is a physical model that simulates a warm vintage electric piano 13p 24 of this manual Brass Model This is a physical model that simulates a brass instrument such as a trumpet or trombone p 25 of this manual Reed Model This is a physical model that simulates a woodwind instrument such as a sax or flute p 27 of this manual Plucked String Model This is a physical model that simulates plucked string instrument such as guitar or bass 13 p 29 of this manual Bowed String Model This is a physical model that simulates a bowed string p 31 of this manual 3 Bank F operations Loading the preset programs Please load the EXBMOSS 00FD data from the floppy disk included with the EXB MOSS For details on the procedure refer to Disk mode of the TRI TON Basic Guide The floppy disk contains the following data MOSS PCG Program Bank A B F Combination Bank A B Drum Kits 00 15 A B Arpeggio Pattern 000 199 A B Global setting MOSS SNG Cue List Demo Song Feet Hurt MOSS by Scott Frankfurt 1999 Bleach Bros Music breachbros earthlink net all rights reserved Program bank F contains programs that use the EXB MOSS Combination bank B contain combinations that use bank F programs together
75. od SW2 CC 81 F A Attack CC 73 Knob Mod 2 CC 19 F A Decay CC 75 Knob Mod 4 CC 21 B057 50 NakedClav gt ArpOn Off Synth P000 UP P000 UP Mod SW1 CC 80 Lock JS Y amp Ribbon Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Name Category Little Angels Bell Mallet Perc Arp SWPattern A Off Pattern B P004 RANDOM P000 UP Mod SW1 Mod SW2 Mod SW1 CC 80 Lock JS Y amp Ribbon Knob Mod 1 CC 17 F A Attack CC 73 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Moss of the Tyne Keyboard Violins amp Reeds Orchestral Off U150 Bossa Nova P000 UP 002 ALTERNATE1 028 String Melody Octave Down Lock JS Y amp Ril Mod SW1 CC 80 Lock Ribbon Knob Mod 1 CC 17 Knob Mod 2 CC 19 F A Attack CC 73 F A Decay CC 75 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Knob Mod 3 CC 20 Knob Mod 4 CC 21 SynMoss 01 LeadSplits Off 155 Drum n Bass 3 170 Acid Drum Mod SW1 CC 80 Lock JS Y amp Ribbon Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Moss Split Synth Synth Off 000 UP Mod SW1 CC 80 Lock JS Y amp Ribbon Knob Mod 1 CC 17 F A Attack CC 73 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Superunison Rhythmic Pattern On 145 8 Beat 151 Latin drums U U U U169 Bigbeats 2 Pi U U Mod SW1 CC
76. of other sections to create cyclic changes in the sound 5 1 LFO 1 deci aa RY a po ngang Hani tenes iy ue mimi ee Frege AIT Tempe Ce Basa binds Fa in U Sy ery an 5 1a LFO1 Waveform Triangle 0 Exponential Saw Down Settings for the general purpose LFOs Triangle 0 Saw Down 180 Step Saw 4 i Triangle 90 Square Step Saw 6 i lt u Triangle Random Random S H SNN 7 KC MA Exponential Triangle vv Amplitude and the duration at which each level is held will both change randomly sample 4 hold i When Key Sync ON the starting phase will vary randomly Sine Random Vector Exponential Saw Up IT N I Mi 1 2 cycle Random 2 changes in a straight line toward a value which is determined randomly every 1 2 cycle Saw Up 0 Exponential Saw Down f Saw Up 180 Step Triangle 4 a Saw Down 0 Step Triangle 6 i Frequency 0 199 Specifies the frequency of the LFO Offset 50 50 Specifies the center value of the LFO waveform Offsetz0 _ The parameter value being modulated LFO movement determined by Modulation Intensity Offset 50 _ _ _ The parameter value _ being modulated LFO movement determined by Modulation Intensity Offset 50 The parameter value being modulated Fa LFO movement determined by Modulation Intensity Amplitude AMS Alternate Modulation Source 1 O
77. ol Dispersion If this value is raised excessively the pitch may become unstable Intensity Dispersion AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS Bridge Reflection 0 99 Specifies the amount of the wave that will be reflected at the end of the string Higher values will make the notes sound more easily With a setting of 0 there will be no reflection at all AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source s p 48 of this manual that will control Bridge Reflection Intensity Bridge Reflection AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 3d Peaking EQ Frequency 0 49 Specifies the center frequency at which the peaking EQ will boost attenuate the sound Q 0 29 Specifies the width of the region that will be boosted attenuated by the peaking EQ With a setting of 0 a wide region will be affected With a setting of 29 only a narrow region close to the center frequency will be boosted attenuated Gain 18 18 Specifies the gain by which the peaking EQ will boost or attenuate 1 4 OSC2 Oscillator 2 OSC2 parameters have the same structure as OSC1 parameters Refer to 1 3 OSC 1 1 5 Noise Generator Make settings for the noise generator The noise generator produces white noise The noise signal is passed through a dedicated filter and is then mixed
