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Korg Bicycle PS60 User's Manual

1. amount for Wet Dry Wet Mono In Mono Out Dry Stereo In Stereo Out Left Routing Wet Dry Exciter Limiter 053 Xctr Comp Exciter ioe a EQ Trim LEQ HEQ Compressor gt IKH Exciter Limiter A H Gain Adjust This effect combines a mono exciter and a compressor You can change the order of the effects Right A t gt nvelope Control oo Wet Mono In Mono Out Dry Stereo In Stereo Out Left ft r Routing Wet Dry Full Quick Explanation a Exciter o yN Compressor parameter parameter Lo Exciter EQTrim LEQ HEQ gt lt H Exciter 1 Comp 1a Sets the intensity i Output Level Exciter Blend X Blend 100 100 depth of the Exciter i effect p 88 Sets the frequency Right j KATIN Emphasis F Freq P range to be Gnvelope Control req emphasized p 88 Sets the EQ input Pre EQ Trim level Full Quick Explanation LEQ Gain Sets the gain of Low parameter parameter dB EQ Exciter HEQ Gain Sets the gain of High Sets the intensity dB EQ Exciter Blend X Blend 100 4100 depth of the Exciter effect p 88 Limiter Sets the signal compression ratio p 110 Sets the EQ input Sets the level above Pre EQ Trim level p Threshold L Trsh dB 40 0 which the Eve dB rs mi compressor is applied LEQ Gain Sets the gain of Low p 110 dB EQ Attack L Attack 1
2. This simulates the acoustical character of a bass amp s Wet Mono In Mono Out Dry Stereo In Stereo Out speaker cabinet Lek Wet Dry Stereo In Stereo Out Volume Left o o f Wet Dry Bass Amp Model g Cabinet Simulator Trim i Righto gt o Trim i Wet Dry Cabinet Simulator DELL ed Right Rel o Wet Dry Quick Explanation parameter parameter Full Quick parameter parameter Selects the amplifier type An amp that is typical LASTUDIO of the LA sound JAZZ A combo amp COMBO favored by jazz assists Explanation Trim Sets the input level Selects the cabinet type Four 10 speakers LA LA 4x10 sound cabinet An amp distinctive for its eye catching gold GOLD PANEL panel and clean sound SCOOPED An amp typical of 80 s sounds Four 10 aluminum cone speakers modern cabinet MODERN 4x10 Four 10 aluminum cone speakers modern cabinet CLASSIC Eight 10 speakers 8x10 classic cabinet METAL 4x10 A tube amp suitable VALVE2 for rock A tube amp with the VALVE ULTRA LO switch turned ON A tube amp whose basic character CLASSIC changes according to the setting of the value dial 0 100 Sets the output level Selects the Off Tempo modulation source for the output level Four 12 speakers UK 4x12 UK manufactured cabinet STUDIO One 15 speaker Cabinet Type 1x15 studio combo cabinet One 15 speaker jazz combo ca
3. Full Quick parameter parameter Explanation Sets the filter center frequency Selects the modulation source for the filter center frequency Manual lt Off Tempo Sets the modulation amount for the filter center frequency 100 100 Sets the modulation depth of filter center frequency Selects the modulation source of filter modulation Off Tempo Sets the modulation amount of filter modulation Amount 100 100 Sets the resonance amount Selects the LFO Waveform p 91 Sets the LFO phase difference between the left and right Resonance 0 100 LFO Step Tri Waveform Random 180 180 Phase deg p 91 Sets the speed of thi LFO p 91 Selects the modulation source used for both LFO speed and step speed LFO Freq Hz 0 02 20 00 Source Off Tempo Sets the upper limit of 1 100 the wah center frequency p 89 Switches between pedal wah and auto wah Pedal Dmod SweepMode Auto Specifies the modulation source that the pedal wah will use Pedal Source Sets the center frequency for the pedal wah when the modulation source is not moved Auto Sensi Sets the auto wah tivity sensitivity Sets the modulation amount of LFO speed Sets the LFO step speed speed that changes in steps p 91 20 00 20 00 Step Hz 0 05 50 00 Sets the modulation amount of LFO st
4. Sets the modulation amount of the overdrive output level LFO Freq Sets the speed of the Hz PLFO Hz 0 02 20 00 FO Low Cutoff Sets the center Hz 20 1 00k frequency for Low EQ shelving type Sets the frequency Manual P Manual 0 100 where the effect is applied Sets the depth of LFO modulation Low Gain dB Sets the gain of Low EQ Sets the center frequency for Mid High EQ 1 peaking type Sets the band width Mid1 Q of Mid High EQ 1 Depth P Depth 0 100 O Low dB 18 18 Sets the resonance Resonance P Reso 100 100 am unt p 99 Mid1 Cutoff Hz 300 10 00k Output Mode Normal Selects the phaser Wet Invert output mode p 109 Wet P W D 1 99 Dry 1 99 Wet P Out Phs Wet Dry Sets the phaser effect balance p 91 p 99 p 87 Sets the gain of Mid High EQ 1 Sets the center frequency for Mid High EQ 2 peaking type Sets the band width Mid2 Q of Mid High EQ 2 Mid1 Gain dB Selects the Wet Dry O Mid1 dB Phs Source Off Tempo modulation source for the phaser Sets the Wet Dry 100 4100 modulation amount for the phaser Mid2 Cutoff Hz 500 20 00k Phs Amount Sets the balance between the effect and the dry input Dry 1 99 Wet Dry 99 1 Wet p 87 s the gain of Mid Mid2 Gain dB Amp Simulation O Mid2 dB oh DE Selects a modulation sourc
5. 99 99 Filter1 Filter1 ite Modulation LFO Mod Envelope Level Modulation Attack This sets the level at the end of the Attack time Break 99 99 Break short for Break Point sets the level at the end of the Decay time 99 99 Sustain 99 99 This sets the level at the end of the Slope time Once it reaches the Sustain level the EG will stay there until note off unless it is reset via AMS Release 99 4 99 This sets the level at the end of the Release time Time Higher values mean longer times as shown below EG Value Actual Time 10 10 ms 20 44 ms 30 104 ms 40 224 ms 50 464 ms 60 944 ms 70 1 8 seconds 80 3 8 seconds 90 10 9 seconds 99 87 3 seconds Attack 00 99 This sets how long the EG takes to move from the Start level to the Attack level For the fastest possible attack time you can set the Start level to 99 in this case the EG will start instantaneously at its maximum value Decay 00 99 This sets the time it takes to move from the Attack level to the Break level Slope 00 99 This sets how long the EG takes to move from the Break level to the Sustain level Once it reaches the Sustain level the EG will stay there until note off unless it is reset via AMS Release 00 99 This sets how long it takes the EG to move from the Sustain level to the Release level Filter2 Modulation Filter2 LFO Mod
6. Selects a modulation Off empo source for Wet Dry Sets the center 20 1 00k frequency for Low EQ shelving type Low Cutoff Hz Sets the modulation 100 100 smount for Wet Dry Sets the gain of Low Flutter Gain dB Low G dB 18 18 EQ This parameter enables you to set the depth of the leas Phe the Seid modulation caused by a warped turntable Hz a 300 10 00k High EO peaking type Click Level Sets the band width This parameter enables you to set the level of the click noise of Mid High EQ 1 p 87 that occurs once every rotation of the turntable This 7 Mid1 GIdB Sets the gain of Mid simulation reproduces record noise and the noise generated High EQ 1 after the music on a vinyl record finishes Sets the center frequency for Mid 500 20 00k High EQ 2 peaking type Sets the band width of Mid High EQ 2 p 87 Gain dB Mid2 G dB TERNA gain of Mig Sets the amount of Direct Mix i the dry sound mixed to the distortion Switches the speaker simulation on off Speaker Simulation SpeakerSim IFX Insert effects List 021 St Gt Cab Stereo Guitar Cabinet Sets the balance speaker cabinet Soi we between the effect Da 021 St Gt Cab Stereo Guitar and the dry input This simulates the acoustical character of a guitar amp s Stereo In Stereo Out Selects a mo
7. This pan setting is located immediately before the insert effect This means that if you select a mono effect for the insert effect this pan setting will be ignored In this case use Pan Post to adjust the pan following the insert effect For programs of the STRINGS timbre only this Pan Pre set ting can be used they will not be affected by an insert effect Mixer on page 82 RND The oscillator pan will change randomly at each note on M If Status page 7 is set to INT CC 10 pan messages can be received to control the setting CC 10 values of 0 or 1 will place the sound at the far left 64 at center and 127 at the far right exclude RND Pan settings can be controlled by messages received on the MIDI Chan nel page 7 Pan Pre RND L001 C064 R127 This specifies the pan following the insert effect The STRINGS timbre does not have this parameter M This parameter is controlled by CC 8 Control mes sages are received on the channel specified by each tim bre s MIDI Ch MIDI Channel Since the main timbre and sub timbre of the same category use the same Pan Post setting this parameter can be controlled on the MIDI Ch MIDI Channel of both main and sub tim bres Send Modulation 000 127 Reverb Delay 000 127 Send1 Mod Send2 Rev on page 4 MIDI OSC Main Timbres A Piano Synth Sub Timbres A Piano Synth Here you can adjust settings for
8. Band1 Gain dB Band2 Cutoff Hz E1 G dB 18 18 Sets the gain of Band 1 Sets the center frequency of Band 2 Sets the bandwidth of Band 2 p 87 E2 F Hz 50 5 00k Band2 Q E2 Q 0 5 10 0 Band2 Gain dB Band3 Cutoff Hz E2 G dB 18 18 Sets the gain of Band 2 Sets the center E3 F Hz 300 10 00k frequency of Band 3 Sets the bandwidth of Band 3 p 87 E3 Q 0 5 10 0 E3 G dB 18 18 Sets the gain of Band 3 Sets the center E4 F Hz 500 20 00k frequency of Band 4 Sets the bandwidth of Band 4 p 87 Cutoff Hz Band4 Q E4Q 0 5 10 0 Band4 Gain dB Wah E4 G dB 18 18 Sets the gain of Band 4 Selects the control from auto wah modulation source and LFO p 89 Selects the modulation source for the wah when Sweep Mode D mod Sweep Mode Sets the lower limit of the wah center frequency p 89 W Freq Btm Sets the upper limit of the wah center frequency p 89 Sets the speed of the LFO W Freq Top 0 100 W LFO Hz 0 02 20 00 Sets the resonance Resonance W Reso 0 100 amount Switches the wah low LPF off On pass filter on and off Dry 1 99 Sets the wah effect 99 1 Wet balance Selects the Wet Dry Off Tempo modulation source for the wah Sets the Wet Dry 100 100 modulation amount for the wah W Wet Dry W Source W Amount Changes the order of P4EQ g
9. On Internal performance memory will be protected and the following write operations cannot be performed e Writing a performance e Loading preloaded performance data e Receiving performance data via MIDI data dump Off Data can be written to internal performance memory MIDI Here you can adjust MIDI related settings that affect the entire PS60 Basic MIDI Channel Global MIDI Channel 1 16 Sets the global MIDI channel The global MIDI channel is used in the following cases e When you switch performances e When controlling timbres or effects that have been set to Gch in various modes e When transmitting and receiving System Exclusive messages MIDI received Performances can be switched by program changes received on the global MIDI channel page 73 Use the global MIDI channel if you want to turn All IFXs CC 92 MFX1 amp 2 CC 94 on off via MIDI MIDI output when playing the PS60 In Performance this data will be transmitted simultane ously on the global MIDI channel and on the MIDI channels of timbres whose Status page 7 is set to EXT or EX2 Local Control On Off On On You ll be able to use the PS60 s knobs keyboard or joy stick etc to control the PS60 s sound generator section Choose the On setting if you re playing the PS60 by itself Off The PS60 s knobs keyboard and joystick etc will be internally disconnected from the tone generator section This means that your performanc
10. Resonance 0 100 amount Selects the source that Source Off Tempo will modulate the amount of resonance Sets the amount by Amount 100 100 which the resonance will be modulated LFO Triangle Selects the LFO Waveform Sine Waveform Sets the LFO phase Phase deg 180 180 difference between the left and right p 91 Sets the depth of how Depth Depth 0 100 the LFO will modulate the cutoff frequency LFO Freq Sets the speed of the Hz LFO Hz 0 02 20 00 LFO p 91 Selects a modulation source for LFO speed 20 00 Sets the modulation 20 00 amount of LFO speed When this is on the LFO speed is set by me FO MIDI Off On BPM Base Note and y yi Times instead of Frequency p 89 Source Off Tempo Amount MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect p 89 Selects the type of Base Note Ao notes that specify the LFO speed p 89 Sets the number of Times x1 x32 notes that specify the LFO speed p 89 MIDI 40 00 300 00 Switches distortion Drive SW Off On on off within the filter Output Level DriveLevel 0 100 Sets the output level Sets the distortion amount Drive Gain lt 0 100 Sets the amount of Low Boost 0 100 low range boost Sets the balance between the effect and the dry input Dry 1 99 Wet Dry 99 1 Wet Selects a modulation Source Off Te
11. Sets the sensitivity p 83 Sets the attack level p 84 Sets the EQ input level 1 100 i 1 100 PreEQ Trim 0 100 Selects the cutoff Low frequency low or Mid Low mid low of the low range equalizer Selects the cutoff High frequency high or Mid High mid high of the high range equalizer Hi EQ Freq Sets the gain of the Low EQ Lo EQ Gain LEQ dB dB 15 0 15 0 Hi EQ Gain Sets the gain of the HEQ dB High EQ dB 15 0 15 0 Sets the output level of the compressor p 93 Level Out Level 0 100 Selects the modulation source for the compressor output level Off Tempo Sets the modulation amount for the compressor output level 100 100 Sets the balance pe Wer between the effect ies and the dry input Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 100 mount for Wet Dry Envelope This parameter selects whether the left and right channels are linked to control both signals simultaneously or whether each channel is controlled independently Sensitivity Level The Sensitivity parameter sets the sensitivity of the compressor If this parameter is set to a higher value lower level sounds will be boosted With a higher Sensitivity the overall volume level is higher To adjust the final volume level use the Output Level parameter Compressor Sensitivity
12. 103 104 Effect Guide 040 St AutPan Stereo Auto Pan This is a stereo in stereo out auto panner The Phase and Shape parameters lets you create various panning effects such as making the left and right inputs seem to chase each other around the stereo field Stereo In Stereo Out Left o Pan Right LFO Tri Sin gt LFO Shape aT TDry LFO Phase Full parameter Quick parameter Explanation Depth 4 Sets the depth of LFO modulation Source Off Tempo Selects the modulation source of the depth of modulation Amount 100 100 Sets the modulation amount of the depth of modulation LFO Waveform Triangle Sine Selects the LFO Waveform LFO Shape 100 100 Changes the curvature of the LFO Waveform p 104 LFO Phase deg 180 180 Sets the LFO phase difference between the left and right p 104 LFO Freq Hz LFO Hz 0 02 20 00 Sets the speed of the LFO p 91 LFO Source LFO Amount Off Tempo Selects a modulation source for LFO speed Sets the modulation amount of LFO speed LFO BPM MIDI Sync LFO MIDI Sync When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency p 89 MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect p 89 LFO Base No
13. EASY SETUP APIANO EPIANO ORGAN STRINGS BRASS SYNTH MODULATION REVERB VOLUME MOD SEND n a wea a a DELAY OCTAVE REWDLY SEND Same n ms p SPLIT SETTING CTRL 000 Grand Piano A APIANO CHORUS PLATE J 120 00 RATE DEPTH FB TIME LEVEL FB BASS MID TREBLE PROG PERF EDIT GLOS UTILITY a Pitch gt AmtAxB gt Offset AMS A 2 AMS AGS F Amt B E Amt A Amount Common AMS Mix Key Track AMS Mixer 1 AMS Mixer 2 Amt A x B Offset AMS 4 Source AMS 4 Source AMS A Amount 0 AMS B Source Offset Amount AMSB Amount a 59 Offset Each Oscillator has two AMS Mixers which are simple but powerful tools for combining and modifying AMS signals The two Oscillators also share two Common keyboard tracking generators in addition to the dedicated keyboard tracking for the Filter and Amp These pages let you control all of these modulation sources Note that when the Oscillator Mode is set to Single only Oscillator 1 s AMS Mixers are active the pages for Oscillator 2 will be grayed out OSC1 The AMS Mixers combine two AMS sources into one or process an AMS source to make it into something new For instance they can add two AMS sources together or use one AMS source to scale the amount of another You can also use them to change the shapes of LFOs and EGs in vari ous ways modify the response of realtime controllers and more You can select the output of the AMS mixers as an AMS sour
14. Filter t EG naasian ninnan n ia 42 Filte Zeresana etin i N iii 44 Filter2 Modulation cssssesssssssssssssecsnecssscsssecsssssesscsssscceneesssees 44 Filter2 LFO Mod a Filter2 EG nnani a E aA Ahn AMD oranana cals eine Sereies 45 AMP 1 Modulation seccssssssssssssecssscsssessseccsssssssessnsecssccsssessses 46 Arp ECan rennene ea E N ioone 48 Amp2 Modulation ssscssssssssssssessssesssessseccsssssssecsssecsssesseessses 49 AMP2 EG oniar EE E a 49 LEO iiini a e aiie OSC1 LFO1 OSC1 LFO2 OSC2 LFO1 OSC2 LFO2 COMMON LFO sinensis ie 54 AMS Mix C KeyTrk AMS Mixer Common Keyboard Track ss sssessssssseseeseeeeeeeeseesereeeeeeseese 55 OSC1 AMS Mix Software Setup sssssssessseessssssssecseeessesssssesseeessess 69 Basic MIDI Controllers ssssssssessssssssssssssssseseseesee 70 User Scale nnana AAS 75 Categor oeer e a AR n 76 UTILITY Command sssssssssssesesessssssssssssssssesereeeee 77 Effect Guide cccccccccsscccccsseeeee 79 Overview aciasn it aoa aud ei aba ena 79 Dynamic modulation Dmod and Tempo Synchroniza atO a EEEE EEE AT 80 Effect I O nuina a E A AR 81 Insert Effects IFX essssssssssseeeseesssssssseesseessssss 81 DA ON EY SESE EE ETE EEES 81 MIXET asitisacccceeeeacliediassueccbauestsbsdansdaseansabssacoseadcescuveussoncdecdesseesonees Controlling the Insert Effects via MIDI Master Effects MFX1 2 ccccscsessesssssecseeeseens 82 1YE 1 j E E A bes E tas halee
15. Off Tempo Selects a modulation source for LFO speed 20 00 20 00 Sets the LFO speed modulation amount IFX Insert effects List 042 St Ring M Stereo Ring Modulator When this is on the Full Quick LFO LFO speed is set by arameter arameter BPM MipI LFO MIDI BPM Base Note and p p Sync Times instead of Frequency p 89 Pre LPF Explanation Sync Sets the damping amount of the high range input to the MIDI syncs to the ring modulator p 105 system tempo 40 300 sets the tempo manually for this Fixed Note individual effect p 89 Key Follow Switching between specifying the oscil lator frequency and using a note number Selects the type of p 105 Base Note a bp a Sets the oscillator i frequency when OSC Sets the number of Fixed Hz 0 12 00k Mode is a to Fixed X1 x32 notes that specify the p 106 LFO speed p 89 Selects the Sets the degree of the modulation source tremolo LFO shaping Off Tempo for the oscillator frequency when OSC Mode is set to Fixed 100 100 Sets the tremolo modulation depth Selects the Sets the modulation modulation source 12 00k amount of the oscil for the tremolo 12 00k lator frequency when modulation depth OSC Mode is set to Fixed Sets the pitch tremolo modulation difference from the original note when depth Note Offset OSC Mode is set to Sets the balance Note Key Follow Dry 1 99 between the ef
16. Overdrive type effects and modeling 20 28 effects such as guitar bass amp and mic Phaser Modulation Modulation type effects such as phaser 29 42 tremolo and ring modulator Two mono effects internally connected in series These combine dynamics EQ and phaser etc Mono Mono Serial Dyn EQ Phs 43 61 Organ FX 62 63 Standard effects for organ On the PS60 itself you can use Program Edit to select effects and edit some of the parameters In the editor you can edit all of the effect parameters Master effect 1 Modulation Master effect 2 Reverb Delay You ll use these effects to add final finishing touches to the overall sound of the performance or program Each effect lets you choose one of four types Modulation type effects chorus flanger Modulation MFX1 and phaser Reverb Delay MFX2 Reverb delay EQ stereo three band EQ This applies overall equalization to the signal of the L R bus and outputs the result to AUDIO OUTPUT L and R You can use the front panel switches and knobs to edit the settings directly You can also make more detailed edits in the program or performance edit pages or in the editor Effect structure for a program A program uses the insert effect as an important part of cre ating the sound just as it uses the Filter and Amplifier sec tions to process the sound that s output from the oscillators OSC 1 amp 2 As mentioned above ea
17. Procedure for utility commands 1 Click the UTILITY button and choose a command from the menu that appears 2 Adjust the settings in the dialog box For details on the contents of each dialog box refer to the explanation for each command 3 Click the OK button to begin or click the Cancel button if you decide not to continue Write Program This command saves the edited program to the PS60 s inter nal memory You can use this to do the following e Save the changes you made e Rename a program e Specify the category of a program e Copy a program to a different bank and program number Select Category A PIANO SYNTH Specify the category of the program that you re saving Note If you change the category and save the program the following restrictions will apply e If you change a Strings timbre and save it the insert effect will be disabled e If you save from a Strings timbre to another timbre the insert effect will be 00 No Effect e If insert effect 62 Organ V C or 63 Rotary SP is assigned to an Organ timbre and you save it to a different timbre 00 No Effect will be assigned Select Sub Category A PIANO Hit SFX Specify the sub category of the program you re saving This sub category cannot be viewed on the PS60 itself New Name characters Specify the program name Choose Destination A B C D 000 127 name Specify the save destination for the program Remove Program from Category
18. RPN MSB MSB of RPN 1 Bank select messages are normally specified as program change events However in some cases this will be insuffi cient when you wish to change banks on an external device In such cases you can use CC 00 and CC 32 to specify the banks For information on the relation between bank select num bers and the banks of your external device refer to the owner s manual for your external device 2 Unlike conventional control changes pitch bend range fine tune and coarse tune settings are made using RPC Registered Parameter Control messages You can use RPC messages to control the bend range and tuning for each Timbre The procedure is to use an RPN Registered Parameter Number message to select the parameter that you wish to edit and then use Data Entry to input a value for that parameter To select the parameter use CC 100 with a value of 00 02 and CC 101 with a value of 00 use CC 06 and CC 38 to enter the data The data entry values for each parameter and the corre sponding settings are as follows RPN 0 Pitch bend range CC 06 CC 38 Parameter value Semitone steps 00 00 0 01 00 1 12 0 RPN 1 Fine tune CC 06 CC 38 Parameter value 1 cent steps RPN 2 Coarse tune CC 06 CC 38 Parameter value Semitone steps For example if in Performance you wish to set a MIDI timbre that is receiving channel 1 to a transpose coarse tuning
19. Sets the speed of the LFO Speed Hz lt 0 10 10 0 Switches the tone of the phaser sound p 100 Color Off On Wet Sets the balance between the effect and the dry input p 91 p 99 Selects a modulation source for Wet Dry Wet Dry e i arnt 99 We Source Off Tempo Sets the modulation Amount 100 100 mount for Wet Dry Color This lets you choose between two types of phaser sound Turning this On produces a deeper phase shift effect with a distinctive modulation 100 Effect Guide 031 OrangePhs Orange Phaser This models a standard model of analog phaser that achieved great popularity It gives a sense of movement to electric piano sounds adding a rich sounding phase shift effect 032 BlackPhsr Black Phaser This models a Danish made four stage phaser that featured a wide range Wet Mono In Mono Out Dry Stereo In Stereo Out Left Wet Dry Resonance Phaser 7 Right Wet Di LFO y Full Quick Value Explanation parameter parameter Speed Hz lt 0 10 10 0 Sets the speed of the LFO Sets the depth of LFO Depth 0 100 modulation Sets the resonance 0 100 amount Resonance Sets the frequency where the effect is applied Manual 1 100 Wet 1 99 Dry 1 99 Wet Sets the balance between the effect and the dry input Wet Dry Selects
20. cally to select the desired file Please see Load data file automatically at starting up on page 69 All Sound Off Depending on the host application hung notes may occur while using the host s functions If this happens please use the All Sound Off command 77 78 Global Overview The PS60 s effects consist of one insert effect for the program of each timbre except for the Strings timbre two master effects used by the entire performance and EQ settings You can choose from a total of 71 different types of full digi tal effect 63 types for the insert effects and eight types for the master effects Effect structure Insert effects You can use the following insert effects on each timbre cate gory Effect types 62 Organ Vib Chorus and 63 Rotary Speaker can be used only with programs of the Organ cate gory Programs of the Strings category cannot use an insert effect Category Insert effect A Piano 00 61 E Piano 00 61 Organ 00 63 Strings No IFX Brass 00 61 Synth 00 61 Tip 63 Rotary Speaker lets you use the ORGAN SLOW FAST button to switch the rotary speaker simulation between slow fast speeds How the 63 types of insert effect are organized Effect type Explanation Dynamics type effects such as Dynamics 00 06 oe compressor or limiter Filter type effects such as EQ exciter EQ Filter 07 19 and wah Overdrive Amp Mic
21. quency Modulation settings will determine the speed of the LFO and the tempo settings will have no effect Base Note Do This sets the basic speed of the LFO relative to the system tempo The values range from a 32nd note to a whole note including triplets Times 01 32 This multiplies the length of the Base Note For instance if the Base Note is set to a sixteenth note and Times is set to 03 the LFO will cycle over a dotted eighth note OSC1 LFO2 Bz This is Oscillator 1 s second LFO Its parameters are exactly the same as those for the first LFO except that LFO1 cannot modulate LFO2 OSC1 LFO1 on page 52 OSC2 LFO1 WM This page controls Oscillator 2 s first LFO It is available only when the Oscillator Mode is set to Double if not the page will be grayed out The parameters are identical to those for Oscillator 1 OSC1 LFO1 on page 52 OSC2 LFO2 This page controls Oscillator 2 s second LFO It is available only when the Oscillator Mode is set to Double if not the page will be grayed out Its parameters are exactly the same as those for the first LFO except that LFO1 cannot modulate LFO2 OSC1 LFO1 on page 52 53 54 Program Edit Common LFO GE Differences from LFO1 2 The Common LFO starts running as soon as you select the Program and only resets when you tell it to do so explicitly via the Reset Source control below This is different from LF
22. settings will have the opposite effect e If you select the same controller as an AMS1 or AMS2 and set separate intensities for Filter A Low Pass Filter Intensity and Filter B High Pass Filter Intensity you can use a single controller to simultaneously control the cutoff frequencies of both filters Resonance page 37 You can use the EG LFO keyboard tracking controllers or tempo etc to control the resonance level e If you select Filter KTrk or Amp KTrk as the AMS you can use the filter or amp keyboard tracking settings to control the resonance level For example if the amp keyboard tracking parameters Ramp BtmLo and Ramp HiTop are set to positive values Amp KTrk is selected as the AMS and Intensity it set to a positive value playing toward either end of the keyboard will cause amp keyboard tracking to increase the volume and AMS to raise the resonance level e You can select a controller as the AMS and apply resonance when desired by using the controller e You can select Common LFO LFO 1 or 2 as the AMS and use the LFO to control the resonance level Output page 37 You can use the EG LFO keyboard tracking controllers or tempo etc to control the output level of Filter A B e Set filter routing Routing to Parallel and specify the desired filter type for each filter A and B Choose LFO as AMS for filters A and B and set Intensity to 99 and 99 respectively This allows the LFO to c
23. 100 Sets the attack time ae Gain s the gain of High Release L Release 1 100 Sets the release time Compressor aa Adjust LG dB 1 0 1 50 0 1 Inf 1 Sets the frequency F Freq aie range to be empha sized p 88 Emphasis Ratio L Ratio Freq Inf Sets the limiter 38 424 output gain p 110 100 Sets the sensitivity p 83 Routing Route Xct gt Lmt Switches the order of Lmt Xct the exciter and limiter Sensitivity C Sens T Sets the attack level p 83 Dry 1 99 Sets the balance between the effect 99 1 Wet and the dry input Attack C Attack 1 100 Sets the compressor Level COutLevel 0 100 output level p 83 Selects a modulation source for Wet Dry Switches the order of Off Tempo the exciter and compressor 100 100 Xct Cmp Routing Route Cmp gt Xct Sets the modulation amount for Wet Dry Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 100 amount for Wet Dry 111 Effect Guide 055 Xctr Phsr Exciter Phaser 056 OD Amp Overdrive Hi Gain e e This effect combines a mono limiter and a phaser Amp Si mulation This effect combines a mono overdrive high gain distortion Wet
24. 105 Effect Guide Fixed Freq Hz This parameter sets the oscillator frequency when OSC Mode is set to Fixed Note Offset Note Fine These parameters for the oscillator are used when OSC Mode is set to Note Key Follow The Note Offset sets the pitch difference from the original note in semitone steps The Note Fine parameter fine adjusts the pitch in cent steps Matching the oscillator frequency with the note number produces a ring modulation effect in the correct key 043 P4EQ Xctr Parametric 4 Band EQ Exciter This effect combines a mono four band parametric equalizer and an exciter Wet Mono In Mono Out Dry Stereo In Stereo Out Left o A o Wet Dry gt Exciter Right o A o Wet Dry Full Quick parameter parameter Parametric 4 Band EQ Explanation Sets the parametric Trim ETrim 0 100 EQ input level Band1 Cutoff Hz Sets the center frequency of Band 1 Sets the bandwidth of Band 1 p 87 Sets the gain of Band 1 Sets the center frequency of Band 2 Sets the bandwidth of Band 2 p 87 E1 F Hz 20 1 00k Band1 Q E1Q 0 5 10 0 Band1 Gain dB Band2 Cutoff Hz E1 G dB 18 18 E2 F Hz 50 5 00k Band2 Q E2 Q 0 5 10 0 Band2 Gain dB Band3 Cutoff Hz E2 G dB 18 18 Sets the gain of Band 2 Sets the center E3 F Hz 300 10
