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Korg Synthesizer User's Manual

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1. Mod Depth Intensity Modulation Depth AMS 2 Intensity 99 99 Specifies the depth and direction of the effect of AMS 2 2 1 OSC 1 06 Cross Modulation 06 Cross Modulation This uses a modulator to frequency modulate a carrier You Cross Modulation can select one of four waveforms as the carrier In general a y Cross Modulation Depth pitch envelope is applied to the modulator A carrier oscillator Modulator at uel is built in to the Cross Modulation OSC You can select the output of the other oscillator etc as the modulator pa f ri Carrier Wave a Page Menu lt gt Write Program btgerthy TER tenths b 2 1a Input Input 0SC2 1 SubO SC 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 2 1b Mod Depth Mod Depth 0 99 Specifies the depth of modulation At a setting of 0 the carrier waveform will be output without change AMS 1 Alternate Modulation Source 1 OFF MIDI CC 83 Selects a modulation source 1 repage 64 of this manual that will control Mod Depth Intensity Modulation Depth AMS 1 Intensity 99 99 Specifies the depth and direction of the effect
2. ri Vv wy NS wv 7 When Key Sync ON the starting phase will vary 8 Square 12 Step Tri 6 17 Exp Saw Down randomly 3 Sine P E 9 Random1 S H 13 Step Saw 4 f i i 4 Saw Up 0 Amplitude and the duration at which each level is held will both change randomly sample amp hold 6 1 LFO 1 Key Sync O FF 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 cycle 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 SW byTIMBRE byVOICE Note On Note On Key Sync SW Off Note On Note On 6 1b Frequency If you used the radio buttons to select Frequency set the following parameters to specify the LFO frequency y F Frequency 0 0Hz 199 60Hz o Specifies the frequency of the LFO AMS 1 Alternate Modulation Source 1 OFF MIDI CC 83 Select a modulation source 1 page 64 of this manual that will control the LFO frequency Intensity Frequency AMS 1 Intensity 99 99 Specifies the depth and direction of the effect that AMS 1 will have on the F Frequency value AMS 2 Alternat
3. ay Page Menu 2 1 a gt Hammer Force aA Force Velocity Curve 80 eo Width 69 Click Noise Level 45 Write Program 2 1 b r Tone Generator Decay 71 Release 20 2 a 1c r Overtone Level 99 Frequency 90 Decay 15 2 ld gt Ir Pickup Position Position 30 AMS D OFF Intensity 88 2 le Low EQ Frequency 36 Gain 86 dB J Sub Noise 2 la Hammer Force 0 99 Specifies the Strength with which the hammer strikes the tone generator Higher settings will produce a brighter sound Force Velocity Curve O FF 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 W idth 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 2 1 OSC 1 09 Electric Piano Model 2 1b 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
4. 4 la Amp 1 Amplitude 0 99 Specifies the volume level of amp 1 The input signal to amp 1 is determined by the 3 2a Routing setting EG Amplitude Modulation EG EG 1 EG4 Amp EG Selects the EG that will create time variant change in the volume level of amp 1 For the settings of each EG refer to Program Edit P5 AMS Alternate Modulation Source O FF MIDI CC 83 Selects a modulation source repage 64 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 Amplitude 1 Keyboard Track Prog Edit Low Key C 1 G9 P4 Specifies the key at which Lower keyboard tracking will begin High Key C 1 G9 Specifies the key at which Higher keyboard tracking will begin Low Int 99 99 Specifies the way in which keyboard tracking will affect the volume of notes below the Low Key 4 1 Amp High Int 99 99 Specifies the way in which keyboard tracking will affect the volume of notes below the High Key Volume level Int 99 Int 50 Int 0 Int 0 Int 50 i Int lt 0 Int 99 C 1 LowC4High C9 Key Key If Low Int or High Int are set to positive settings you will need to lower the 4 1a Amp 1 Amplitude value 4 1c Amp 2 Here you can adjust the settings for Amp 2 These parameters have the same structure as the 4 1
5. Each multi mode filter can be set to one of five filter types l Page Menu 3 4a gt Finer 2 3 4b FEE npn Trine i Write Program 3 4c E i Hi area Er artic FEF 3 4d Keybaard Trak Lae Rep Ci ign eg CE Loe iibh Hig ii ib 3 4e gt Perme A 3 4a 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 For details on these parameters refer to 3 2 Filter 1 3 4b Filter 2 3 4c Cutoff Cutoff A Cutoff Frequency 3 4d Keyboard Track 3 4e Resonance Resonance A 3 5 Filter 2 SUB When 3 4b Filter 2 Type parameter is set to Dual BPF you will be able to set various parameters for 3 5 Filter 2 SUB For details on these parameters refer to 3 3 Filter 1 SUB amp If 3 4a Link to Filter 1 is checked it is not possible to make 3 5 Filter 2 SUB settings 4 1 Amp Program Edit P4 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 2a Routing tepage 47 of this manual 4 1 Amp Bm Page Menu Amp E apii a a BG Pa iit IF OFF mitre i ard Tr Brame Trasi Lee kp DA High Ee LoF eR Hih ei HE Lee kg DI Hih Empi eee Hig i HE kici H eed
6. Also if a program is played immediately less than one second after it is selected noise may appear in the output sound Data dump compatibility The bank M programs created using MOSS are not compatible with the Prophecy or Z1 Please use an insertion effect with the program In all modes Program Combination Sequencer be sure to use an insertion effect when using a bank M program If you do not use an insertion effect the output of the bank M program will diminish When MIDI Clock Source is set to Internal If a bank M program is selected for any timbre in a combination the D mod Src Tempo for the AMS or effect of the timbre program will use the Prog Tempo setting page 61 of this manual SOLO TRI convert sounds SOLO_TRI PCG The SOLO_TRI PCG sounds in the included disk are data which was created to allow the SOLO TRI preset sounds page 14 of this manual to be simulated on the MOSS TRI For some sounds the audible result may not be precisely identical Additional message Bank S was skipped Situation Bank S data was skipped while loading data Bank S programs cannot be used
7. Dhips E iii DF GFF we Eon eed 2 1a 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 Prog AMS 1 Alternate Modulation 1 Source OFF MIDI CC 83 Edit Selects a modulation source 1 page 64 of this manual that will control Level P2 Intensity Level AMS 1Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 AMS 2 Alternate Modulation 2 Source O FF MIDI CC 83 Selects a modulation source 2 page 64 of this manual that will control Level Intensity Level AMS 2 Intensity 99 99 Specifies the depth and direction of the effect of AMS 2 2 1b Wave Shape Shape 0 99 Specifies the number of cycle of wave shaping As this value is increased the number of cycles will increase causing more overtones to be added to the high frequency range of the sound Table Variation cL Shape 0 gt Shape 99 2 1 OSC 1 02 Comb Filter AMS 1 Alternate Modulation Source 1 OFF MIDI CC 83 Selects a modulation source 1 page 64 of this manual that will control Shape value Intensity Shape AMS 1 Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 AMS 2 Alternate Modulation Source 2 O FF MIDI CC 83 Selects a modulation source 2 page 64 of this manual that
8. Mixer Outputi Filtert H Fiter2 Ampt wa AL Mixer Output2 Amp a l P3 Serial2 Mixer Outputi Filter1 Eee ae 5 ay Mixer Output2 Amp Parallel Mixer Output1 Filtert Ampi Mixer Output2 Amp2 3 2 Filter 1 3 2b Filter 1 Type Low Pass High Pass Band Pass Band Reject Dual BPF Selects the filter type When Dual BPF is selected the 3 3 Filter 1 SUB parameters can also be set When you select Dual BPF the 3 2c Cutoff and 3 2e Resonance parameter names will change to Cutoff A and Resonance A respectively Filter Types and Cutoff Frequency Band Reject Filter BRF A band reject filter cuts only the range in the vicinity of the cutoff I frequency and passes the rest of the sound This type of filter Low Pass Filter LPF A low pass filter is the most l commonly used type of filter and passes the range of frequencies that lie below the cutoff frequency and frequency cuts the high range Cutting the higher frequency gives a unique character to the Cutoff Fr partials will cause a bright sound to Cutoff sound ph ill become darker more mellow Frequency High Pass Filter HPF A high pass filter passes the range o Dual Band Pass Filter Dual BPF frequencies that lie above the cutof I 1 frequency and cuts the low range The dual band pass filter places This type of filter is used when you two band pass filters in parallel frequency wish to make
9. Percussion Generator 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 Level AMS Level Alternate Modulation Source OFF MIDI CC 83 Selects a modulation source page 64 of this manual that will control the percussion level of each drawbar Intensity Level AMS Intensity 99 99 Specifies the depth and direction of the effect of Level AMS on the percussion level eed Prog Edit P2 2 1 OSC 1 09 Electric Piano Model 09 Electric 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 Position Se ers geet ne Tone Generator Hammer to Low EQ PROGRAM EDIT P2 __OSC1_ E Piano Model Zi
10. Synthesizer Option To ensure long and trouble free enjoyment please read this user s guide carefully and use the product correctly he Before you use this product be sure to read the Safety precautions found at the beginning of the Parameter Guide amp This guide explains the bank M parameters which are added when the MOSS TRI DSP Synthesizer Option is installed pre installed in the Trinity V3 series For details on parameters other than bank M refer to your Parameter Guide Basic Guide and Effect Guide kh When this option is installed pre installed in the Trinity V3 series the bank S programs created by the Solo TRI option will become invalid However explanations of bank S in the Parameter Guide Basic Guide and Effect Guide will still apply to bank M Also please refer to the Voice Name List for V3 together with the Voice Name List which you already have amp In combination mode bank M programs can be selected only for one timbre rpage 4 in Parameter Guide In Sequencer mode bank M programs can be selected only for one track cs page 72 in Parameter Guide amp If a bank M program is selected for any timbre in a combination the D mod Src Tempo for the AMS or effect of the timbre program will use the Prog Tempo setting cepage 61 of this manual when the MIDI Clock Source is Internal amp In all modes you must use an insertion effect when using bank M programs If you do not use an insertion