78. or one of the two multi mode filters 3 1 Filter 1 Each multi mode filter can be set to one of five filter types Cutoff Freguency Input Trim Resonance Filter Type HE Bam CEFNFOR 1 1 a t Low Pass O 1 1 y High Pass O Y h SB Bara pass i Band Reject O Dual BPF O 3 la 3 1b 3 1c bens 3 1d Se 3 1a Routing Filter Routing Routing Serial 1 Serial 2 Parallel Use the radio buttons to select the way in which filters 1 and 2 will be combined Filter2 Link to Filter 1 If this is checked Filter 2 will be linked to Filter 1 and the following settings will be the same as the settings of Filter 1 If this is not checked the following parameters can be set for Filter 2 3 1b Filter Type Filter Type Low Pass A High Pass A Band Pass A Band Reject A Dual BPF A B Selects the filter type When Dual BPF A B is selected the 3 1d Filter B parameters can also be set 38 Filter Types and Cutoff Freguency Low Pass Filter Low Pass A low pass filter is the most commonly used type of filter and passes the range of freguencies that lie below the cutoff freguency and freguency cuts the high range Cutting the higher partials will cause a bright sound to become darker more mellow F Cutoff Freguency A high pass filter passes the range of freguencies that lie above the cutoff freguency and cuts the low range This type of filter is used when you wish
79. orms used by an analog synthesizer sawtooth wave pulse wave triangle wave and sine wave Sawtooth wave pulse wave and triangle wave waveforms can be modified using waveform modulation You can specify either sawtooth wave or pulse wave as the main waveform and mix triangle wave or sine wave with this for output The level of these three waveforms can be adjusted independently In addition wave shaping can be applied to the output of this oscillator Waveform modulation Pulse width modulation PWM on an analog synthe sizer produces time varying change in the pulse width of a pulse wave The waveform modulation provided by the EXB MOSS option is an extension of this which varies not only the pulse width but also the waveform of a sawtooth wave or triangle wave Waveform modulation will affect the various wave forms as follows Sawtooth wave A ee Waveform modulation will modify a sawtooth waveform as shown below creating time variant change in the sound When modulation is 0 the basic sawtooth waveform will be produced and when it is 99 a sawtooth wave of double the freguency will be produced If the modulation value is a negative number a different effect will result than with positive settings Pulse wave 98 33 0 33 66 98 Waveform pulse width modulation will modify a pulse waveform as shown below creating time variant change in the sound When modulation is 0 a square wave will be produced and when it is
80. ow Brass Model Peaking Ea Strength _ Brass uoaa N Lip Character Specify tonal change produced by lip position Bell Specify the shape of the end of the bore HAS Inst Type Select a model which simulates the bore length and shape of various instruments mp pi 1 Pressure Specify the force of breath that is blown into the mouthpiece Noise Specify the amount of breath noise palo I This oscillator allows you to choose from two types of pitch bending jump bending using a mode jump as on a trumpet by varying the bore length and smooth bending produced by sliding the length of the bore as on a trombone For some parameter settings the pitch may not change according to the notes that are played on the keyboard In some cases high pitched notes may have a lower volume or may not sound at all mop Llr mr ir xii Faaracter ma eman VA 1 3e sy Pasig FU Trenein BE BB Cak Baj 1 3a Inst Type Inst Type Brass 1 Brass 2 Brass 3 Hom 1 Hom 2 Reed Brass Selects the instrument type which will determine the bore length and shape of the simulated instrument 25 Jump Bend JS X Joystick X Specifies how the pitch will change when the joystick is moved in the X direction toward the right If this is checked the pitch will rise by in steps by changing the resonance of the bore as on a trumpet If th