25. 18 Sets the gain of Band 4 Phaser LFO Freq Sets the speed of the THz P LFO Hz LFO 0 02 20 00 LFO Triangle Selects the LFO Waveform Sine Waveform Sets the frequency P Manual 0 100 where the effect is applied Manual Sets the depth of LFO Depth P Depth 0 100 modulation Sets the resonance P Reso amount p 99 Resonance 100 100 Normal Selects the phaser Wet Invert output mode p 107 Output P Out Wet P W D 1 99 Dry 1 99 Wet Sets the phaser effect balance p 91 p 99 Selects the Wet Dry modulation source for the phaser Phs Source Off Tempo Sets the Wet Dry modulation amount for the phaser Phs Amount 100 100 Full Quick Explanation parameter parameter Compressor Sets the EQ input Pre EQ Trim feval LEQ Gain Sets the gain of Low dB EQ HEQ Gain Sets the gain of High dB EQ Sets the sensitivity p 83 Sets the attack level p 83 Sets the compressor output level p 83 Sensitivity C Sens Attack C Attack Level C OutLevel Wah Sets the lower limit of the wah center frequency p 89 Frequency Bottom W Freq Btm Sets the upper limit of the wah center frequency p 89 Frequency Top W Freq Top Selects the control from auto wah modulation source and LFO Selects the modulation source for the wah when Sweep Mode D mod Sets the speed of
26. Alternate Modulation lets you use controllers envelopes LFOs etc to modulate Program parameters You can use one controller to modulate multiple parameters simultane ously You can also create complex modulation setups in which for example an envelope modulates the frequency of an LFO and that LFO is then used to modulate a filter Programs provide 46 types 84 destinations for alternate modulation AMS Mixers The AMS Mixers combine two AMS sources into one or process an AMS source to make it into something new For instance they can add two AMS sources together or use one AMS source to scale the amount of another You can also use them to change the shapes of LFOs and EGs in vari ous ways modify the response of realtime controllers and more The AMS Mixer outputs appear in the list of AMS sources just like the LFOs and EGs The original unmodified inputs to the AMS Mixers are still available as well For instance if you use LFO 1 as an input to a AMS Mixer you can use the processed version of the LFO to control one AMS destination and the original ver sion to control another Finally you can cascade two AMS Mixers together by using one as the input of another For more information please see OSC1 AMS Mix on page 56 Alternate Modulation E Shape Intensity Mod Intensity Mod z AMS Alternate Modulation Source List Physical and MIDI controllers off This means that no modulation sourc
27. Amp Type Cabinet Type Wet Mono In Mono Out Dry Stereo In Stereo Out LA STUDIO LA 4x10 LA 1x18 Left Pwo JAZZ COMBO JAZZ 1x15 delim GOLD PANEL MODERN 4x10 Bass Amp Model1 Toa Cabinet Simulator SCOOPED METAL 4x10 VALVE2 CLASSIC 8x10 g VALVE CLASSIC 8x10 Right o Wet Dry DERE once CLASSIC COMBI 1x12 amp 1x18 P Quick Value Explanation A parameter _ parameter 025 TrebleBST Treble Booster LA STUDIO JAZZ This effect models a famous boost overdrive effect that was COMBO ate GOLD PANEL Selects the type of developed in order to produce a guitar orchestra effect SCOOPED amplifier p 96 and designed for use with the VOX AC30 You can use this VALVE2 VALVE to add clear boost to the signal or apply it to an organ sound CLASSIC to add an overdrive that generates rich overtones Three 0 100 Sets the output level controls allow a broad range of settings letting you create a Selects the wide variety of overdrive sounds Off Tempo modulation source for the output level Se s the modulation Heni In Mono Out Dry Stereo In Stereo Out 100 100 amount of the output Wet Dry level Sets the bass low 0 100 range level Treble Booster Sets the middle mid 0 100 range level Middle Sets the mid Range 0 4 frequency range Wet Dry Sets the treble high Treble lt 0 100 range level Sets the presence Full Quick high frequency tone parameter parameter
28. CC 94 Bn 5E vv Programs of the Strings category support only the panpot CC 10 message Separately from the effect on off settings within a program or performance you can use the Effect SW setting to turn off insert effects IFXs and master effects MFX1 and MFX2 Effect SW on page 49 of the Owner s manual Turning the All IFXs or MFX1 amp 2 Off settings Off will transmit this message with a value of vv 0 00 and turning them On will transmit a value of vv 127 7F When you turn this Off all of the corresponding effects will turn off When you turn this On the on off settings of the program or performance will apply The same applies to reception vv of 00 is off and 01 or greater is the original setting These messages are transmitted received on the global MIDI chan nel These messages are defined simply for use in adjusting the effect levels and may not have the same function on another instrument connected to the PS60 MIDI applications Messages transmitted and received by the PS60 Using various controllers Here we will explain typical ways to use the various con trollers Y Foot pedal CC 04 Bn 04 vv If the CC above is assigned as the Assignable Pedal func tion this message will be transmitted when the controller is used e You can turn transmission and reception on off for each timbre Foot Pedal on page 10 Damper pedal CC 64 Bn 40 vv This message is transmitted when you u
29. CCs on page 131 Filter cutoff CC 74 Bn 4A vv Resonance level CC 71 Bn 47 vv Filter EG intensity CC 79 Bn 4F vv Release time CC 72 Bn 48 vv Sustain level CC 70 Bn 46 vv Attack time CC 73 Bn 49 vv Decay time CC 75 Bn 4B vv LFO 1 speed CC 76 Bn 4C vv LFO 1 depth pitch CC 77 Bn 4D vv LFO 1 delay CC 78 Bn 4E vv When these CC s are received the corresponding program parameter will be controlled varying the tonal character or the envelope When the message has a value vv 64 40 the setting will have the value that was set by the program parameter e You can turn transmission and reception on off for each timbre Other CC on page 10 Note In Program Edit mode the corresponding program parameters will be temporarily edited by these messages You can Write the program to save the modified state except for certain parameters The Write operation can also be performed by a MIDI System Exclusive Program Write Request message in addition to the usual method of using the PS60 s switches When you write the data the values of the corresponding program parameters will be rewritten Note The results of receiving these messages will depend on the instrument The operation may be different when a device other than the PS60 is connected Silencing all notes on a specific channel All note off CC 123 Bn 7B 00 value 00 When this is received all currently soundin
30. Decimator Compressor 114 061 Amp Trml Amp Simulation Tremolo 115 063 Rotary SP Rotary Speaker ssssccsssscccssescessesceseees 116 MFX1 Mod Master Effect1 Modulation List 117 NO Effectans nonn ra NR 117 St Chorus Stereo Chorus sssssessssssesesssecssssssssescressssseerss 117 St Flange Stereo Flanger sscsssssccssseccsseeccsseeseeneecesneees 117 Vntg Cho Flg Vintage Chorus Flanger sssccssee 117 St Phaser Stereo Phaser wccccccscccsccssssssssessessssssessssessees 118 MFX2 Rvb Dly Master Effect2 Revreb Delay List 119 No Effect saiscesceisinsssctavsccsssseveetesssescecuusstvbesos scescsntssesansesdessevseivend 119 Hall sctessescssushevessvsssees cusatovascsesttenccasssstcessves e ER ssatissteatevetes 119 PLAC EA A A O EE E E E S 119 s1010 p IAES APERE EEEE EEEE EPE 119 Doe ley EIEEE EAEE T TATE 119 EQ Equalizer ss sseesssssssssssceressssssssesseeeseesssssss 120 EQOA EAA NEE A Sin toestieass 120 Appendices ssssssssessssssssssssoss 121 Alternate Modulation Source AMS 121 Alternate Modulation Overview ssssssssssessssssserssssssse 121 AMS Alternate Modulation Source List we 121 Alternate Modulation Settings sssccssseccsssssccsseecsssees 122 Dynamic Modulation Source Dmod 127 Foot Switch ASSIgn a cssvcscesseisvesssinasevesenstneanionss 128 Foot Pedal Assign ssssssssssseeresessssssssseeeseess
31. LFO speed is set by Off On BPM Base Note and Times instead of Frequency p 89 MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect p 89 BPM MIDI LFO MIDI Sync Sync Selects the type of Base Note hu notes that specify the LFO speed p 89 Sets the number of X1 x32 notes that specify the LFO speed p 89 Wet Sets the balance L1 99 Dr between the effect 1 99 Wee and the dry input ee p 91 p 99 Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 100 amount for Wet Dry Resonance Wet Dry The peak shape of the positive and negative Feedback value is different The harmonics will be emphasized when the effect sound is mixed with the dry sound if you set a positive value for both Resonance and Wet Dry and if you set a negative value for both Resonance and Wet Dry High Damp This parameter sets the amount of damping of the resonance in the high range Increasing the value will cut high range harmonics 030 Small Phs Small Phaser This models a classic phaser that was born in New York during the 1970s With a warm rich tone it is also loved by many electric piano players Wet Mono In Mono Out Dry Stereo In Stereo Out Left o Wet Dry Phaser x Right o j sA s i Wet Dry LFO 4 Full Quick Value Explanation parameter parameter
32. List of AMS Sources This selects the AMS input source to be quantized For a list of AMS sources please see Alternate Modulation Source AMS on page 121 Steps 2 32 This controls the severity of the effect The lower the num ber of steps the more steppy the output will be For instance when this is set to 2 there will be steps at 0 50 and 99 With a bipolar AMS input there will also be steps at 50 and 99 As another example when it is set to 5 there will be steps at 0 20 40 60 80 and 99 as well as 20 40 60 80 and 99 for bipolar inputs Tip Quantized Joystick Pitch Bend You can use the joystick to create quantized pitch bends that simulate sliding across the frets of a guitar or jump bend sounds caused by differences in the length of the tube of a trumpet To do so 1 Select the AMS Mixer as the Oscillator Pitch AMS input 2 Set the Pitch AMS Intensity to any exact half step value such as 5 00 7 00 etc 3 Set the JS X JS X amount to 0 00 4 In the AMS Mixer select the JS X as AMS A 5 Set the Number Of Steps to the same number you used in Step 2 Now playing the joystick will create quantized pitch bends JSX will still produce smooth pitch bends as usual so you can use both techniques together Gate Control AMS Mixer Type Gate Control ee Te o gt This Mixer Type lets you set up two different AMS sources or fixed AMS amounts
33. Other Main Timbres A Piano E Piano Organ Strings Brass Synth JS Y Off On Specifies whether MIDI CC 1 the Y axis of the joystick will be transmitted and received JS Y Off On Specifies whether MIDI CC 2 the Y axis of the joystick will be transmitted and received Ribbon CC 16 Off On Specifies whether or not MIDI CC 16 will be transmitted or received Foot SW Off On Specifies whether or not the effect of the assignable switch will be transmitted and received The function is assigned in Global Basic MIDI Controllers page This filter setting is valid when a MIDI control change is assigned Foot Pedal Off On Specifies whether or not the effect of the assignable pedal will be transmitted and received The function is assigned in Global Basic MIDI Controllers page This filter setting is valid when a MIDI control change is assigned Other CC Off On Specifies whether or not MIDI control messages not covered in the preceding items MIDI Filter will be transmitted and received Sub Timbres A Piano E Piano Organ Strings Brass Synth MIDI Filter Program Change iL L L L Damper Porta SW JS X as AMS JS Y Js Y Ribbon CC 16 Foot Sw Foot Pedal G SSS T See E See SERRE GB SSS E See eee Other CC MIDI Filter Program Change L C L C L C Damper Porta SW JS X as AMS JS Y Js Y Ribbon CC 16 Foot Sw Foo
34. Output Level Right o Wet Dry Full Quick Value Explanation parameter parameter Vintage Dynamic Multi Condenser Percussion Condenser Drums Dynamic Vocal Dynamic Multi Dynamic Vocal Condenser Vocal Tube Kick Dynamic Selects the type of mic Close On Sets the mic Off Far placement distance p 99 Mic Position Mic Posit Tube Low Cut Hz T LIHz Thru Sets the frequency of 21 8 00k the low cut filter IFX Insert effects List 029 Stereo Phaser 53 20 00k Sets the frequency of Thru the high cut filter T H Hz Sets the input gain to T G Hz 24 0 24 0 the vacuum tube preamp Sets the input output Saturation T Saturat 0 100 response of the preamp p 98 Sets the bias level of Tube Bias T Bias 0 100 the preamp p 98 Sets the output level Tube Output Lvl dB of the preamp Level dB 48 0 0 0 Sets the balance between the effect and the dry input Dry 1 99 Wet Dry 99 1 Wet Selects a modulation Source Off Tempo source for Wet Dry Sets the modulation Amount 100 100 mount for Wet Dry Mic Position This expresses the effect that the mic position has on the sound The Close setting is the closest mic position and the Far setting is the farthest 029 Stereo Phaser This effect creates a swell by shifting the phase It is very effective on electric
35. PROG SPLIT SETTING CTRL PERF EDIT GLOS UTILITY EASY SETUP o E MOD SEND REWDLY SEND LI yy Stereo Piano Damper Equallemp yy Stereos Piano Damper Equallemp S Stereo Piano Damper EqualTemp OSC1 Pitch High OSC2 Multi Sample OSC2 Pitch Mid High APIANO E PIANO ORGAN STRINGS BRASS SYNTH MODULATION REVERB DELAY T CHORUS PLATE RATE DEPTH FB TIME LEVEL FB BASS MID TREBLE LI gt Mono RAPo Equalremp L i gt Mono AE Equallemp L_ n gt Mono A Piano Equaltemp L osc Common Pitch EG Mid Low Low Start Offset Level Reverse Cross fade Bottom Vel Range Start Offset Level Reverse Cross fade Bottom Vel Range Start Offset Level Start Offset Level Reverse Reverse Cross fade Bottom Vel Range Curve gt Linear Curve These pages control the first and most basic elements of sounds the Multisamples that the oscillators play and the pitch used to them For instance you can e Select Multisamples for Single and Double Programs e Set up velocity splits crossfades and layers for Single and Double Programs e Set the basic pitch of the sound including the octave fine tuning and so on e Control pitch modulation using a variety of controllers such as LFO pitch EG and the joystick Note that when the Oscillator Mode is set to Single only Oscillator 1 s filters are active the pages for Oscillator 2 s fil ters will be grayed out OSC
36. Presence i 0 100 Explanation Off On Switches the cabinet CabinetOn CabinetSim i simulator on off Sets the gain for overdrive Drive LA 4x10 MODERN 4x10 METAL 4x10 CLASSIC 8x10 UK 4x12 STUDIO Selects the cabinet 1x15 type p 96 JAZZ 1x15 VOX AC100 2x15 US 2x15 UK 4x15 LA 1x18 COMBI 1x12 amp 1x18 0 100 Sets the output level Sets the tone for 1 100 overdrive 7 Sets the balance DY ey between the effect i and the dry input Cabinet T abinet lype Selects a modulation source for Wet Dry Off Tempo Sets the modulation 100 100 amount for Wet Dry Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 4100 amount for Wet Dry 97 98 Effect Guide 026 Tube Pre Tube PreAmp Modeling This effect simulates a two stage vacuum tube preamp You can make individual settings for two vacuum tubes connected in series This lets you create the warm sound typical of vacuum tubes Wet Mono In Mono Out Dry Stereo In Stereo Out Left o o Wet Dry Tube Pre Amp1 t gt 2 Tube Pre Amp2 Output Level Right o Wet Dry Full Quick parameter parameter Value Explanation Sets the cutoff frequency for the
37. RATE DEPTH FB TIME LEVEL FB BASS MID TREBLE I a WS lt alle 7 LL On this page you can adjust the settings for the master effects These settings consist mainly of the following MFX1_ No Effect Stereo Chorus Stereo Flanger Vintage Cho Flg Stereo Phaser MFX2 No Effect Hall Plate Room Delay These select the effect type for each master effect pages 117 119 Click the effect type and choose from the list that appears If you choose No Effect the output from the master effect will be muted Return 1 000 127 Return 2 000 127 These specifies the return level from the master effect to the L R bus after which it passes through EQ and is sent from OUTPUT L MONO and R Chain Mastern FX Chain Off On On Master effects 1 and 2 will be connected in series in the order of master effect 1 master effect 2 Chain Level 000 127 When chain is On this sets the level at which the sound is sent from the first master effect to the next master effect 11 12 Performance Edit MFX1 Here you can set the effect parameters for the master effect 1 you selected in the MFX page MFX amp EQ Routing MEFX1 Mod Master Effectl Modulation List on page 117 MFX2 Here you can set the effect parameters for the master effect 2 that you selected in the MFX page MFX amp EQ Routing MFX2 Rvb Dly Master Effect2 Revreb Delay List on page 119 EQ The mas
38. Sets the attack level p 83 Level C Level Sets the compressor output level p 83 Pre EQ Trim Sets the EQ input level LEQ Gain dB Sets the gain of Low E HEQ Gain dB Sets the gain of High EQ Amp Simulation Amp Type A Amp Type SS EL84 6L6 Selects the type of guitar amplifier Routing Route Comp gt Amp Amp gt Comp Switches the order of the compressor and amp simulation Wet Dry Dry 1 99 99 1 Wet Sets the balance between the effect and the dry input Off Tempo Selects a modulation source for Wet Dry 100 100 Sets the modulation amount for Wet Dry 048 Comp OD Compressor Overdrive Hi Gain This effect combines a mono compressor and an overdrive high gain distortion You can change the order of the effects Wet Mono In Mono Out Dry Stereo In Stereo Out Left Routing Wet Dry Compressor x 3 Band PEQ Driver La AAA Output Level Wet D Comp HAL H x i Output Level J Mode Overdrive Hi Gain Drive Right L gt s i Aia I Dry t gt Envelope Control Full Quick Explanation parameter parameter Compressor Sets the sensitivity p 83 Sets the attack level p 83 Sets the compressor output level p 83 Sensitivity C Sens Attack C Attack Level C Level Ove
39. Sets the speed of the LFO p 89 LFO Hz 0 02 20 00 Selects a modulation Off Tempo source for LFO speed 20 00 Sets the modulation 20 00 amount of LFO speed When this is on the LFO speed is set by Off On BPM Base Note and Times instead of Frequency p 89 MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect p 89 Selects the type of notes that specify the LFO speed p 89 BPM MIDI LFO MIDI Sync Sync Base Note 89 90 Effect Guide Sets the number of Times notes that specify the LFO speed p 89 Specifies whether the auto wah sweep is normal or inverted Auto Polarity Sets the output level Output Level Out Level of the effect sound Sets the auto wah s Auto Attack attack speed Selects the modulation source that will control the effect output level Source Off Tempo Sets the modulation amount of the effect output level 100 100 Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 100 Z mount for Wet Dry Shape This parameter specifies the sweep curve of the wah It applies to all control via auto wah modulation source and LFO and lets you adjust subtle nuances of the wah effect Mode Frequency Bottom Frequency Top Resonance Bottom Re
40. This models the sound of two popular vintage effects an analog chorus and an analog flanger It produces the warm rich sound that is characteristic of an analog effect Low feedback levels produce a tone that s appropriate for chorus and raising the feedback level will automatically switch to a tone that s appropriate for flanger meaning that you can obtain a broad range of sounds from chorus to flanger simply by adjusting three knobs This is a modeling effect Mono In Mono Out Left o Feedback Chorus Flanger 3 Right o Rate Depth LFO gts Full Quick Value Explanation parameter parameter Rate Hz lt 0 02 10 00 LFO speed 0 100 Modulation depth Depth lt Feedback lt 0 100 Feedback amount Depth Separately from the LFO modulation depth you can also adjust the depth of the phaser effect by editing the effect level Use the MOD Send level and the Return 1 level to make adjustments 117 118 Effect Guide St Phaser Stereo Phaser This effect creates modulation by shifting the phase of the sound It is effective when applied to sounds such as electric piano This is a stereo effect in which opposite phase LFOs for the left and right produce a more spacious phaser effect Stereo In Stereo Out Left o if gt Phaser Full parameter parame
41. Threshold 99 4 99 This sets the AMS level which will trigger the EG reset Threshold on page 34 43 44 Program Edit Filter2 This page controls Oscillator 2 s basic filter 2 settings It is available only when the Oscillator Mode is set to Double if not the page will be grayed out The parameters are identical to those for Oscillator 1 Filter1 on page 35 Filter2 Modulation This page controls Oscillator 2 s filter modulation It is avail able only when the Oscillator Mode is set to Double if not the page will be grayed out The parameters are identical to those for Oscillator 1 Filteri Modulation on page 38 Filter2 LFO Mod This page controls Oscillator 2 s LFO filter modulation It is available only when the Oscillator Mode is set to Double if not the page will be grayed out The parameters are identical to those for Oscillator 1 Filter1 LFO Mod on page 41 Filter2 EG This page controls Oscillator 2 s Filter EG It is available only when the Oscillator Mode is set to Double if not the page will be grayed out The parameters are identical to those for Oscillator 1 Filterl EG on page 42 EASY SETUP 000 Grand Piano MOD SEND 4 PIANO d 120 00 PROG PERF EDIT GLOS UTILITY AMS Mixer me Ge Amp1 EG Amp2 EG Amp2 Modulation Keyboard Track o yen ME oc REVDLY SEND S fm Simm lt SPLIT SETTING CT
42. aimed at allowing relatively free transposition although Type Equal Temperament User Octave Scale 03 you ll still notice that the different keys maintain their own This selects the basic scale for the performance distinct characteristics unlike Equal Temperament Note that for many of the scales the setting of the Key J S Bach was referring to these new scales in his title The parameter below is very important Well Tempered Clavier As such this group are particu Equal Temperament This is the most widely used scale by larly appropriate for late baroque organ and harpsichord far in which each semitone step is spaced at equal pitch music intervals Kirnberger Kirnberger III This is a second Well Tem Equal Temperament allows easy modulation so that a pered tuning dating from the early 18th century chord progression played in the key of C sounds roughly Slendro This is an Indonesian gamelan scale with five the same as the same progression played in F Sacrificed notes per octave however is some of the purity of individual intervals When Key is set to C use the C D F G and A notes Other offered by the scales below keys will play the normal equal tempered pitches Pure Major In this temperament major chords of the Pelog This is another Indonesian gamelan scale with seven selected key will be perfectly in tune notes per octave Pure Minor In this temperament minor chords of the When K
43. stro a FILTER an Reverb Delay Return 2 G mulls mes ee Litera B See EQ Master Level 5LFOs SEGs 0 O l L R Stereo stereo AUDIO OUTPUT o FILTER2 L Mono R 4 multisamples FilterA B AMP2 Effect switch listed in the Quick parameter column or if this column indicates lt same name as full parameter that parame ter can be edited on the PS60 itself e In the Global page you can switch effects on off as a whole for the performance or program This is useful when you want to use an outboard effect processor to The PS60 Editor allows you to edit all of the effect parame apply an effect instead of using the master effects See ters You ll use the PS60 Editor Plug In Editor to perform Effect SW See Effect SW on page 49 of the Owner s detailed editing of parameters such as dynamic modulation manual Dynamic modulation Dmod and Use caution when changing the category Tempo Synchronization If you change the category and then save the program the followi ill i 7 i P EER Dynamic modulation Dmod Dynamic modulation lets you control certain effects param eters in real time using either the built in controllers or e If you save a program to the Strings category from a different category the insert effect will not be available e If you save a program from the Strings category to a MIDI These effect parameters are marked with the logo d
44. value of 12 you would first transmit B0 64 02 64H CC 100 and BO 65 00 65H CC 101 to the PS60 to select the RPN coarse tune Then you would set this to 12 by transmitting BO 06 34 06H CC 6 34H 52 corresponds to 12 and B0 26 00 26H CC 38 00H 0 3 The volume of the PS60 is determined by multiplying the Volume CC 07 with the Expression CC 11 4 A value of 64 will correspond to the value specified by the program parameter 0 is the minimum and 127 is the maximum Changing from 63 1 or from 65 126 will adjust the effect from the program parameter setting toward the minimum value or maximum value For details about the specific parameters controlled by these CCs please see Parameters controlled by MIDI CCs 70 79 on page 133 5 Controlled on the global MIDI channel PS60 and MIDICCs Parameters controlled by MIDI CCs 70 79 When a performance receives CC 70 79 messages for a tim Parameters controlled by MIDI CCs bre whose MIDI channel matches the message the corre 70 79 sponding program parameter will temporarily be in an edited state However it is not possible to save this change CC 70 79 correspond to the PS60 s program parameters Program parameters that were edited by receiving messages listed below 70 Sustain level on the global MIDI channel in Program Edit mode can be saved by the Write operation Internal parameters controlled by the CC Filter Amp EG Sust
45. 10k 24k 12db oct 24db oct i 24 12 I Low Pass g 12dB oct 12 i 24 24 160 ik 16k 24k t Low Pass 0 l 24dB oct 12 gi _N Filter A LPF Low Pass 12dB oct HPF High Pass 12dB oct BPF Band Pass 6dB oct BRF Band Reject 6dB oct The filter will produce very different results depending on the selected filter type The selections will change slightly according to the selected Filter Routing to show the correct cutoff slope in dB per octave Filter Type LPF This cuts out the parts of the sound which are higher than the cutoff frequency Low Pass is the most common type of filter and is used to make bright timbres sound darker HPF This cuts out the parts of the sound which are lower than the cutoff frequency You can use this to make timbres sound thinner or more buzzy BPF This cuts out all parts of the sound both highs and lows except for the region around the cutoff frequency Since this filter cuts out both high and low frequencies its effect can change dramatically depending on the cutoff set ting and the oscillator s multisample With low resonance settings you can use the Band Pass fil ter to create telephone or vintage phonograph sounds With higher resonance settings it can create buzzy or nasal tim bres BRE This filter type also called a notch filter cuts only the parts of the sound that are directly around the cutoff fre quency Try modulating th
46. 99 99 1 Wet Off Tempo Amount 100 100 Amp Simulation Selects the type of Amp Type guitar amplifier AAmp Type SS EL84 6L6 Switches the order of the wah and amp simulation Wah gt Amp Routing Route Amp Wah Sets the balance between the effect and the dry input Dry 1 99 Wet Dry 99 1 Wet Selects a modulation Source source for Wet Dry Off Tempo Sets the modulation 100 4100 amount for Wet Dry Amount 113 114 Effect Guide 059 Deci Amp Decimator Amp Simulation This effect combines a mono decimator and an amp simulation You can change the order of the effects 060 Deci Comp Decimator Compressor This effect combines a mono decimator and a compressor You can change the order of the effects Wet Mono In Mono Out Dry Stereo In Stereo Out Left A o Routing Wot Dry __Amp Simulation Decimator Resolution Output Level A J p Decimator Pre LPF High Damp Amp Simulation Filter Right A mine Full Quick Explanation parameter parameter Decimator Turn the harmonic noise caused by lowered sampling on and off p 93 Pre LPF D Pre LPF Off On Sampling 1 00k 48 00 Sets the sampling Freq Hz D Fs Hz k frequency Sets the ratio of high range damping High Damp 196 0 100 Sets the dat
47. 99 99 This controls the depth and direction of Filter A cutoff mod ulation from LFO1 LFO modulation of Filter Cutoff Low setting High setting Filter LFO1 Intensity to B FItLFO1toB 99 99 This controls the depth and direction of Filter B cutoff mod ulation from LFO1 Rnd1 S H Th Rnd4 Cnt yA Random1 Random4 S H Continuous Rnd2 S H Lay Rnd5 Cnt Wh Random2 Random5 S H Continuous Rnd3 S H TILA Rnd6 Cnt WA Random3 Random6 S H Continuous Quick OSC2 Filter LFO 2 Intensity to A FItLFO2toA 99 99 This controls the depth and direction of Filter A cutoff mod ulation from LFO2 Filter LFO1 Intensity to A FItLFO1toA on page 20 Filter LFO2 Intensity to B FItLFO2toB 99 99 This controls the depth and direction of Filter B cutoff mod ulation from LFO2 Amp LFO1 Intensity AmpLFO1Int 99 99 This controls the depth and direction of Amp modulation from LFO1 Negative settings will invert the phase of the LFO Amp LFO2 Intensity AmpLFOZ2Int 99 99 This controls the depth and direction of Amp modulation from LFO2 Negative settings will invert the phase of the LFO Pitch LFO1 AMS Intensity P LFO1 AMS Int 12 00 12 00 This specifies the depth and direction of the pitch modula tion produced by AMS LFO1 With a setting of 0 modulation will not be applied With a setting of 12 00 the AMS LFO1 will apply a maximum of 1 octave of pit
48. C 1 G9 This sets the highest key where Oscillator 1 will play OSC2 Bottom Key C 1 G9 This sets the lowest key where Oscillator 2 will play Top Key C 1 G9 This sets the highest key where Oscillator 2 will play Hold On Off Hold is like permanently pressing down on the sustain pedal In other words notes continue to sound as if you were holding down the key even after you lift your fingers from the keyboard Unless the Sustain Level is set to 0 in Amp EG 1 and Amp EG 2 ina Double Program the sound will play for the entire length of the multisample s On The Hold function is enabled for the range set by the Hold Bottom and Hold Top parameters below Off Notes will play normally This is the default setting Hold Bottom Key C 1 G9 This sets the lowest key affected by the Hold function Hold Top Key C 1 G9 This sets the highest key affected by the Hold function Using Hold with Acoustic Pianos Hold is also useful for simulating the top octaves of an acoustic piano in which notes always sustain until they fade out naturally regardless of how long you hold the key The Hold Bottom Key and Hold Top Key parameters are designed for exactly this purpose They let you limit the effect of the Hold parameter to a specific range of the key board 23 24 Program Edit Program Basic e Set the Program to play polyphonically or monophonically Voice Assign Mode Voice Assig