11. These settings are made by the Program Edit P5 parameters LFO section This section provides four general purpose LFO units The four LFO s for which settings are made in the LFO section can be used as modulation sources for the parameters of each section in order to apply cyclic change to the sound These settings are made by the Program Edit P6 parameters Program basic section Settings are made here for the program name category scale key assign keyboard and the control nctions joystick ribbon controller etc These settings are made by the 1 1 Prog Basic parameters Editing Bank M programs are similar to bank A and bank B programs in the respect that they can be edited in Program Play mode or by using the Performance Editor One method to try is to use an existing program which resembles the desired sound and use Program Edit mode to edit the parametes The filter amp effect EG and LFO sections will function in the same way as for banks they do inand B but the display page structure and the parameters are different 3 Parameters in this manual The operation and parameters of the oscillator and mixer sections are unique to bank M programs Bank M Program Structure Characteristics of each oscillator For bank M sounds OSC 1 provides thirteen oscillator types methods of sound generation and OSC 2 provides nine types In Program Edit P1 1 2 OSC Basic you can select one of th
12. Track Keyboard tracking settings specify how the cutoff frequency of filter 1 will be varied according to keyboard position Low Key C 1 G9 Specifies the key at which Lower keyboard tracking will begin High Key C 1 G9 Specifies the key at which Higher keyboard tracking will begin 3 3 Filter 1 SUB Low Int 99 99 Specifies the depth and direction of cutoff frequency change that will occur below the Low Key With a setting of 50 the change will match the change in pitch High Int 99 99 Specifies the depth and direction of cutoff frequency change that will occur above the High Key With a setting of 50 the change will match the change in pitch 3 3d Resonance B 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 Input Trim setting With the Dual BPF filter type the overtones in the vicinity of each cutoff frequency will be affected in the same way as by a BPF AMS Intensity 99 99 Specifies the depth and direction of the effect that the AMS specified in 3 2e Resonance will have on the resonance eed Prog Edit P3 3 4 Filter 2 3 5 Filter 2 SUB 3 4 Filter 2 Here you can make settings for one of the two multi mode filters
13. a 2 1a Input Input 0SC2 1 SubO SC Noise Filter1 Filter2 ioy Selects the signal that will be input to the four band bass filters Edit P2 If you select 04 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 AMS 1 Alternate Modulation Source 1 O FF MIDI CC 83 Selects a modulation source 1 page 64 of this manual that will control Level Intensity Level AMS 1 Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 AMS 2 Alternate Modulation Source 2 OFF MIDI CC 83 Selects a modulation source 2 page 64 of this manual that will control Level Intensity Level AMS 2 Intensity 99 99 Specifies the depth and direction of the effect of AMS 2 2 1 OSC 1 04 Resonance 2 1b BPF1 4 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 frequency of the filter will be located You can specify from the first to the 16th harmonic AMS Alternate Modulation Source O FF MIDI CC 83 Selects a modulation source page 64
14. are special oscillators which simulate the effect of two oscillators which are used to modulate each other which was a technique that was possible on analog synthesizers These are especially suitable for producing sounds that are rich in overtones such as bells metallic sounds or gongs page 23 24 25 of this manual 08 Organ Model This simulates a drawbar organ with three drawbars when one oscillator is used or six drawbars when two oscillators are used cepage 26 of this manual Since each drawbar can use one of four types of waveform a wide range of tones can be produced 09 Electric Piano Model This is a physical model which simulates a warm vintage electric piano sound page 8 of this manual 10 Brass Model This is a physical model which simulates a brass instrument such as a trumpet or trombone page 30 of this manual 11 Reed Model This is a physical model which simulates a wind instrument such as a saxophone or flute repage 33 of this manual 12 Plucked String Model This is a physical model which simulates a plucked string instrument such as a guitar or bass guitar page 36 of this manual 13 Bowed String Model This is a physical model which simulates a bowed string instrument c page 40 of this manual 1 1 Prog Play 3 Parameters This section explains the bank M parameters which are added when the MOSS TRI DSP Synthesizer Option is installed pre installed in the Trinity V3 series For details o
15. 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 gt zero gt negative gt 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 transmitted to the string 2 1b Bow Pressure EG EG 1 EG 4 Amp EG Selects the EG which will control the pressure of the bow on the string bow pressure Int Press Modulation EG 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 O FF MIDI CC 83 Selects a modulation source page 64 of this manual that will control bow pressure Int Press AMS Intensity 99 99 Specifies the depth of the effect produced by AMS 2 1c String Bowing Position 0 99 Specifies the location at which the bow contacts the strin
16. effect the output will be low Features of MOSS TRI This is a MOSS Multi Oscillator Synthesis System tone generator with six voices of polyphony Bank M contains 64 sounds which use the MOSS tone generator When the PBS TRI Flash ROM Option is installed an additional 64 sounds are added to bank M bringing the total to 128 sounds The MOSS tone generator parameters are divided into voice EG LFO effect and control sections The voice section contains an oscillator section and a filter section etc e The oscillator section contains two oscillators 1 2 which allow you to use 13 oscillator algorithms standard ring modulation VPM resonance organ model electric piano model etc in addition to a sub oscillator and a noise generator e The filter section provides two filters each of which allows you to use one of five types of filtering including a dual band pass filter with two independent center frequencies that let you simulate human voice sounds or the body resonances of a violin or guitar This voice section can be modulated by five EG units and four LFO units to apply diverse changes in pitch timbre and volume to the sound Bank M Program Structure 2 Bank M program structure Program structure Each program of bank M has the following structure Filter Section AMP Section Filter 1 LPF HPF BPF BRF 2BPF gt Amp Filter 2 LPF HPF BPF BRF 2BPF gt Amp2 Feedback 3 4 1 L Mono 2 R Joy Stic
17. 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 1 Prog Basic 1 1e Scale Specifies the scale type Type Scale Type Equal Temperament All Range User Scale Selects the basic scale for the internal tone generator The user scales can be specified in Global mode 3 1 User Scale page 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 perfectly in tune Pure Minor The minor chords of the selected key will be perfectly in tune Arabic This reproduces a quarter tone scale of Arabic music Pythagorean A scale based on ancient Greek musical theory suitable for playing melodies Werckmeister Werkmeister III 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 parameter is set to C use the C D F G and A keys Other keys will produce the same pitches as equal temperament Pe
18. 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 amp If this value is raised excessively the pitch may become unstable AMS Alternate Modulation Source O FF MIDI CC 83 Selects a modulation source rs page 64 of this manual that will control Dispersion Intensity Dispersion AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS 2 1d Harmonics Position 0 99 Specifies the location at which the string will be pressed to play harmonics Control O FF MIDI CC 83 Selects a modulation source repage 64 of this manual that will control the harmonics effect Intensity Harmonics Control Intensity 99 99 Specifies the depth and direction of the control that AMS will have on the harmonics effect 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 2 1e Pickup Pickup If this is checked the sound will be passed through a simulated pickup If this is not checked the sound will remain unchanged amp h Position AMS and Intensity can be set when Pickup has been checked Prog i Edit Position 0 99 Adjusts the change in tone that results from diff
19. of cutoff frequency change that will occur above the High Key With a setting of 50 the change will match the change in pitch Cutoff Int 99 frequency Int 50 Int 0 Int 0 Int 50 Int lt 0 C 1 Low C4 High c9 9 Key Key 9 3 2e Resonance Resonance A 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 Input Trim setting With the Dual BPF filter type the overtones in the vicinity of each cutoff frequency will be affected in the same way as by a BPF The effect of resonance Low Pass Zo Va VA V High Pass Edit P3 Band Pass Low resonance value lt q High resonance value AMS Alternate Modulation Source O FF MIDI CC 83 Selects a modulation source page 64 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 3 Filter 1 SUB 3 3 Filter 1SUB If the 3 2b Filter 1 Type parameter was set to Dual BPF you can make settings for the 3 3 Filter 1 SUB parameters L Bm Page Menu gt Write Program 1 hier I kederngdy HY 1 rimetg Hl l dmgh n 3 3a Input Trim 0 99 Specifies the lev
20. the above explanation of 3 1a OSC1 gt OUT1 3 1c OSC 2 gt Out1 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 Refer to the above explanation of 3 1a OSC1 gt OUT1 3 1d OSC 2 gt Out2 These parameters adjust the level at which the oscillator 2 signal is output from mixer output 2 and specify a modulation source that will control this level Refer to the above explanation of 3 1a OSC1 gt OUT1 3 1le Sub gt Out 1 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 Refer to the above explanation of 3 1a OSC1 gt OUT1 3 1f Sub gt Out2 These parameters adjust the level at which the sub oscillator signal output is output from mixer output 2 and specify a modulation source that will control this level Refer to the above explanation of 3 1a OSC1 gt OUT1 3 1g Noise gt Out1 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 Refer to the above explanation of 3 1a OSC1 gt OUT1 3 1h Noise gt Out 2 These parameters adjust the level at which the output of the noise generator is output from mixer output 2 and specify a modulation so