81. pEG Selects the EG which will control bowing speed the speed at which the bow moves across the string Int Speed Modulation EG Intensity 99 499 Specifies the depth and direction of the effect of EG With negative settings the direction of the bow speed will be inverted ANS1 Alternate Modulation Source 1 Off MIDI CC 83 Selects a modulation source 1 cep 48 of this manual that will control bowing speed Instead of using an EG to modify the bowing speed you can use the Ribbon Controller or Joy Stick to simulate bowing without using an EG Int Speed AMS1 Intensity 99 99 Specifies the depth and direction of the effect of AMS1 AMS2 Alternate Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 mp 48 of this manual that will control bowing speed 31 Int Speed AMS2 Intensity 99 99 Specifies the depth and direction of the effect of AMS2 Differential If this is not checked the value produced by EG AMS1 and AMS2 will be used as the bowing speed If you wish to use EG to control the bowing speed leave this item un checked If this is checked the rate of change of EG AMS1 and AMS2 will be used as the bowing speed Using the ribbon controller to control bowing speed As an example we will assume that you have set AMS to Ribbon X In order to control bowing speed using the ribbon controller alone raise the Int Speed AMS1 Intensity value
82. pe 99 level Output of the resonance type table when Waveform a sawtooth wave is input level Waveform before being input to the table Resonant type Output level AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source sep 48 of this manual that will control Shape Intensity Shape AMS Intensity 99 4 99 Specifies the depth and direction of the waveform modulation controlled by the AMS Balance 0 99 Specifies the balance between the signal that has passed through the wave shaping table and the output signal from the standard oscillator With a setting of 16 99 it will be only the output of the wave shaping table AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source szp 48 of this manual that will control Balance Intensity Balance AMS Intensity 99 99 Specifies the depth and direction of the waveform modulation controlled by the AMS Comb Filter In this oscillator the signal from the other oscillator waveform or the noise generator is sent through a comb filter and the feedback level of the comb filter is varied in order to produce tonal change When noise is input raising the feedback of the comb filter will gradually change the sound into a pitched tone Comb Oscillator Noise Level Input Level Mod Source Intensity yee Gomb Filer eee OSC1 2 or gt 5 Sub OSC Filter1 out Input Wave o
83. pecifies the volume level of amp 1 The input signal to amp 1 is determined by the 3 1a Routing setting EG Amplitude Modulation EG EG1 EG4 AmpEG Selects the EG that will create time variant change in the volume level of amp 1 For the settings of each EG refer to 4 3 Amp EG Program P6 AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source ssp 48 of this manual that will control the volume level of amp 1 Intensity Amplitude AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS on the volume level 4 1b Keyboard Track Key Low C 1 G9 Specifies the key at which Lower keyboard tracking will begin Key High C 1 G9 Specifies the key at which Higher keyboard tracking will begin You can also input a value by playing a note on the keyboard while you hold down the ENTER key Ramp Low 99 99 Specifies the way in which keyboard tracking will affect the volume of notes below the Key Low Ramp High 99 499 Specifies the way in which keyboard tracking will affect the volume of notes below the Key High Volume level 99 Ramp gt 0 50 i o Ramp lt 0 ca cs If Ramp Low or Ramp High are set to positive settings you will need to lower the 4 1a Amp Level Amplitude value 4 2 Amp2 Level Amplifier 2 Level Here you can adjust the settings for Amp 2 These parameters have the
84. pendently for each track Details of the settings the operation of each param eter and cautions are the same as for combinations Refer to Editing a combination on p 8 of this manual ur Sequencer P4 MOSS T01 08 MOSS T09 16 tabs t Song Play P1 MOSS TO1 08 MOSS T09 16 tabs Control change transmission reception for the EXB MOSS In the same way as bank A E or G programs bank F programs can receive MIDI control changes CC 70 79 and can be operated by the front panel realtime control knobs 1 4 in A mode In B mode CC 70 79 can be assigned as knob functions and used to control the program sound These settings can be saved by writing them in Program mode t Refer to p 223 of the TRITON Parameter Guide CC 70 Sustain Level Sustain Level Program P4 AmpEG tab Program P6 This controls the EG that is selected by Filter EG Program P3 Filter 1 2 tab and Amp Level EG Program P4 Amp 1 2 Level tab CC 71 Filter Resonance Level Filter A Resonance Program P3 Filter 1 2 tab Filter B Resonance Program P3 Filter 1 2 tab CC 72 Release Time Release Time Program P4 AmpEG tab Program P6 This controls the EG that is selected by Filter EG Program P3 Filter 1 2 tab and Amp Level EG Program P4 Amp 1 2 Level tab CC 73 Attack Time Attack Time Program P4 AmpEG tab Program P6 Time Modulation At Program P4 AmpEG tab Program P6 This controls the EG that is