49. C6 C2 C7 C3 C8 Note If Convert Position is set to PreMIDI the note numbers transmitted from the PS60 will be affected by the Key Trans pose setting M Master Tune can be controlled by the MIDI universal System Exclusive message Master Fine Tuning FO 7F nn 04 03 vv mm F7 nn MIDI channel vv mm value Transpose can be controlled by the MIDI universal System Exclusive message Master Coarse Tuning FO 7E nn 04 04 vv mm F7 nn MIDI channel vv mm value These messages are received on the global MIDI chan nel specified by MIDI Channel Global MIDI Chan nel page 72 For a Performance each timbre s tuning and transpose can be controlled by receiving MIDI RPN messages Incoming MIDI RPN Fine Tune messages will make rel ative adjustments to the tuning specified by the MTune setting MIDI RPN Coarse Tune messages will make relative adjustments to the pitch specified by the Transpose setting These are controlled on each timbre s MIDI channel Transpose Detune page 8 Octave 3 0 3 This shifts the pitch of the performance or program in one octave steps across a range of six octaves Velocity Curve Vel Curve 1 9 This specifies the way that the volume and or tone will change in response to variations in keyboard playing dynamics velocity The curves you can select will depend on the Convert Posi tion page 72 setting If the setti
50. CC 16 Controller CC 17 Controller CC 18 Controller CC 19 Controller CC 20 Controller CC 21 Bank select LSB Data entry LSB Damper Portamento On Off Sostenuto Soft pedal Sustain level Filter resonance level Release time Attack time Filter cutoff frequency Decay time LFO1 speed LFOT depth pitch LFO1 delay Filter EG intensity SW1 modulation On Off SW2 modulation On Off Foot switch On Off Controller CC 83 Controller CC 85 Controller CC 86 Controller CC 87 Controller CC 88 Effect depth 1 send 2 level Effect depth 2 IFX 1 5 On Off Effect depth 3 send 1 level Effect depth 4 MFX 1 2 On Off Effect depth 5 EQ On Off Data increment Data decrement NRPN LSB NRPN MSB RPN LSB 0 Bend range 1 Fine tune 2 Coarse tune 101 RPN MSB 0 102 119 Program change Channel aftertouch Pitch Bend Universal exclusive Master volume Master balance Master fine tune Master coarse tune When you use a controller on the PS60 the corresponding or assigned control change will be transmitted The excep tion is that when you move the joystick in the X horizontal direction pitch bend change messages w
51. CC 6 Bn 06 mm and data entry LSB CC 38 Bn 26 vv n channel mm vv upper and lower bytes of the value together expressing 16 384 levels to specify the value 3 You can use data increment CC 96 Bn 60 00 or data decrement CC 97 Bn 61 00 n channel value is fixed at 00 to change the value in steps of one The PS60 can receive the following three RPN messages tuning transpose and pitch bend range Tuning RPN fine tune Bn 65 00 64 01 This RPN message can be used to adjust the detuning for a timbre The procedure is as follows Bn 65 00 64 01 Select RPN parameter 01 Bn 06 mm 26 vv Use data entry to set the value A value of 8192 mm vv 40 00 is center 0 mm vv 00 00 is 100 cents and 16383 mm vv 7F 7F is 99 cents Note You can use the universal exclusive Fine Tune message to adjust the overall tuning that corresponds to the Master Tune page 70 parameter Please see About system exclu sive messages on page 138 Transposing RPN coarse tune Bn 65 00 64 02 This RPN message can be used to adjust the transposition for a timbre The procedure is as follows 1 Bn 65 00 64 02 Select RPN parameter 02 2 Bn 06 mm 26 vv Use data entry to set the value Normally only the upper byte is used A value of 8192 mm vv 40 00 is center 6656 mm vv 34 00 is 12 semitones and 9728 mm vv 4C 00 is 12 semi tones You can use the univ
52. Dry Switches the order of the decimator and compressor Dec gt Cmp Routing Route Cmp Dec Sets the balance between the effect and the dry input Dry 1 99 Wet Dry 99 1 Wet Selects a modulation Source Off Tempo source for Wet Dry Sets the modulation 100 100 Zmount for Wet Dry Amount IFX Insert effects List 061 Amp Trml Amp Simulation Tremolo 061 Amp Trml Amp Simulation Tremolo This effect combines a mono amp simulation and a tremolo Wet Mono In Mono Out Dry Stereo In Stereo Out Left o Pra T Dry __Amp Simulation Tremo Amp Simulation Filter gt Tremolo uy Right aa 1 Dry FO Tri Sin Vintage Up Down gt LFO Shape Full Quick Explanation parameter parameter Amp Simulation Selects the type of Amp Type guitar amplifier AAmp Type SS EL84 6L6 Tremolo Triangle LFO Sine Selects the LFO Waveform Vintage Up Waveform p 103 Down Changes the 100 100 curvature of the LFO Waveform p 90 LFO Shape LFO Freq Hz Sets the speed of the 0 02 20 00 LFO T LFO Hz Sets the depth of LFO modulation Depth T Depth 0 100 Sets the balance Dry 1 99 between the effect Wet Dry 99 1 Wet and the dry input Selects a modulation Source Off Tempo source for Wet Dry Sets the m
53. FB BASS MID TREBLE PERF EDIT GLOB UTILITY SPLIT SETTING CTRL Basic MIDI Controllers Basic Setup te 00 a a la PS6O0 kh Settings in the Basic MIDI Controllers Category pages are remembered while the PS60 Editor Plug In Editor is running but will return to the settings prior to start up when you close the PS60 Editor Plug In Editor By clicking the DUMP button located in the upper right of each Global mode page the settings at that time will be saved on the PS60 itself Basic Setup Here you can adjust settings such as master tuning turn all effects on off and specify the memory protect setting The parameters is the same as for PS60 Quick parameters Basic Master Tune 50cent 427 47Hz 50cent 452 89Hz This adjusts the overall tuning of the entire PS60 in one cent units semitone 100 cents over a range of 50 cents With a setting of 0 the frequency of A4 will be 440 Hz The A4 pitch given here is when Equal Temperament is selected as the scale If a different scale is selected A4 may not be 440 Hz No Function No Function LE No Function No Function Key Transpose 12 00 12 This adjusts the pitch in semitone steps over a 1 octave range This setting is applied at the location PreMIDI or PostMIDI specified by Convert Position page 72 MIDI number transmitted by thePS60 12 0 12 24 84 36 96 48 108 C1
54. Gate Control uses a third AMS source to switch between two AMS inputs or a fixed value For more information please see Gate Control on page 59 55 56 Program Edit AMS Mixer2 Mixer Type A B Amt AxB Offset Smoothing Shape Quantize Gate Control This is the second AMS Mixer for Oscillator 1 The parame ters are exactly the same as those for AMS Mixer 1 AMS Mixer1 on page 55 OSC 2 This page controls the two AMS Mixers for Oscillator 2 These are available only when the Oscillator Mode is set to Double if not the page will be grayed out The parameters are identical to those for Oscillator 1 OSC1 on page 55 OSC1 AMS Mix GE AMS Mixer1 A B AMS Mixer Type A B AmtA Amt B A B merges two AMS sources into one This can be handy when you need to add one more modulation source to a parameter but you ve already used up all of the available AMS slots For instance let s say that you re using an LFO to modulate Filter Resonance and then you decide that it would be inter esting to scale that parameter with an EG as well Resonance has only a single AMS input but you can easily merge the LFO and the EG together using the A B AMS Mixer 1 Assign the LFO to AMS A 2 Assign the EG to AMS B 3 Assign the AMS Mixer as the Filter Resonance AMS source AMS Mixer A B example amsatro AWWA AMS B EG A B Output AMS A Source This selects the first AMS inpu
55. LFO speed 20 00 Sets the modulation Amount 20 00 amount of LFO speed LFO Freq Hz LFO Hz 0 02 20 00 Sets the speed of the LFO Selects the Source Off Tempo modulation source for the output level Sets the modulation 100 100 amount of the output level When this is on the LFO speed is set by BPM oa Off On Base Note and Times instead of Frequency BPM MIDI LFO MIDI Sync Sync MIDI syncs to the MIDI system tempo 40 300 40 00 sets the tempo 300 00 manually for this individual effect Selects the type of notes that specify the LFO speed Base Note Ao Sets the number of notes that specify the LFO speed Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 100 mount for Wet Dry Pre LPF If a sampler with a very low sampling frequency receives very high pitched sound that could not be heard during playback it could generate pitch noise that is unrelated to the original sound Set Pre LPF to On to prevent this noise from being generated If you set the Sampling Fre to about 3 kHz and set Pre LPF to Off you can create a sound like a ring modulator Resolution bit Output Level If you set a smaller value for the Resolution parameter the sound may be distorted The volume level may also b
56. Level Level Reverb amount Feedback lt Feedback amount Room This is a room type reverb with an emphasis on the early reflections producing a tight feel Full Quick Explanation parameter parameter Reverb Time timetsec Reverb time sec Reverb Level Level Reverb amount Feedback lt Feedback amount Feedback This controls the amount by which the high frequency range is attenuated A setting of 0 is maximum attenuation producing a dark sound A setting of 100 is the minimum attenuation producing a bright sound that extends to the high range 119 Effect Guide EQ Equalizer EQ Choose this if you don t want to use an effect When selected for the master effect this mutes the output Full Quick Value Explanation parameter parameter Trim 0 100 Input level oe Gain BassGain 18 0 18 0 Low band gain Peaking Bass Type Bass Shelving Low band type Low BassFreq BassFreq 00 98 Low band center Hz frequency Bass Q Bass Q 0 5 10 0 Low band width va Gain Mid Gain 18 0 18 0 Mid band gain Mid Freq Mid Freq 00 165 Mid band center Hz frequency Mid Q Mid Q 0 5 10 0 Mid band width EQ Bass Mid Treble Bass Mid Treble Frequency Frequency Frequency 120 Appendices Alternate Modulation Source AMS Alternate Modulation Overview Alternate Modulation Sources
57. Multiband Limiter Trigger Monitor Turning this parameter On will cause the trigger signal to be output instead of the effect sound Use this parameter to check the trigger signal with EQ applied Usually this should be set to Off PEQ Insert PEQ Cutoff Hz Q Gain dB These parameters are used to set the EQ amount that s applied to the trigger signal The Limiter determines whether the compression is applied or not based on the post EQ trigger signal Setting the equalizer allows you to set the Limiter to respond to any frequency band 004 MulLimitr Multiband Limiter This effect applies the Limiter to the low range mid range and high range of the input signal You can control dynamics for each range to adjust the sound pressure of the low range mid range and high range in a different way from the EQ Wet Mono In Mono Out Dry Stereo In Stereo Out Left Band Pass Filters Wet Dry Low EF m M a Limiter l gt Envelope Control 7 Mid Low Offset Toe gt Limiter 2l gt Envelope Control 7 Gain Adjust High Mid Offset Rs gt Limiter Gl CEnvelope Control i High Offset Right gt a Aa Full Quick Value Explanation parameter parameter 1 0 1 50 0 1 Sets the signal Inf 1 compression ratio p 84 Sets the level above which the compressor is applied p 84 Sets the
58. OL Linear 1 9 10E Exp Log This sets the curvature of the Decay segment the transition from the Attack level to the Break level Slope OL Linear 1 9 10E Exp Log This sets the curvature of the Slope segment the transition from the Break level to the Sustain level EG Reset Source AMS Velocity Time Modulation Start Attack Break ee 68 68 68 AMS Source Threshold 66 Source AMS1 Filter Kbd Trk AMSZ AMS Mixer2 Attack Decay Slope Release 88 08 05 24 S i ama mamaaa 00 66 00 05 e ee AMSZ Common Kbd Trk 2 99 99 23 00 Amp Amp2 Modulation Release OL Linear 1 9 10E Exp Log This sets the curvature of the Release segment the transi tion from the Sustain level to the Release level Level Modulation These settings let you use any AMS source to control the Level parameters of the EG The Start Attack and Break levels share a single AMS source but can each have differ ent modulation intensities Level Modulation on page 33 AMS Source List of AMS Sources This selects an AMS source to control the EG s Level param eters For a list of AMS sources please see Alternate Modulation Source AMS on page 121 Start 99 99 This controls the depth and direction of the AMS modula tion for the Start level For example if you set the AMS source to Velocity and set St Start to 99 the Start level will incre
59. OSC Mode Fixed Sets the upper limit of the frequency range for which very low harmonics are added p 92 Sets the sensitivity with which very low harmonics are added Fixed Freq Hz Fixed Hz 10 0 80 0 Source Env Pre LPF Env Pre LPF Env Sens Sets the oscillator s 100 4100 volume envelope curve Env Pre LPF This parameter sets the upper limit of the frequency range where very low harmonics are added Adjust this parameter if you do not want to add lower harmonics to the higher range 017 Talk Mod Talking Modulator This effect adds an unusual character like a human voice to the input signal Modulating the tone via dynamic modulation you can create an interesting effect that sounds as if the guitar or synthesizer is talking Wet Mono In Mono Out Dry Stereo In Stereo Out Left o o Wet Dry Talking Modulator A I U E O 7 car Wet Dry a Voice Top A jgsennang 0 0 9 Voice Center nee Value Explanation parameter parameter Switches between modulation source control and LFO control Sweep Mode D mod LFO Bottom 1 49 Center Voice pattern control 51 99 Top Manual Voice Ctrl Selects the modulation source that controls the voice pattern Off Tempo Sets the frequency 100 100 where the effect is applied p 93 Sets the Level of resonance of the voice pattern p 9
60. Status vant Snr MIDI Ch S Gch Gh YGch Bank MSB J Bank LSB gt INT MIDI Status nT MIDI Ch S Gch Gh Fih Bank LSB gt INT gt INT osc Force OSC Mode OSC Select Portamento ose Force OSC Mode OSC Select Portamento Performance Edit With the MN or LGT settings the Program s setting will determine the priority of the note that sounds when you play two or more notes OSC Select BTH OSC1 OSC2 This parameter specifies whether the timbre s program will play OSC1 OSC2 or both For programs whose Oscillator Mode is Double this set ting lets you specify that only OSC1 or OSC2 will sound BTH Both OSC1 and 2 will sound as specified by the set tings of the program OS1 Only OSC1 will sound O82 Only OSC2 will sound Programs will not sound if Oscillator Mode is set to Single or Drums Portamento PRG Off 001 127 This parameter allows you to select portamento settings for each timbre PRG Portamento will be applied as specified by the pro gram settings Off Portamento will be off even if the original program set tings specified Portamento to be on 001 127 Portamento will be applied with the portamento time you specify here even if it is turned off by the program settings w If the Status page 7 is set to INT CC 05 porta mento time and CC 65 portamento switch messages will be received and will control and change
61. Threshold Sets the center B3 F HZz 300 10 00k frequency of Band 3 Sets the bandwidth of Band 3 p 87 Sets the gain of Band 3 Band3 Q B3Q 0 5 10 0 Band3 Gain dB Band4 Cutoff Hz B3 Gain 18 0 18 0 Sets the center B4 F Hz 500 20 00k frequency of Band 4 Sets the bandwidth of Band 4 p 87 Sets the gain of Band 4 Sets the balance Dry 1 99 between the effect Release 1 B4 Q 0 5 10 0 B4 Gain 18 0 18 0 i Attack 100 Release 100 Release 22 td Wet and the dry input OER ofttempo Selecta meatiain This inverts the polarity of the gate on off operation With 100 100 Sets the Beta the setting the gate will close when the input signal exceeds the specified level The direction in which the Band1 Type modulation source opens or closes the gate will also be Band4 Type reversed Selects a filter type for Band 1 and 4 IFX Insert effe
62. Transpose 60 60 Rel This Relative parameter adds to or subtracts from the Oscil lator s Transpose setting Transpose on page 30 PtchSlope Pitch Slope 1 0 2 0 Normally this should be set to the default of 1 0 Pitch Slope pitch and note 2 Pitch 1 2oct t 1 oct loct 1 c4 C5 Note on keyboard Positive values cause the pitch to rise as you play higher on the keyboard and negative values cause the pitch to fall as you play higher on the keyboard 19 20 Program Edit When this is set to 0 playing different notes on the key board won t change the pitch at all it will be as if you re always playing C4 This can be useful for special effects sounds for instance Pitch JS X 60 12 This specifies in semitones mitones how much the pitch will change when the joystick is moved to the right or when a pitch bend message is received For normal pitch bend set this to a positive value For example if you set this to 12 and move the joystick all the way to the right the pitch will rise one octave above the original pitch Pitch JS X 60 12 This specifies in semitones how the pitch will change when the joystick is moved to the left or when a pitch bend mes sage is received For normal pitch bend set this to a nega tive value For example if you set this to 60 and move the joystick all the way to the left the pitch will fall five octaves below th
63. Use From to select the copy source LFO 2 Use Program to select the copy source program 3 Use To to select the copy destination LFO Swap LFO 1 amp 2 Swap LFO 1 amp 2 is available on all of the LFO pages except for the Common LFO tab This command copies the settings of LFO1 to LFO2 and vice versa Note If LFO2 is being used to modulate LFO1 this com mand will erase that modulation routing since the LFOs cannot modulate themselves Copy Insert Effect This command copies the effect settings from the program you specify Use the From field to select the copy source mode bank and number The Send 1 and Send 2 settings will also be copied Copy Insert Effect is available on all of the tabs under the IFX page Copy MFX EQ This command copies the effect and or EQ settings from a program or performance saved in the PS60 s internal mem ory to the performance you re currently using Copy AFX EQ is available on all of the tabs under the MFX EQ page From Mode Prog Perf Select the type of copy source either program or perfor mance Src Source A000 name 000 name Select the bank and number of the copy source 67 68 Program Edit FX All Mod Rev Dly EQ Specify whether you want to copy effect settings and or EQ settings Load Loads the PS60 Editor Plug In Editor data that was previ ously saved on the computer Save Saves data from the PS60
64. When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency p 89 Dmod Source Src Off Tempo BPM MIDI LFO MIDI Sync Sync 101 102 Effect Guide MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect p 89 Selects the type of notes that specify the LFO speed p 89 Base Note Sets the number of notes that specify the LFO speed p 89 Sets the amount of resonance intensity control via LFO D mod Mod Depth Mod Depth 100 100 Sets the voice Pitch for resonance p 102 Voice1 Pitch V1 Pitch Fine adjusts the voice 1 pitch for resonance p 102 Fine cents Sets the Voice1 Level V1 Level output level Sets the intensity of resonance when Control Mode Manual p 102 Voice1 100 100 Resonance Sets the damping High Damp amount of resonant sound in the high range p 102 Sets the Voice stereo Pan i image Sets the voice 2 Pitch for resonance p 102 Voice2 Pitch V2 Pitch Fine adjusts the voice 2 pitch for resonance p 102 Fine cents Sets the Voice2 Level V2 Level output level Sets the intensity of resonance when Control Mode Manual p 102 Voice2 R V2 Reso esonance 100 100 Voice 1 Pitch Voice 1 Fine cents Voice 2 Pitch Voice 2 Fine cents The Pitch parameter specifies the pitch of resonance by note name
65. all Timbres at the same time while preserving their relative balance If an external MIDI device connected to the PS60 supports this message its overall system volume can be controlled Foot Pedal CC 04 You can use this general purpose controller as an AMS or Dmod source Note that you ll also need to assign Foot Pedal CC 04 to control the desired parameter within the Program or Effect Porta Time CC 05 Controls the speed at which portamento will change the pitch Volume CC 07 Control the volume of a Performance or Program PostIFXPan CC 08 Control the pan after passing through the Insert Effect Strings excepted Pan CC 10 Control the pan of a timbre in a Performance Expression CC 11 Expression is a secondary volume control which you can use to scale level without affecting the main volume settings or CC 7 values For more information please see Expression CC 11 on page 129 FX Ctrl 1 amp 2 CC s12 amp 13 These assignments are intended for Effect Dynamic Modu lation Dmod Note that you ll also need to assign FX Ctrl1 or 2 to control the desired parameter within the Effect MOD Send CC 93 The foot pedal will control the send level to the master effect 1 MFX1 of the performance s timbres At the same time the post insert effect send level to master effect 1 MFX1 for matching MIDI channels will also be controlled REV D Send CC 91 The foot pedal will control the send level
66. amount of time the sound will play as soon as you release the key You can use this to create the click heard when a harpsichord note is released for instance In general when you use the KeyOff setting it s also best to set the oscillator s Amp EG Sustain Level to 0 Mode Key Key Damper Normally you play notes simply by pressing keys on the keyboard In special cases however you can set this param eter so that you must first be holding down the damper pedal and then press a key in order to play a note For instance this can be useful when modeling the behavior of a piano soundboard Key is the normal mode Frequency Note On Control Velocity Zone osc Octave Transpose Tune Freq Ofs Hz osc2 Octave Transpose Tune Freq Ofs Hz 000 oscil Delay ms Mode osc2 Delay ms Mode gt Key Damper osc Top Bottom 127 osc2 OSC Pitch Pitch EG When you select Key Damper notes will only sound if the damper pedal is being held down When the damper pedal is released all notes will be stopped even if they are still being held down OSC2 Delay ms 0000ms 5000ms KeyOff Mode Key Key Damper This specifies the time from when you press a key until oscillator 2 actually begins to sound See OSC1 Delay and Mode above Velocity Zone You can specify the velocity zone for each of the four multi samples of the
67. amp 180 degree Depth Full Quick parameter parameter Rate Hz lt Value Explanation 0 02 10 00 LFO speed LFO modulation depth Feedback amount 0 100 Depth lt Feedback 0 100 Depth Separately from the LFO modulation depth you can also adjust the depth of the chorus effect by editing the effect level Use the MOD Send level and the Return 1 level to make adjustments Feedback Normally you will leave this set at zero but by raising this value you can produce a flanger effect with longer delay times St Flange Stereo Flanger This effect produces an intense modulation and a sense of pitch movement It is effective when applied to sounds that contain numerous overtones For stereo input the left and right sides of the flanger output are independent Stereo In Stereo Out Left Flanger if i Feedback Flanger fF Right i Rata g Depth LFO A Full Quick parameter parameter Rate Hz lt Value Explanation 0 02 10 00 LFO speed LFO modulation depth Feedback amount 0 100 Depth lt Feedback lt 0 100 Depth Separately from the LFO modulation depth you can also adjust the depth of the flanger effect by editing the effect level Use the MOD Send level and the Return 1 level to make adjustments Vntg Cho Flg Vintage Chorus Flanger
68. appropriate for a given pair of Multisamples Layer true to its name lets you layer the two Multisamples together without any crossfading Linear means that the two samples will each be at 50 of their full volume in the middle of the crossfade Sometimes this may create a dip in the volume level if so try using Power instead Power short for Equal Power means that the two samples will each be at around 70 of their full volume in the mid dle of the crossfade Sometimes this may create a bump in the volume level in which case you might try selecting Lin ear instead Layer means that the two Multisamples will be layered together both at full volume for the entire range of the crossfade Crossfade Curves p Msi Volume Xfade Velocity Volume Xfade Velocity Volume j Xfade Velocity Mid High Mid Low Low These are the settings for the second third and fourth velocity zones The parameters for Mid High and Mid Low are exactly the same as those for High as described above The parameters for Low are also similar to those for High except that Low has no settings for Bottom Vel which is always fixed at 1 Range or Curve 27 28 Program Edit OSC1 Pitch This page contains all of the settings for Oscillator 1 s pitch modulation For example you can e Specify pitch bend controlled by the joystick X or an incoming pitch bend message set to independent Bend Up and Bend Down or
69. around the basic pitch For instance let s say that the Voices parameter is set to 3 Detune is set to 24 and Thicknes is Off Voice one will be detuned down by 12 cents voice two will not be detuned and voice three will be detuned up by 12 cents Voice Detune 1 12 2 0 3 12 As another example let s say that Detune is still set to 24 and Thickness is still Off but the Number of voices is set to 4 Voice one will still be detuned down by 12 cents voice two will be detuned down by 4 cents voice three will be detuned up by 4 cents and voice 4 will be detuned up by 12 cents Voice Detune 1 12 2 4 3 4 4 12 Thickness Off 1 9 Thickness is available when Unison is On This parameter controls the character of the detuning func tion for the unison voices Off Unison voices will be evenly distributed across the Detune range as shown above 01 09 Unison voices will be detuned in an asymmetrical way increasing the complexity of the detune function and changing the way that the different pitches beat against one another This creates an effect similar to vintage analog syn thesizers where oscillators would frequently drift slightly out of tune Higher numbers increase the effect Quick OSC Common Oscillator These parameters adjust the transpose hold and reverse settings for oscillators 1 and 2 at the same time Ptch
70. at the end of the segment For instance if the EG is in the middle of the Decay time you can no longer modulate either the Decay time or the Break level This also means that modulating the Start level Attack level or Attack time will not affect notes that are already sounding unless the EG is then re started via EG Reset Pitch EG Level Modulation Positive AMS on Start Original Shape Attack and Break A IA Negative AMS on Start Positive AMS on Start and E Attack and Break Negative AMS on Attack AMS1 Source List of AMS Sources This selects the first AMS source to control the EG s Level parameters For a list of AMS sources please see AMS Alternate Mod ulation Source List on page 121 Start 99 99 This controls the depth and direction of the AMS modula tion for the Start level For example if you set the AMS1 source to Velocity and set St to 99 the Start level will increase as you play harder If you set the Start to 99 instead the Start level will decrease as you play harder Attack 99 99 This controls the depth and direction of the AMS modula tion for the Attack level Break 99 99 This controls the depth and direction of the AMS modula tion for the Break level AMS2 This selects the second AMS source for controlling the EG s Level parameters The Start Attack Decay and Break levels share this source but each has its own modulation intensity The parameters o
71. band Threshold Ratio 4 0 1 parametric equalizer You can change the order of the Ration Inf 1 effects t I 3 Wet Mono In Mono Out Dry Stereo In Stereo Out Left A a Louder Routing Wati ry Input Level Limiter Parametric 4Band EQ r Limiter H4 aa gt AGATA fain aaue Threshold Right i gt a i i Set Dry Envelope Control Ratio Inf 1 Full Quick Explanation parameter parameter Limiter 10 1 __ Sets the signal 052 Limtr Phsr Limiter Phaser 50 0 1 Inf 1 compression ratio D a p 110 Sets the level above Ratio This effect combines a mono limiter and a phaser You can Threshold which the change the order of the effects L Trsh dB dB compressor is applied p 110 Attack L Attack Sets the attack time a Mono In Stereo Out Dry Stereo In Stereo Out A a F 7 Wet Dry Release L Release Sets the release time Routing Phaser Gain Adjust Sets the limiter dB L G dB output gain p 110 Parametric 4 Band EQ i ane pa I Normal SAA s Output Mode Trim E Trim 0 100 Sets the parametric Reri hete EQ input level aser Wet Dry Band1 Sets the center ame f EEEE Cutoff Hz E1 F Hz abet 00 frequency of Band 1 Envelope Control CFO Tri T Sine i Sets the bandwidth of Band1 Q E1Q 0 5 10 0 Ba
72. be fairly complex if desired You can create different rates of change over up to four dif ferent parts of the keyboard For instance you can e Make the volume increase very quickly over the middle of the keyboard and then increase more slowly or not at all in the higher octaves e Make the volume increase as you play lower on the keyboard e Create abrupt changes at certain keys for split like effects How it works Keys and Ramps The keyboard tracking works by creating four ramps or slopes between five keys on the keyboard Break Key on page 38 Break Key Low Key C 1 G9 Center Key C 1 G9 High Key C 1 G9 Break Key on page 38 Ramp Please see Ramp on page 38 99 50 25 99 97 95 48 25 Ramp values Louder x2 A Change to No change Volume Silence Y Ramp values AMN Low Break D1 Center G2 High Break C4 Amp Amp1 Modulation Differences from other Keyboard Tracks There are several differences between the Amp keyboard tracking and the Filter and Common keyboard tracking For example the results of the Ramp values are different As shown in the graphic Amp Keyboard Tracking below negative slopes are more steep than positive slopes Also the amp does not have separate control of Intensity Instead Intensity is always fixed at the maximum amount allowing keyboard tracking to change the volume from c
73. broader dynamics for sounds such as acoustic piano Each curve has its own characteristics so you should select the curve that best suits your own playing style and the results you want to obtain Basic MIDI Controllers After Touch Curve 1 8 This specifies the way that incoming aftertouch data will affect the volume or tone when Convert Position is set to PostMIDI he This setting has no effect when Convert Position is set to PreMIDI This curve is applied immediately before the tone generator The aftertouch Curve setting selects the curve that is applied to the incoming aftertouch After Touch MIDI In gt TG MAX Aftertouch effect 1 2 This curve produces change when strong aftertouch pressure is applied 3 Normal The normal curve 4 5 This curve produces change even when light pressure is applied 6 7 These curves produce change in 24 or 12 steps Curve number 7 allows change over twelve steps so when using aftertouch to modify the pitch you can set the range of modification to one octave and use aftertouch to vary the pitch in semitone steps 8 This is a random curve Use this when you wish to create special effects or to use aftertouch to apply unpredictable modulation However solely in the case of 0 or 127 the value will not be random 0 or 127 will be applied constantly System Preference ScrollText Off On This specifies whether performance names and program name