21. to negative values Note on Note on Note on 7 m rii Settings of the Amp EG Softly played notes Strongly played notes 5 1 EG 1 Program Edit P5 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 r Note off Attack level Sustain level y Break level Attack Decay Slope Release time time time time 99 Time 99 5 1 EG 1 ma _ Page Menu 5 la i Sturt BEE hiii Gree sa Dairi S HHE Ih ea 5 1b Tis Attias imp 2a Spe Eee Write Program eed 5 1d 5 1e 5 1a 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 99 Specifies the value that will be reached after the Slope Time has elapsed d l Release Release Level 99 99 P5 Specifies the value that will be reached after the Release Time has elapsed 5 1b Time Amp 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 valu
22. to the Damp effect Low Int 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 High Int 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 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 he If this value is raised excessively the pitch may become unstable AMS Alternate Modulation Source O FF MIDI CC 83 Selects a modulation source c page 64 of this manual that will control Dispersion Intensity Dispersion AMS Intensity 99 99 Specifies the depth and direction of t
23. to zero 4 2 Amp EG 4 2c Level Control Velocity 99 99 Specifies the depth and direction of the effect that velocity will have on the level of the amp EG When Velocity is set to a positive value Note on Note on Note on Note off Note off y Nean Settings of the Amp EG Softly played notes Strongly played notes 4 2d Level Modulation AMS Alternate Modulation Source O FF MIDI CC 83 Selects a modulation source repage 64 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 4 2e Time Modulation AMS 1 Alternate Modulation Source 1 OFF MIDI CC 83 Selects a modulation source 1 repage 64 of this manual that will control the Amp EG times Intensity EG Time AMS 1 Intensity 99 99 Specifies the depth and direction of the effect that AMS 1 will have on the Amp EG times AMS 2 Alternate Modulation Source 2 OFF MIDI CC 83 Selects a modulation source 2 page 64 of this manual that will control the Amp EG times At Attack Time AMS 2 Intensity 99 99 Dc Decay Time AMS 2 Intensity 99 99 SI Slope Time AMS 2 Intensity 99 99 RI Release Time AMS 2 Intensity 99 99 Specifies the depth and direction of the effect that AMS 2 will have on each EG time When the various EG times are set
24. waveform setting for each drawbar allowing a wide range of sounds to be created Drawbar3 Harmonics Pitch Precussion Decay Level Mod a Page Menu gt Write Program 2 1a Drawbar 1 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 Specifies the pitch of drawbar 1 relative to one octave below the oscillator pitch Fine Harmonics Coarse Fine 99 99 Makes fine adjustments to the pitch of drawbar 1 Level 0 99 Specifies the volume level of drawbar 1 AMS Alternate Modulation Source O FF MIDI CC 83 Selects a modulation source page 64 of this manual that will control the Level of drawbar 1 Intensity Level AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 2 1 OSC 1 08 Organ Model 2 1b Percussion Level 0 99 Specifies the volume level of the percussion effect for drawbar 1 2 1c Drawbar 2 The parameters are structured identically to those of 2 1a Drawbar 1 Refer to 2 1a Drawbar 1 and 2 1b Percussion Level 2 1d Drawbar 3 The parameters are structured identically to those of 2 1a Drawbar 1 Refer to 2 1a Drawbar 1 and 2 1b Percussion Level 2 1e
25. 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 waveform 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 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 2 1b Waveform W aveform Modulation Waveform 99 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 eed LFO LFO 1 LFO 4 Selects the source LFO for waveform modulation LFO settings are made in the Program Edit P6 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 O FF MIDI CC 83 Selects a modulat
26. AMS Intensity 99 99 Specifies the depth and direction of the effect that AMS will have on the amplitude of the LFO waveform Offset 50 50 Specifies the center value of the LFO waveform Fade In Time 0 99 Specifies the time over which the amplitude of the LFO will increase from 0 until it reaches the maximum value Offset 0 The parameter value being modulated z LFO movement determined by Modulation Intensity Offset 50 __ _ The parameter value being modulated LFO movement determined by Modulation Intensity Offset 50 ry The parameter value being modulated ce x LFO movement determined by Modulation Intensity 6 2 LFO 2 6 3 LFO 3 6 4 LFO 4 mm LFO 2 LFO 3 and LFO 4 have the same parameter as LFO 1 Refer to 6 1 LFO 1 Program Edit P7 Program Edit P8 Program Edit P7 Here you can make settings for the insertion effects For details on the parameters etc refer to Parameter Guide page 44 Program Edit P7 Program Edit P8 Here you can make settings for the master effects For details on the parameters etc refer to Parameter Guide page 44 Program Edit P7 eed Prog Edit P7 8 Data Retrigger Controller List 00 OFF 01 Velocity Soft 02 Velocity Medium 03 Velocity Hard 04 Note Number Linear 05 Note Number Exp 06 After Touch 07 Joy Stick X 08 Joy Stick Y 09 Joy S
27. C 83 Selects a modulation source 1 page 64 of this manual that will control the Cutoff Frequency Intensity Cutoff Frequency AMS 1 Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 AMS 2 Alternate Modulation Source 2 O FF MIDI CC 83 Selects a modulation source 2 page 64 of this manual that will control the Cutoff Frequency Intensity Cutoff Frequency AMS 2 Intensity 99 99 Specifies the depth and direction of the effect of AMS 2 Resonance 0 99 This boosts the frequency region specified by the Cutoff Frequency to add character to the sound Since the filter characteristics differ from the filter type of the 3 2b Filter 1 3 4b Filter 2 the resulting effect will be different even if Type Cutoff Frequency and Resonance settings are identical Program Edit P3 Here you can make settings for the mixer and filter For the way in which the mixer filter and amp sections are connected refer to 3 2a Filter Routing 3 1 Mixer 3 1 Mixer The mixer allows you to set the levels at which the five signals OSC 1 OSC 2 Noise Generator Feedback Sub OSC will be combined into the two mixer outputs You can also select a modulation source to control each level and specify its intensity OSC1 Mixer Outi Level OSC1 Mixer Out2 Level WWW wyw Ww Ww Ww Ww w eee PPP PPP 3 1a OSC 1 gt Out1 w
28. F MIDI CC 83 Selects a modulation source page 64 of this manual that will control Wave Shape Intensity Shape AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS 2 1f Peaking EQ Frequency 0 49 Specifies the center frequency of the range that will be boosted or attenuated by the Peaking EQ Increasing this value will raise the center frequency Q 0 29 Specifies the width of the Peaking EQ frequency band Increasing this value will narrow the frequency 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 eed Prog Edit P2 2 1 OSC 1 12 Plucked String Model 12 Plucked String Model This oscillator is a physical model which simulates plucked string instruments such as a guitar or bass guitar You can specify 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 Low EQ amp Low Boost String Model y 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 Speci
29. MOSS TRI DSP Synthesizer Option User s Guide T R INIT Y MUSIC WORKSTATION DRS TRINITY TRINITY V3 TRINITY V3 pro TRINITY V3 proX TRINITY plus TRINITY pro TRINITY proX Advanced Control Combined Synthesis System Multi Oscillator Synthesis System TouchView Graphical User Interface KORG T Contents Contents 1 Introduction 1 Features of MOSS TRI 1 2 Bank M Program Structure 2 Program structure 2 Editing 3 Characteristics of each oscillator 4 3 Parameters 5 Program Play Mode 5 Program Play P1 5 1 1 Program Play 5 Program Edit Mode 6 Program Edit P1 6 1 1 Prog Basic 6 1 2 OSC Basic 10 1 3 OSC 1 Pitch 12 1 4 OSC 2 Pitch 13 1 5 Sub Pitch 13 Program Edit P2 14 Del OSC es eee 14 01 Standard 14 02 Comb Filter 17 O13 VPM ae 19 04 Resonance 21 05 Ring Modulation 23 06 Cross Modulation 24 07 Sync Modulation 25 08 Organ Model 26 09 Electr
30. Specifies the decay time of the tone generato Release 0 99 Specifies the release time of the tone generator 2 1c Overtone Level 0 99 Specifies the volume of the higher overtones that are produced when the tone generator vibrates Frequency 0 99 Specifies the frequency of the overtones Decay 0 99 Specifies the decay time of the overtone volume 2 1d Pickup Position Position 0 99 Specifies the location of the pickup in relation to the tone generator With low settings the pickup will be placed in the center of the vertical vibration of the tone generator causing the second partial to be emphasized and the fundamental to be less audible eed AMS Alternate Modulation Source O FF MIDI CC 83 Selects a modulation source page 64 of this manual that will control Position Intensity Pickup Position AMS Intensity 99 99 p Specifies the depth and direction of the effect of AMS Ed i 2 1e Low EQ i Makes settings for a Low EQ shelving type that will adjust the output signal Frequency EQ Frequency 0 49 Specifies the cutoff frequency of the Low EQ shelving type that will be applied to the output signal Gain 18 18 Specifies the gain of the Low EQ 2 1 OSC 1 10 Brass Model 10 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 th
31. a Amp 1 parameters 4 1d Keyboard Track Amplitude 2 Keyboard Track Here you can adjust keyboard tracking settings for Amp 2 These parameters have the same structure as the 4 1b Keyboard Track parameters 4 1e Pan Outputs Pan O FF L000 C064 R127 This sets the panning for input to the insert effect If you are not using an insert effect this sets the panning to output jacks 1 L MONO and 2 R With a setting of OFF the sound will not be output to 1 L MONO and 2 R L is left C is center and R is right AMS Alternate Modulation Source O FF MIDI CC 83 Selects the modulation source page 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 Output Level 0 127 Specifies the output level following the amp Send 1 0 127 Send 2 0 127 Here you can specify the input levels to the master effects when insertion effects are not used If you are using insertion effects the input levels to the master effects are specified by the 7 1b Pan Width Send 1 2 parameters Send 1 and 2 page 41 in Parameter Guide In all modes you must use an insertion effect when using bank M programs If you do not use an insertion effect the output level will be decreased 4 2 Amp EG 4 2 Amp EG Maa Here you can make settings for the Amp EG T