85. r OSC1 you can select a Standard E Piano Model for OSC2 as well If a Double Size oscillator Brass Model Bowed String Model is selected for OSC1 OSC2 will be unavailable Standard This simulates the oscillator of an analog synthesizer You can use PWM pulse width modulation etc to produce the same results as on an analog synthesizer sp 14 of this manual Comb Filter This oscillator creates pitched components from noise or an impulse In addition to producing noisy sounds it can also produce a wide variety of sound ranging from synth basses to string like sound 13p 17 of this manual VPM Variable Phase Modulation This oscillator uses phase modulation to generate harmonics A rich harmonic structure can be created by using phase modulation between two oscillators and the wave shaping table r p 18 of this manual Resonance This oscillator uses filter resonance and is an especially effective way to produce mallet sounds and pad sounds p 20 of this manual Ring Modulation Cross Modulation Sync Modulation These are special oscillators for generating the sounds which could be produced on an analog synthesizer by modulating one oscillator with another These allow you to produce sounds with complex overtone structures such as bells metallic sounds and gongs p 21 23 of this manual Organ Model This simulates a drawbar organ with three drawbars when one oscillator is used or six drawbars when tw
86. rogram Select menu or the Bank Program Select menu 8 Use Pan to adjust the panpot of the timbre When a bank F program is selected the Random setting will not be available If Random is selected the sound will be placed in the center as with C064 9 Use Volume to adjust the volume of the timbre 10 Make settings for other parameters In the same way as for programs of other banks set the parameters of each timbre and make arpeggiator settings and insertion master effect settings However when a bank F program is selected for a timbre the following parameters will function as explained below OSC Select will have no effect Combination P2 OSC tab The Detune range will be 100 Even if the absolute value of the parameter setting is greater than 100 the actual detune value will be 100 cents Program P2 OSC tab The Key Zone Vel Zone Top Slope and Bottom Slope settings will have no effect Program P4 Key Z Vel Z tabs Seguencer and Song Play modes Bank F programs can be selected for playback of a song or Standard MIDI File or for performance from the keyboard In the same way as in a combination bank F programs can be selected for two or more tracks and used multi timbrally In this case the total polyphony of the bank F programs will be six voices Insertion master effect settings and individual audio output routing cannot be specified inde
87. s listed in the beginning of the Parameter Guide y This manual explains the Bank F parameters that are added when the EXB MOSS is installed For details on the parameters other than Bank F refer to the TRITON s Parameter Guide and Basic Guide etc Features of the EXB MOSS The EXB MOSS is an option board containing a MOSS Multi Oscillator Synthesis System tone generator with six voice polyphony The MOSS tone generator is a physical modeling tone generator that uses Sondius XG technology When the EXB MOSS is installed into the TRITON you will be able to use the 128 MOSS tone generator programs in program bank F Bank F is dedicated to MOSS tone generator programs Bank F programs can be selected for a timbre track in Combination Song and Song Play modes You can also create combinations or songs that combine bank F programs with other programs from banks A E or G Broadly speaking a MOSS tone generator program consists of voice EG LFO effect and control sections The voice section contains an oscillator and a filter The oscillator provides two oscillators 1 and 2 which can use thirteen different oscillator algorithms including Standard Ring Modulation VPM Reso nance Organ Model and Electric Piano Model The oscillator also provides a sub oscillator and a noise generator The filter provides five types of filters two filter systems including a Human Voice Filter that lets you simultaneously se