74. controlled by an incoming message CC 16 the ribbon control message etc e Use Pitch Slope to control how the pitch changes when you play up and down the keyboard e Assign AMS modulation for pitch e Set up initial amounts of pitch modulation from the Pitch EG and LFO1 2 as well as AMS modulation of LFO and EG amounts e Set up Portamento Alternate Modulation Alternate Modulation lets you use controllers envelopes LFOs etc to modulate Program parameters You can use one controller to modulate multiple parameters simultane ously You can also create complex modulation setups in which for example an envelope modulates the frequency of an LFO and that LFO is then used to modulate a filter Programs provide 48 types 88 destinations for alternate modulation AMS Alternate Modulation Source AMS Alternate Modulation Source refers to any of the assignable modulation sources in the PS60 including e Controllers of the PS60 itself such as the joystick e Incoming MIDI controllers e Modulators such as the Filter Pitch and Amp EGs the LFOs or the AMS Mixers Intensity is a parameter that s used to set the degree speed depth amount etc of how AMS will control the modula tion A number of frequently used modulation routings such as using the joystick to vary the pitch are provided as addi tional dedicated routings separate from AMS Note that not all AMS sources may be available for some modulation destinati
75. e La 16 17 18 vv Controllers Local Control Off On H Hex 1 127 as AMS as Joy Stick Y as Joy Stick Y as AMS amp FX Dmod Src Foot Pedal for RPC edit for Post IFX Panpot control as FX Dmod Src Fx Controll as FX Dmod Src Fx Control2 as AMS amp FX Dmod Src CC 16 Rbn as AMS amp FX Dmod Src Knob Modl as AMS amp FX Dmod Src CC 18 Val as AMS amp FX Dmod Src Knob Mod2 as AMS amp FX Dmod Src Knob Mod3 as AMS amp FX Dmod Src Knob Mod4 for RPC edit as Damper for Sustain Level control for Resonance control for Release Time control for Attack Time control for Filter Cutoff control for Decay Time control for LFO1 Speed control for LFO1 Pitch Depth control for LFO1 Delay control for Filter EG Intensity control as AMS amp FX Dmod Src CC 80 as AMS amp FX Dmod Src CC 81 as AMS amp FX Dmod Src Foot Switc as AMS amp FX Dmod Src CC 83 as AMS amp FX Dmod Src CC 85 as AMS amp FX Dmod Src CC 86 as AMS amp FX Dmod Src CC 87 as AMS amp FX Dmod Src CC 88 for Send 2 Level control for All Insert FX Off On for Send 1 Level control for Master FX1 2 Off On for EQ Off On for RPC edit for RPC edit for RPN select for RPN select as All Notes Off as All Notes Off as All Notes Off as All Notes Off for Performance change After Touch as AMS amp FX Dmod Src D CCc 17
76. filter EG to control pitch or volume at the same time that it controls the filter e Controllers etc can be used to control EG levels or times This lets you shape the EG in realtime e Filter amp keyboard tracking or note number can be used to control the EG or LFO according to the keyboard pitch that is played e Pitch tone EG or LFO can be controlled by the tempo Alternate Modulation Source AMS Alternate Modulation settings AMS operations and their result AMS source EXT 1 amp value range Pitch amp Filter Common Filter amp Amp Common Note ake Oat Max EXT 3 LFO1 amp 2 Key Track EGs 99 0 499 LFO Key Track 1 amp 2 Number EXT Tempo 2 0 127 AMS E 99 0 z 2 N Parameter Mt ncity 99 0 99 99 0499 99 0499 96 9 499 C T C4C9 E600 120 00 240 00 0 41 1 0 41 Dedicated 1 0 1 Dedicated 1 0 1 0 1 Octave Octaves parameter Octaves parameter Octaves Octave Filter EG as AMS dedicated parameter for Pitch EG Pitch EG Int 12 00 Dedicated 1 0 41 1 0 1 0 1 parameter Octaves Octaves Octave for Pitch EG Pitch LFO1 12 00 0 1 1 0 1 1 0 1 0 1 2 Int Octave Octaves Octaves Octave Filter 99 0 410 10 0 4 10 Dedicated parameter Dedicated 10 0 10 10 0 10 0 10 Frequency Octaves Octaves paramet
77. frequency by 1 octave for every octave of the key board and a ramp of 99 changes the frequency by 2 octaves for every octave of the keyboard Bottom Low Inf 99 99 inf This sets the slope between the bottom of the MIDI note range and the Key Low key For normal key track use nega tive values Low Center Inf 99 99 inf This sets the slope between the Key Low and Center keys For normal key track use negative values Center High Inf 99 99 inf This sets the slope between the Center and Key High keys For normal key track use positive values High Top Inf 99 99 Inf This sets the slope between the Key High key and the top of the MIDI note range For normal key track use positive val ues inf and inf ramps Inf and Inf are special settings which create abrupt changes for split like effects When a ramp is set to Inf or Inf the keyboard tracking will go to its extreme highest or lowest value over the span of a single key Inf and Inf Ramps Ramp Inf Key Low Center Key High Note If you set the Cent Hi ramp to Inf or Inf the High Top parameter will be grayed out Similarly if you set the Lo Cent ramp to Inf or Inf the Bottom Low ramp will be grayed out Key Follow To create the classic Key Follow effect in which the filter frequency tracks the pitch of the keyboard 1 Set the Filter Frequency to 30 Set the Keyboard Track Intensity to A
78. in modulation depth modulation that will occur when you press the foot switch If Amount is set to 30 pressing the foot switch will result in a modulation depth of 0 Effect I O To achieve the best tonal quality signals sent to the effects should be at the maximum level below clipping Also use the Wet Dry parameter for the Insert Effects Total Effect and the Wet Dry or Return 1 2 parameter for the Mas ter Effects to adjust the effect output level If the input level is too low the SN ratio may decrease On the other hand if the input level is too high clip ping may occur The following table shows the parameters related to the level settings Performance Volume Input Send1 2 Effect Trim parameter 1 Effect Wet Dry parameter Output Return1 2 Master Volume Program OSC 1 2 Volume Input Send1 2 Effect Trim parameter Effect Wet Dry parameter Output Return1 2 1 Some effects may not have these parameters 2 These are quick parameters that can be edited from the PS60 itself The PS60 Editor allows you to edit parameters such as Multisample Level Filter Input Trim and Amp Level Insert Effects IFX In Out Insert Effects have a stereo input and a stereo output If you set the Wet Dry parameter to Dry no effect the input sig nal will be passed through in stereo without being pro cessed by the effect If you sel
79. itself can continue to change only the selection of Below or At amp Above is fixed Threshold 99 99 This sets the value of the Control Source where the gate opens or closes Tips Examples of using Gate Using a foot switch to apply pitch bend to specific notes By using Control At Note On Only you can apply an effect only to a specific note on For example 1 Set Gate Control Source to Foot SW 82 You ll need to connect a foot switch set Global Controllers Type SW Pedal to Switch and set Foot SW Function to Foot Switch CC 82 before you continue with the fol lowing procedure 2 Set Control At Note On Only to On 3 Set the Threshold to 50 4 Set Below Threshold to a Fixed Value of 00 Set At amp Above Threshold to AMS B JS X 6 On the OSC Pitch page assign the AMS Mixer to control the pitch wu 7 Turn off the foot switch and while holding down a chord move the joystick in the X direction The pitch will not change If the pitch changes go to the OSC Pitch page and set Pitch JS X and JS X to 00 8 Turn on the foot switch and add a new note to the previous chord 9 Move the joystick in the X direction pitch bend will be applied only to the newly played note The new note will bend but the original chord played before you pressed on the foot switch will not Selective pitch bend using only the joystick You can also use a sin
80. of the oscillator will change This setting is particularly effective for wind instruments and analog synth sounds With this option the pitch may occasionally be incor rect depending on which multisample you play and where on the keyboard you play Use Legato Offset When you play legato the second and subsequent notes will use the legato start point specified for each multisample rather than the Start Offset page 26 setting This is effective when used with a multisample for which you ve assigned a specific legato offset point For example you might use it to control the attack of a breathy slow attack sax sound On some multisamples this will have no effect Envelopes and LFOs will still be reset as they are with detached playing Priority Low High Last Priority is available when the Voice Assign Mode is set to Mono This parameter determines what happens when more than one note is being held down Low The lowest note will sound Many vintage mono phonic analog synths work this way High The highest note will sound Last The most recently played note will sound Unison On Off 7 Unison on page 16 Voices Number of Voices 2 6 Voices Number of Voices on page 16 Detune cents 00 99 cents Detune cents on page 16 Thickness Thickness on page 16 Off 1 9 OSC Pitch Program Basic OSC Pitch 000 Grand Piano A APIANO J 120 00
81. of the pitch EG AMS modulation The AMS modulation and the initial Intensity are added together to determine the Pitch EG s final effect With positive values greater modulation will increase the effect of the Pitch EG as shown in example B below With negative values greater modulation will introduce the opposite effect of the Pitch EG like inverting the polar ity of the envelope You can use this in several different ways e You can set an initial positive amount with the Intensity parameter and then reduce this amount with AMS In this case the final effect of the EG is simply diminished and not actually inverted as shown in example C e You can also set the AMS Intensity amount to be greater than the initial Intensity In this case the EG will have a positive effect with low modulation amounts and an inverted effect at higher modulation amounts as shown in example D Pitch EG AMS A Original EG Change A to Pitch C Intensity 3 00 Change AN to Pitch B Intensity 6 00 D Intensity 24 0 Portamento Portamento lets the pitch glide smoothly between notes instead of changing abruptly Enable Off On 7 Portamento Portamento Enable on page 20 Fingered Off On PortaFingr Portamento Fingered on page 20 Mode Rate Time PortaMode Portamento Mode on page 20 Time 000 127 PortaTime Portamento Time on page 20 LFO1 LFO1 and LFO2 can bot
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83. oscillator Here you will specify the velocity zone for each oscillator These velocity zones take precedence over the velocity set tings for the individual High Low OSC1 OSC Top 001 127 This sets the highest velocity where the Oscillator 1 will sound Note The OSC1 Top velocity must be greater than the OSC1 Bottom velocity OSC Bottom 001 127 This sets the lowest velocity at which the Oscillator 1 will sound OSC2 OSC2 Top 001 127 OSC2 Bottom 001 127 This specifies the maximum and minimum velocity values where oscillator 2 will sound See OSC1 Top and OSC1 Bottom above OSC 1 2 Velocity Zone Window This shows the velocity zone This graphic reflects the OSC1 multisample and OSC2 mul tisample Bottom Vel Range and Curve and the Velocity Zone OSC1 Top OSC1 Bottom OSC2 Top and OSC2 Bottom settings 12 Xfade Range 20 i Curve Linear Bottom Velocity 64 aoe Pitch EG WB The Pitch EG or Envelope Generator lets you create com plex time varying changes to the pitch of Oscillators 1 and 2 The parameters on this page control the shape of the EG For instance you can e Create the basic EG shape by setting the levels and times of each segment e Control the curvature of each EG segment for subtle control over the modulation time of the EG e Set up complex modulation of EG levels and time
84. page 22 1 Use the From field to select the copy source scale If you select Pure Major or Pure Minor specify the Key located at the right as well Stretch cannot be selected if To is User All Notes Scale 2 In To selects the copy destination scale Load Loads the PS60 Editor Plug In Editor data that was previ ously saved on the computer Save Saves data from the PS60 Editor Plug In Editor to your com puter as a file Note These functions load or save the data as dedicated files for the editor application Receive All Receives all data from the PS60 data into the editor Transmit All Transmits all data in the PS60 Editor Plug In Editor to the PS60 and writes it into internal memory Receive Global Setting Receives the global settings of the PS60 into the PS60 Editor Plug In Editor Transmit Global Setting Transmits the global settings of the PS60 Editor Plug In Edi tor to the PS60 Import Loads PCG data from the PS60 into the PS60 Editor Plug In Editor Export Data created in the PS60 Editor Plug In Editor can be saved as PCG data for the PS60 Save as Default Writes saves the global mode Software Setup settings of the editor as the default settings that will be used when you start up the editor Note These utilities can be selected only in the editor s global mode Software Setup page Select Auto Load File In the Software Setup page use Load data file automati
85. s frequency and assign AMS controllers to modulate the frequency e Use the Key Sync parameter to choose whether the LFO runs separately for each voice or is synchronized across all of the voices e Use the Fade and Delay parameters to control how long the LFO waits to start after note on and whether it starts abruptly or fades in slowly e Set the LFO to sync to MIDI tempo OSC 1LFO1 Shape AMS Src List of AMS Sources This selects an AMS source for controlling the LFO s Shape Modulating the shape can dramatically alter the effect of the LFO try it out For a list of AMS sources please see Alternate Modulation Source AMS on page 121 Shape AMS Int 99 99 This controls the depth and direction of the AMS Shape modulation Stop Off On On Instead of the LFO functioning normally it will ignore the Freq setting The LFO will maintain the initial value determined by the performance of Waveform Phase Shape and Offset until the note off Since the value will change only at note on using a Random waveform will produce a fixed value that changes randomly at each note on or at the first note on Off The LFO will function normally Key Sync Off On On When Key Sync is On the LFO starts each time you press a key and an independent LFO runs for each note This is the normal setting Off When Key Sync is Off the LFO starts from the phase that s determined by the first note in t
86. select messages will be transmitted by timbres whose Status is EXT or EX2 MIDI applications Messages transmitted and received by the PS60 e In Performance transmission reception can be switched on off for each timbre MSB LSB Program CC 00 CC 32 Change Performance 0 19 00 00 00 19 000 127 00 00 000 127 000 127 00 01 000 127 000 127 00 02 000 127 000 127 00 03 000 127 No Program Switching performances You can use program change messages to switch perfor mances e Performances 000 019 in bank A 1 D 5 correspond to program changes Cn 00 Cn 13 Program changes are received on the global MIDI channel Program changes cannot be transmitted or received while in Performance Edit mode All program changes can be turned off in MIDI Filter page 73 As needed you can independently turn all program changes on off specify whether or not incoming messages will be able to change performances and turn reception transmission of bank select messages on off e If Bank Change page 73 is off bank select messages will not be transmitted or received The programs selected for each timbre cannot be switched by receiving MIDI program change Aftertouch Channel aftertouch Dn vv n channel vv value When this message is received the aftertouch effect will be applied The assigned alternate modulation or dynamic modulation effect will also be applied VA The
87. signal left and right R one linked left only or y right only p 84 Selects the source that will control the gate when Envelope Src D mod Mid Source Off Tempo 85 Effect Guide Switches the polarity Delay Time ms of gating p 86 This sets the delay time for the input to the gate When using Threshold Sets the level where shorter Attack Time settings you can lengthen the Delay gating is applied p 86 i os Time so that the sound is input after the gate opens Polarity Sets the attack time Attack p 86 Release Sets the release time p 86 x m Switches the trigger 007 St P4EQ Stereo Parametric 4 signal equalizer on PEQ Insert off p 85 Band EQ Switches between mee i monitoring the effect This is a stereo 4 band parametric equalizer You can select output and the A A trigger signal p 85 peaking type or shelving type for Band land 4 The gain of Band 2 can be controlled by dynamic modulation Sets the center PEQ Cutoff 20 12 00k frequency of the Hz faa izer o e ae Stereo In Stereo Out Ngger sgna Py ren Band1 Band2 Band3 Band4 Wet Diy Sets the bandwidth of PEQ PEQ PEQ PEQ Side PEQ Q the equalizer for the Trim EA A moger signal 25 Sy lt Sets the gain of the i aide ias 18 0 18 0 equalizer for the LEQ f HEQ trigger signal p 85 A AHAH AN Dry 1 99 Se
88. sound of the selected program Panel The upper part of the PS60 Editor s panel simulates the main buttons and knobs on the front panel of the PS60 itself Panel on page 1 The display shows the program name bank number cate gory and tempo When editing a program you ll only be able to control the MFX1 2 and EQ settings and tempo 15 16 Program Edit Quick Parameters You can edit the quick parameters either from Program Edit mode on the PS60 itself or from the editor s Quick page described below Quick Overview The overview shows the status of the main parameters that make up the program By clicking the displayed graphic of a filter or EG or on an effect setting you can jump to the page for that parameter OSC Common OSC Common Voice These parameters specify voice settings for oscillators 1 and 2 at the same time Voice Assign Mode Voice Mode Poly Mono Select the basic voice allocation mode Depending on which one you select various other options will appear such as Mono Legato and Unison Mono mode only Poly The program will play polyphonically allowing you play chords Mono The program will play monophonically producing only one note at a time Mono Legato Off On This is available when the Voice Assign Mode is set to Mono Legato refers to notes that are played in a way that they sound smooth and connected the next note is played be
89. the trigger signal which controls the degree of the Limiter effect allowing you to set any band width to be covered This effect is a stereo limiter You can link left and right channels or use each channel individually Stereo In Stereo Out Left o 2 gt f Wet Dry i Gain Adjust f gt Limiter N x h Limiter Gain Adjust man Brat TDry Zo FX Control BUS 1 Glo FX Control BUS 2 o i ft p 4 0 Envelope Select 2 Envelope Source Full Quick f Value Explanation premiered parameter Selects the trigger Input source to use the ape Env Src FX Control 1 input signal FX FX Control 2 Control Bus 1 or FX Control Bus 2 p 84 Sets the trigger input D Control level from FX Control rim Bus 1 2 Selects from linking both channels A controlling only from T left channel only Only TR from the right ef channel or Individually controlling each channel individually p 84 Sets the signal compression ratio p 84 Sets the level above which the compressor is applied p 84 Threshold dB Thresh dB Sets the attack time Attack 1 100 p 84 Sets the release time Release lt 1 100 p 84 Gain Adjust dB Inf Sets the output gain Gain dB 38 404 p 84 Selects the Source Off Tempo modulation source for the output gain Sets the modulation amount of the output gain
90. the Dry unprocessed signal specified in Wet Dry Only the Wet processed signal will be output The output signals from the Master Effects are routed to the L R bus with the output level specified by Return and Return2 iD Send1 responds to CC 93 and Send2 responds to CC 91 If Send1 and Send2 for each timbre are effective the parameter will be controlled on the MIDI channels set for the corresponding timbres Mixer The input levels to the master effects are determined by the send levels In the MFX1 and MFX2 pages of each mode you can specify the effect parameters output level and chaining series connection between the two master effects Send1 Modulation Return 1 Lja MFX1 Mod Chain Send2 Chain On Off stereo stereo EQ Master Level Reverb Delay Return 2 EQ O stereo SY AUDIO OUTPUT L Mono R stereo For MFX1 this setting will be the level For MFX2 the Level specified by the effect is multiplied by the Return 1 or Return 2 value to determine the level at which the sig nal is sent to the L R bus This signal is then mixed with the L R output For example if the MFX2 Level is 64 50 and Return 1 is 64 50 the effect level will be 25 If Level is 127 and Return 1 is 127 the effect level will be 100 the maxi mum 2 Chain The output of MFX1 is sent to the input of MFX2 Even if this is On the output from MFX1 to the
91. the Program Among other things you can e Set up the Program to be a Single or a Double e Enable disable the half damper function e Create keyboard split settings for OSC1 OSC2 and Hold e Select the basic scale of the program OSC Mode Oscillator Mode Single Double This specifies the Program s oscillator assignment whether it will use one or two oscillators Single The program will use one oscillator Oscillator 1 Fil ter 1 Amplifier 1 In this case the program will normally have a maximum of 120 note polyphony Double The program will use two oscillators Oscillator 1 2 Filter 1 2 Amplifier 1 2 In this case the program will normally have a maximum of 60 note polyphony Scale Type Equal Temperament User Octave Scale03 Selects the basic scale for the Program Type on page 4 Key Scale Key C B 7 Key Scale Key on page 6 Random 0 7 7 Random on page 6 Half Damper Control A half damper pedal is a special type of continuous foot pedal such as the Korg DS 1H In comparison to a standard footswitch half damper pedals offer more subtle control of sustain which can be especially useful for piano sounds The PS60 will automatically sense when a half damper is connected to the rear panel DAMPER PEDAL SW input For proper operation you will also need to calibrate the pedal using the Half Damper Calibration command in the Global command HalfDmpr Calib Half Da
92. the gain of the bass mid and treble high bands page 120 Keyboard Wheels PE ee This area shows an 88 note keyboard a pitch bend wheel and a modulation wheel You can play the sounds by clicking the keyboard Dragging across the keyboard to left or right will produce a glissando You can use the pitch bend wheel and modulation wheel by moving them up or down OverView Main Timbres OverView EASY SETUP 4 1 Stereo Piano single gt RRR L OSTAVE REWDLY SEND PLATE J 120 90 RATE DEPTH FB TIME PROG Spur Fa aa PERF EDIT GLOS UTILITY sue MAIN vases MAIN UPPER Timbre Param EQ Sub Timbres Timbre Program Octave Volume IFX APIANO E PIANO ORGAN STRINGS BRASS SYNTH MODULATION REVERB DELAY LEVEL FB BASS MID TREBLE a Sendi Send2 E MFX1 MODULATION SS ea e Stereo Mastering Limiter OO Suitcase E Piano No Effect 2 7 2 7 Blues Perc 1 A No Effect 7 2 Su t nalog Strat Session Brass G63 No Effect gt Plate mM co ma AA Pods In Pads Motion 079 No Effect 127 127 In this area you can turn on off each timbre of the selected performance select programs and edit the settings for Easy Setup master effect and EQ Main Timbres Here you can adjust the settings for the main timbres A PIANO SYNTH Timbre Timbre On On Off Turn the button on highlighted for the timbres that you w
93. the modulation amount for controlling the vibrato depth 100 100 Sets the vibrato 0 02 20 00 Seed p 116 Selects the modulation source Off Tempo for controlling the vibrato speed Sets the modulation 20 00 amount for 20 00 controlling the vibrato speed Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation source for Wet Dry Off Tempo Sets the modulation 10054100 amount for Wet Dry 115 116 Effect Guide Control Mode Preset Type Custom Mix Custom Depth Custom Speed If Control Mode Preset you can use Preset Type to select the effect In this case the Custom Mix Depth Speed settings are ignored If Control Mode Custom the Custom Mix Depth Speed settings are valid and the Preset Type setting is ignored Amount If Preset Type V1 and Source JS Y you can set this to 5 and move JS Y to control the effect in the order of V19C19V29C2 V39C3 063 Rotary SP Rotary Speaker This effect simulates a rotary speaker and obtains a more realistic sound by simulating the rotor in the low range and the horn in the high range separately The effect also simulates the stereo microphone settings This can be used only for programs of the Organ category Wet Mono In Stereo Out Dry Stereo In Stereo Out Left o gt Wet Dry D Horn 4 A Rotary
94. these set tings If the setting is PRG CC 05 portamento time will not be received These messages will be received on the MIDI channel specified for each timbre by MIDI Channel page 7 Timbre Mixer MIDI OSC MIDI Fitter Main Timbres A Piano E Piano Pitch Other Main Timbres A Piano Synth Sub Timbres A Piano Synth Here you can adjust pitch and scale settings for each timbre Pitch Transpose 60 00 60 This parameter adjusts the pitch of each timbre in semitone steps 12 units equal one octave MID When Status is INT this parameter will affect the pitches sounded by the PS60 When Status is EXT this parameter will affect the note numbers of the MIDI note messages that are transmitted For example if you create settings of 04 and 07 respectively for two tim bres that are set to EXT playing the C key will transmit a C note number on the global MIDI channel and at the same time will also transmit E and G note numbers on the MIDI channels of those timbres Detune 1200 0000 1200 This parameter adjusts the pitch of each timbre in one cent units 0000 Normal pitch m Transpose and Detune can be controlled by receiving MIDI RPN messages Received MIDI RPN Coarse Tune messages will control Transpose and Fine Tune mes sages will control Detune Bend Range PRG 24 00 24 Specifies the maximum amount of pitch change in semi tones that will occur when the pitch
95. tive ramp values mean that it decreases Because of this the meanings of positive and negative ramp settings will change depending on whether the ramp is to the left or right of the Center Key Bottom Low and Low Center negative ramps make the keyboard tracking s output go down as you play lower on Filter2 Modulation Filter2 LFO Mod Filter2 EG Filter EG Filter Modulation Break Key Low Key Center Key High Key Intensity Intensity to A Intensity to B Ramp Bottom Low Low Center Center High High Top n LAILALILAILAALALAALAAALAALAAALAALALALAALAALALAALAAALAALAAALAALALALAALALALLALI co CT ce cS ca cS ce o7 cS cs Velocity to Intensity to A Velocity to B Intensity to B AMS Source AMS Int to A AMS Int to B ay es ee AMS Mixer2 00 70 00 alz Filter A AMS1 Source AMS1 Intensity a F20 AMS2 Source AMS2 Intensity 88 Filter B AMS1 Source 00 AMS1 Intensity 08 AMS2 Source AMS2 Intensity 06 Filter Filter1 Modulation the keyboard and positive ramps make the output go higher Center High and High Top negative ramps make the key board tracking s output go down as you play higher on the keyboard and positive ramps make the output go up The effect on the filter cutoff is a performance of the ramp values as set below and the Intensity to A B parameters When Intensity to A B is set to 99 a ramp of 50 changes the filter
96. to the master effect 2 MFX2 of the performance s timbres At the same time the post insert effect send level to master effect 2 MFX2 for matching MIDI channels will also be controlled JS Y CC 01 This duplicates the function of JS Y Whatever JS Y is assigned to control the pedal will control as well JS Y CC 02 This duplicates the function of JS Y Whatever JS Y is assigned to control the pedal will control as well CC 16 Rbn You can use this general purpose controller as an AMS or Dmod source Note that you ll also need to assign Ribbon CC 16 to control the desired parameter within the Pro gram or Effect 129 130 Appendices MIDI transmission when the PS60 s controllers are used The following tables show the relation between the MIDI messages that are transmitted when the PS60 s controllers are used and the AMS alternate modulation source or DMS dynamic modulation source that correspond to each MIDI message indicates a fixed function and indicates an assignable function Available Available Foot Joystick forAMS forDmod MIDI messages Switch Note on note number Note on velocity Poly aftertouch Bank select MSB Modulation 1 Modulation 2 Foot controller Portamento time Data entry MSB Volume Post Insert Effect panpot Panpot Expression Effect control 7 Effect control 2 Controller
97. use the echo back from that device to play the PS60 turn echo back on for your external MIDI sequencer or computer so that the data it receives at MIDI IN will be retransmitted from MIDI OUT and turn off the PS60 s local control setting so that the PS60 s keyboard sec tion and sound generator will be internally disconnected When you play the keyboard of the PS60 the musical data will be transmitted to the external MIDI sequencer or com puter and then echoed back to play the PS60 s tone genera tor In other words by turning Local Control OFF you can prevent notes from being sounded in duplicate as would otherwise occur if a note were sounded by the PS60 s own keyboard and again by the data that was echoed back When using the PS60 by itself leave Local Control turned on If this is off when the PS60 is used by itself playing the keyboard will not produce sound Messages transmitted and received by the PS60 In the text below indicates hexadecimal notation MIDI channels e MIDI messages can be exchanged when the transmitting and receiving devices are set to the same MIDI channel MIDI uses sixteen channels numbered 1 16 The global MIDI channel is used to transmit receive messages for selecting a performance and turning effects on off and to transmit receive exclusive data e Each timbre will transmit receive MIDI data on the MIDI Channel page 7 that is specified for that timbre e When you