32. a dedicated filter and is mixed by the mixer section with the signals from the sub oscillator and oscillators 1 and 2 Thru Low Pass HA 2 High Pass AT i Band Pass IA Noise Filter Filter Type w Noise Generator Input Trim Cutoff Frequency Resonance Page Menu 2 3a r Bae Drier lt gt Peeter Fjar l Write Program 2 3b gt p Prim tenersi Fie Tee HEA bp Trix E Quant Friprog ae aK Er Wierd nh aiit IF ceF inderaritg Hai 2 3a Sub Oscillator Wave Form Saw Square Triangle Sine Specifies the type of filter that will be applied to the output from the noise generator Saw Square Triangle Sine eed Prog Edit P2 2 3 Sub Noise 2 3b Noise Generator Here you can make various settings for the 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 When Thru is selected the Input Trim Frequency AMS 1 Intensity Cutoff Frequency AMS 1 Intensity AMS 2 Intensity Cutoff Frequency AMS 2 Intensity and Resonance settings will be unavailable Input Trim 0 99 Specifies the input level to the dedicated noise filter Cutoff Frequency 0 99 Specifies the cutoff frequency of the noise signal filter For the characteristics of each filter type refer to 3 2b Filter1 page 47 of this manual AMS 1 Alternate Modulation Source 1 OFF MIDI C
33. al 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 produced by AMS 1 2 OSC Basic 1 2c Bending 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 Refer to Step Joystick Step X If the Step Joystick Step X or Step Joystick Step X settings are greater than the settings fo
34. and basic settings for the oscillator s that will be used 1 1 Prog Basic PROGRAM EDIT P1 Prog Basic Loy ie Page Menu 1 1a gt Program Name LFO gating na gt Ir Category gt 1 1b Motion Synth B F UserCatesoryat 1 Fs sign 80 1 Ic Voice Assign E Poly Priority E Last O Hold Petr byes intre E ee Youre N gt Unison 1 1d Unison OFF Assign Mode P Dynamic Detune 14 w gt r Scale 1 le Type D Equal Temperament Key D c gt r Panel Switch Assign 1 1f SwW1 Modulationtcc s0 sw2 Modulation cc 21 Random 88 Prog Basic J OSC Basic JLOSC1 Pitch JLOSC2 Pitch JI_Sub Pitch 1 1a Program Name This indicates the program that was selected in Program Play mode You can press the text edit button to access a window that allows you to rename the program page 6 in Basic Guide When you wish to write a renamed program be sure to use the Write Program operation page 23 in Basic Guide If you select another program or turn off the power the newly specified program name will be lost 1 1b Category Two categories can be specified for each program When selecting programs in Program Play mode Combination Play mode or Sequencer mode you can use these categories to search for the desired program A Category A Keyboard Drums Perc With the factory settings these are listings of different types of instruments but they
35. can be changed in Global mode 4 1 Category Program A sepage 128 in Parameter Guide B Category B User Category P01 P16 The factory set category names can be changed in Global mode 4 2 Category Program B cpage 128 in Parameter Guide 1 1 Prog Basic 1 1c Assign Hold Here you can specify how notes will sound when keys are pressed Voice Assign Mono Multi Mono Single Poly Selects whether the sound will be played monophonically or polyphonically Mono Multi Multi triggered monophonic playing Mono Single Single triggered monophonic playing Poly Polyphonic playing amp When Poly is selected the Retrigger Control and Threshold parameters will be unavailable Priority Last Low High Specifies the priority order that will be used when the number of keys pressed exceeds the maximum polyphony Last The last pressed note will take priority Low The lowest note will take priority High The highest 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 Amp normally the Amp EG is used has a sustain level of zero the note will decay naturally Retrigger Control O FF 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
36. cified in 1 2a Multi Oscillator Synthesis Setup of 1 2 OSC Basic The display pages that appear will depend on the selected oscillator type 2 1 OSC 01 Standard This oscillator produces the waveforms 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 synthesizer produces time varying change in the pulse width of a pulse wave The waveform modulation provided by the MOSS TRI 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 waveforms as follows Sawtooth wave 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 WV KA 4K 4 1 Ala E and when it is 99 a sawtooth wave of double the frequency will 99 33 0 33 66 99 be produced If the modulation value is a negative number a different effect will result than with positive setti
37. cifies the depth and direction of the effect of AMS 2 2 1e Frequency Coarse 0 5 1 16 Specifies a multiplication factor which will be applied to the pitch of the modulator relative to the 2 1a Carrier setting Fine 50 50 Makes fine adjustments to the pitch of the modulator AMS 1 Alternate Modulation Source 1 O FF MIDI CC 83 Selects a modulation source 1 page 64 of this manual that will control the pitch of the modulator Intensity Frequncy AMS 1 Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 AMS 2 Alternate Modulation Source 2 OFF MIDI CC 83 Selects a modulation source 2 repage 64 of this manual that will control the pitch of the modulator Intensity Frequncy AMS 2 Intensity 99 99 Specifies the depth and direction of the effect of AMS 2 2 1 OSC 1 04 Resonance 04 Resonance This oscillator produces a wide range of tonal change by allowing you to specify the cutoff frequency 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 La FS PE Resonance1 Coarse1 an Input Select 2 la I Lre beri HEI iimiy Hii 2 1b _ gt Level eerie ARS y iri i Hjir g mpr m H EFI t i H Bera m i H 2 1c e
38. controller Retrigger Controller page 64 of this manual 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 setting 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 Ee i With a setting of Mono Single retriggering will occur if the controller is above the threshold value If Retrigger a Control is OFF retriggering will not occur amp 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 1 1d Unison Here you can make settings for unison mode Unison O FF 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
39. d 4 is one octave above Transpose 12 12 Adjusts the basic pitch specified by Octave in semitone steps Tune 50 50 Makes fine adjustments to the pitch in one cent steps Frequency Ofs 10 0 10 0 Makes fine adjustments to the pitch in 0 1 Hz steps 1 3b Pitch Modulation Specifies the pitch Modulation AMS 1 Alternate Modulation Source 1 OFF MIDI CC 83 Selects a modulation source 1 page 64 of this manual which will modify the pitch e g apply vibrato Intensity Pitch AMS 1 Intensity 99 99 Specifies the depth and direction of the pitch change that will be controlled by AMS 1 AMS 1 Int AMS 1 Intensity Alternate Modulation Source OFF MIDI CC 83 Specifies the controller repage 64 of this manual that will control the Intensity Pitch AMS 1 Intensity Intensity AMS 1 Int AMS Intensity 99 99 Specifies the depth of the pitch modulation effect controlled by AMS 1 Int 1 3 Osc1 Pitch 1 4 OSC2 Pitch 1 5 Sub Pitch AMS 2 Alternate Modulation Source 2 OFF MIDI CC 83 Selects a modulation source 2 repage 64 of this manual which will modify the pitch e g apply vibrato Intensity Pitch AMS 2 Intensity 99 99 Specifies the depth and direction of the pitch change that will be controlled by AMS 2 1 3c Pitch Slope Specifies how pitch will change in relation to the keyboard key Center Key C 1 G9 Specifies the key a
40. d 99 is the other end of the string AMS Alternate Modulation Source OFF MIDI CC 83 Selects a modulation source page 64 of this manual that will control Picking Position Intensity Picking Position 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 eed Prog Edit P2 2 1 OSC 1 12 Plucked String Model 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 Damp Damp Damp 99L u 599 25 C 1 c4 99 c9 when Damp 25 when Damp 50 when Damp 75 AMS Alternate Modulation Source O FF MIDI CC 83 Selects a modulation source 1 page 64 of this manual that will control Damp Intensity Damp AMS Intens
41. e 64 of this manual that will control pressure If you select After Touch g 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 AMS 1 Intensity 99 99 Specifies the depth and direction of the change in pressure controlled by AMS 1 AMS 2 Alternate Modulation Source 2 OFF MIDI CC 83 Selects a modulation source 2 page 64 of this manual that will control pressure Intensity Pressure AMS 2 Intensity 99 99 Prog Specifies the depth and direction of the change in pressure controlled by AMS 2 Edit Breath Noise 0 99 P2 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 Strength 0 99 Adjusts the tone Higher settings of this value will produce a overdriven sound 2 1c 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 O FF MIDI CC 83 Selects a modula
42. e Modulation Source 2 OFF MIDI CC 83 Selects a modulation source 2 page 64 of this manual that will control the LFO frequency Intensity Frequency AMS 2 Intensity 99 99 Specifies the depth and direction of the effect that AMS 2 will have on the F Frequency value 6 1c MIDI Sync If you used the radio buttons to select MIDI Sync set the following parameters to synchronize the LFO frequency to MIDI Clock When the Global mode parameter 1 1d MIDI Clock page 119 in Parameter Guide is set to Internal the LFO will synchronize to the tempo specified by Prog Temp and if it is set to External the LFO will synchronize to the MIDI Clock messages received from an External MIDI device MIDI Sync Base MDa d dsd dsdo l Prog MIDI Sync Time 1 16 Edit This is relative to the tempo determined by the MIDI clock these settings specify the note length Base and its P6 multiple Time that will set the period of the synchronized LFO For example if MIDI Sync Base is J quarter note and MIDI Sync Time is 4 the LFO period will be four beats Prog Temp 40 240 Selects the tempo that will be used when MIDI Clock is set to Internal 6 1 LFO 1 6 2 LFO 2 6 3 LFO 3 6 4 LFO 4 6 1d Amplitude Modulation AMS Alternate Modulation Source 1 O FF MIDI CC 83 Selects a modulation source cspage 64 of this manual that will control the amplitude of the LFO waveform Intensity Amplitude