88. s is not checked the sound will remain unchanged M Location AMS and Intensity can be set when Pickup has been checked Location 0 99 Adjusts the change in tone that results from differ ences in pickup location AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source sep 48 of this manual that will control Pickup Intensity Pickup Location AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 3f Low EQ Frequency 0 49 Specifies the cutoff frequency of the Low EQ Gain Specifies the gain of the Low EQ 18 18 Low Boost 0 99 Specifies how the low frequency range will be emphasized Raising this value will cause the low frequency range to be emphasized more strongly Bowed String Model This oscillator is a physical model which simulates the sound of a bowed string instrument such as a violin or cello By controlling the bowing speed and the bowing pressure you can create performance expressions that are very close to those of an actual bowed string instrument Bowed String Model Peaking EQ gt Bow Pressure Bridge Reflection String 2 gt A Bridge Reflection mS Bow Speed Parameters related to the string A iN qd String Damp Position Dispersion tring vibration Bowed String Model Eriin Bechan g AHR OF 1 3d LJ Ao a ar ed 1 3a Bow Speed EG EG 1 EG 4 Am
89. selected by Filter EG Program P3 Filter 1 2 tab and Amp Level EG Program P4 Amp 1 2 Level tab CC 74 Low Pass Filter Cutoff Frequency Filter A Frequency Program P3 Filter 1 2 tab Filter B Frequency Program P3 Filter 1 2 tab CC 75 Decay Time Decay Time Program P4 AmpEG tab Program P6 EG1 4 tabs Slope Time Program P4 AmpEG tab Program P6 EG1 4 tabs This controls the EG that is selected by Filter EG Program P3 Filter 1 2 tab and Amp Level EG Program P4 Amp 1 2 Level tab 10 CC 76 Pitch LFO Speed LFO1 4 Frequency Program P5 LFO1 4 tabs note If LFO 1 4 is selected for Pitch Modulation AMS1 AMS2 Program P2 OSC1 2 Pitch Mod tab or Common Pitch Modulation AMS Program P2 Common Pitch Mod tab this control change message will control that LFO CC 77 Pitch LFO Intensity Pitch Modulation AMSI Intensity Program P2 OSC1 2 Pitch Mod tab Pitch Modulation AMS2 Intensity Program P2 OSC1 2 Pitch Mod tab Common Pitch Modulation AMS Intensity Pro gram P2 Common Pitch Mod tab UM IfLFO 1 is selected for the corresponding AMS this control change message will control that LFO CC 78 Pitch LFO Delay LFO1 2 3 4 Fade Program P5 KO If LFO 1 4 is selected for Pitch Modulation AMS1 AMS2 Program P2 OSC1 2 Pitch Mod tab or Common Pitch Modulation AMS Program P2 Common Pitch Mod tab this control change message
90. setting of 0 the carrier waveform will be output without change ANS1 Alternate Modulation Source 1 Off MIDI CC 83 Selects a modulation source 1 s p 48 of this manual that will control Depth Intensity Modulation Depth AMS1 Intensity 99 99 Specifies the depth and direction of the effect of AMS1 22 AMS2 Alternate Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 ssp 48 of this manual that will control Depth Intensity Modulation Depth AMS2 Intensity 99 99 Specifies the depth and direction of the effect of AMS2 Sync Modulation This uses the modulator as the master waveform and the carrier as the slave waveform which will be synchronized to the master When the master waveform begins a new cycle i e the instant that it passes the zero point going from negative to positive the phase of the slave waveform is reset to 0 causing it to begin a new cycle Sync Modulation Modulator Wave gt Master 1 1 Carrier Wave i gt Slave 1 1 1 PSI m 7 PRE Fi Can ba 1 3a Wave Input OSC2 1 Sub OSC Noise Filter1 Filter2 Specifies the master waveform modulator Slave Saw Square Triangle Sine Specifies the slave waveform Wave Edge 0 99 Specifies the amount of high frequency harmonics for the slave waveform As this value is decreased the sound will have less high frequency harmonics and as it
91. t two center frequencies and a Dual Band Pass Filter that lets you simulate the body resonances of a violin or guitar Five EG units and four LFO units can be used to modulate this voice section in order to create time varying movement of pitch tone and volume This product was developed under license of physical modeling tone generator patents http www sondius xg com owned by Stanford University USA and Yamaha Corporation 2 The structure of bank F programs Program structure The programs of bank F have the following structure Oscillator This section produces the waveform that is the basis of the sound Settings are made by the Program P1 Edit Basic and Program P2 Edit Pitch parameters OSC 1 2 Thirteen oscillator types methods of sound genera tion are provided Of these you can select two oscillator types for use together and make basic settings for the pitch and waveform However for some oscillator types only one type can be used Settings are made by the parameters of 1 1 Prog Basic 1 2 OSC Basic 1 3 OSC1 and 1 4 OSC2 Sub oscillator One of four basic waveforms can be selected Its pitch can be set in the same way as OSC1 and 2 These settings are made by the parameters of 1 2 OSC Basic and 2 3 SubOSC P Mod Noise generator This produces white noise which can be passed through a multi mode filter low pass filter high pass f