98. velocity the EG levels will change more greatly At the maximum velocity the Start Level will stay at 00 but the Attack Level will change to 99 and the Break Level will change to 99 EG Time Pitch EG page 32 Filter EG page 42 Amp EG page 48 EG times can be controlled by the Common LFO keyboard tracking controllers or tempo etc You can specify an Intensity value for each EG segment Attack Decay Slope Release EG times are determined by the Alternate Modulation value when the preceding point is reached For example the Alternate Modulation value at the moment the envelope reaches the attack level will deter mine the decay time If Intensity is set to a value of 8 17 25 33 41 or 49 the cor responding time can be multiplied by a maximum of 2 4 8 16 32 or 64 times or divided by 1 2 1 4 1 8 1 16 1 32 1 64 e Select JS CC 01 for AMS and set AMS Intensity to 8 At to De to and SI and RI to 0 When you move the joystick in the Y direction the Attack Time will be lengthened by a maximum of 2 times The Decay Time will be shortened by a maximum of 1 2 The Slope and Release times will not change 125 126 Appendices LFO Frequency page 51 The frequency of LFO 1 2 or Common LFO can be con trolled by the EG keyboard tracking controllers or tempo etc You can also use the LFO2 frequency to modulate LFO1 or use the Common LFO frequency to modula
99. where the effect is applied Selects the modulation source for the LFO modulation Manual Off Tempo Sets the modulation amount of the LFO modulation Sets the depth of LFO modulation Amount 100 100 Depth 0 100 Sets the resonance 100 100 265 ne p 99 Resonance Sets the resonance damping amount in the high range p 99 0 100 Step Tri Step Sin Random Selects the LFO Waveform Waveform p 91 Sets the LFO phase difference between Phase deg the left and right 180 180 p 91 Sets the speed of the LFO p 89 Selects the modulation source commonly used for LFO speed and step speed LFO Freq Hz 0 02 20 00 Source Off Tempo Sets the modulation amount of LFO speed Sets the LFO step speed p 91 20 00 20 00 Step Hz 0 05 50 00 Sets the modulation amount of LFO step speed When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency p 89 50 00 50 00 BPM MIDI LFO MIDI Sync Sync Off On Sets the balance between the effect and the dry input p 100 Wet 1 99 Dry 1 99 Wet Wet Dry Selects a modulation source for Wet Dry Off Tempo Sets the modulation 100 100 amount for Wet Dry MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect p 89 Selects the type of notes
100. 0 This adds 50 to the LFO level so that it now swings between 0 and 99 as shown below AMS Mixer Offset examples AMS A LFO 99 Offset 50 Amount 50 Offset 99 Amount 199 99 0 oy NAMATH Clipped at Output AMS A Source List of AMS Sources This selects the AMS source to be offset For a list of AMS sources please see Alternate Modulation Source AMS on page 121 Offset Amount This controls the basic level of AMS A 199 doubles the original signal level while 199 doubles the level and inverts the phase The values are clipped only at the output internally they can be greater than the normal range of 99 to 99 199 199 57 58 Program Edit Offset 199 199 This controls the amount of offset for AMS A Setting Offset to 199 shifts an AMS input of 99 all the way to 99 In conjunction with high AMS A Amount values this can be useful for creating clipped shapes such as shown in the last of the AMS Mixer Offset examples above Smoothing This Mixer Type smooths out the AMS input creating more gentle transitions between values You have separate control of the amount of smoothing during the attack when the sig nal is increasing and decay when it s decreasing The higher the Attack and Decay settings the more the input will be smoothed Low settings provide subtle controller smoothing creating more gradual aftertouch for instance Higher settings cre
101. 0 R 99 Ramp amp lt 0 99 50 0 es s 99 Ramp 50 99 AMS Low Break Center High Break How it works Keys and Ramps The keyboard tracking works by creating four ramps or slopes between five keys on the keyboard Break Key on page 38 Keyboard Track1 Keyboard Track 1 MES Key Low Break C 1 G9 This specifies the note that will be the break point connect ing the two sloped lines in the low region Center C 1 G9 This specifies the note that will be the break point in the cen ter of keyboard tracking At this key the keyboard tracking has no effect on the AMS destinations High Break C 1 G9 This specifies the note that will be the break point connect ing the two sloped lines in the high region Ramp Please see Ramp on page 38 Bottom Low Inf 99 99 inf This sets the slope between the bottom of the MIDI note range and the Low Break key For normal key track use negative values Low Center Inf 99 99 Inf This sets the slope between the Low Break and Center keys For normal key track use negative values Center High Inf 99 99 inf This sets the slope between the Center and High Break keys For normal key track use positive values High Top Inf 99 99 Inf This sets the slope between the High Break key and the top of the MIDI note range For normal key track use positive values The table below shows how the Ramp
102. 0 sets the tempo manually for this individual effect p 89 Selects the type of Base Note bs notes that specify the LFO speed p 89 Sets the number of Times notes that specify the LFO speed p 89 Sets the resonance amount Resonance LPF Switches the wah low pass filter on and off Sets the output level of the effect sound Selects the modulation source that will control the effect output level Output Level Out Level Source Off Tempo Sets the modulation 100 4100 amount of the effect output level Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 4100 amount for Wet Dry IFX Insert effects List 012 St VtgWah Stereo Vintage Custom Wah Frequency Bottom Frequency Top The sweep width and direction of the wah filter are determined by the Frequency Top and Frequency Bottom settings Sweep Mode D mod Frequency 4 Frequency 4 t H Top 75 Wah 5 t Bottom 60 Wah Woo Bottom 25 Woo Tops0 Higher Daz Higher Daz Zero Max Zero Max Sweep Mode Auto Frequency 4 Frequency Top 75 Wah Bottom 75 Wah Wah i t 3 H E j Envelope al Wot Woo es Bottom 25 Top 25 Woo Be eS Envelope Time Envelope Time Sweep Mode This parameter changes the wah control mode Setting Sweep
103. 0 value is 1 00 Selecting Stop will stop the rotation Rotor Ratio Sets the distance between the micro phone and rotary speaker p 116 Mic Distance Sets the angle of left and right micro phones p 116 Mic Spread Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 100 3mount for Wet Dry Switch Mode This parameter sets how the modulation source switches between rotation and stop When Switch Mode Toggle the speaker rotates or stops alternately each time you press the pedal or move the joystick Via MIDI rotation will switch between start and stop each time the modulation amount exceeds 64 When Switch Mode Moment the speaker rotates by default and stops only when you press the pedal or move the joystick Via MIDI modulation values above 64 make the speaker rotate and values below 64 make it stop Speed Switch This parameter controls how the rotation speed slow and fast is switched via the modulation source When Switch Mode Toggle the speed will switch between slow and fast each time you press the pedal or move the joystick Via MIDI the speed will switch each time the modulation amount exceeds 64 When Switch Mode Moment the speed is usually slow It becomes fast only when you press the pedal or move the joystick Via MIDI modul
104. 00 00 A PN AN Amp Vel Int 00 Filter Amp EG Be N Attack J po o J J Decay Sustain Y o D Release FilteriAmp A A Cutoff 00 00 00 AMATA Resonance 00 00 D yay JO Filter EG Int 00 A J Amp Vel Int Filter Amp EG aT Attack y J J J Decay Sustain Release 10 Performance Edit MIDI Filter Main Timbres A Piano Synth Sub Timbres A Piano Synth These settings allow you to apply filters to the MIDI data that will be transmitted and received by each timbres For example even if two timbres are being played by the same MIDI channel you can adjust the settings so that the damper pedal will apply to one but not the other On Transmission and reception of MIDI data is enabled If Status page 7 is set to INT effects that pertain to this setting that are turned On will apply to the timbre s pro gram when you use the PS60 s controllers or when MIDI data is received T
105. 00k frequency of Band 3 Sets the bandwidth of Band 3 p 87 Band3 Q E3 Q 0 5 10 0 Band3 Gain dB Band4 Cutoff Hz E3 G dB 18 18 Sets the gain of Band 3 Sets the center E4 F Hz 500 20 00k frequency of Band 4 Sets the bandwidth of Band 4 p 87 Band4 Q E4Q 0 5 10 0 Band4 Gain dB Exciter E4 G dB 18 18 Sets the gain of Band 4 Sets the intensity 100 100 depth of the Exciter effect Blend X Blend Sets the frequency F Freq as range to be empha sized p 88 Emphasis Freq Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 100 Z mount for Wet Dry 044 P4EQ Wah Parametric 4 Band EQ Wah Auto Wah This effect combines a mono four band parametric equalizer and a wah You can change the order of the connection Wet Mono In Mono Out Dry Stereo In Stereo Out Lan RoN ANAT outing Parametric 4Band EQ N Wah Auto Wah ANANA gt Wah 7 Right me Saree Full Quick parameter parameter Parametric 4 Band EQ Explanation Sets the parametric Trim ETrim 0 100 EQ input level Band1 Cutoff Hz Sets the center frequency of Band 1 Sets the bandwidth of Band 1 p 87 E1 F Hz 20 1 00k Band1 Q E1Q 0 5 10 0
106. 01 01 vv vv Modulationl Joystick Y ASW Pdl C Bn 02 02 vv vv Modulation2 Joystick Y ASW Pdl Cc Bn 04 04 vv vv Foot Pedal Pdl Foot Pedal Cc Bn 05 05 vv vv Portamento Time Pdl Porta Time C Bn 07 07 vv vv Volume Pdl Volume Knob Perf Chg E Bn 08 08 vv vv Post IFX Panpot Pdl IFX Pan E Bn OA 10 vv vv Panpot Pdl Pan E Bn OB 11 vv vv Expression Pdl Expression Cc Bn OC 12 vv vv Effect Control 1 Pdl FX Controll C Bn OD 13 vv vv Effect Control 2 Pdl FX Control2 Cc Bn 10 16 vv vv Multi Purpose Ctrll ASW Pdl CC 16 Rbn Cc Bn 20 32 bb bb Bank Select LSB Performance Prog change 2 PB Bn 40 64 vv vv Holdl Damper ASW Cc Bn 41 65 00 7F 00 127 Portamento Off On ASW Porta SW Cc Bn 42 66 00 7F 00 127 Sostenuto Off On ASW Sostenuto Cc Bn 43 67 00 7F 00 127 Soft Pedal ASW Soft Cc Bn 52 82 00 7F 00 127 Multi Purpose Ctrl7 ASW Foot SW Cc Bn 5B 91 vv vv Effect 1 Depth Pdl MFX Send2 Knob Cc Bg 5C 92 00 7F 00 127 Effect 2 Depth All Insert FX Off On C Bn 5D 93 vv vv Effect 3 Depth Pdl MFX Sendl Knob Cc Bg 5E 94 00 7F 00 127 Effect 4 Depth Master FX1 2 Off On Cc Bg 5F 95 00 7F 00 127 Effect 5 Depth EQ Off On C Cn pp pp Program Change Performance Prog change 2 CP En bb bb bb bb Bender Change Joy Stick X CG Pali Assignable Pedal ASW Assign
107. 1 This setting will depend on the Oscillator Mode setting If it is Single or Double each oscillator can use up to four multisamples e Multisamples lay out one or more samples across the keyboard For instance a very simple guitar Multisample might have six samples one for each string Velocity splits crossfades and layers As mentioned above each Oscillator has four velocity zones named High through Low Each of these zones can play a Multisample and each has separate settings for Level Start Offset and so on Each of the zones can fade into the next to create smoother velocity transitions Zones can even be layered together two at a time You can stack a maximum of two velocity zones causing two samples to sound simultaneously layering You can Curve also use velocity to smoothly fade between the samples of these two zones velocity crossfading Oscillator Mode Single Double High These are the settings for the first and highest velocity zone If you want to create a simple setup with only a single Mul tisample just set up High as desired and then set the Bot tom Vel Bottom Velocity to 1 and the Range to Off Multisample On Off Off On This specifies whether the High multisample will sound It will sound if this is On Bank Mono Stereo This is displayed if Multisample On Off is On You can choose between looking at mono and stereo Multi samples Note that stereo Mult
108. 16 Gch This parameter allows you to set the MIDI transmit receive channel for each timbre Gch The timbre will use the channel that has been selected as the global MIDI Channel page 72 When Status is INT MIDI messages will be received on the channel that you specify here If this setting is the same as the global MIDI channel the internal tone generator will sound according to the internal settings If this is set to EXT or EX2 playing the PS60 will transmit MIDI messages on the MIDI channel that s specified here Messages will also be transmitted simultaneously on the global MIDI channel If a setting 01 16 matches the global MIDI channel G is shown at the right Bank MSB 000 127 Bank LSB 000 127 This specifies the bank number that is transmitted when Status is EX2 The upper line is the MSB and the lower line is the LSB This setting is ignored if Status is other than EX2 OSC Force OSC Mode PRG Poly Mono LGT This lets you override the Program s stored Voice Assign Mode settings if desired PRG The Program s stored Voice Assign Mode page 16 settings will be used Poly The timbre will play polyphonically regardless of the Program s settings Mono The timbre will play monophonically regardless of the Program s settings Legt Legato The timbre will sound monophonically and will play legato according to the Program s setting Sub Timbres A Piano E Piano Strings MIDI
109. 2 dB 18 0 Sets the gain of Band 2 Band3 dB 18 0 Sets the gain of Band 3 Band4 dB 18 0 Sets the gain of Band 4 Band5 dB 18 0 Sets the gain of Band 5 Band6 dB 18 0 Sets the gain of Band 6 Band7 dB 18 0 Sets the gain of Band 7 Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation source for Wet Dry Off Tempo Sets the modulation 100 100 amount for Wet Dry Type This parameter selects a combination of center frequencies for each band The center frequency of each band is shown on the right side of the screen You can configure a 21 Band Graphic EQ ranging from 80 Hz to 18 kHz if you route three Graphic 7 Band EQ effects in series with a setting of 7 Low 9 Mid and 11 High for each EQ 009 St Excitr Stereo Exciter This effect is a combination of the Exciter Stereo In Stereo Out Leto Wet Dry LEQ HEQ gt P Exciter EQ Trim 7 Delay A i Depth EQ Trim i Delay gt H H Exciter x Lennnesenne Enhancer i Right Ona TDry Quick Value Explanation parameter parameter Sets the intensity 100 100 depth of the Exciter effect p 88 Exciter Blend Blend Selects the Off Tempo modulation source of the Exciter intensity Exciter Source Set
110. 3 Formant Shift FormntSft Resonance Selects a vowel sound at the top end of control p 93 Voice Top A U E O Selects a vowel sound in the center of control p 93 Voice Center A 1 U E O Selects a vowel sound at the bottom end of control p 93 Sets the speed of the LFO p 89 Voice Bottom ALU E O LFO Hz 0 02 20 00 Selects a modulation Off Tempo source for LFO speed 20 00 Sets the modulation 20 00 amount of LFO speed Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 100 Z mount for Wet Dry OSC Mode Note Interval Note Fine The OSC Mode parameter selects the oscillator operation mode When Note Key Follow is selected the oscillator s frequency is determined based on the note number allowing you to use it as an octaver The Note Interval parameter sets the pitch offset from the original note number by semitone steps The Note Fine parameter allows you to fine tune in steps of cents When this is on the LFO speed is set by Off On BPM Base Note and Times instead of Frequency p 89 MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect p 89 Selects the type of notes that specify the LFO speed p 89 Sets the number of notes that specify the LFO speed p 89 Sets t
111. 9 Break short for Break Point sets the level at the end of the Decay time Sustain 00 99 This sets the level at the end of the Slope time Once it reaches the Sustain level the EG will stay there until note off unless it is reset via AMS Amp1 Modulation Level Modulation Time Higher values mean longer times as shown below EG Value Actual Time 10 10 ms 20 44 ms 30 104 ms 40 224 ms 50 464 ms 60 944 ms 70 1 8 seconds 80 3 8 seconds 90 10 9 seconds 99 87 3 seconds Attack 00 99 This sets how long the EG takes to move from the Start level to the Attack level For the fastest possible attack time you can set the Start level to 99 in this case the EG will start instantaneously at its maximum value Decay 00 99 This sets the time it takes to move from the Attack level to the Break level Slope 00 99 This sets how long the EG takes to move from the Break level to the Sustain level Once it reaches the Sustain level the EG will stay there until note off unless it is reset via AMS Release 00 99 This sets how long it takes the EG to move from the Sustain level to silence Curve The explanation of the amp EG curve is same as for pitch EG curve Please see Curve on page 32 Attack OL Linear 1 9 10E Exp Log This sets the curvature of the Attack segment the transition from the Start level to the Attack level Decay
112. A Step Saw6 Saw Up P a a playing chords since it ensures that each note in the chord will end its glide at the same time PortaTime Portamento Time 000 127 This controls the portamento time Higher values mean lon ger times for slower changes in pitch This option is only available when Portamento Enable is turned on LFO These parameters make LFO settings for oscillator 1 LFO1 Triangle Rnd6 Cnt This selects the basic LFO1 waveform Please see LFO waveform on page 20 Most of the waveforms should be self explanatory but a few will benefit from more details Guitar is intended for guitar vibrato and its shape is specif ically tuned for this purpose The waveform is positive only so that when used for pitch it will only bend up and not down Random1 S H generates traditional sample and hold waveforms in which the level changes randomly at fixed intervals of time Random2 S H randomizes both the levels and the timing Random3 S H generates a pulse wave with random tim ing It s the opposite of traditional sample and hold the tim ing varies but the levels don t Random4 6 Continuous are smoothed versions of Ran dom 1 3 with ramps instead of steps You can use them to create more gentle random variations LFO2 Triangle Rnd6 Cnt This selects the basic LFO2 waveform as shown in the graphic below LFO waveform below Filter LFO1 Intensity to A FItLFO1toA
113. Amount Toggles between on Off On off of the trigger signal s EQ p 85 Side PEQ PEQ Insert Switches between effect output monitor and trigger signal monitor p 85 Side PEQ Trigger Off On Monitor Sets the EQ center frequency for the trigger signal p 85 Side PEQ Cutoff Hz 20 12 00k Sets the EQ bandwidth for the trigger signal p 85 Side PEQQ Sets the EQ gain for Side PEQ 18 0 18 0 the trigger signal Gain dB p85 Sets the balance between the effect and the dry input Dry 1 99 Wet Dry 99 1 Wet Selects a modulation Source Off Tempo source for Wet Dry Sets the modulation 100 100 Z mount for Wet Dry Amount Envelope Source By selecting FX Control 1 or FX Control 2 you can use the signal of FX Control Bus 1 or 2 as the trigger signal For instance you might use a different unprocessed sound as the trigger or apply a limiter triggered by a different timbre Envelope When L R Mix is selected for this parameter the left and right channels are linked to control the Limiter using the mixed signal If L Only or R Only is selected the left and right channels are linked and the Limiter is controlled via only the left or right channel With L R individually the left and right channels control the Limiter individually Ratio Threshold dB Gain Adjust dB This parameter sets the signal compression Ratio Compre
114. CC 19 CCc 20 cc 21 h Decima ENA 2 3 3 2 Qn Wp PrP yPrraAaANngnARAaAAaNnaAaAaAaagaNaaaNnaaAaaaaaaaaanaagaanaaaaanaaaaaaanaaagaaaaaaagaagnaagaanaanaanaanavH sv PB MIDI Implementation AMS Alternate Modulation Source FX Dmod Src Effect Dynamic Modulation Source n MIDI Channel No 0 15 Usually Global Channel When in Performance each timbre s channel Status is INT g Always Global Channel No 0 15 x Random ENA T Enabled when Enable After Touch in Global mode is on A C P Same as Transmitted data ST MIDI In Hex Performance pp 00 13 000 019 2 When in Program Global channel When in Performance each Timbres channel 3 r 0 Pitch Bend Sensitivity Bend Range Fine Tune Detune 2 Coarse Tune Transpose iT ja Data Entry LSB value has no effect for Pitch Bend Sensitivity and Coarse Tune 2 2 SYSTEM REALTIME MESSAGES Status Hex Description Use for F8 Timing Clock Tempo AMS amp FX Dmod Src 5 FE Active Sensing MIDI Connect check 5 Receive when MIDI Clock in Global mode is External MIDI 2 3 SYSTEM EXCLUSIVE 2 3 1 UNIVERSAL SYSTEM EXCLUSIVE MESSAGE NON REALTIME DEVICE INQUIRY When received this message transmits INQUIRY MESSAGE REPLY FO 7E nn 06 01 F7 3rd byte nn Channel 0 F Global Channel 7F Any Channel 2 3 2 UNIVERSAL SYSTEM EXCLUSIVE MESSAGES REALTIME Mast
115. D HG gt Phaser Phaser gt OD HG Switches the order of the overdrive and phaser p 107 Routing Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation source for Wet Dry Off Tempo Sets the modulation oder 100 amount for Wet Dry 058 Wah Amp Wah Amp Simulation This effect combines a mono wah and an amp simulation You can change the order of the effects Wet Mono In Mono Out Dry Stereo In Stereo Out Left o Routing Wah Auto Wah gt Wah gt gt Amp Simulation Filter o Wet Dry Right lt A Full parameter Wah parameter Explanation Sets the lower limit of the wah center frequency p 89 Frequency Bottom W Freq Btm Sets the upper limit of the wah center frequency p 89 Frequency Top W Freq Top Selects the control from auto wah modulation source and LFO p 89 Selects the modulation source for the wah when Sweep Mode D mod Sets the speed of the LFO Sweep Mode W Sweep Source Off Tempo LFO Freq Hz W LFO Hz 0 02 20 00 Sets the resonance W Reso 0 100 amount Resonance Switches the wah low pass filter on and off Sets the wah effect balance Selects the Wet Dry modulation source for the wah Sets the Wet Dry modulation amount for the wah LPF Off On Dry 1
116. DI device or computer you must check the following settings on the PS60 The Convert Position setting The PS60 s settings Transpose Vel Curve and After Touch Curve pages 70 71 respectively allow you to adjust the transposition velocity sensitivity and aftertouch received only from MIDI IN sensitivity amp The aftertouch curve applies only to aftertouch data received via MIDI IN The After Touch Curve setting has no effect if Convert Position page 72 is Pre MIDI The Convert Position setting page 72 specifies how this will affect MIDI IN OUT data The effect that these settings will have on the MIDI data that is transmitted and received will depend on Convert Posi tion page 72 setting e If you want to control an external MIDI tone generator from the PS60 set Convert Position to PreMIDI The various settings listed above will be reflected in the MIDI data that is transmitted Incoming MIDI data will be handled with settings equiv alent to Key Transpose 0 Velocity Curve 4 and After Touch Curve 3 e When controlling the PS60 s tone generator from an external MIDI device select PostMIDI The above listed settings will affect the MIDI data that is received Outgoing MIDI data will be handled with settings equiv alent to Key Transpose 0 and Velocity Curve 4 Local Control On settings If you ve connected the PS60 to a computer or external MIDI sequencer and want to
117. Editor Plug In Editor to your com puter as a file All Program PS6apr All programs Bank Program PS6bpr programs of one bank Program PS6pr One program Note These functions load or save the data as dedicated files for the editor application Receive All Note These Receive and Transmit commands use the KORG SysEx MIDI Dump to send or receive data or to synchro nize the data between the PS60 and the software amp Don t touch the keyboard or the mouse of your com puter while data is being sent or received Also don t touch the panel switches or the keyboard of the PS60 itself Receives all data from the PS60 data into the editor Transmit All Transmits all data in the PS60 Editor Plug In Editor to the PS60 and writes it into internal memory Receive All Prog Receives all program data from the PS60 into the PS60 Edi tor Plug In Editor Transmit All Prog Transmits all program data from the PS60 Editor Plug In Editor to the PS60 and writes it Receive Current Prog Bank Receives the program data of the bank currently selected on the PS60 into the PS60 Editor Plug In Editor Transmit Current Prog Bank Transmits the program data of the bank currently selected in the PS60 Editor Plug In Editor to the PS60 Receive Current Prog Receives the program data currently selected on the PS60 into the PS60 Editor Plug In Editor Transmit Current Prog Transmits the program data currently selected
118. Filter2 EG Level Source Start AMS 00 ag 00 Attack Break Time Modulation EG Reset Dii AMS Source Threshold 66 Start Attack Break Sustain Source Release AMS1 Filter Kbd Trk 18 Attack Decay Slope Release ee ee eee ee 18 05 00 c AMS2 06 68 68 00 m AMSZ 00 66 06 00 Filter Filter1 EG Curve The explanation of the filter EG curve is same as for pitch EG curve Please see Curve on page 32 Attack OL Linear 1 9 10E Exp Log This sets the curvature of the Attack segment the transition from the Start level to the Attack level Decay OL Linear 1 9 10E Exp Log This sets the curvature of the Decay segment the transition from the Attack level to the Break level Slope OL Linear 1 9 10E Exp Log This sets the curvature of the Slope segment the transition from the Break level to the Sustain level Release OL Linear 1 9 10E Exp Log This sets the curvature of the Release segment the transi tion from the Sustain level to the Release level Level Modulation These settings let you use any AMS source to control the Level parameters of the EG The Start Attack and Break levels share a single AMS source but can each have differ ent modulation intensities 7 Level Modulation on page 33 AMS Source List of AMS Sources Selects an AMS source to control the EG s Level parameters For a list of AMS sou
119. JS Y 01 Amount 50 In this case the effect balance will normally be 10 90 and moving the joystick in the Y direction will gradually increase the proportion of the effect sound When the joy stick is moved all the way in the Y direction the effect bal ance will be 60 40 Dynamic Modulation Example Wet Dry Wet Dry 10 90 Wet Bb Amt 50 O Wet Dry 60 40 D gt Amt 50 See the individual effects descriptions for explanations of other dynamic modulation parameters Parameters which can be controlled through dynamic modulation are marked by the Daz symbol Insert effect dynamic modulation Dmod is controlled on the MIDI channels set for the corresponding tim bres Note Most dynamic modulation settings can be edited only by using the included editor they cannot be edited from the PS60 itself Dmod List Dynamic Modulation Source List Off dynamic modulation is not used Gatel note on off p 127 Gate1 Dmpr note on damper on off p 127 Gate2 note on off retrigger p 128 Gate2 Dmpr Note Numbr note on damper on off retrigger 7 p 128 note number Velocity velocity Exp Velocity After Touch JSX joystick X horizontal direction JS Y 01 exponential velocity p 128 aftertouch Channel After Touch reception joystick Y Vertical upward direction CC 01 JS Y 02 joystick Y Vertical downward direction CC 02 Pedal 04 assignable fo
120. L R bus is not dis connected 3 Chain Level This sets the signal level from MFX1 to MFX2 when Chain is on EQ Here you can apply overall equalizing tonal adjustment to the signal of the L R bus before it is sent to AUDIO OUT PUT Land R In addition to the standard peaking type the Bass and Tre ble bands provide the option of switching to a shelving type The gain of each band can be controlled using dynamic modulation IFX Insert effects List 000 No Effect IFX Insert effects List 000 No Effect Select this option when you do not use any effects The Insert Effect section outputs unprocessed signals and the Master Effect section mutes the output 001 St Comp Stereo Compressor This effect compresses the input signal to regulate the level and give a punchy effect It is useful for guitar and piano sounds This is a stereo compressor You can link left and right channels or use each channel separately Stereo In Stereo Out Left gt o Wet Dry EQTrim LEQ HEQ y a LFH Compressor out Level Sos Envelope Control mi Envelope Select 1 gt Envelope Control j j Output Level A gt H lt H Compressor e a L EQTrim LEQ HEQ Right TT Full Quick Explanation parameter parameter Determines whether the left and right channels are linked or used separately p 83 L R Mix L R Individ ually
121. LFO signal is affected by Shape and Offset Waveform Shape Offset aH Re FAY Fade 00 99 The LFO can fade in gradually instead of simply starting immediately at full strength This parameter specifies the time from when the LFO begins to play until it reaches its maximum amplitude If the Delay parameter is being used then the fade will begin after the delay is complete When Key Sync is Off the fade will apply only to the first note in the phrase LFO Fade and Delay Delay Fade VA Note on Note off Delay 00 99 This sets the time from note on until the LFO starts When Key Sync is Off the delay applies only to the first note of the phrase Frequency Modulation You can use two alternate modulation sources AMS to adjust the speed of the LFO AMS1 Source List of AMS Sources This selects the first AMS source for the LFO1 s frequency For a list of AMS sources please see Alternate Modulation Source AMS on page 121 Note that you can use LFO2 to modulate LFO1 s frequency Intensity 99 99 This sets the initial amount of AMS1 Frequency The Int Mod AMS then adds to this initial amount LFO OSC1 LFO2 When AMS is at its maximum value for example by mov ing the joystick fully away from yourself the AMS affects the frequency as shown below Intensity Change to LFO Frequency 99 64x 82 32x 66 16
122. Louder 77 f i H i i i i Attack This parameter controls the attack level Compressor Attack Attack 80 Attack 20 002 Red Comp When playing chords on an electric piano or similar instrument it s helpful to use a compressor to keep each note smooth and well balanced In addition to a distinctive percussive accent it will also provide a long sustain This effect models a popular compressor with a clean sound that s perfect for pop and funk music Wet Mono In Mono Out Dry Stereo In Stereo Out Left gt Wet Dry t Compressor Y 7 Output Level _ Envelope Control Right s Mar Full Quick Value Explanation premiered parameter Sensitivity 1 100 Sets the sensitivity Attack 1 100 Sets the attack level Sets the output level Level 0 100 of the compressor Sets the balance between the effect and the dry input Dry 1 99 Wet Dry 99 1 Wet Selects the modulation source for the compressor output level Off Tempo Sets the modulation amount for the compressor output level 100 100 84 Effect Guide 003 St Limitr Stereo Limiter The Limiter regulates the input signal level It is similar to the Compressor except that the Limiter compresses only signals that exceed the specified level to lower unnecessary peak signals The Limiter applies a peaking type EQ to