43. e Pressure the force of breath blown into the mouthpiece 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 Flow Brass Model Peaking EQ Strength Brass uode N Lip Character Specify tonal change produced by lip position Bell Inst Type Select a model which simulates Speen neers the bore length and shape of various instruments E Specify the force of breath that is blown into the mouthpiece Noise Specify the amount of breath noise 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 Mante R id A PE Page Menu 2 1a ee ve E ine 2 1b Bepglh P
44. e of 99 the value will change slowly 5 1 EG 1 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 Slope Time 0 99 Specifies the time from note off when a note is released until the Release Level is reached 5 1c Level Control Velocity 99 99 Specifies the depth and direction of the effect that velocity will have on the EG levels When Velocity is set to a positive value Note on Note on Note on Note off Note off Note off Settings of EG1 Softly played notes Strongly played notes 5 1d Level Modulation AMS Alternate Modulation Source O FF MIDI CC 83 Selects a modulation source repage 64 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 5 1le Time Modulation AMS 1 Alternate Modulation Source 1 OFF MIDI CC 83 Selects a modulation source 1 s page 64 of this manual that will control the EG1 times Intensity EG Time AMS 1 Intensity 99 99 Specifies the depth and direction of the effect that AMS 1 will have on the EG times AMS 2 Alternate Modulation Source 2 O FF MIDI CC 83 Selects a modulation source 2 page 64 of this manua
45. el of the input to filter 1 amp If this value is raised the sound may become distorted if the resonance setting is high etc 3 3b Cutoff B Cutoff Frequency B Frequency 0 99 Specifies the cutoff frequency of filter 1 As this value is increased the cutoff frequency will rise Since the BPF and Dual BPF filter types use filters with differing characteristics their actual cutoff frequency may differ even if their settings are identical EG Intensity Cutoff Frequency Modulation EG Intensity 99 99 Specifies the depth and direction of the effect that the EG specified by 3 2 Filter 1 will have on the cutoff frequency With positive settings of this parameter positive EG levels will make the sound brighter relative to the value specified by Frequency and negative EG levels will make the sound darker When an EG level is 0 the value specified by Frequency will be used unchanged With negative settings of this parameter the change will take place in the opposite direction of positive settings AMS 1 Intensity 99 99 Specifies the depth and direction of the effect that the AMS 1 specified in 3 2c Cutoff will have on the cutoff frequency AMS 2 Intensity 99 99 Specifies the depth and direction of the effect that the AMS 2 specified in 3 2c Cutoff will have on the cutoff frequency he It is not possible to change EG AMS 1 or AMS 2 in the Filter 1 SUB page 3 3c Keyboard
46. erences in pickup location AMS Alternate Modulation Source OFF MIDI CC 83 Selects a modulation source c p64 that will control Pickup Intensity Pickup Position AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS 2 1f Low EQ Frequency 0 49 Specifies the cutoff frequency of the Low EQ Gain 18 18 Specifies the gain of the Low EQ 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 2 1 OSC 1 13 Bowed String Model 13 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 Bow Pressure Bridge Reflection String za Bridge Reflection ee en SN Bow Speed Parameters related to the string String Damp Dispersion u Position String vibration P Bowed String Model Ca Page Menu gt Write Program Ererig Partie bra Geg ETr Eg i Bipi Erika My iie 2 1a Bowing Speed EG EG 1 EG 4 Amp EG Selects the EG which will control bowing speed the speed at which the bow moves across the string Int Speed Modulation EG Intensity 99 99 Specifi
47. es the depth and direction of the effect of EG With negative settings the direction of the bow speed will be inverted AMS 1 Alternate Modulation Source 1 O FF MIDI CC 83 Selects a modulation source 1 page 64 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 AMS 1 Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 AMS 2 Alternate Modulation Source 2 OFF MIDI CC 83 Selects a modulation source 2 page 64 of this manual that will control bowing speed Int Speed AMS 2 Intensity 99 99 Specifies the depth and direction of the effect of AMS 2 2 1 OSC 1 13 Bowed String Model Differential If this is not checked the value produced by EG AMS 1 and AMS 2 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 AMS 1 and AMS 2 will be used as the bowing speed e Using the ribbon controller to control bowing speed As an example we will assume that you have set AMS 1 to Ribbon X In order to control bowing speed using the ribbon controller alone raise the Int Speed AMS 1 Intensity value and set Int Speed Modulation EG Intensity to 0 Check Differential When you are pressing the ribbon controller the
48. ese types for each oscillator to specify the combination If OSC 1 is set to an oscillator type of 01 Standard to 09 Electric Piano Model you will also be able to select an oscillator type of 01 Standard to 09 Electric Piano Model for OSC 2 If OSC 1 is set to an oscillator type of 10 Brass Model to 13 Bowed String Model OSC 2 will not be available for use 01 Standard OSC This simulates the oscillator of an analog synthesizer It can produce the same effects as an analog synthesizer such as pulse width modulation ce page 14 of this manual 02 Comb Filter O SC This oscillator creates pitched sound from noise or an impulse It can create a wide variety of sounds not only noisy sounds but also sounds ranging from synth bass to strings page 7 of this manual 03 VPM OSC Variable Phase Modulation OSC This oscillator uses phase modulation to create overtones By modulating the phase of two oscillators and using a wave shaping table to process the sound rich overtones can be produced page 19 of this manual 04 Resonance OSC This oscillator uses four tunable filters which are set up in series Noise is input through the filter bank for very ethereal sounds repage 21 of this manual 05 Ring Modulation OSC This oscillator multiplies the modulator and carrier and outputs the resultant signal 06 Cross Modulation OSC This oscillator uses a modulator to frequency modulate a carrier 07 Sync Modulation OSC oscillator sync These
49. evel 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 2 1b Level Modulation AMS Alternate Modulation Source O FF MIDI CC 83 Selects a modulation source tepage 64 of this manual that will control the volume level of 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 2 1c Feedback 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 AMS 1 Alternate Modulation Source 1 OFF MIDI CC 83 Selects a modulation source 1 page 64 of this ma
50. evels 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 AMS 1 Alternate Modulation Source 1 OFF MIDI CC 83 Selects a modulation source 1 page 64 of this manual that will control Frequency Intensity Cutoff Frequency AMS 1 Intensity 99 99 Specifies the depth and direction of the effect that AMS 1 will have on the cutoff frequency AMS 2 Alternate Modulation Source 2 O FF MIDI CC 83 Selects a modulation source 2 page 64 of this manual that will control Frequency Intensity Cutoff Frequency AMS 2 Intensity 99 99 Specifies the depth and direction of the effect that AMS 2 will have on the cutoff frequency 3 2 Filter 1 3 2d Keyboard Track Keyboard tracking settings specify how the cutoff frequency of filter 1 will be varied according to keyboard position Low Key C 1 G9 Specifies the key at which Lower keyboard tracking will begin High Key C 1 G9 Specifies the key at which Higher keyboard tracking will begin Low Int 99 99 Specifies the depth and direction of cutoff frequency change that will occur below the Low Key With a setting of 50 the change will match the change in pitch High Int 99 99 Specifies the depth and direction
51. f 127 for On Prog Edit P1 1 2 OSC Basic 1 2 OSC Basic DENN ETE Lm Page Menu 1 2a gt r Pahi feettieter Syetterets Erte dai Fl Write Program cree Fai simiri 1 2b r Canes Fitch Hecteletion 1 2 gt p Been Pape Hed diep F onii E a ip TF Convio 1 2d gt hia Hi 1 2a Multi Oscillator Synthesis Setup Here you can make settings for the oscillator The parameters that are set in 2 1 OSC 1 and 2 2 OSC 2 will differ depending on the oscillator type that is selected here OSC 1 Oscillator 1 Type 01 Standard 13 Bowed String Model Selects the oscillator type for oscillator 1 01 Standard 02 Comb Filter 03 VPM Variable Phase Modulation OSC 04 Resonance 05 Ring Modulation 06 Cross Modulation 07 Sync Modulation 08 Organ Model 09 Electric Piano Model 10 Brass Model 11 Reed Model 12 Plucked String Model 13 Bowed String Model ke When 10 Brass Model 11 Reed Model 12 Plucked String Model or 13 Bowed String Model are selected OSC 2 cannot be used OSC 2 Oscillator 2 Type 01 Standard 09 Electric Piano Model Selects the oscillator type for oscillator 2 Refer to OSC 1 1 2b 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 O FF MIDI CC 83 Selects the modulation source page 64 of this manu
52. fy the ratio of the wave transmitted along the string A F which is reflected back from the bridge decay release time AS y m y A s y N EZA Bridge Bridge Parameters relating to the characteristics of the string Damping Specify the high frequency attenuation of the wave transmitted along the string To simulate muted playing techniques control this parameter Dispersion Specify tonal change caused by inharmonicity of the higher partials String Position Specify the location at which the string is struck Harmonics Mod Source Mod Int Specify the controller which will control the Harmonics Position Specify the string location to be pressed to play harmonics harmonics effect and the depth of control a Page Menu 2 la b hz gt Aliah Durey Pe are lie BS along A gt atic Carve ow 1 ket sd ie Piiira Portion Oi ante Ryne Deg 48 Kir iG ane or Dag Ga ET ae Babee 4 Doarpen Sh ajor 2 1f ire ip epg ID div Hai i Dii 2 1a Attack Attack Level 0 99 Specifies the force with which the string is plucked Velocity 99 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 Int Int Int 99 Int 99 z 1 Velocity value 127 2 1 OSC 1 12 Plucked String Model Noise Level 0 99 Specifies the level of the noise component that is included in t