92. tch Stretch of Program PO Play cannot be used for bank F programs Editing a combination You can select a bank F program for a timbre in a combination and use it in the combination together with programs of banks A E and G Different MOSS tone generator programs from bank F can be selected for two or more timbres and used multi timbrally In this case the total polyphony of the MOSS tone generator programs will be six voices A Insertion master effect settings and the routing to the individual audio outputs cannot be made independently for multiple timbres A If you change programs while a bank F program is sounding the bank F program will stop sounding y When playing multi timbrally and a bank F program is being sounded selecting a bank F program for the timbre number prior to that timbre number will cause noise to be heard in the currently sounding bank F program Editing a combination Here s how to select programs and set the parameters that determine how each program will sound 1 Select Combination PO Play For details on how to enter each page refer to p 52 Combination mode in the TRITON Basic Guide 2 Select the combination number that you wish to edit 3 Select the Combination P4 MOSS Setup tab Before you select a bank F program make settings here to specify how the MOSS tone generator will sound TU Band eer ha LILET i a 1 mam mema ETO Tey Tena Reserve Ta
93. th 085 Dance Comp 1 Standard OSC Standard OSC Analog Lead LeadSynth 126 Trance Riff 2 Standard OSC Standard OSC Zoop 2 Drums 033 TechnoBass Riff1 VPM OSC VPM OSC Comb Clav Keyboard 071 5 tone Trance 1 Comb Filter OSC Standard OSC Dream Strings Strings 141 Cresc Decresc Standard OSC Standard OSC Zipperling Dirty Old Man LeadSynth MotionSynth 036 Tribal Bass 065 Gated Pattern 1 VPM OSC andard OSC Standard OSC Standard OSC BPF Sweep MotionSynth 004 RANDOM andard OSC Standard OSC Digi Morphious MotionSynth 123 Echo Riff andard OSC Standard OSC Techno S amp H Pad MotionSynth 112 Techno Riff 1 andard OSC Standard OSC Psychedelic Gtr Guitar Plucked 012 CountryPickng2GT Stream Pad SlowSynth 140 Trickle andard OSC Organ Model Zee Solo Violin Strings 014 BalladPicking2GT owed String Model Aliens Chitchat SE 042 Dance Bass Comp owed String Model Giant REZ Sweep MotionSynth 075 2 tone Vel Trip S S S S Plucked String Model S B B S andard OSC Standard OSC ACID Rain Percussive Ring MotionSynth FastSynth 035 TechnoBass Riff3 097 Staccato Tech Comb Filter OSC Ring Modulation OSC Standard OSC VPM OSC Light Brass Lead FastSynth 077 4 tone Vel Trip Standard OSC Standard OSC Ba
94. the signal being input to the comb filter The volume level is set by the Level or the Noise Level Intensity Input Wave Level AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 3b Feedback Fbk Feedback 0 99 Specifies the amount of feedback for the comb filter If this value is high the resonance of the comb filter will be high and the tone will have a clear sense of pitch Conversely if this value is low the input signal will be output without change and if the input signal is only noise the output signal will have no sense of pitch ANS1 Alternate Modulation Source 1 Off MIDI CC 83 Selects a modulation source 1 e p 48 of this manual that will control Fbk Intensity Feedback AMS1 Intensity 8 8 99 99 Specifies the depth and direction of the effect of AMS1 AMS2 Alternate Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 ssp 48 of this manual that will control Fbk Intensity Feedback AMS2 Intensity 8 99 99 Specifies the depth and direction of the effect of AMS2 17 1 3c High Damp H D High Damp 0 99 Specifies the amount of attenuation that will be applied to the high freguency component of the feedback signal within the comb filter As this value is increased the tone will become more mellow Conversely decreasing this value will produce a brighter tone
95. tings of the program assigned to each timbre are not used by a combination they must be set here again t Refer to TRITON Parameter Guide p 8 Panel Switch Assign Program P1 1 4a SW1 SW1 Assign MEFA Off After Touch Lock SW1 Mode Toggle Momentary SW2 SW2 Assign IEA Off After Touch Lock SW2 Mode Toggle Momentary 1 7b Realtime Contol Knobs B Assign Here you can assign the B mode functions mainly various types of control change for the front panel REALTIME CONTROLS 1 4 knobs The functions you select here will operate when you move the corresponding knob of the REALTIME CON TROLS 1 4 knobs when B mode is selected t Refer to TRITON Parameter Guide p 218 Realtime Control Knobs B Assign List Knob 1 B OFf MIDI CC 00 CC 95 Knob 2 B OFf MIDI CC 00 CC 95 Knob 3 B OFf MIDI CC 00 CC 95 Knob 4 B OFf MIDI CC 00 CC 95 35 Program P2 Edit Pitch 2 1 OSC1 P Mod Oscillator 1 Pitch Modulation FEAGLES 7 FRE Fr LA Flick 2 1a Pitch Slope Specifies how pitch will change in relation to the keyboard key Center Key C 1 G9 Specifies the key at which Lower Higher keyboard tracking will begin to apply uu You can also input a value by playing a note on the keyboard while you hold down the ENTER key Ramp Low 1 00 2 00 Specifies the depth and direction of the pitch change that will occur for notes belo