123. M Foot Switch Assign Here you can specify the function of an assignable switch separately sold PS 1 connected to the DAMPER PEDAL SW1 or PEDAL SW2 jacks e Set the Global Controllers PEDAL SW Type to Switch and use the Foot Switch Function Sw parameter page 74 to specify the function If you select a function that includes a CC that MIDI control change message will be transmitted each time the function is turned on off Off 0 On 127 List of Foot Switch assignments Off This setting disables the switch Foot Switch CC 82 This lets you use the switch as an AMS or Dmod source Note that you ll also need to assign Foot SW CC 82 to con trol the desired parameter within the Program or Effect Porta SW CC 65 This controls portamento on off Sostenuto CC 66 This controls the sostenuto effect which holds only the notes being played at the moment that the footswitch is turned on Soft CC 67 Turns the soft pedal effect on and off Damper CC 64 Turns the damper pedal effect on and off Perf Up Switch operations will select performances The perfor mance following the performance that s currently selected will be selected At the same time a bank select message and program change message will be transmitted Perf Down Switch operations will select performances The perfor mance preceding the the current performance will be selected At the same time a bank select message and pr
124. Mode to Auto will select an auto wah that sweeps according to envelope changes in the input signal level Auto wah is frequently used for funk guitar parts and clav sounds When Sweep Mode is set to D mod you can control the filter directly via the modulation source in the same way as a wah pedal When Sweep Mode is set to LFO the effect uses LFO to sweep in cycle Envelope Sens This parameter sets the sensitivity of the auto wah Increase the value if the input signal is too low to sweep Reduce the value if the input signal is so high that the filter is stopped temporarily Envelope Shape This parameter determines the sweep curve for the auto wah Envelope Shape Level Envelope value 0 100 gt value 0 100 gt Time LFO Freq Hz BPM MIDI Sync When BPM MIDI Sync 0ff the LFO speed uses the LFO Freq Hz parameter setting When BPM MIDI Sync On the LFO speed follows the BPM Base Note and Times settings BPM Base Note Times One cycle of LFO sweep is obtained by multiplying the length of a note o selected for Base Note in relation to the tempo specified in BPM or the MIDI Clock tempo if BPM is set to MIDI by the number specified in the Times parameter LFO Type within the effect itself Since this lets you use the same LFO for multiple effects it s useful when you want to apply various types of mod
125. Mono In Stereo Out Dry Stereo In Stereo Out n Lait o and an amp simulation You can change the order of the Wet Dry effects NOT o eea decane Phasa ck EQ Trim LEQ HEQ wend a Oued DAES ies e A L Excit J Phaser jet Mono In Mono Out Dry Stereo In Stereo Out 2 gt HLP Exciter Normal Left A i Output Mode Routing Wet Dry Resonance Wet Invert Overdrive Hi Gain yN Amp Simulation iPhaser Wet Dry Nees ieee eH Pepe A tori Aapahy ointe Right i 3 3 Band PEQ FO THT Sine WetliDry Driver ZAA A Amp Simulation Filter F Output Level FF Mode Overdrive Hi Gain ii Q k Drive Fu uic j Explanation Righto A parameter parameter P Wet Dry Exciter X Blend Sets the intensity Exciter Blend F Freq 100 4100 depth of the Exciter effect p 88 Sets the frequency range to be empha sized p 88 Sets the EQ input level Full Quick parameter parameter Overdrive Hi Gain Explanation Emphasis Freq Overdrive Switches between Drive Mode O Mode Hi Gain overdrive and high gain distortion Pre EQ Trim Sets the degree of Drive O Drive 1 100 distortion p 95 LEQ Gain Sets the gain of Low dB EQ HEQ Gain Sets the gain of High dB EQ Phaser LFO Triangle Selects the LFO Waveform Sine Waveform Sets the overdrive output level p 95 Selects the modulation source Off Tempo for the overdrive output level Level O Out Level 0 50
126. ND E PIANO ORGAN STRINGS BRASS SYNTH MODULATION REVERB EQ DELAY SPLIT SETTING CTRL RATE DEPTH FB TIME LEVEL FB BASS MID TREBLE Category Name te A Piano Layer ser 2 APN APiano layer User2 oooO I Programs are organized into sub categories You can assign a Program to a category and sub category during the utility command Write process To save changes to sub category names you ll need to write the Global settings To do so use the utility com mand Write Global Setting he The main category can not be edited fixed Category Name Main Category 00 17 Select the main category that includes the sub category whose name you want to specify Sub Category 00 07 Select a sub category and specify its name You can specify eight sub categories for each category UTILITY Command UTILITY Command Procedure for utility commands 1 Click the UTILITY button and choose a command from the menu that appears 2 Adjust the settings in the dialog box For details on the contents of each dialog box refer to the explanation for each command 3 Click the OK button to begin or click the Cancel button if you decide not to continue Write Global Setting This command writes Global mode settings Copy Scale This command copies data from a preset scale to a user scale or copies a user scale to another user scale location For details on the preset scales please see Type
127. Note Shape only affects AMS signals which already have some amount of slope such as EGs triangle and sine LFOs and so on It does not affect signals which only contain abrupt transitions such as square waves AMS A Source List of AMS Sources This selects the AMS input source to be shaped For a list of AMS sources please see Alternate Modulation Source AMS on page 121 Shape 99 99 This controls the amount of curvature and whether the curves are concave or convex As you can see in the graphic examples the shape will tend to emphasize certain value ranges and de emphasize others For example let s say that you are using a triangle LFO through Shape to modulate filter cutoff If Shape empha sizes the high value range the filter will spend more time at the higher frequencies If it emphasizes the low range the filter will spend more time at the lower frequencies Mode Symmetric Asymmetric This selects whether the Shape parameter will produce one or two curves The graphic AMS Mixer Shape examples may help to visualize how this works Asymmetric will produce a single curve extending from 99 to 99 Symmetric will produce two matching curves extending outwards from 0 to 99 and 99 respectively Bipolar and Unipolar AMS sources To understand Shape it helps to understand the difference between bipolar and unipolar AMS sources Bipolar sources can swing all the way from 99 to 99 with 0
128. O LFO Frequency ia Step Frequency Step Tri Random BPM Step Base Note Times The width of an LFO step or a cycle of random LFO is obtained by multiplying the length of a note o selected for Step Base Note in relation to the tempo specified in BPM or the MIDI Clock tempo if BPM is set to MIDI by the number specified in the Times parameter Wet Dry The effect sound s phase will be reversed when you set this parameter in the range of values from Wet to 1 99 015 St MMFIitr Multi Mode Filter This is a multi mode filter with four types low pass high pass band pass and band reject You can use LFO or dynamic modulation to vary the cutoff frequency or resonance Stereo In Stereo Out Left o gt a Multimode Filter gt Driver Trim F F Output LPF HPF Filter Type BPF _ H i BRF V i i i Multimode Filter gt Driver Bt Trim TF Output Right gt Wet Dry Full Quick parameter parameter Trim 0 100 Sets the input level j F LPF HPF BPF Selects the type of Filter Type _ FilterType BRE filter Sets the cutoff Cutoff frequency center frequency Selects the Source Off Tempo modulation source of the cutoff Explanation Sets the modulation Amount 100 100 mount of the cutoff Sets the resonance
129. O1 2 s Key Sync parameter which resets whenever all notes are released The Common LFO s persistence can be handy if you want to create a constant rhythm with an LFO and then play underneath that rhythm without re triggering it For instance you can use a MIDI controller in your sequencer to reset the Common LFO every few bars regardless of what notes are being played The Common LFO has most of the same controls as LFO1 2 However it does not include the Delay Fade and Key Sync settings since these only make sense for per voice LFOs Common LFO Shape AMS Src List of AMS Sources This selects an AMS source for controlling the LFO s Shape Modulating the shape can dramatically alter the effect of the LFO try it out For a list of AMS sources please see Alternate Modulation Source AMS on page 121 Shape AMS Int 99 99 This controls the depth and direction of the AMS Shape modulation Stop Off On On Instead of the LFO functioning normally it will ignore the Freq setting Instead the LFO simply generates a single value when the Program is selected and then holds that value until you select another Program or until you reset the LFO via AMS Note This is different from LFO1 2 in which the value is reset with every note on You can use this in conjunction with the Random wave forms to create static random modulation with the value changing only when you first sel
130. Quick 7 Explanation premiered parameter P Sets the level above which the compressor is applied p 84 Threshold dB Trsh dB Out Ceiling dB Cell dB 30 0 0 0 Sets the output gain Sets the release time 0 50 1000 0 p 84 Release ms Rel ms Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 100 mount for Wet Dry 006 St Gate Stereo Gate This effect mutes the input signal when it falls below a specified level You can also invert the on off status of the gate or use note on off messages to turn the gate on off directly Stereo In Stereo Out Lefto y gt ee Wet Dry Gain Adjust lope S nvelope Source Delay Gate ae o Side PEQ ma J N gt CEnvelope Control i P N F gt CEnvelope Control og i Envelope Select i Delay gt Gate Gain Adjust o Dmiz Right Wet Dry l o FX Control BUS 1 fo FX Control BUS 2 Quick parameter Value Explanation Selects the source to D mod control the gate D Input mod control or use FX Control 1 the input signal or FX FX Control 2 Control Bus 1 or 2 asa trigger p 84 Env Src Sets the trigger input Fx Control 0 100 level from FX Control Trim Bus 1 2 A Selects the control coe
131. RL Amp Filter2 EG APIANO E PIANO ORGAN STRINGS BRASS SYNTH MODULATION REVERB DELAY CHORUS PLATE RATE DEPTH FB TIME LEVEL FB BASS MID TREBLE Al o Note Number 88 Amp Modulation Break Key Low Key Ramp Bottom Low Low Center Center High High Top Center Key High Key LAMLAAILAILAAAILLALAAALAALAALALAALAAALAALAAALAALAALALAALAAALALALAALALALALALALAALI co Gil ce ca ca cS cs id cs cs Oscillators 1 and 2 have separate controls for volume also called amplitude or amp for short pan and as well as dedicated amp envelopes and keyboard tracking genera tors These pages let you control all of these related parameters Among other things you can e Set the pan position and pan modulation e Control amp level and modulation including keyboard tracking the amp envelope LFO modulation and AMS control Note that when the Oscillator Mode is set to Single only Oscillator 1 s amp and pan are active the pages for Oscilla tor 2 will be grayed out Amp1 This page controls the basic settings for the Amp section Here you can e Set the initial volume level e Control the pan position and pan modulation Level 000 127 This controls the basic volume level of Oscillator 1 before keyboard tracking velocity and other modulation MIDI and volume w You can control the Program s overall volume via MIDI using both Volume CC 7 and Expression CC 11 When used one a
132. S PLATE RATE DEPTH FB TIME LEVEL FB BASS MID TREBLE Fitter2 Modulation Filter2 LFO Mod Filter2 EG Filter B Filter M Bypass Frequency Input Trim Resonance Level oo AMS Source AMS Intensity 607 Output Level kerel S AMS Source AMS Intensity 06 Filtering can make subtle or dramatic changes to the oscilla tor s timbre Each oscillator has two multimode resonant fil ters A and B as well as a dedicated filter envelope and keyboard tracking generator These pages let you control all aspects of the filters Among other things you can e Adjust basic settings for each oscillator s filters including routing modes cutoff resonance etc e Set up filter modulation including keyboard tracking the filter envelope LFO modulation and AMS control Note that when the Oscillator Mode is set to Single only Oscillator 1 s filters are active the pages for Oscillator 2 s fil ters will be grayed out Resonance Level AMS Source AMS Intensity Output Level Level AMS Source AMS Intensity 00 Filter Bypass Frequency Input Trim Filter1 This page contains all of the basic settings for Oscillator 1 s Filter A and Filter B For example you can e Set up the filters to produce a single 12 dB oct filter dual 12 dB oct filters in either serial or parallel routing or a single 24 dB oct filter e Set each of the two filters to Low Pass High Pass Band Pass or Ban
133. S60 Device ID Global Ch These messages are used for communication between devices of the same model or to communicate with dedi cated computer editing software Since the way in which these messages are used is left up to each manufacturer they are mainly used to transmit and receive sound data and editing data for parameters that are unique to a particular instrument The PS60 s system exclu sive message format is F0 42 3n 00 01 OD ff F7 FO exclusive status 42 Korg ID 3n n 0 F global MIDI channel 1 16 mm Model ID byte 1 00 mm Model ID bytes 2 01 mm Model ID bytes 3 OD ff function ID type of message F7 end of exclusive To obtain a copy of the MIDI Implementation which includes MIDI System Exclusive format information please contact your Korg distributor Universal system exclusive messages Some system exclusive messages have a function that is agreed upon by all manufacturers these are called univer sal system exclusive messages and do not contain a manu facturer ID or model ID This means that they can simultaneously control all MIDI devices that have a matching device ID Of the universal system exclusive messages that are defined the PS60 supports the following six MIDI applications Messages transmitted and received by the PS60 Inquiry message request FO 7E nn 06 01 F7 Inquiry message FO 7E nn 06 02 nine bytes F7 When an inquiry message request is r
134. Sets the gain of Band 3 Sets the center E4 F Hz 500 20 00k frequency of Band 4 Sets the bandwidth of E4Q 0 5 10 0 Band 4 p 87 Sets the gain of Band E4 G dB 18 18 4 Comp gt Switches the order of Route P4EQ P4EQ the compressor and Comp parametric EQ Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 100 amount for Wet Dry 050 Comp Phsr Compressor Phaser This effect combines a mono compressor and a phaser You can change the order of the effects Wet Mono In Stereo Out Dry Stereo In Stereo Out Left aN Routing Wet Dry Compressor KN Phaser EQ Trim LEQ HEQ gt H lt M Comp Lat gt Phaser 7 Normal 7 Output Level i Output Mode i Resonance Wet Phaser Wet Dry Wet Dry Right gt Envelope Control LFO Tri Sine Full Quick Explanation parameter parameter Compressor Sets the sensitivity p 83 Sets the attack level p 83 Sets the compressor output level p 83 Sets the EQ input level Sensitivity C Sens Attack C Attack Level C Level Pre EQ Trim LEQ Gain Sets the gain of Low dB EQ HEQ Gain Sets the gain of High dB EQ Phaser LFO Freq Sets the speed of the Hz LFO LFO Triangle Select
135. Speaker Horn Rotor Mic Distance e ovis TAA Speaker Simulation Right i Wet Dry Di2 Mode Switch Rotate Stop Dwziz gt Speed Switch Slow Fast Dmz lt gt iianual Speed Control_ Full Quick Value Explanation parameter parameter Switches between Rotate Stop speaker rotation and stop Mode Mode SW Selects a modulation source for Rotate Stop Off Tempo Sets the switch mode for Rotate Stop modulation p 116 Toggle Switch Mode Moment Switches the speaker rotation speed between slow and fast p 116 Selects a modulation source for Slow Fast Speed Speed SW Slow Fast Source Off Tempo Sets the switch mode for Slow Fast modulation p 116 Toggle Switch Mode Moment Sets the level balance Rotor 1 99 between the high Horn frequency horn and low frequency rotor H R Balance Sets a modulation source for direct control of rotation speed p 116 Manual Speed Off Tempo How quickly the horn Horn rotation speed in the Acceleration high range is switched p 116 Adjusts the high range side horn Stop rotation speed 0 50 2 00 Standard value is 1 00 Selecting Stop will stop the rotation Horn Ratio Determines how quickly the rotor rotation speed in the low range is switched p 116 Rotor Acceleration Adjusts the low frequency rotor Stop speed Standard 0 50 2 0
136. Strtch Pitch Stretch 12 0 12 Rel This special control increases the Oscillator Tune parame ter while lowering the Transpose parameter The result is that the pitch stays the same but the mapping of the sam ples to the keys changes You can use this to create interest ing shifts in timbre Hold Off On Hold is like permanently pressing down on the sustain pedal In other words notes continue to sound as if you were holding down the key even after you lift your fingers from the keyboard Be aware that unless you set Sustain to 0 for Amp EG1 and also Amp EG2 if the program uses two oscillators the sound will continue indefinitely On The Hold function is enabled Even if the Hold function is enabled it might be dis abled for a specific range of keys Hold Bottom Key on page 23 Off Notes will play normally This is the default setting Reverse PROG Off On Rel This switches Reverse on off for all multisamples used by both oscillators If this is on the waveform will play back ward By setting this to PROG you can return the setting to the program s original setting Tone parameters Parameters from Filter Amp to the LFO group allow you to make overall modifications to the program s sound the PS60 Editor allows full parameter editing With the exception of LFO1Stop and LFO2Stop these parameters are relative parameters They adjust the value relative t
137. Switch assignments on page 128 Damper Switch Polarity KORG Standard Set this to match the polarity of the damper pedal or pedal switch that s connected to the PEDAL SW2 jack If you ve connected a Korg damper pedal separately sold DS 1H or a Korg pedal switch separately sold PS 1 choose the Korg setting since these products use a 4 polarity If you ve connected a damper pedal or pedal switch that uses a t polarity choose the setting Q open type t closed type If this polarity setting is incor rect using the damper pedal or pedal switch will not pro duce the correct result If you have not connected a damper pedal or pedal switch leave this set to User Scale User Scale A 1 Stereo Piano single gt J 12000 PROG SPLIT SETTING CTRL PERF EDIT GLOB UTILITY User Octave Scale gt User Octave Scale G6 1 Rca a User All Notes Scale APIAND E PIANO ORGAN STRINGS BRASS SYNTH MODULATION REVERB EQ DELAY RATE DEPTH FB TIME LEVEL FB BASS MID TREBLE d Ee a ct E 1 F 1 MAAKA OKARA ALAKKAL LAKLAR LANE LAK LAKAL AKAAKA LAKA AKALACKAKKAALALLAALLIL AL AUA AUA LU Here you can select the settings for four different User Octave Scales and one User All Notes Scale The user scales you create here can be selected from the fol lowing pages e Perf Timbre Param Scale e Prog Basic Scale If you want to keep the user scale you ve specified you must
138. The Fine parameter allows for fine adjustment in steps of cents High Damp This sets the amount of damping amount for the high frequencies of the resonant sound Lower values create a metallic sound with a higher range of harmonics 037 St Tremlo Stereo Tremolo This effect modulates the volume level of the input signal The effect is stereo and offsetting the LFO of the left and right phases from each other produces a tremolo effect between left and right Stereo In Stereo Out Left Wet Dry Tremolo 7 Tremolo if Righto cain mine LFO Phase LFO Tri Sin Vintage Up Down gt LFO Shape Full Quick Value Explanation parameter parameter Sets the damping amount of resonant sound in the high range p 102 High Damp 0 100 L6 L1 C Sets the Voice2 stereo Pan R1 R6 image Sets the balance between the effect and the dry input Dry 1 99 Wet Dry 99 1 Wet Selects a modulation Source source for Wet Dry Off Tempo Sets the modulation 100 100 amount for Wet Dry Control Mode Voice 1 Resonance Voice 2 Resonance This parameter determines the resonance intensity When Control Mode Manual the Resonance parameter sets the intensity of resonance If the Resonance parameter has a negative value harmonics will be changed and resonance will occur at a
139. This command makes the selected program a user program for saving The program that you use for this command can not be assigned to a timbre To use it in a timbre select this program as the save destination for the edited program Tip If you ve run out of user programs and can t find a pro gram that you re willing to overwrite you can use this com mand beforehand to allocate a save destination Copy Oscillator This command is used to copy the settings from one oscilla tor to another Copy Oscillator is available on all of the tabs under the Quick Basic OSC Pitch Filter Amp pages 1 Use the From field to select the oscillator that you want to copy 2 Use Program to select the bank and number of the copy source program 3 In To specify the copy destination oscillator Swap Oscillator This command exchanges the settings of oscillators 1 and 2 Swap Oscillator is available on all of the tabs under the Quick Basic OSC Pitch Filter Amp pages Note This can be selected only if Oscillator Mode page 22 is Double Copy EG This command copies EG settings Copy EG is available on all of the tabs under the Filter Amp pages 1 Use From to select the copy source EG 2 Use Program to select the copy source program 3 Use To to select the copy destination EG Copy LFO This command copies LFO settings Copy LFO is available on all of the tabs under the LFO page 1
140. Wet Invert is selected the right channel phase of the chorus flanger effect sound is inverted This creates pseudo stereo effects and adds spread However if a mono input type effect is connected after this effect the left and right sounds may cancel each other eliminating the chorus flanger effects When Routing is set to Flanger gt Comp Output Mode will be set to Normal 046 Comp Wah Compressor Wah Auto Wah This effect combines a mono compressor and a wah You can change the order of the connection Wet Mono In Mono Out Dry Stereo In Stereo Out Left A Routing Wet Dry K N WahiAuto Wah Wah y Compressor _ EQ Trim LEQ HEQ gt lt Hom Output Level Wet Dry Right f f i Sweep Mo Bra 1 Dry Envelope Control gt Envelope i752 0 Davie f cee LFO Sets the bandwidth of Band2 Q E2Q Band 2 p 87 0 5 10 0 Band2 Gain ag E2 GIB 18 18 Sets the gain of Band 2 Band3 Cutoff Hz 300 10 00k Sets the center E3 FIHz frequency of Band 3 Sets the bandwidth of Band3 Q E3Q Band 3 p 87 0 5 10 0 Band3 Gain dB E3 G dB 18 18 Sets the gain of Band 3 Band4 Sets the center Cutoff Hz 500 20 00k E4 F Hz frequency of Band 4 Sets the bandwidth of Band4Q E4Q Band 4 p 87 0 5 10 0 Band4 Gain ag E4 GIAB 18
141. a bit D Bit Reso 4 24 length p 93 Resolution Sets the decimator Level D OutLevel output level p 93 Amp Simulation Selects the type of Amp Type guitar amplifier A Amp Type SS EL84 6L6 Switches the order of the decimator and amp simulation i Dec gt Amp Routing Route Amp gt Dec Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Wet Mono In Mono Out Dry Stereo In Stereo Out Left ht o Routing Wet Dry Compressor Resolution Output Level AWH Decimator 2 Comp Pre LPF High Damp output Level Righto gt it o f Wet Dry L Envelope Control Full Quick Explanation parameter parameter Decimator Turn the harmonic noise caused by lowered sampling on and off p 93 1 00k 48 00 Sets the sampling k frequency Pre LPF D Pre LPF Off On Sampling Freq Hz D Fs Hz Sets the ratio of high range damping Sets the data bit length p 93 100 D Bit Reso n 24 Sets the decimator Level D OutLevel 100 output level p 93 Compressor Sets the sensitivity p 83 Sets the attack level p 83 Sensitivity C Sens 100 Attack C Attack 100 100 Sets the compressor ms output level p 83 Level C Level Selects a modulation Off empo source for Wet Dry Sets the modulation 100 100 amount for Wet
142. a modulation Source source for Wet Dry Off Tempo Sets the modulation 100 100 mount for Wet Dry Amount 033 U VIBE This models a famous chorus vibrato pedal effect Simulating a rotary speaker this effect produced a fascinatingly lush tone Wet Mono In Mono Out Dry Stereo In Stereo Out Left o Right ae je LFO x Full Quick Value Explanation parameter parameter Sets the speed of the 0 10 10 0 vibration Speed Hz lt Sets the depth of Depth 0 100 vibration Sets the effect mix Mix 0 100 level Mix Wet Dry The Mix parameter specifies the amount of effect sound relative to the direct sound A setting of 0 produces the direct sound a setting of about 50 produces chorus and a setting of 100 produces a vibrato effect If you set the Wet Dry parameter to Wet the sound will be output with the mix balance specified by Mix 034 St RndPhs Stereo Random Phaser This is a stereo phaser The effect uses a step shape waveform and random LFO for modulation creating a unique phasing effect Stereo In Stereo Out Phaser t Resonance gt o Wet Dry High Damp gt Phaser i gt o Wet Dry Right i LFO Step Tri Random LFO Phase Full Quick Explanation parameter parameter Sets the frequency lt
143. able Switch Knob Easy Setup Knobs Performance Chg Transmitted when change a Performance Status EXT or EX2 ni MIDI Channel No 0 15 crtrts Usually Global Channel When in Performance each timbre s channel Status EXT or EX2 g Always Global Channel No 0 15 ENA Always Enabled A C Enabled when Enable Control Change in Global mode is on P Enabled when Enable Program Change in Global mode is on PB Enabled when Enable Program and Bank Change in Global mode is on 1 kk 0 127 6lkeys Octave Transpose 2 Program Performance MIDI Out Hex Bank Map is KORG Bank A 000 127 Bank A 000 019 mm bb pp 00 00 00 JF B 000 127 00 01 00 7F C 000 127 00 02 00 7F D 000 127 00 03 00 7F 140 MIDI Implementation 1 2 SYSTEM REALTIME MESSAGES Status Hex Description Transmitted when F8 Timing Clock Always in Performance Prog Edit 3 FE Active Sensing Always 4 3 Transmits these messages when MIDI Clock in Global mode is Internal 4 Transmits these messages when MIDI Clock in Global mode is External 1 3 SYSTEM EXCLUSIVE 1 3 1 UNIVERSAL SYSTEM EXCLUSIVE MESSAGE NON REALTIME DEVICE INQUIRY REPLY Transmits when received a INQUIRY MESSAGE REQUEST F0 7E 0g 06 02 42 0C 01 05 00 vv ww xx 00 F7 3rd byte g Global Channel 6th byte 42 KORG ID 7th byte OC PS60 series ID 8th byte 01 PS60 series ID 9th byte 05 PS60 member c
144. ain Level p 9 42 48 Amp EG 1 2 Sustain p 9 48 71 Filter resonance Filter A B 1 2 Resonance p 9 37 72 Release time Filter EG 1 2 Release p 9 42 Amp EG 1 2 Release p 9 48 73 Attack time EG Times Filter EG 1 2 Attack p 18 42 Amp EG 1 2 Attack p 9 48 Amp EG 1 2 Time Modulation Attack p 49 EG Levels Amp EG 1 2 Level Start p 48 Amp EG 1 2 Level Attack p 48 Amp EG 1 2 Level Modulation Start p 49 74 Filter cutoff frequency Filter A B 1 2 Frequency p 37 75 Decay time Filter EG 1 2 Decay p 9 42 Filter EG 1 2 Slope p 42 Amp EG 1 2 Decay p 48 Amp EG 1 2 Slope p 48 76 LFO1 speed LFO 1 Frequency p 51 77 LFO1 Pitch intensity Pitch LFO1 Intensity p 21 29 78 LFO1 delay LFO 1 Delay p 52 79 Filter EG intensity Filter EG 1 2 Intensity to A p 39 Filter EG 1 2 Intensity to B p 40 133 134 Appendices MIDI applications About MIDI MIDI stands for Musical Instrument Digital Interface and is a world wide standard for exchanging various types of musical data between electronic musical instruments and computers When MIDI cables are used to connect two or more MIDI devices performance data can be exchanged between the devices even if they were made by different manufacturers Settings when connected to a MIDI device or computer If you connect the PS60 to a MI
145. and then switch between the two using a third AMS source Below O At amp At amp Above O It s similar to an audio gate with a side chain but with even more flexibility since you get to choose what happens when the gate is closed below the threshold as well as when it s open above the threshold You can also choose whether the gate will be able to open and close continuously in response to the control source or whether it only opens or closes at the beginning of the note and then stays that way over the note s entire duration You can use the Gate to e Use a foot switch or other controller to apply pitch bend or other effects to some notes but not to others e The parameter will be applied when the controller reaches a specific threshold For example the velocity value could control the filter resonance only if the velocity value exceeds 90 e Use the joystick switches or controllers to change between two separate LFOs or other AMS sources 59 60 Program Edit Gate Output If the value of the Control Source is less than the Thresh old the Gate outputs the preset value or AMS source selected under Below Threshold If the value of the Control Source is greater than or equal to the Threshold the Gate outputs the preset value or AMS source selected in the At amp Above Threshold parame ter Below Thresh Fixed Value AMS A This selects whether Below Threshold us
146. ant to enable This setting is linked with Timbre On but tons on the panel Program Select 001 Here you can select the program used by each timbre Click Program Select and choose a program bank number and name from the menu that appears You can use SUB CATEGORY to categorize the programs M When you select a Performance on the PS60 a MIDI program change for the selected performance number will be transmitted on the global MIDI Channel page 72 At the same time bank select program change and volume CC 7 messages will be transmitted on the MIDI channel specified for each timbre whose Status page 7 is set to EXT or EX2 However these messages will not be transmitted for timbres that are set to the same MIDI channel as the global MIDI channel In this case EX2 timbres will show the Program Bank as and will transmit the bank number that was specified in Bank Select When Status EX2 page 7 When you play on the PS60 keyboard and controllers MIDI messages are transmitted on the global MIDI channel At the same time timbres whose Status is set to EXT or EX2 will transmit the same messages on their own MIDI channel If the received program change has the same MIDI channel as the global MIDI channel the performance will change Octave 5 0 5 This shifts the pitch of the timbre in steps of one octave Volume 000 127 Adjusts the volume of each timbre 1 16 Note You can use E