53. g 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 O FF MIDI CC 83 Selects a modulation source page 64 of this manual that will control Bowing Position Changing the location at which the string is bowed will also change the overtone structure Int Bowing Position AMS Intensity 99 99 Da Specifies the depth and direction of the effect of AMS mp 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 O FF MIDI CC 83 Selects a modulation source page 64 of this manual that will control Damp Int Damp AMS Intensity 99 99 Specifies the depth and direction of the effect of Damping Mod Source eed Prog Edit P2 2 1 OSC 1 13 Bowed String Model 2 2 OSC 2 Damp KTr Key C 1 G9 Specifies the key above and below which keyboard tracking will begin to apply
54. he 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 Attack level Sustain level Break level Volume Time Attack Decay Slope Release time time time time L Page Menu ian Write Program eed Level Hadala bips attic Fj r ining ad 4 2a Level Amp EG Level 0 99 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 Prog Edit 4 2b Time Amp EG Time P4 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 Time 0 99 Specifies the time from note off when a note is released until the volume falls
55. he 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 page 36 of this manual 2 1b Attack Curve Curve 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 Attack Curve Up Attack Curve Down Velocity Curve Up Velocity Control 99 99 Specifies the depth and direction of the effect that velocity will have on Curve Up For the way in which the effect occurs refer to Velocity page 36 of this manual Curve Down 0 99 Specifies the steepness of the falling edge of the attack waveform Velocity Curve Doun Velocity Control 99 99 Specifies the depth and direction of the effect that velocity will have on Curve Down For the way in which the effect occurs refer to Velocity page 36 of this manual 2 1c String Picking Position 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 an
56. he 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 O FF MIDI CC 83 Selects a modulation source repage 64 of this manual that will control Bridge Reflection Int Bridge Reflection AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS 2 1d 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 2 2 OSC 2 OSC2 parameters have the same structure as OSC1 parameters Refer to 2 1 OSC 1 2 3 Sub Noise 2 3 Sub Noise Here you can make settings for the sub oscillator and the noise generator The sub oscillator lets you select one of four basic waveforms In the mixer section the signal from the sub oscillator is mixed with the signals of oscillators 1 and 2 The noise generator produces white noise The noise signal that is generated passes through
57. he reed you can produce tonal changes that correspond with the way in which a reed is blown 2 1a Inst Type Signal Flow Reed Model Bell Character Peaking EQ Wave Shape Reed ota Reed Character Inst Type Specify the vibrational Select a model to specify the bore length characteristics of the reed and shape of the instrument to be simulated _ _ Os cae ee eee Presure Specify the force of the breath that is blown into the reed Noise Specify the amount of breath noise Page Menu wane Bert Fe ted Ge it Breath Preire i furs Hit i kirig 7 Write Program HEI Brr CTET berths e ell Character Taz Ib Pate i Wii h artis ti Inst Type Hard Sax 1 Reed Synth Selects the type of instrument whose bore shape and reed characteristics 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 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 Jump Bend X Specifies how the pitch will change when the joystick is moved in the X direction toward the left If Jump Bend X and Jump Bend X are checked note
58. ic Piano Model 28 10 Brass Model 30 11 Reed Model 33 12 Plucked String Model 36 13 Bowed String Model 40 DD OSC Bates eset 42 2 3 Sub Noise 43 Program Edit P3 45 3 1 Mixer 45 3 2 Filter 1 47 3 3 Filter 1 SUB 50 3 4 Filter 2 52 3 5 Filter 2SUB 52 Program Edit P4 53 4 1 Amp 53 4 2 Amp EG 55 Program Edit P5 57 5 1 EG 1 57 5 2 EG 2 59 5 3 EG 3 59 5 4 EG 4 59 Program Edit P6 60 6 1 LFO 1 60 6 2 LFO 2 62 6 3 LFO 3 62 6 4 LFO 4 62 Program Edit P7 63 Program Edit P8 63 A Datta 2 n2 neeneeneeneecees 64 Retrigger Controller List 64 Modulation Source List 64 Precautions 65 Additional message 65 INTRODUCTION 1 Introduction Thank you for purchasing the MOSS TRI DSP
59. ii g rao siita wao swi eE d i wH e gt i eee or f tet or g gt iie ct ao ret ors h tet ad arte Orr Mixer Out1 Mixer Out2 Wiari i bit i kirik i Pith oo Bitty i miarik i Bitty i kirik o BtHothy ftHihy si a Page Menu gt Write Program 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 Output Level Specifies the signal level that will be output to mixer output 1 AMS Alternate Modulation Source 00 99 O FF MIDI CC 83 Selects a modulation source s page 64 of this manual that will control output level Intensity Level AMS Intensity 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 will invert the phase 99 99 eed Prog Edit P3 3 1 Mixer 3 1b OSC 1 gt Out2 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
60. ion source spage 64 of this manual that will control Waveform Intensity Waveform AMS Intensity 99 99 Specifies the depth and direction of the waveform modulation controlled by the AMS For negative settings Prog the polarity of the modulation source will be inverted zi 2 1c 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 Table Type Reso Output level Output waveform B gt Input level Input Level Input Level Input Level Input Level A 99 75 50 25 444444 gt Input waveform AMS Alternate Modulation Source OFF MIDI CC 83 Selects a modulation source repage 64 of this manual that will control Input Intensity Input Level AMS Intensity 99 99 Specifies the depth and direction of the waveform modulation controlled by the AMS 2 1 OSC 1 01 Standard 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 gt Inpu
61. ity 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 Depending on the settings of 4 2 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 KTr Decay Keyboard Track 99 99 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 he Depending on the settings of 4 2 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 2 1 OSC 1 12 Plucked String Model 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 multiples of the fundamental As this value is increased the partials will move further away from integer
62. k Ribbon Controller amp other controllers Oscillator section This is the section which creates the waveform that is the basis of the sound These settings are made by the Program Edit P1 and Program Edit P2 parameters e OSC 1 2 Thirteen methods of sound production i e thirteen oscillator types are provided Two of these oscillator types can be used together and settings made to specify the basic pitch etc However depending on the oscillator type only one oscillator may be available These settings are made by the 1 2 OSC Basic 1 3 OSC 1 Pitch 1 4 OSC 2 Pitch and 2 1 OSC parameters Sub oscillator This lets you use one of four types of basic waveform Pitch related settings can be made in the same way as OSC 1 and 2 These settings are made by the 1 5 Sub Pitch and 2 2 Sub Noise parameters e Noise generator This generates white noise The noise can be sent through a multi mode filter low pass filter high pass filter band pass filter These settings are made by the 2 2 Sub Noise parameters Mixer section The output of oscillators 1 and 2 the sub oscillator and the noise generator are mixed with the feedback from the amp section and output to multi mode filters 1 and 2 the filter section These settings are made by the 3 1 Mixer parameters Bank M Program Structure Filter section This section modifies the waveform by attenuating o
63. l that will control the EG1 times At Attack Time AMS 2 Intensity 99 99 Dc Decay Time AMS 2 Intensity 99 99 SI Slope Time AMS 2 Intensity 99 99 RI Release Time AMS 2 Intensity 99 99 Specifies the depth and direction of the effect that AMS 2 will have on each EG time When the various EG times are set to negative values Note on Note on Note on Note off Note off Note off Settings of EG1 Softly played notes Strongly played notes 5 2 EG 2 5 3 EG 3 5 4 EG 4 5 2 EG 2 mm 5 3 EG 3 mm 5 4 EG 4 mma EG 2 EG 3 and EG 4 have the same parameters as EG 1 Refer to 5 1 EG 1 eed Prog Edit P5 6 1 LFO 1 Program Edit P6 This section provides four LFOs Low Frequency Oscillators These LFOs can be used as modulation sources for parameters of other sections to create cyclic changes in the sound 6 1 LFO 1 mma a Page Menu gt Write Program 6 la E F ib ier Atii FEF iiei 1d EI Er kimgyiq nh 6 1d gt for eter ty ri 6 1a Wave Form Key Sync Wave Form Triangle 0 ExpSawDown Settings for the general purpose LFOs 0 Triangle 0 5 Saw Up 180 10 Random2 Vector 14 Step Saw 6 i j i 1 Triangle 90 6 Saw Down 0 Random 2 changes in a 15 Exp Tri straight line toward a value which is determined randomly every 1 2 cycle i 2 Tri Random 7 Saw Down 180 11 Step Tri 4 16 Exp Saw Up VN C l
64. log 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 equal temperament Octave User Scale This is the one octave scale that you create in Global mode 3 1b Octave Notes page 127 in Parameter Guide Stretch This is a tuning used on acoustic pianos All Range User Scale This is the full range scale C 1 G9 that you create in Global mode 3 1a All Notes page 127 in Parameter Guide Key Scale Key c B Specifies the tonic note of the selected scale 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 1 1 Prog Basic 1 1f Panel Switch Assign These parameters assign the function of the front panel SW1 and SW2 switches assignable panel switches 1 and 2 SW1 MALIA J S X Lock Modulation CC 80 SW2 PENTA J S X Lock Modulation CC 81 The functions which can be assigned to SW1 and SW2 are the same except for Modulation and are as follows JS X Lock JS Y Lock JS Y Lock Ribbon X Lock Ribbon Z Lock After Touch Lock JS amp Ribbon Lock Each time you press SW1 or SW2 the selected controller will alternate between L