96. to make the sound thinner However raising the cutoff frequency excessively will drastically reduce the volume High Pass Filter High Pass l freguency Cutoff Freguency J Band Pass Filter Band Pass A band pass filter passes the range of frequencies in the vicinity of the cutoff frequency and cuts the ranges above frequency and below This type of filter is used when you wish to emphasize a particular portion of the sound P Cutoff Freq uency Band Reject Filter Band Reject A band reject filter cuts only the range in the vicinity of the cutoff frequency and passes the rest of the sound This type of filter gives a unique character to the sound a freguency Cutoff Freguency Dual Band Pass Filter Dual BPF 1 The dual band pass filter places two band pass filters in parallel It allows you to simulate sounds frequency such as human voice and the Cutoff Cutoff body resonances of a violin or Frequency A Frequency B guitar gt A Trim 0 99 Specifies the level of the input to filter A If this value is raised the sound may become distorted if the resonance setting is high etc B Trim 0 99 Specifies the level of the input to filter B If this value is raised the sound may become distorted if the resonance setting is high etc 3 1c Filter A Freguency Cutoff Freguency 0 99 Specifies the cutoff freguency of filter 1 As this value is increased the cutoff fregu
97. vel 0 99 Specifies the output level of the modulator This value will determine the amount of modulation that is applied to the 1 3a Carrier setting ANS1 Alternate Modulation Source 1 Off MIDI CC 83 Selects a modulation source 1 ep 48 of this manual that will control Level Intensity Level AMS1 Intensity 99 99 Specifies the depth and direction of the effect of AMS1 AMS2 Alternate Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 cep 48 of this manual that will control Level Intensity Level AMS2 Intensity 99 99 Specifies the depth and direction of the effect of AMS2 Freguency Coarse 0 5 1 16 Specifies a multiplication factor which will be applied to the pitch of the modulator relative to the 1 3a Carrier setting Fine 50 50 Makes fine adjustments to the pitch of the modulator AMS1 Alternate Modulation Source 1 Off MIDI CC 83 Selects a modulation source 1 cep 48 of this manual that will control the pitch of the modulator Intensity Frequncy AMS1 Intensity 99 Specifies the depth and direction of the effect of AMS1 99 AMS2 Alternate Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 cep 48 of this manual that will control the pitch of the modulator Intensity Frequncy AMS2 Intensity 99 Specifies the depth and direction of the effect of AMS2
98. w the Center Key Ramp High 1 00 2 00 Specifies the depth and direction of the pitch change that will occur for notes above the Center Key When Low Slope and High Slope are set to 2 0 playing one octave upward from the Center Key will cause the pitch to rise two octaves With a setting of 1 0 playing one octave upward will cause the pitch to fall one octave With a setting of 0 0 the notes in the respective areas will produce the same pitch as the Center Key To play pitches normally set this parameter to 1 0 Pitch cot 42 0 41 0 Cl Ca g gt Key Center Key 36 2 1b Pitch Modulation Specifies the pitch Modulation AMS1 Alternate Modulation Source 1 Off MIDI CC 83 Selects a modulation source 1 cep 48 of this manual which will modify the pitch e g apply vibrato Intensity Pitch AMS1 Intensity 99 99 Specifies the depth and direction of the pitch change that will be controlled by AMS1 AMS AMS1 Intensity Alternate Modulation Source Off MIDI CC 83 Specifies the controller ms p 48 of this manual that will control the Intensity Pitch AMS1 Intensity Intensity AMS1 Int AMS Intensity 99 4 99 Specifies the depth of the pitch modulation effect controlled by AMS1 AMS2 Alternate Modulation Source 2 Off MIDI CC 83 Selects a modulation source 2 p 48 of this manual which will modify the pitch e g apply vibrato Inte