147. ase as you play harder If you instead set St Start to 99 the Start level will decrease as you play harder Attack 99 99 This controls the depth and direction of the AMS modula tion for the Attack level Break 99 99 This controls the depth and direction of the AMS modula tion for the Break level Time Modulation These settings let you use three different AMS sources to control the Time parameters of the EG For each of the three AMS sources the Attack Decay Slope and Release times each have their own modulation intensities Amp EG Time Modulation Note on Note off n Attack Decay Slope Release Note off aN Attack Decay Slope Release Note on Note off Note on M Attack Decay Slope Release Softly played note Original Shape Strongly played note Times are longer Reaches Sustain more slowly Strongly played note Times are shorter Reaches Sustain more quickly AMS1 Source List of AMS Sources Selects the first AMS source to control the EG s Time param eters Velocity and Keyboard Track can both be useful here for instance For a list of AMS sources please see Alternate Modulation Source AMS on page 121 Attack 99 99 This controls the depth and direction of the AMS modula tion for the Attack time For example if you set the AMS source to Velocity a
148. ase as you play more strongly and as you play more softly the resonance will approach the level specified by the Resonance setting The resonance level is determined by adding the Resonance and AMS Intensity values 24 168 tk 10k 24k P24 108 tk 16k Output Level Level 00 99 This controls the output level of Filter A You can use this to balance the volumes of Filters A and B when the Routing is set to Parallel or to turn down the volume to avoid clipping later in the signal chain AMS Source List of AMS Sources This selects a modulation source to control the output level of Filter A For a list of AMS sources please see Alternate Modulation Source AMS on page 121 AMS Intensity 99 99 This controls the depth and direction of the output level modulation Filter B Filter B is available if the Routing is Serial or Parallel Oth erwise all parameters in this section are unavailable and cannot be edited The filter B parameters are the same as for filter A Filter A on page 36 24 168 tk 10k 24k P24 160 tk 1k 24k Low resonance value lt gt High resonance value 37 38 Program Edit Filter1 Modulation Here you can edit the filter keyboard tracking and filter modulation for oscillator 1 These settings include the fol lowing e Set up complex keyboard tracking shapes and control how the tracking affects filter cutoff e Control the effect of
149. asy Setup Volume to control this param eter w The volume of each timbre is determined by multiply ing this volume value with the MIDI volume CC 7 and expression CC 11 If Status page 7 has been set to INT incoming MIDI CC 7 or CC 11 messages will control the volume of a timbre However these messages will not affect the set ting of this parameter If Status is EXT or EX2 the value of this parameter will be transmitted as MIDI CC 7 when the performance is changed However this will not be transmitted by a timbre that is set to the same MIDI channel as the Performance Edit global MIDI channel This message is transmitted on the MIDI Channel page 7 specified for each timbre IFX Name This indicates the program s insert effect The program of the STRINGS timbre does not have an insert effect Note You can t edit this setting here You can adjust settings in the Program Edit section page 63 Send1 Mod 000 127 Send2 Rev 000 127 For each timbre these parameters set the send level to mas ter effects 1 and 2 MID Control change CC 93 can be used to control the Send 1 level and CC 91 to control the Send 2 and modify their respective settings These messages will be received on the MIDI channel page 7 specified for each timbre MFX1 Mod MFX1 On Off Off On Switches the master effect 1 on off When off the output will be muted This will alternate between on and off each time it is p
150. ate auto fade effects transforming a quick gesture into a longer fade in and or fade out event Smoothing can also be used to alter the shape of program mable mod sources such as LFOs and EGs For instance you can turn a blip into a simple envelope shape as shown below AMS Mixer Smoothing examples Original AMS A Smoothing with Long Attack and Short Release A Smoothing with Short Attack amp Long Release AMS A Source List of AMS Sources This selects the AMS source to be smoothed For a list of AMS sources please see Alternate Modulation Source AMS on page 121 Attack 00 99 This controls the attack time of the smoother or how long it takes the smoother to reach a new higher value Higher Attack settings mean longer times Depending on how quickly the AMS input value is chang ing high Attack settings may mean that the value is never quite reached as shown in AMS Mixer Shape examples above Decay 00 99 This controls the decay time of the smoother or how long it takes the smoother to reach a new lower value Higher Decay settings mean longer times Shape This Mixer Type adds curvature to the AMS input This applies deformation to the AMS input You can use this to customize a controller curve such as the exponential curve of the joystick or the logarithmic curve of velocity control It can also alter the shape of programmable modulation sources such as EGs and LFOs
151. ategory e Categories A PIANO E PIANO BRASS SYNTH 00 52 e Category ORGAN 00 54 Programs of the Organ category allow you to use 53 Organ Vib Chorus and 54 Rotary Speaker in addition to effect types 00 52 When using 54 Rotary Speaker you can use the ORGAN FAST SLOW button to switch the rotary speaker simulator between slow fast speeds e Category STRINGS The insert effect is not available IFX On Off Off On This turns the insert effect on off When off the input will be output without change For 000 No Effect the On and Off settings have the same result Offset AMS A Source Offset Amount Offset w Separately from this setting you can use CC 92 to turn off all insert effects A value of 0 turns them off and a value of 1 127 returns them to their original settings This is controlled on the global MIDI channel specified by MIDI Channel Global MIDI Channel page 72 Send1 Mod 000 127 Send2 Rev 000 127 These adjust the level at which the post IFX signal is sent to master effects 1 and 2 This is valid if Bus Bus Select is set to L R or Off You can use CC 93 to control the Send 1 level and CC 91 to control the Send 2 level These are controlled on the timbre s MIDI channel page 7 63 64 Program Edit IFX Insert Effect IF X Here you can edit the parameters of the insert effect that you selected in the IFX Routing page MID Effect dynamic modulation Dmod is
152. ation please see MIDI transmission when the PS60 s controllers are used on page 130 and PS60 and MIDI CCs on page 131 e Control changes can be turned on off as a whole in Enable Control Change page 73 e Ina performance reception of various control change messages can be turned on off for each timbre Other CC page 10 applies to the control change messages not included in the other settings Selecting program performance banks Bank select CC 00 CC 32 Technically Bank Select is a controller In practice however it is a component of Program Change For more information please see Program changes Bank select on page 134 Using the joystick to apply modulation Modulation 1 depth CC 01 Bn 01 vv When you move the PS60 s joystick in the Y direction Ver tical upward Modulation 1 Depth messages will be trans mitted When these messages are received the same effect will be applied as when the PS60 s joystick is used Nor mally this will apply a vibrato effect pitch LFO e In Performanc transmission reception can be turned on off for each timbre JS Y on page 10 Modulation 2 depth CC 02 Bn 02 vv When you move the PS60 s joystick in the Y direction Ver tical downward Modulation 2 Depth messages will be transmitted When these messages are received the same effect will be applied as when the PS60 s joystick is used Normally this will apply a wah effect fi
153. ation values above 64 set the speed to Fast and values below 64 set it to Slow Manual Speed If you wish to control the rotation speed manually instead of switching between Slow and Fast select a modulation source in the Manual Speed parameter If you don t want to use manual control set this to Off Horn Acceleration Rotor Acceleration On a real rotary speaker the rotation speed accelerates or decelerates gradually after you switch the speed The Horn and Rotor Acceleration parameters set the transition times between fast and slow speeds Mic Distance Mic Spread This is a simulation of stereo microphone settings Rotary Speaker Mic Placement Mic Spread Microphone ______ 9 7 ron rmnnn nnn Microphone X a i Mic Distance Mic Distance EN Fa a Rotary Speaker Top View MFX1 Mod Master Effect1 Modulation List No Effect MFX1 Mod Master Effect1 Modulation List No Effect Select this if you don t want to use an effect If selected for a master effect the output will be muted St Chorus Stereo Chorus This effect adds depth and warmth to the sound by modulating the delay time of the input signal Modulation is produced by opposite phase LFOs for the left and right sides creating a more spacious chorus effect Stereo In Stereo Out Left Chorus ga SE 2 Chorus Righto A Rate
154. attack time 100 p 84 Sets the release time 100 p 84 Gain of the low range trigger signal p 85 Thresh dB lt iss lt Tes Low Offset dB LowOfs dB 40 0 Mid Offset dB Gain of the mid range trigger signal p 85 i Gain of the high High Offset HiOfs dB 40 0 range trigger signal dB p 85 Inf Sets the output gain 38 24 p 84 Selects the modulation source for the output gain MidOfs dB 40 0 Gain Adjust r dB Gain dB Source Off Tempo Sets the modulation amount of the output gain 63 63 Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Off Tempo Selects a modulation source for Wet Dry Sets th dulati onoo Steuer Low Offset dB Mid Offset dB High Offset dB These parameters set the gain of the trigger signal For example if you do not want to apply compression to the high range reduce the High Offset value down below the Threshold level In this way the high range limiter will not respond and compression will not be applied 005 St MstLmt Stereo Mastering Limiter This is a stereo limiter that is optimized for mastering songs Stereo In Stereo Out Left gt Limiter 7 Piet 1 Dry Out gt Envelope Control gt Limiter Out Ceiling Righto i De 7Dry Full
155. be assigned to the lower region Choose either MAIN LOWER or MAIN UPPER use CTRL to choose either MAIN or SUB and then use the Timbre On buttons to select the timbres that you want to play OFF The sub timbre will be off The sub timbre settings will still be remembered even if you press this button after adjusting Split settings CTRL Control MAIN SUB When using Split settings this selects which timbre will be controlled the main timbre or the sub timbre Choose either main or sub as the timbre that you want to select or control using Easy Setup You can t choose SUB if the Split Setting is off Modulation MOD TYPE button No Effect Stereo Chorus Stereo Flanger Vintage Cho Flg Stereo Phaser This selects the modulation effect type page 117 If you select No Effect the output of the master effect will be muted RATE knob 0 02 10 00 DEPTH knob 0 100 FB FEEDBACK knob 0 100 These parameters adjust the effect Reverb Delay REVERB DELAY TYPE button No Effect Hall Plate Room Delay This selects the reverb delay effect type page 117 If you select No Effect the output of the master effect will be muted TIME knob 0 1 10 00 0 1 10 00 0 1 3 0 0 549 LEVEL knob 0 100 FB FEEDBACK knob 0 100 These parameters adjust the effect Performance Edit EQ BASS knob 18 0 18 0 MID knob 18 0 18 0 TREBLE knob 18 0 18 0 These parameters adjust
156. bender is used PRG The pitch range specified by the program will be used 24 24 This setting will be used regardless of the setting in the program m The MIDI RPN Pitch Bend Change message can be received to control this and change the setting How ever it will not be received if this parameter is set to PRG This message is received on the MIDI channel for each timbre set by MIDI Channel page 7 Pitch Use Prog Scale Off On A timbre can use the scale that is specified by Scale page 22 On The scale specified by the program will be used Off The scale specified by Type page 7 will be used Sub Timbres E Piano Strings Pitch Transpose ioo a0 Detune yo00e 5000 Bend Range ERG PRG Pitch Transpose moa a oa 8 Detune E Ec Bend Range PRG PRO PRO PRO Other Use Prog Scale Other Use Prog Scale Timbre Param Timbre Parameters Tone Tone Main Timbres A Piano Synth Sub Timbres A Piano Synth Here you can adjust the sound of each timbre s program These settings are saved in each performance and do not affect the original programs About the Tone parameters The Tone parameters of a performance have the following characteristics e They allow you to edit some of the Tone parameters of the program selected for the timbre e They can be set individually for timbres 1 16 e All of the Tone parameters are Relative paramet
157. binet VOX AC100 Two 15 speakers 2x15 cabinet for Vox AC100 Two 15 speakers US 2x15 US manufactured cabinet JAZZ 1x15 Sets the modulation 100 100 amount of the output level Four 15 speakers UK 4x15 UK manufactured cabinet Sets the bass low range leve Sets the middle mid range leve Sets the mid frequency range Sets the treble high range leve 0 100 One 18 speaker LAS 1x8 LA sound cabinet One 12 and one 18 0 100 speaker combination cabinet COMBI 1x12 amp 1x18 0 4 Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet 0 100 Sets the presence high frequency tone Selects a modulation Pi 0 100 source for Wet Dry Stee Off Tempo Sets the balance between the effect and the dry input Sets the modulation amount for Wet Dry Dry 1 99 99 1 Wet 100 100 Wet Dry Selects a modulation source for Wet Dry Source Off Tempo Sets the modulation Amount 100 4100 e mount for Wet Dry IFX Insert effects List 025 TrebleBST Treble Booster Amp Type 024 B Amp Cab Bass Amp Cabinet Type Model Ca binet Recommended Combinations of Bass Amp Models and Cabinets This simulates a bass amp and speaker cabinet
158. ce in the same way as an LFO or EQ This also means that the original unmodified inputs to the AMS Mixers are still available as well For instance if you use LFO1 as an input to an AMS Mixer you can use the pro cessed version of the LFO to control one AMS destination and the original version to control another Finally you can cascade the two AMS Mixers together by using AMS Mixer 1 as an input to AMS Mixer 2 AMS Mixer1 Mixer Type A B Amt AxB Offset Smoothing Shape Quantize Gate Control This controls the type of processing performed by AMS Mixer 1 Each of the Mixer Types is discussed in detail over the next several pages A B adds two AMS sources together For more information please see A B on page 56 Amt Ax B scales the amount of one AMS source with the other For more information please see Amt AxB on page 57 Offset adds or subtracts a constant value to or from an AMS source For more information please see Offset on page 57 Smoothing specifies the smoothness of movement between two values You can use this to smooth sudden changes such as an abrupt movement of the joystick or sharp angle of the LFO For more information please see Smoothing on page 58 Shape adds curvature to the AMS input For more informa tion please see Shape on page 58 Quantize turns smooth transitions into discrete steps For more information please see Quantize on page 59
159. cebeds 82 MIXET sssiscsisssassseccaded daastcsscssnd s sevssssassiesssies Aastsaatacsci asiaaaasseactaastean 82 EQ wisssc bovis sabes cess soa ian iNe tases ANE 82 IFX Insert effects List 000 NO EPO CE cecsssicisssassssasssscsasdesedsscecssdvsssssausvan dedestenisteszecdsboons 83 001 St Comp Stereo Compressor ssssssssssssssssssssssssssssssse 83 002 Red COMP aeesisscansssivescebseonsscnsscstsdeoasoconscssvsconvsnesest nsstiveness 83 004 MulLimitr Multiband Limiter wesc 85 005 St MstLmt Stereo Mastering Limiter 85 006 St Gate Stereo Gate sssesesssessesesecesssssessssesssesesssseeesss 85 007 St P4EQ Stereo Parametric 4 Band EQ 0 86 008 St G7EQ Stereo Graphic 7 Band EQ c sssessseeeses 87 009 St Excitr Stereo Exciter 010 St lsolat Stereo Isolator 011 St Wah Stereo Wah Auto Wah c sescsssecsssesseeeeee 88 012 St VtgWah Stereo Vintage Custom Wah 89 013 VOX WAN rererere ii an AANA 90 014 St RndFlt Stereo Random Filter vv 90 016 St SubOsc Stereo Sub Oscillator voces 92 017 Talk Mod Talking Modulator esscssseccsseeseeseeeeee 92 018 St Decimt Stereo Decimator wisest 93 019 St Record Stereo Analog Record 020 OD Wah Overdrive Hi Gain Wah 021 St Gt Cab Stereo Guitar Cabinet 022 St Bs Cab Stereo Bass Cabinet wc 025 TrebleBST Treble Booster sssssssssssesessseerssssseseeresss 026 Tube Pre Tube PreAmp Mode
160. ch modulation Pitch LFO2 AMS Intensity P LFO2 AMS Int 12 00 12 00 This is similar to Pitch LFO 1 AMS Intensity above OSC2 Here you can adjust the settings for oscillator 2 These set tings are available only for a program that uses two oscilla tors otherwise this page will be unavailable The parameters are the same as for oscillator 1 Please see OSC1 on page 19 About Relative Rel and Absolute parameters The PS60 s Tone parameters are of two types Relative and Absolute In the case of absolute parameters a single parameter adjusts a single program parameter In the case of relative parameters a single parameter simultaneously adjusts the value of two or more program parameters e Relative parameters have an indication of Rel following the parameter value For instance Filter Amp EG Attack Time affects a total of six Program parameters The value of the Relative parame ter shows the amount of change to these underlying Pro gram parameters If the Relative parameter is set to 0 the slider in the display is at the center position the value of the corresponding pro gram parameter will not change The definitions of higher and lower settings can vary depending on the specific parameter Unless noted other wise they work as follows When the Relative parameter is at 99 the maximum the Program parameters are all at their maximum as well Simi larly when the Relative parame
161. ch program can use one insert effect Then the master effects are used to apply spa tial processing such as chorus and reverb and last the EQ is applied to adjust the final character of the tone Effect structure for a performance In a performance the sound of a timbre s program or the sound of the programs of multiple split or layered timbres are given spatial processing by the master effects and over all tonal adjustment by the EQ The insert effects are included in the programs Effect priority Insert effect In the case of Split settings when a timbre of the same cate gory is used for the main timbre and for the sub timbre for example if different E PIANO programs are used by the two timbres the program of the sub timbre will use the insert effect of the main timbre s program This is because only one insert effect can be used for each timbre category In the illustration on the next page see E PIANO within the performance Master effects and EQ When you switch performances the master effect and EQ settings saved in the performance are also loaded along with the other performance settings However when you switch the program of a timbre within the performance the program s master effect and EQ settings will be recalled according to the following conditions Single settings i e other than Split or Layer When you select a timbre ON or switch the program of that timbre the master effect and EQ settings o
162. ck segment the transition from the Start level to the Attack level Decay OL Linear 1 9 10E Exp Log This sets the curvature of the Decay segment the transition from the Attack level to the Break level EG Reset Time Curve Source Attack Attack Decay Decay Slope Slope Release Release Level Source off Start AMS Off Attack Break Release AMS1 AMS2 Time Modulation Start Attack Break 00 00 00 00 66 88 AMS Source Threshold 66 Attack Decay Slope mioa Foa 00 OSC Pitch Pitch EG Slope OL Linear 1 9 10E Exp Log This sets the curvature of the Slope segment the transition from the Break level to the Sustain level which for the Pitch EG is always 0 Release OL Linear 1 9 10E Exp Log This sets the curvature of the Release segment the transi tion from the Sustain level to the Release level Level Modulation These settings let you use two different AMS sources to con trol the Level parameters of the EG For each of the two AMS sources the Start Attack Decay and Break levels each have their own modulation intensities By using different settings for each of the three levels you can cause both subtle and dramatic changes to the EG shape as shown below Note Once the EG has started a segment between two points that segment can no longer be modulated This includes both the time of the segment and the level reached
163. controlled on the MIDI channels set for the corresponding timbres page 7 For more information please see Dynamic Modu lation Source Dmod on page 127 IFX1 Parameters Here you can edit the effect parameters for the insert effect selected in the IFX page IFX Routing For details on insert effects refer to Insert Effects IFX on page 81 The PS60 Editor allows you to edit all of the effect parame ters In the tables on page 81 and following that explain the effect parameters items listed in the Full parameter section are the parameters that can be edited using the PS60 Editor Plug In Editor MFX EQ Master Effect EQ EASY SETUP PROG SPLIT SETTING CTRL PERF EDIT GLOS UTILITY Sus OFF MAIN MAIN LOWER MAIN UPPER MFX EQ MFX amp EQ Routing Send1 MPX1 M Stereo Chorus SS Mrxorste L R lolx MFX2 EQ Stereo Chorus Ps6o e Route a sound to the master effects e Make detailed settings for the master effects and EQ For more information please see Effect Guide on page 79 The IFX and MFX EQ tab pages allow you to edit all of the effect parameters that cannot be edited from the PS60 itself Parameter names shown in purple are the effect parameters that can be edited from the PS60 MFX amp EQ Routing Here you can specify the type of master effects and turn them on off The master effects are sent to the L R bus MFX1 MFX2 The master effect does not output t
164. controller will transmit Expression messages and the volume will change When this message is received the result will be the same as when the control ler is used The volume of the PS60 is determined by multiplying the value of the Volume message with the value of the Expres sion message If adjusting the Volume message does not increase the vol ume as you expect or if there is no sound transmit MIDI messages from an external device to reset the value of the Expression message set vv to 127 e In Performance Volume messages will be transmitted by each timbre whose Status is EXT or EX2 when you re select the performance By using the universal exclusive Master Volume message you can adjust the overall volume without changing the vol ume balance between timbres Please see About system exclusive messages on page 138 Controlling pan stereo position Pan CC 10 Bn 0A vv vv value where 00 is far left 64 is center and 127 is far right When the above CC is assigned to the Assignable Pedal is selected using that controller will transmit Pan messages and the panning will change When this message is received the result will be the same as when the controller is used Post insert effect pan CC 08 Bn 08 vv vv value where 00 is far left 64 is center and 127 is far right When the above CC is assigned to the Assignable Pedal is selected using that controller will transmit Post Insert E
165. ctave The stated modulation results are for tempo values between 60bpm and 240bpm As the tempo decreases from 60 to Obpm AMS modulation will have increas ingly negative effects as it increases from 240 to 250bpm modulation will have increasingly positive effects 3 EXT Velocity Exp Velocity Poly After After Touch JS Y CC 01 JS Y CC 02 JS Y amp AT 2 JS Y amp AT 2 Pedal CC 04 ValueSlider 18 Knob Mod1 Knob Mod2 Knob Mod3 Knob Mod4 Damper CC 64 PortamentoSW CC 65 Soste nuto CC 66 Soft CC 67 SW1 CC 80 SW2 CC 81 123 124 Appendices The effects of AMS on various param eters and example applications We ll describe some examples of using alternate modula tion Note The parameter names and values used in these expla nations can be viewed and edited in microSTATION Editor Plug In Editor Pitch page 28 Pitch can be controlled by the Common LFO filter amp EG controllers or tempo etc e If you select Filter EG or Amp EG as the AMS and set Intensity to 12 00 the pitch will change up to 1 octave in synchronization with the EG e If you select Tempo as the AMS and set Intensity to 12 00 doubling the tempo based on J 120 00 will raise the pitch one octave and halving the tempo will lower the pitch one octave Pitch EG page 31 Pitch EG intensity can be controlled by the Common LFO keyboard tracking controllers or tempo e If you select JS Y CC 01 as the AMS and s
166. cts List 008 St G7EQ Stereo Graphic 7 Band EQ Parametric 4EQ Band1 Band4 Type Band4 Type Shelving High Band4 Type Peaking Parametric 4EQ Band2 Gain Mod Band2 Cutoff Band2 Gain dB 6 0 Band2 Gain Mod Amount dB 9 0 Band2 Gain dB 6 0 Band2 Gain Mod Amount dB 15 0 Q These parameters set the bandwidth of each equalizer The higher the value the narrower the band becomes Band2 Dynamic Gain Source Amount dB You can control the gain of Band 2 using the modulation source 008 St G7EQ Stereo Graphic 7 Band EQ This is a stereo 7 band graphic equalizer The bar graph of the gain setting for each band gives you a clear visual idea of frequency responses You can select a center frequency setting for each band from twelve types according to the sound Stereo In Stereo Out Left Wet Dry A cy T mH Trim Band1 Band2 Band3 Band4 Band5 Band6 Band7 ma j oS LS EAA T E T Band1 Band2 Band3 Band4 Band5 Band6 Band7 Right A o Wet Dry Full Quick Value Explanation parameter parameter 1 Wide 1 2 Wide 2 3 Wide 3 4 Half Wide 1 5 Half Wide 2 6 Half Wide 3 7 Low 8 Wide Low 9 Mid 10 Wide Mid 11 High 12 Wide High Selects acombination of center frequencies foreachband p 87 Trim 0 100 Sets the input level Band1 dB 18 0 Sets the gain of Band 1 Band
167. cy 00 99 This controls the speed of the LFO before any modulation Higher values mean faster speeds as shown in the table below By using AMS modulation you can also get speeds much faster and much slower than are available through this basic setting Frequency Value Frequency in Hz 00 0 014 Hz 10 0 112 Hz 20 0 422 Hz 30 0 979 Hz 40 1 79 Hz 50 2 84 Hz 60 4 14 Hz 70 5 69 Hz 80 7 49 Hz 90 9 53 Hz 99 26 25 Hz 99 Fine 99 32 Hz Start Phase 180 180 RND Random This controls the phase of the waveform at the start of the note in steps of 5 degrees If Key Sync is Off the Start Phase will apply only to the first note of the phrase Shape 99 99 Shape adds curvature to the basic waveform As you can see in the graphic below this can make the waveforms either more rounded or more extreme It can also be useful to emphasize certain value ranges and de emphasize others For example let s say that you are using a triangle LFO to modulate filter cutoff If Shape emphasizes the high value range the filter will spend more time at the higher frequen cies If it emphasizes the low range the filter will spend more time at the lower frequencies LFO Shape 99 Shape 0 original waveform Shape 99 Shape 99 Note Shape does not affect the Square and Random3 wave forms since their values are always either 99 or 99 When these are sel
168. cy will increase With negative values the effect will be in the opposite direction when the EG rises above 0 the filter cutoff will decrease Velocity to B 99 99 This lets you use velocity to scale the amount of the Filter EG applied to Filter B For more information please see Velocity to A above Intensity to B 99 99 This controls the initial effect of the Filter EG on Filter B s cutoff frequency before any velocity or AMS modulation For more information please see Intensity to A above AMS Source Filter EG List of AMS Sources This selects any AMS modulation source to scale the amount of the Filter EG applied to Filters A and B The two filters share a single AMS source with separate intensity settings Otherwise the AMS modulation will work in the same way as the Velocity to A parameter described above For a list of AMS sources please see Alternate Modulation Source AMS on page 121 AMS InttoA 99 99 This controls the depth and direction of the EG AMS modu lation for Filter A AMS Int to B 99 99 This controls the depth and direction of the EG AMS modu lation for Filter B Filter Modulation This section lets you assign any two AMS sources to control Filter A and another two AMS sources to control Filter B This modulation is added to the basic Filter A and B cutoff frequencies as set on the Filter 1 page Filter A AMS1 Source List of AMS Sources T
169. d Reject modes Routing Single Serial Parallel 24dB 4Pole Each oscillator has two filters Filter A and Filter B This parameter controls whether one or both of the filters are used and if both are used it controls how they are con nected to each other Single This uses only Filter A as a single 2 pole 12 dB octave filter 6 dB for Band Pass and Band Reject When this option is selected the controls for Filter B will be grayed out Serial This uses both Filter A and Filter B The oscillator first goes through Filter A and then the output of Filter A is processed through Filter B Parallel This also uses both Filter A and Filter B The oscil lator feeds both filters directly and the outputs of the two filters are then summed together 24dB oct This merges both filters to create a single 4 pole 24 dB octave filter 12 dB for Band Pass and Band Reject In comparison to Single this option produces a sharper roll off beyond the cutoff frequency as well as a slightly more deli cate resonance Many classic analog synths used this general type of filter When 24 dB oct is selected only the controls for Filter A are active the controls for Filter B will be grayed out 35 36 Program Edit Serial and Parallel Routing Serial Oscillator Filter A Low Pass Filter B High Pass 24 169 tk 10k 24k Filter A Low Pass gt Filter B High Pass Parallel 24 169 tk
170. d be self explanatory but a few LFOs will benefit from more details Guitar is intended for guitar vibrato and its shape is specif ically tuned for this purpose The waveform is positive only OSC 1 so that when used for pitch it will only bend up and not Here you can specify the LFO1 and LFO2 waveforms for down oscillator 1 These settings allow you to do the following Random1 S H generates traditional sample and hold things waveforms in which the level changes randomly at fixed e Select the basic waveform for LFO1 and 2 and use intervals of time Shape to modify it Random2 S H randomizes both the levels and the timing e Specify the frequency for LFO1 and 2 Random3 S H generates a pulse wave with random tim ing It s the opposite of traditional sample and hold the tim ing varies but the levels don t LFO waveform z Rnd1 S H Rnd4 Cnt Triangle N Guitar A Prep lrig mi Random1 Ah Random4 w Step Triangles S H Continuous ExpTri Rnd2 S H Rnd5 Cnt Pay Ps Exponential A pe T le6 my Random2 mq Random5 nh Triangle p g S H Continuous M ExpSawDwn Rnd3 S H Rnd6 Cnt Square Exponential K atep sawa Pe Random3 Ul Random6 WMA Saw Down S H Continuous ExpSawUp Sine NG Exponential A Step Saw6 F Saw Up LFO Amp2 EG Random4 6 Continuous are smoothed versions of Ran dom 1 3 with ramps instead of steps You can use them to create more gentle random variations Frequen