65. n parameters other than bank M refer to your Parameter Guide Basic Guide and Effect Guide Program Play Mode Program Play P1 1 1 Program Play Here you can select programs and perform simple editing For details on the parameters refer to page 1 of your Parameter Guide 1 Program Play mode PROGRAM PLAY P1 Program Play Bank M 0063 LFO gating SW1 ModulationcCC 80 Insert Effect Master Effect SW 2 ModulationCC 81 E 4 Stereo Flanger Mod Chorus OSC Mode MOSS R D _Reverb Smooth Hall Category A Motion Synth Category B UserCategory61 08 08 08 08 00 00 00 00 Prog l Play Octave Filter Filter EG Amp Attack Release Insert Master P1 Freq Int Level Time Time FXBal FX Bal amp Depending on the oscillator type s used by the program or the combination of effect types a brief interval of time may be required before a newly selected program actually begins operating after it is selected 1 1 Prog Basic Program Edit Mode amp The Write Program item in the page menu commands of each page lets you write an edited program to the program number you specify Be sure to write an edited program that you wish to keep If you turn off the power or select another program before you write the edited program cannot be recovered For details refer to Basic Guide page 23 9 Writing a program or combination Program Edit P1 Here you can make basic settings for the program
66. ngs Pulse wave Waveform pulse width modulation will modify a pulse waveform as shown below creating time variant change in the sound When modulation is 0 a a wave will be produced T L j ao fp H fl ad and when it is 99 the pulse width will be 0 meaning that there 98 33 0 33 66 98 will be no sound If the modulation value is a negative number the results will be inverted Triangle wave 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 AA ma AMAMA AJAJ this waveform produces a strong fundamental with fewer 99 25 0 25 50 75 99 overtones making it particularly suitable for bass sounds etc 2 1a el Page Menu ic i fee bip OG eo Trials Lovet BR Era Lonel BB Phaps Gall 15h Write Program ledge pthy Eh hth Hii 2 1b 2 le r Tre Siipi kiirii Hii Wii hearths Hi berths 2 1 OSC 1 01 Standard 2 la Wave Main Wave Saw Pulse Selects the main waveform Select either Saw sawtooth wave or Pulse pulse wave Level
67. ntrolled by the AMS 2 1 OSC 1 02 Comb Filter 02 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 o Comb Filter le OSC1 2 or Sub OSC lt gt Filter1 out Input Wave Filter2 out Level Pulse Noise or Impulse y Example of when noise is input evel Feedback gt 0 Level Frequency Comb Filter x Level As the Feedback value increases the sound will become more pitched Frequency eed Feedback 0 Frequency La Page Menu 2 1a p ant Lerat Bi eo Hai Lest FF THe Write Program 2 1b Level piadaiat ksi a pjer 1 gt rat 2 1c Pipa Artai EEF ieee Prog APE Hr kimgig nJ Edit P2 2 1a Input Input 0 SC2 1 Noise SubO SC N oise Filter1 N oise Filter2 Noise Pulse N oise Impulse Selects the signal that will be input to the comb filter Example of when an Impulse is input 5 Feedback gt 0 nes Time i dh As the Feedback is Comb Filter increased the decay 1 Time time will become longer sty Time Feedback 0 Time Pluse Pluse Width 0 Width 99 2 1 OSC 1 02 Comb Filter L
68. nual that will control Feedback Intensity Feedback AMS 1 Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 AMS 2 Alternate Modulation Source 2 OFF MIDI CC 83 Selects a modulation source 2 page 64 of this manual that will control Feedback Intensity Feedback AMS 2 Intensity 99 99 Specifies the depth and direction of the effect of AMS 2 2 1d High Damp High Damp 0 99 Specifies the amount of attenuation that will be applied to the high frequency 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 AMS Alternate Modulation Source O FF MIDI CC 83 Selects a modulation source cspage 64 of this manual that will control High Damp Intensity High Damp AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS 2 1 OSC 1 03 VPM 03 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 Wave Shape Parameter Modulator Modulator Level Carrier Level Wave Shape Output Carrier hr HE H Ge aii FF wez Farr wae
69. ock Unlock a lit LED indicates Lock When you press SW1 or SW2 while operating a controller subsequent movement of that controller will produce no change For example if you select JS Y Lock and then move the joystick away from yourself and press SW1 or SW2 the joystick Y movement will be locked held at that position and modulation will continue to be applied even after the joystick is allowed to return By then moving the joystick in the Y direction you can apply both types of modulation simultaneously UA If this is locked the corresponding controller will also stop transmitting MIDI but reception will still occur Octave Down Each time you press SW1 or SW2 the original octave setting will alternate with a setting of one octave lower Octave Up Each time you press SW1 or SW2 the original octave setting will alternate with a setting of one octave higher Portamento Off Each time you press SW1 or SW2 the portamento effect will alternate between On and Off lit LED indicates Off This is valid only for bank M programs MI CC 65 will be transmitted each time On Off occurs a value of 0 for Off 127 for On Modulation Select this when you wish to use the switch as a AMS or Effect Dynamic Modulation source In this case you must first specify the control destination Ey SW1 and SW2 differ for this function alone For each On Off SW1 will transmit CC 80 and SW2 will transmit CC 81 a value of 0 for Of
70. of AMS 1 AMS 2 Alternate Modulation Source 2 OFF MIDI CC 83 Selects a modulation source 2 page 64 of this manual that will control Mod Depth Intensity Modulation Depth AMS 2 Intensity 99 99 Specifies the depth and direction of the effect of AMS 2 2 1 OSC 1 07 Sync Modulation 07 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 f 1 I Carrier Wave gt Slave 1 f 1 I Page Menu i 7 rite Program 2 1a Input Prog M020 Edit Input 0SC2 1 SubOSC Noise Filter1 Filter2 P2 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 approaches 0 the volume will also decrease 2 1 OSC 1 08 Organ Model 08 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
71. of this manual that will control Coarse Int BPF Frequency AMS Intensity 15 15 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 frequency of band pass filter 1 will change in steps of harmonics creating the impression that the pitch is changing step wise Fine 99 99 Makes fine adjustments to the center frequency of band pass filter 1 specified by the Coarse parameter Reso 0 99 Specifies the resonance Increasing this value will produce a stronger effect 2 1c Resonance Resonance AMS Resonance Alternate Modulation Source O FF MIDI CC 83 Selects a modulation source page 64 of this manual that will control the resonance that was specified for each band pass filter Intensity Resonance AMS Intensity 99 99 Specifies the depth and direction of the effect of Resonance AMS 2 1 OSC 1 05 Ring Modulation 05 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 modulator r HM pitch this is suitable for producing sound effects The Ring p Modulation oscillator contains an internal carrier oscillator The Carrier Wave gt A gt Q 4A output of the o
72. r JS X and JS X the pitch will not change 1 2d Portamento These settings specify how portamento will be applied Portamento creates a smooth change in pitch from one note to the next The setting you make here is valid only if Enable is checked 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 O FF MIDI CC 83 Selects a modulation source rs page 64 of this manual that will control Time Intensity Portamento Time AMS Intensity 99 99 Specifies the way in which the portamento time will be controlled by the AMS Prog Edit P1 1 3 OSC 1 Pitch 1 3 OSC 1 Pitch Here you can make settings for the basic pitch of oscillator 1 pitch modulation and pitch slope Ba Page Menu 1 3a gt ss rites gt ee PE rero tech Pro Oe HER write Pragat 1 3b r Fiii fisisisiiaa AEI E FT kimgyig ni Arti ini FEF interribg 4d EI E yr ery na 1 3c y p Piti Sispa Caer Rage Fd 1 3a Basic Pitch Specifies the basic pitch of oscillator 1 Octave 32 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 an
73. r emphasizing specific portions of the frequency spectrum It contains two multi mode filters Each filter can be set to one of the following types low pass filter high pass filter band pass filter band reject filter or dual band pass filter This lets you modify the brightness of the sound You can also select the way in which the two filters will be connected with the mixer section and amp section These settings are made by the 3 2 Filter 1 3 3 Filter 1 SUB 3 4 Filter 2 and 3 5 Filter 2 SUB parameters Amp section This section modifies the volume of the output from the filter section It contains two independent amplifiers The signal which is input to each amplifier will depend on how the two filters are connected The amp section also contains an amplitude envelope generator Amp EG which controls the amp These settings are made by the 4 1 Amp and 4 2 Amp EG parameters Effect section This section applies effects to the signal which is output from the amp section It has the same parameter structure as the programs of other banks These settings are made by the Program Edit P7 and Program Edit P8 parameters EG section This section provides four general purpose envelope generator EG units The four EG s for which settings are made in the EG section can be used as modulation sources for the parameters of each section in order to apply time variant change to the sound
74. rator the filter of the noise generator can be used to modify the tone of the noise 2 1c Reed Character AMS Alternate Modulation Source OFF MIDI CC 83 Selects a modulation source page 64 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 2 1d Bell Character Tone 0 99 Specifies the tone of the bell As this value is increased the low frequency portion will disappear producing a less solid tone Resonance 0 99 Specifies the level at which the frequency region in the area of the Tone will be boosted As this value is increased the resonance effect will become stronger 2 1e Wave Shape Type Wave Shape Table 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 01 Standard repage 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 2 1 OSC 1 11 Reed Model 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 Wave Shape diagram repage 16 of this manual for the 01 Standard OSC AMS Alternate Modulation Source OF