99. will be simulated Hard Sax 1 Hard Sax 2 Hard Sax 3 Soft Sax 1 Soft Sax 2 Double Reed 1 Double Reed 2 Bassoon Clarinet Flute 1 Flute 2 Pan Flute Ocarina Shakuhachi Harmonica 1 Harmonica 2 Reed Synth Jump Bend JS X Joystick X Specifies how the pitch will change when the joystick is moved in the X direction toward the right If this is checked the pitch will rise in steps by changing the resonance of the bore as on a flute If this is unchecked the pitch will rise smoothly as on most synthesizers JS X Joystick X Specifies how the pitch will change when the joystick is moved in the X direction toward the left A If Jump Bend X and Jump Bend X are checked notes may not sound depending on the position of the joystick and the pitch range setting For details on setting the pitch range of the joystick refer to 1 2c Pich Bend 1 3b Breath Pressure EG EG 1 EG 4 AmpEG Selects the EG which will control pressure For details on the settings for each EG refer to Program P6 for EG 1 4 and 4 3 Amp EG for Amp EG Intensity Pressure EG Intensity 99 99 Specifies the depth and direction of the effect that the EG will have on the pressure ANS1 Alternate Modulation Source 1 Off MIDI CC 83 Selects a modulation source 1 cep 48 of this manual that will control pressure If you select After Touch pressing down on the keyboard will produce the ef
100. with the oscillator 1 2 and sub oscillator signals by the mixer section Refer to 1 6 OSC Mixer Low Pass Noise Generator Input Trim High Pass a Band Pass Noise Filter a cy Cutoff Frequency Resonance Ss ee et pn rec Radel ree 1 5a Noise Generator Filter Type Thru Low Pass High Pass Band Pass Selects the type of filter that will be applied to the output of the noise generator If Thru is selected the parameter settings described below will not be available Input Trim 0 99 Specifies the input level to the dedicated noise filter Frequency Cutoff Frequency 0 99 Specifies the cutoff freguency of the noise signal filter For the characteristics of each filter type refer to 3 1 Filter1 mpage 38 of this manual Resonance 0 99 This boosts the freguency region specified by the Cutoff Freguency to add character to the sound 33 Since the filter characteristics differ from the filter type of the 3 1 Filter 1 3 3 Filter 2 the resulting effect will be different even if Filter Type Freguency and Resonance settings are identical 1 5b Frequency Modulation ANS1 Alternate Modulation Source 1 Off MIDI CC 83 Selects a modulation source 1 rs p 48 of this manual that will control the Frequency Intensity Cutoff Frequency AMS1 Intensity 99 99 Specifies the depth and direction of the effect of A
101. y Soft Velocity Med Velocity Hard After Touch JSX JS Y CC 01 JS Y CC 02 JS Y amp AT 2 JS Y amp AT 2 Pedal CC 04 Ribbon CC 16 Ribbon X Ribbon X Slider CC 18 KnobMod1 17 KnobMod2 19 KnobMod3 20 KnobModd 21 KnobMod 1 KnobMod2 KnobMod3 KnobMod4 Damper 64 SW 1 CC 80 SW 2 CC 81 Foot SW 82 MIDI CC 83 oodiiikelier Th Voice Name List Combination MOSS PCG Arp SWPattern A Pattern B Mod SW1 Mod SW2 Name Category Forest Piano Keyboard P001 DOWN P000 UP Octave Down Lock JS Y amp Ribbon F A Attack CC 73 F A Decay CC 75 Knob Mod 3 CC 20 Knob Mod 4 CC 21 MOSSPOWER Rhythmic Pattern 153 Drum n Bass 1 043 Trance Bass Riff Mod SW1 CC 80 Portamento SW CC 65 F A Attack CC 73 F A Decay CC 75 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Eternal Partners Guitar Plucked 000 UP 013 BalladPicking GT Mod SW1 CC 80 Lock JS Y amp Ribbon Volume CC 07 Expression CC 11 Knob Mod 3 CC 20 Knob Mod 4 CC 2 Dirty Moss Sax LeadSplits CVO CCO rg 165 Smooth Hop 000 UP Mod SW1 CC 80 Lock Ribbon Knob Mod 1 CC 17 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 21 Water Pad MotionSynth wy 000 UP 000 UP Mod SW1 CC 80 Lock JS Y amp Ribbon Volume CC 07 Knob Mod 2 CC 19 Knob Mod 3 CC 20 Knob Mod 4 CC 2 Intimate Orch Orchestra
102. y will have on Curve Down For the way in which the effect occurs refer to Velocity Attack Level Velosity Control 1 3c String Picking Point 0 99 Specifies the location at which the string will be plucked A setting of 0 is the end of the string 50 is the middle of the string and 99 is the other end of the string 29 AMS Alternate Modulation Source Off MIDI CC 83 Selects a modulation source sep 48 of this manual that will control Picking Point Intensity Picking Point AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS Damp 0 99 Specifies the amount of high frequency attenuation that will be produced by the characteristics of the string and by how the string is pressed As this value is increased the high frequency components of the vibration in the string will be attenuated dampened more strongly producing a darker sound In general this parameter should be set to a higher value to simulate instruments which use soft strings or which have no frets and to a lower value to simulate instruments which use hard strings or which have frets KTr Damp Keyboard Track 99 99 Specifies how the Damp amount will be affected by the keyboard location With positive settings the Damp value will increase as you play notes above C4 With negative settings the Damp will decrease as you play notes above C4 ci C4 93 cg wh

Multi-Oscillator Synthesis System

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