75. resere u Ew bry 1 AFET FF kipi nE vrr Ejrr kirig RY Breath Bete W 2 1 2 1d gt p tet Ghar aster Tre 2 le 2 1 OSC 1 10 Brass Model 2 1a Inst Type Inst Type Brass 1 Brass 2 Brass 3 Horn 1 Horn 2 Reed Brass Selects the instrument type which will determine the bore length and shape of the simulated instrument Jump Bend 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 this is unchecked the pitch will rise smoothly as on most synthesizers Jump Bend X Specifies how the pitch will change when the joystick is moved in the X direction toward the left 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 Bending 2 1b 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 Edit P5 for EG 1 4 and 4 2 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 AMS 1 Alternate Modulation Source 1 O FF MIDI CC 83 9 Selects a modulation source 1 pag
76. s 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 Bending eed Prog Edit P2 2 1 OSC 1 11 Reed Model 2 1b 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 Edit P5 for EG 1 4 and 4 2 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 AMS 1 Alternate Modulation Source 1 O FF MIDI CC 83 Selects a modulation source 1 sepage 64 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 moving the joy stick toward the right will produce this effect Intensity Pressure AMS 1 Intensity 99 99 Specifies the depth and direction of the change in pressure controlled by AMS 1 AMS 2 Alternate Modulation Source 2 OFF MIDI CC 83 Selects a modulation source 2 page 64 of this manual that will control pressure Intensity Pressure AMS 2 Intensity 99 99 Specifies the depth and direction of the change in pressure controlled by AMS 2 Breath Noise 0 99 Specifies the volume level of the breath noise Since this uses the signal from the noise gene
77. t level Offset 50 Offset 0 Offset 50 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 Output level gt Input Shape 0 gt Shape 99 ieee j E Waveform Output of the clip type table when a sawtooth level waveform is input Waveform before being input to the table Resonant type Output level M Input AAAA Shape 0 lt gt Shape 99 level Qutput of the resonance type table when Waveform A a sawtooth wave is input level Waveform before being input to the table AMS Alternate Modulation Source O FF MIDI CC 83 Selects a modulation source page 64 of this manual that will control Shape Intensity Shape AMS Intensity 99 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 99 it will be only the output of the wave shaping table AMS Alternate Modulation Source O FF MIDI CC 83 Selects a modulation source repage 64 of this manual that will control Balance Intensity Balance AMS Intensity 99 99 Specifies the depth and direction of the waveform modulation co
78. t which Lower Higher keyboard tracking will begin to apply Low Slope 1 00 2 00 Specify the depth and direction of the pitch change that will occur for notes below the Center Key High Slope 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 c9 Int 2 0 Int 1 0 Int 0 0 Prog g gt Key Edit P1 1 4 OSC 2 Pitch Here you can make settings for the oscillator type basic pitch pitch keyboard tracking and pitch modulation of oscillator 2 The parameters of oscillator 2 are the same as for oscillator 1 Refer to the explanation of the 1 3 OSC 1 Pitch page 1 5 Sub Pitch Here you can make settings for the oscillator type basic pitch pitch keyboard tracking and pitch modulation of sub oscillator The parameters of sub oscillator are the same as for oscillator 1 Refer to the explanation of the 1 3 OSC 1 Pitch page 2 1 OSC 1 01 Standard Program Edit P2 Here you can make settings for each oscillator type The oscillator type is spe
79. the sound thinner It allows you to simulate sounds However raising the cutoff frequency frequency such as human voice and the Cutoff Frequency excessively will drastically reduce the Cutoff Cutoff body resonances of a violin or volume Frequency A FrequencyB 9ta Band Pass Filter BPF A band pass filter passes the range of l frequencies in the vicinity of the cutoff frequency and cuts the ranges above and below This type of filter is frequency used when you wish to emphasize a particular portion of the sound Cutoff Frequency Input Trim 0 99 Specifies the level of the input to filter 1 kh If this value is raised the sound may become distorted if the resonance setting is high etc 3 2c Cutoff Cutoff A Cutoff Frequency Frequency 0 99 Specifies the cutoff frequency of filter 1 As this value is increased the cutoff frequency will rise Since the BPF and Dual BPF filter types use filters with differing characteristics their actual cutoff frequency may differ even if their settings are identical EG Cutoff Frequency Modulation EG EG 1 EG4 Amp EG Selects the EG that will create time varying change in the cutoff frequency of filter 1 Intensity Cutoff Frequency Mod EG Intensity 99 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 l
80. ther oscillator etc can be selected as the modulator Ring Modulation Page Menu aa Ne i iw Write Program 2 1b gt ras ri sa eed 2 1a Input Input 0SC2 1 SubO SC Noise Filter1 Filter2 Specifies the modulator If you select 05 Resonance for OSC 1 and 2 in 1 2a Multi Oscillator Synthesis Setup and select the other oscillator as the Input for each you may hear no sound at all for some parameter settings Carrier Saw Square Triangle Sine Specifies the carrier waveform Wave Edge 0 99 Prog Specifies the amount of high frequency harmonics for the carrier waveform As this value is decreased the Edit sound will have less high frequency harmonics and as it approaches 0 the volume will also decrease P2 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 2 1b Mod Depth Mod Depth 0 99 Specifies the depth of modulation At a setting of 0 the carrier waveform will be output without change AMS 1 Alternate Modulation Source 1 O FF MIDI CC 83 Selects a modulation source 1 page 64 of this manual that will control Mod Depth Intensity Modulation Depth AMS 1 Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 AMS 2 Alternate Modulation Source 2 O FF MIDI CC 83 Selects a modulation source 2 page 64 of this manual that will control
81. tick Y 10 AfterTouch JS Y 11 Ribbon X 12 Ribbon X 13 Ribbon X 14 Ribbon Z 15 Foot Pedal CC 04 16 Value Slider CC 18 17 MIDI CC 19 18 SW1 CC 80 19 SW2 CC 81 20 Foot SW CC 82 21 MIDI CC 83 4 Data Modulation Source List 00 01 02 03 04 05 06 07 08 09 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 OFF EG 1 EG 2 EG 3 EG 4 Amp EG LFO 1 LFO 2 LFO 3 LFO 4 Portamento Velocity Soft Velocity Medium Velocity Hard Note Number Linear Note Number Exp Note Split Hi Note Split Low After Touch Joy Stick X Joy Stick Y Joy Stick Y AfterTouch JS Y Ribbon X Ribbon X Ribbon X Ribbon Z Foot Pedal CC 04 Value Slider CC 18 MIDI CC 19 SW 1 CC 80 SW 2 CC 81 Foot SW CC 82 MIDI CC 83 This After Touch is half of the effect of 18 AfterTouch Data Precautions Regarding program change MIDI reception Depending on the oscillator type used by a program some time may be required after a program change is received until a bank M program is actually selected When selecting programs please leave ample time between the program change and the following note on Regarding noise The effect settings and the parameter settings of the oscillator used by the program may affect each other so as to cause noise to appear in the sound
82. tion source repage 64 of this manual that will control Lip Intensity Lip Character AMS Intensity 99 99 Specifies the depth and direction of the effect of AMS 2 1 OSC 1 10 Brass Model 2 1d Bell Character Tone 0 99 Specifies the tone of the bell As this value is increased the low frequency portion will disappear producing a less solid tone Resonance 0 99 Specifies the level at which the frequency region in the area of the Tone will be boosted As this value is increased the resonance effect will become stronger 2 1e Peaking EQ Frequency 0 49 Specifies the center frequency of the frequency range that will be boosted or attenuated by the Peaking EQ Increasing this value will raise the center frequency Q 0 29 Specifies the width of the Peaking EQ frequency band Increasing this value will narrow the frequency 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 2 1 OSC 1 11 Reed Model 11 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 t
83. urce that will control this level Refer to the above explanation of 3 1a OSC1 gt OUT1 3 1i Feedback gt Out1 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 Refer to the above explanation of 3 1a OSC1 gt OUT1 ke Raising the Feedback level excessively may cause the sound to distort 3 1j Feedback gt Out2 These parameters adjust the level at which the feedback from the amp section is output from mixer output 2 and specify a modulation source that will control this level Refer to the above explanation of 3 1a OSC1 gt OUT1 amp Raising the Feedback level excessively may cause the sound to distort 3 2 Filter 1 3 2 Filter 1 Here you can make settings for one of the two multi mode filters Each multi mode filter can be set to one of five filter types Cutoff Frequency 7 Input Trim i Resonance ritor 1 ype i Low Pass O High Pass O Vs Band Pass O Band Reject O 1 Dual BPF O i gt Write Program artis FEF Keghaard Trost Lae Rep Ci ign ey Oe Loe ini Hig ii ib eed 3 2a Routing Filter Routing serial 1 serial 2 parallel Use the radio buttons to select the way in which filters 1 and 2 will be combined The connections from mixer output gt filter gt amp can be routed in the following three ways Serial1
84. will control Shape value Intensity Shape AMS 2 Intensity 99 99 Specifies the depth and direction of the effect of AMS 2 Type Wave Shap Type 1 2 1 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 2 1c Feedback 0 99 Specifies the amount of the output after wave shaping that will be fed back to the carrier 2 1d Modulator Wave Saw Square Triangle Sine OSC2 1 SubOSC Filter1 Filter2 Selects the modulator waveform You may select the other oscillator or the sub oscillator etc If you select OSC 2 1 SubOSC Filter 1 or Filter 2 it will not be possible to set 2 1e Frequency Level 0 99 Specifies the output level of the modulator This value will determine the amount of modulation that is applied to the 2 1a Carrier setting AMS 1 Alternate Modulation Source 1 OFF MIDI CC 83 Selects a modulation source 1 page 64 of this manual that will control Level Intensity Level AMS 1 Intensity 99 99 Specifies the depth and direction of the effect of AMS 1 AMS 2 Alternate Modulation Source 2 OFF MIDI CC 83 Selects a modulation source 2 repage 64 of this manual that will control Level Intensity Level AMS 2 Intensity 99 99 Spe

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