171. d the Key set ting may skew the tuning of the note For example A above middle C might become 442 Hz instead of the normal 440 Hz You can use the Global Mode s Master Tune page 70 parameter to correct this if necessary Random 0 7 This parameter creates random variations in pitch for each note At the default value of 0 pitch will be completely sta ble higher values create more randomization This parameter is handy for simulating instruments that have natural pitch instabilities such as analog synths tape mechanism organs or acoustic instruments Timbre Mixer Main Timbres A Piano Synth Sub Timbres A Piano Synth You can set the pan and volume for each of the Timbres Pan Pan Pre RND L001 C064 R127 This specifies the pan of each timbre Pan Pre CC 10 Pan Post CC 8 A ee ial ey ee ial f a ______ BRASS 4 STRINGS aE a L001 C064 R127 A setting of L001 is far left and R127 is far right A setting of C064 will reproduce the pan setting of the Program Edit mode osci osc2 OSCI i osc osc2 sci e o Amp Pan L001 i e o Amp Pan L032 OSC2 i Osc Left Center Right Amp2Pan R127 Left Center Right Amp2 Pan R096 Pan CC 10 f Pan CC 10 C064 C064 L032 L032 L001 L001 R096 R096 R127 R127 Left Center Right i Left Center Right osci fe osc2 sci Amp Pan C064 ee i osc2 Left Center Right Amp2 Pan C064 Pan CC 10
172. dulation in Off Tempo source for Wet Dry Ca b et Sets the modulation 100 100 mount for Wet Dry Wah The Wah parameter switches the wah effect on off Laits Switch Mode La This parameter sets how the wah effect is switched on and off via the modulation source When Switch Mode Moment the wah effect is usually turned off It is turned on only when you press the pedal or sigh Trim Trim Cabinet Simulator A o Wet Dry Cabinet Simulator use the joystick o Wet Dry When a value for the modulation source is less than 64 off speed is selected and when the value is 64 or sl parameter Quick parameter Explanation higher on is selected z Trim Sets the input level When Switch Mode Toggle the wah effect is switched between on and off each time you press the pedal or use the joystick The switch will be turned on off each time the value of the modulation source exceeds 64 Sweep Range Source This parameter sets the sweep range of the wah center frequency A negative value will reverse the direction of sweep The wah center frequency can be controlled by the modulation source specified in the Source parameter Pre Low Cut Cutting the signal in the low range before it is input to the Distortion will create a sharp distortion Drive Output Level The degree of distortion is determined by the level of input signal and
173. e 99 99 Rel This scales LFO2 s fade in time Fade on page 52 LFO2 Delay 99 99 Rel This scales LFO2 s delay time the time between note on and the onset of the LFO Delay on page 52 LFO2 Stop PROG Off On Abs This Absolute parameter controls whether LFO2 is stopped or running Stop on page 52 Common LFO This parameter adjusts the common LFO OSC 1 Play Solo LFO 1 Waveform Volume LFO 2 Waveform fRandomi S H Tune Filter LFO 1 Intensity to A Filter LFO 1 Intensity to B Filter LFO 2 Intensity to A Filter LFO 2 Intensity to B Amp LFO 1 Intensity Amp LFO 2 Intensity Pitch LFO1 AMS Intensity Pitch LFO2 AMS Intensity Transpose Pitch Slope Pitch JS Pitch JS x 7 Portamento Fingerd gt Off Mode SRate Time 668 CmnLFO Spd Common LFO Speed 99 99 Rel This scales the Common LFO s frequency OSC1 OSC1 OSC Mixer Play Mute Play Oscillator 1 will sound Mute Oscillator 1 will be muted silent Solo Off On Switches the Solo status on off for oscillator 1 Play Mute Note The Solo On Off setting is not saved when you write the program Volume 000 127 Adjusts the volume of Oscillator 1 Pitch These parameters make pitch related settings for oscillator 1 Tune 1200 1200 Rel This Relative parameter adds to or subtracts from the Oscil lator s Tune setting Tune on page 30
174. e changed Use Output Level to adjust the level 93 Effect Guide 019 St Record Stereo Analog 020 OD Wah Overdrive Hi Gain Record Wah This effect simulates the noise caused by scratches and dust This distortion effect utilizes an Overdrive mode and a Hi on analog records It also reproduces some of the Gain mode Controlling the wah effect the 3 band EQ and modulation caused by a warped turntable the amp simulation will allow you to create versatile distortion sounds This effect is suitable for guitar and organ Stereo In Stereo Out sounds rong Pra EQ a Pre EQ Analog Record Wet Mono In Mono Out Dry Stereo In Stereo Out SL gt Simulation Left Ama Mode Overdrive Hi Gain Y Drive Pre Low cut 3 Band PEQ N m Z H Wan H Driver ZAAN AH Amp Simulation EQ Trim Pre EQ F Output Level Right o sJ A Wet Dry i Direct Mix Righto e a i T Full uick x f 2 Value Explanation ie parameter parameter Pre EQ EQ Trim Pre EQ Cutoff 300 10 00k Sets the EQ center Hz oe frequency Sets the EQ band width Sets the EQ input 0 100 level Value Explanation parameter parameter Switches Wah on off p 95 Selects the modulation source that switches the Wah on and off Wah lt Off On Pre EQQ 0 5 10 0 Pre EQ Gain dB PEQ dB 18 0 18 0 Sets the EQ gain O
175. e original pitch You can use this to create guitar style down ward swoops Portamento These parameters adjust portamento settings for oscillator 1 Portamento Portamento Enable Off On Portamento lets the pitch glide smoothly between notes instead of changing abruptly On Turns on Portamento so that pitch glides smoothly between notes Off Turns off Portamento This is the default state PortaFingr Portamento Fingered Off On This parameter allows you to control Portamento through your playing style When it s enabled playing legato will turn on Portamento and playing detached will turn it off again This option is only available when Portamento Enable is turned on On Turns on Fingered Portamento Off Turns off Fingered Portamento PortaMode Portamento Mode Rate Time Rate means that Portamento will always take the same amount of time to glide a given distance in pitch for instance one second per octave Put another way gliding several octaves will take much longer than gliding a half step Time means that Portamento will always take the same amount of time to glide from one note to another regardless of the difference in pitch This is especially useful when LFO waveform Triangle Ag Guitar S Step Tri4 Step Triangle4 ExpTri Saw n Step Tri6 D Exponential A Step Triangle6 Triangle ExpSawDwn Square Exponential Step Saw4 Saw Down ExpSawUp Sine Ng Eronen
176. e cutoff with an LFO to create phaser like effects Filter Types and Cutoff Frequency j I 24 12 i Low Pass o 12 l 24 l l 24 168 tk 10k 24k l I 24 12 5 High Pass a 12 i 24 24 168 ik 10k 24k l 24 12 I Band Pass E 12 l 24 i 24 160 1k 16k 24k i l I 24 l 12 Band Reject E f 12 I 24 24 148 tk 10k 24k l l Cutoff Frequency FilterB Filter B is available if the Routing is Serial or Parallel Oth erwise all parameters in this section are unavailable and cannot be edited The filter B parameters are the same as for filter A Filter A on page 36 Filter1 EG This displays the Filter EG envelope specified in the Filter1 EG page The graphic shows the shape of the Filter EG You can also change the shape by using the mouse to drag each of the squares Filter2 This page contains all of the basic settings for Oscillator 2 s Filter A and Filter B 7 Filter1 on page 35 Filter Filter1 Filter1 Set the cutoff resonance and input and output levels of each filter including modulation of resonance and output level FilterA Filter Bypass Off On This lets you bypass Filter A completely If Bypass is Off Filter A functions normally When Bypass is On Filter A will have no effect Frequency 00 99 This controls the cutoff frequency of Filter A in increments of 1 10 of an octave Th
177. e for Wet Dry Source Off Tempo Sets the modulation Amount 100 100 e mount for Wet Dry Selects the type of guitar amplifie Amp Type A Amp Type SS EL84 6L6 Switches the order of the overdrive and amp OD gt Amp Routing Amp gt OD Sets the balance between the effect and the dry input Dry 1 99 Wet Dry 99 1 Wet Selects a modulation Source Off Tempo source for Wet Dry Sets the modulation Amount 100 100 e mount for Wet Dry 112 IFX Insert effects List 058 Wah Amp Wah Amp Simulation 057 OD Phsr Overdrive Hi Gain Phaser This effect combines a mono overdrive high gain distortion and a phaser You can change the order of the effects Wet Mono In Stereo Out Dry Stereo In Stereo Out Left Se yeni P Wet Dry 3BandPEQ Driver ZANNA gt Phaser F O Uie 7 Normal i ae cau Output Mode i i Z7 Wet Invert J Mode Overdrive I Hi Gain Resonance Se Drive Phaser Wet Dry Right Pi f Wet Dry LFO Tri Sine Full Quick Explanation parameter parameter Overdrive Hi Gain Switches between overdrive and high gain distortion Overdrive Drive Mode O Mode Hi Gain Sets the degree of Drive O Drive 1 100 distortion p 95 Sets the overdrive Level O Out Level 0 50 output level p 95 Selects the modulation source for t
178. e is selected Note Number This is the note s MIDI note number from 0 C 2 to 127 G9 Velocity This is the note s MIDI note on velocity Exp Velocity Exponential Velocity This is MIDI note on velocity through an exponential curve The curve means that low velocities won t have very much effect and the difference between two lower velocity values won t be very noticeable On the other hand high velocities produce increasingly greater effects and the difference between any two higher velocity values will be more pronounced Poly After Polyphonic aftertouch allows a different aftertouch value for each note This can be received from external MIDI devices The PS60 keyboard itself does not generate poly aftertouch however After Touch This can be received from external MIDI devices The PS60 keyboard itself does not generate poly aftertouch however Common LFO Intensity Mod gt t Shape Frequency Mod Reset 7 Shape Frequency Mod1 gt Frequency Mod 1 gt LFO1 Frequency Mod2 gt Frequency Mod 2 gt LFO2 Intensity Mod toA Intensity Mod toA Intensity Mod toA Intensity Mod gt Intensity Mod Filter1 A Filter1 B Osc1 Pitch Mod _f Cutoff Mod 1 Cutoff Mod 2 Resonance Mod Output Level Mod papi Cutoff Mod 1 Cutoff Mod 2 Resonance Mod Intensity Mod Intensity Mod to A Fi
179. e on the PS60 i e opera tions of the keyboard or joystick will not produce sound Choose the Off setting if echo back from your external sequencer is causing each note to be sounded twice Local Control gt OFF Tone ON generator MIDIIN gt o MIDI OUT MID If Local Control is Off MIDI transmission reception will occur normally Playing the keyboard will cause the corresponding note data to be transmitted and received note data will play the PS60 s internal sounds Convert Position PreMIDI PostMIDI This setting specifies the location where the Transpose and Velocity Curve settings will be applied This setting will affect the MIDI data that is transmitted and received When using the PS60 s keyboard to play the internal tone generator the Transpose Velocity Curve and aftertouch Curve settings will always take effect regardless of this set ting PreMIDI Velocity Curve and Transpose will be applied to the data that is transmitted from the PS60 s keyboard This means that the Velocity Curve and Transpose settings will affect the data that is transmitted from MIDI OUT when the PS60 s keyboard is played MIDI data received from MIDI IN will not be affected Basic MIDI Controllers MIDIIN Tone gt Scale gt Generator Note number PS60 change 7 Transmitted Table MIDI OUT PostMIDI Velocity Curve aftertouch Curve and T
180. e silence over a single half step If you set the Center High ramp to Inf or Inf the High Top parameter will be grayed out Simi larly if you set the Low Center ramp to Inf or Inf the Bottom Low ramp will be grayed out Amp KTrk is also an AMS source You can use the keyboard tracking as an AMS source to modulate other parameters just like the envelopes and LFOs Simply select Amp KTrk in the AMS list for the desired parameter Amp Modulation You can modulate the Amp level by both velocity and an AMS source This modulation scales the basic Amp level and Amp EG level parameters The resulting volume is determined by multiplying the volume changes of the amp EG by other values such as AMS If these original levels are low the maximum volume available with modulation will also be reduced Velocity Intensity 99 99 With positive values the volume will increase as you play harder With negative values the volume will decrease as you play harder Velocity modulation of Amp level with Amp EG Volume pom a Time Time Low velocity High velocity AMS Source List of AMS Sources This selects any AMS modulation source to control the Amp level For a list of AMS sources please see Alternate Modulation Source AMS on page 121 AMS Intensity 99 99 This controls the depth and direction of the modulation For example if AMS Source is set to JS Y CC 01 posi
181. e specific effect of the cutoff fre quency will change depending on the selected Filter Type Input Trim 00 99 This adjusts the volume level at the input to the filter If you notice that the sound is distorting especially with high Res onance settings you can turn the level down here or at the Output Resonance Level 00 99 Resonance emphasizes the frequencies that are around the cutoff frequency When this is set to 0 there is no emphasis and frequencies beyond the cutoff will simply diminish smoothly At medium settings the resonance will alter the timbre of the filter making it sound more nasal or more extreme At very high settings the resonance can be heard as a sepa rate whistling pitch To make the resonance track the keyboard pitch please see Key Follow on page 39 AMS Source Resonance List of AMS Sources This selects an AMS source to control the Resonance amount For a list of AMS sources please see AMS Alter nate Modulation Source List on page 121 AMS Intensity 99 99 This controls the depth and direction of the Resonance mod ulation For example if Velocity has been selected changes in key board velocity will affect the resonance With positive values the resonance will increase as you play more strongly and as you play more softly the resonance will approach the level specified by the Resonance setting With negative values the resonance will decre
182. e split point The key you press will be the lowest key of the upper region Sub Timbres Here you can adjust settings for the sub timbres A PLANO SYNTH Main Timbres on page 3 Timbre Param Timbre Parameters Scale Timbre Param Timbre Parameters EASY SETUP APIANO E PIANO ORGAN STRINGS GRASS SYNTH MODULATION REVERB 4 1 Stereo Piano single gt REL Sa T 1 OGTAVE REVDLY SEND PLATE 120 00 PROG SPLIT SETTING a RATE DEPTH FB TIME LEVEL FB BASS MID TREBLE PERF EDIT GLOS UTILITY SUB OFF 1 MAIN LOWER r p 1 MAIN UPPER Overview MFX EQ gt Equal Temperament MIDI OSC Pitch Other Tone Main Timbres A Piano E Piano Organ Strings Brass Synth Sub Timbres A Piano E Piano Organ Strings Brass Synth Pan Pan Pan Pre bel a M m m Pan Pre foe gt gt Pan Post Modulation Modulation z Reverb Delay Reverb Delay le gt octave in tune For the sake of the octave one of the fifths Sc a e the interval from the sharp fourth degree to the sharp first degree is made quite flat This specifies the scale used by the performance Werkmeister Werkmeister III This scale was one of the Separately from this setting you can choose the Scale set many temperament systems developed towards the end of ting of each timbre s program take priority if desired the Baroque period These Well Tempered tunings were
183. each timbre s MIDI trans mission status channel and oscillator mode MIDI Status INT EXT EX2 This parameter sets whether the Timbre controls the inter nal sounds or external MIDI devices INT The timbre will sound and will also sound in response to MIDI messages from an external MIDI device MIDI data will not be transmitted EXT The timbre will not sound even if it receives messages from a controller but MIDI data will be transmitted to exter nal devices EX2 The Bank Select When Status EX2 settable only via the editor page 7 LSB value and MSB value will be used Instead of the A D bank numbers that can be selected from the PS60 itself the bank number specified for Bank Select will be transmitted via MIDI Other aspects are the same as for EXT INT MIDI IN USBB Tone generator EXT EX2 MIDI OUT USB B The Program Select indication shown on the PS60 itself for performance and performance edit modes will change as follows according to the Status setting The illustration shown here is for a performance Status INT Timbre category Index number program name Main Timbres A Piano E Piano Strings Timbre Param Timbre Parameters MIDI OSC Status EXT Timbre s MIDI channel Program s bank number program name Status EX2 Timbre s MIDI channel Program change number MSB LSB MIDI Ch MIDI Channel 01
184. eceived the PS60 will respond by transmitting an inquiry message that means I am a Korg PS60 with system version Master volume FO 7F nn 04 01 vv mm F7 vv lower byte of the value mm upper byte of the value together indicating 16384 steps This message is transmitted if you assign Master Volume as the function of the foot pedal This will adjust the overall volume balance without changing the relative volume bal ance between timbres When this message is received the result will be the same as when the controller is used Master balance FO 7F nn 04 02 vv mm F7 vv lower byte of the value mm upper byte of the value together indicating 16384 steps where 8192 is the default position and lower values will move the sound toward the left When this is received the overall panning will be adjusted without changing the relative panning between timbres Master fine tuning FO 7F nn 04 03 vv mm F7 A value of 8192 mm vv 40 00 is center 4096 mm vv 20 00 is 50 cents and 12288 mm vv 60 00 is 50 cents When this is received the MTune Master Tune parame ter will be set Master coarse tuning FO 7F nn 04 04 vv mm F7 Normally only the upper byte mm is used A value of 8192 mm vv 40 00 is center 6656 mm vv 34 00 is 12 semi tones and 9728 mm vv 4C 00 is 12 semitones When this is received the Transpose parameter will be set Transmitting sou
185. ect Wet effect applied the processed signal will be output in one of the following ways e L Effect aa Effect Im Monein stereo Out In Stereo Out J stereoin stereoout In Stereo Out Input output variations for each effect are shown in upper left of the block diagrams starting on page 83 If you select 000 No Effect stereo input signals are output in stereo without being processed IFX On Off turns the effect on off If an effect is off it will be bypassed Just as when 000 No Effect is selected the ste reo input sound will be sent through as a stereo output MII The PS60 can also turn IFX off separately from the set ting of the On Off button by receiving MIDI control change message CC 92 Value 0 will turn them off and value 1 127 will turn them on 81 82 Effect Guide You can also use Effect SW to turn IFX on and off This MIDI control is performed on the global MIDI channel page 72 See Effect SW on page 49 of the Owner s manual Mixer For a performance or program the mixer lets you edit the Pan Post setting which follows the insert effect not found on the Strings timbre which has no IFX Send 1 and Send 2 Pan Post This parameter enables you to set the pan of the post IFX signal If you are using the stereo in stereo out Insert Effects set this parameter to C064 to enable the Pan settings for the oscillators t
186. ect the Program Off When Stop is Off the LFO will function normally Reset AMS List of AMS Sources This selects an AMS source to reset the LFO to the Start Phase The LFO resets when the AMS value passes the half way mark 50 for most AMS sources or 64 for MIDI con trollers To create an effect similar to the per voice LFO s Key Sync setting set this to Gate 2 Damper OSC1 LFO1 OSC1LFO2 OSC2LFO1 OSC2 LFO2 Common LFO Frequency Modulation Offset 99 99 By default almost all of the LFO waveforms are centered around 0 and then swing all the way from 99 to 99 This parameter lets you shift the LFO up and down so that for instance it s centered on 50 and then swings from 49 to 149 For a complete description please see the entry under LFO1 Offset on page 52 Frequency Modulation These parameters are identical to the Frequency Modulation settings for LFO1 Frequency Modulation on page 52 Frequency MIDI Tempo Sync These parameters are identical to the Frequency MIDI Tempo Sync for LFO1 Frequency MIDI Tempo Sync on page 53 Frequency MIDI Tempo Sync Shape AMS Sro AMS Shape AMS Int 60 Source Intensity 00 a Stop Reset AMS fi 06 Offset 60 JS Y CC 01 o MIDI Tempo Syne Base Note le 1 4 o Times 61 AMS Mix C KeyTrk AMS Mixer Common Keyboard Track Common LFO AMS Mix C KeyTrk AMS Mixer Common Keyboard Track
187. ected Shape is grayed out OSC 2 Here you can specify the LFO1 and LFO2 waveforms for oscillator 2 The parameters are the same as the LFO1 and LFO2 settings for oscillator 1 OSC 1 on page 50 Waveform Triangle Random6 Continuous This selects the basic LFO waveform Waveform on page 50 Frequency 00 99 This controls the speed of the LFO before any modulation Prequency on page 51 Start Phase 180 180 RND Random This controls the phase of the waveform at the start of the note in steps of 5 degrees Start Phase on page 51 Shape 99 99 Shape adds curvature to the basic waveform Shape on page 51 Common This is a single Common LFO global for all voices in the Program like the modulation LFOs in some vintage analog synths Waveform Triangle Random6 Continuous This selects the basic LFO waveform Waveform on page 50 Frequency 00 99 This controls the speed of the LFO before any modulation e Frequency on page 51 Start Phase 180 180 RND Random The Reset AMS described above lets you reset the Com mon LFO This is the phase from which the LFO will start when it is reset Shape 99 99 Shape adds curvature to the basic waveform Shape on page 51 51 52 Program Edit OSC1 LFO1 Hm This page has all of the controls for the first LFO of Oscilla tor 1 For instance you can e Control the LFO
188. ects a modulation Off empo source for Wet Dry Sets the modulation 100 100 amount for Wet Dry IFX Insert effects List 049 Comp P4EQ Compressor Parametric 4 Band EQ 049 Comp P4EQ Compressor Parametric 4 Band EQ This effect combines a mono compressor and a four band parametric equalizer You can change the order of the effects Wet Mono In Mono Out Dry Stereo In Stereo Out Left x Routing Wet Dry x Parametric 4Band EQ Compressor l Comp AN AIARA i f Output Level Right Sa int L Envelope Control Full Quick Explanation parameter parameter Compressor Sets the sensitivity Sensitivity C Sens p 83 C Attack T Sets the attack level Attack p 83 Sets the compressor Level C Level put level p 83 Parametric 4 Band EQ Sets the parametric E Trim 0 100 EQ input level Sets the center E1 F Hz 20 1 00k Frequency of Band 1 Sets the bandwidth of E1Q 0 5 10 0 Band 1 p 87 Sets the gain of Band E1 G dB 18 18 1 Sets the center E2 F Hz 50 5 00k frequency of Band 2 Sets the bandwidth of E2Q 0 5 10 0 Band 2 p 87 Sets the gain of Band E2 G dB 18 18 gt Sets the center E3 F Hz 300 10 00k frequency of Band 3 Sets the bandwidth of E3Q 0 5 10 0 Band 3 p 87 E3 G dB 18 18
189. ee PERFORMANCE SYNTHESIZER PS60 Parameter Guide QE Enhanced Definition E p Synthesis integrated About the Parameter Guide This document PS60 Parameter Guide explains the parameters that can be quickly edited from the PS60 itself or from the PS60 Editor in addition to the full parameters that can be edited only by from the PS60 Editor It also explains functions that are specific to the editor Explanations of the quick parameters in the PS60 Owner s Manual are simplified as much as possible but this docu ment explains these quick parameters in greater detail including MIDI transmission and reception By connecting the PS60 to your computer and using the PS60 Editor application you ll be able to edit all of the PS60 s parameters the full parameters Conventions in the operation manuals Abbreviations for the manuals OM PG In the documentation references to the manuals are abbre viated as follows OM Owner s Manual PG Parameter Guide Symbols he r minil Note Tips These symbols respectively indicate a caution a MIDI related explanation a supplementary note or a tip Example screen displays The parameter values shown in the example screens of this manual are only for explanatory purposes and may not necessary match the values that appear in the Display of your instrument MIDI related explanations CC is an abbreviation for Control Change Number In ex
190. een received and processed a Data Load Completed message will be transmitted The control master device must not transmit the next message until this message is received or until a sufficient interval of time has elapsed e When you change use parameter changes to edit the changes will affect the data in the edit buffer and will not be stored in internal memory unless you Write so that the changes will be lost if you re select the program or performance The Write operation can be performed by a MIDI System Exclusive Program Write Request or Performance Write Request message in addition to the usual method of using the PS60 s switches or Editor Utility For more information please see Saving Storing Writing on page 25 of the Owner s manual If notes are stuck If a problem has caused notes to continue sounding even though you ve stopped playing the keyboard or stopped playing via MIDI you can stop the stuck notes by switch ing modes on the PS60 139 Appendices MIDI Implementation Consult your local Korg dealer for more infomation on MIDI System Exclusive implementation 1 TRANSMITTED DATA 1 CHANNEL MESSAGES H Hex D Decima Status Second Third Description Transmitted by ENA Hex H D H D 8n kk kk 40 64 Note Off Key Off 1 A 9n kk kk vv vv Note On vv 1 127 Key On 1 A Bn 00 00 mm mm Bank Select MSB Performance Prog change 2 FB Bn
191. effect will deepen as the EG level rises and will lessen as the EG level falls With negative values of Intensity to A and Intensity to B the phase of the LFO will be inverted e If a controller such as a foot switch connected to the DAMPER PEDAL SW1 or PEDAL SW2 jack is selected as AMS you can apply the auto wah effect by turning on the foot switch only when you want the effect Filter Common LFO page 54 You can use the EG LFO keyboard tracking controllers or tempo etc to control the Common LFO filter modulation intensity You can use Intensity to A and Intensity to B to specify the intensity separately for Filter A and B e You can set AMS to a controller and use the controller only when desired to control the depth of the filter sweep produced by the Common LFO Amp page 45 The volume can be controlled by the pitch filter EG Com mon LFO controllers or tempo etc e If an EG or controller that changes with a positive value EXT is selected as the AMS setting the Intensity to 99 will allow you to increase the volume to a maximum of eight times that of the current volume e If an EG LFO or controller that changes with a value Pitch EG Filter EG LFO KT EXT is selected as the AMS setting the Intensity to 99 will allow you to increase the volume to a maximum of eight times that of the current volume for positive changes of the AMS or to decrease the volume to zero for negati
192. elease Time 99 99 Rel This scales the release times of the Filter EGs Amp EG These parameters adjust the amp EG envelope for oscilla tors 1 and 2 at the same time Attack Amp EG Attack Time 99 99 Rel This scales the attack times of the Amp EGs Decay Amp EG Decay Time 99 99 Rel This scales the decay and slope times of the Amp EGs Sustain Amp EG Sustain Level 99 99 Rel This scales the sustain levels of the Amp EGs Release Amp EG Release Time 99 99 Rel This scales the release times of the Amp EGs Pitch EG LFO These parameters adjust the pitch EG envelope for oscilla tors 1 and 2 at the same time You can also adjust the depth of the LFO1 effect Attack Pitch EG Attack Time 99 99 Rel This scales the attack time of the Pitch EG Decay Pitch EG Decay Time 99 99 Rel This scales the decay and slope times of the Pitch EG Release Pitch EG Release Time 99 99 Rel This scales the decay and slope times of the Pitch EG LFO1 Int Pitch LFO1 Intensity 99 99 Rel CC 77 This scales the effect of LFO1 on the Pitch 99 removes the LFO modulation entirely 99 means maxi mum modulation in the same direction positive or nega tive as the original Program Filter Amp EG Attack Time Decay Time Amp EG Attack Time Decay Time Sustain Level Release Time Pitch EGILFO Attack Time Decay Time Release Time Sustain Level Release T
193. ep speed 50 00 50 00 When this is on the LFO speed is set by BPM Base Note and Times instead of Frequency p 89 BPM MIDI Sync Off On MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect p 91 IFX Insert effects List 014 St RndFit Stereo Random Filter Selects the type of notes that specify the LFO speed p 91 Sets the number of notes that specify the LFO speed p 91 Selects the type of notes to specify the LFO step speed p 91 Sets the number of notes to specify the LFO step speed p 91 Sets the balance between the effect and the dry input p 91 Wet 1 99 Dry 1 99 Wet Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 100 amount for Wet Dry Phase deg Offsetting the left and right phases alters how modulation is applied to the left and right channels creating a swelling affect LFO Phase 0 90 180 degree LFO Waveform LFO Freq Hz Step Freq Hz When LFO Waveform is set to Step Tri LFO is a step shape triangle waveform The LFO Freq Hz parameter sets the original triangle waveform speed Changing the Step Freq Hz parameter enables you to adjust the width of the steps When LFO Waveform is set to Random the Step Freq Hz parameter uses a random LFO cycle Random Filter LF
194. er Octaves Octaves Octaves Pitch EG as for Filter AMS KTrk dedicated parameter for Filter EG Filter 99 Resonance Filter EG Int Dedicated 99 0 99 99 0 99 99 0 99 parameter for Filter EG Filter LFO1 2 0 99 99 0 99 99 0 99 nt Filter Output 0 99 99 0 99 Level A B Amp Dedicated Dedicated Dedicated parameter parameter parameter for Amp KTrk AmpLFO1 2 99 0 99 99 0 99 Int Pan 63 0 63 EG Level 99 0 99 EG Time 1 64x 1x 64x LFO 1 1 64x 1 64x 1x 64x Frequency 4 1x 64x LFO2 only LFO 2 1 64X 1x 64x Frequency 4 Common LFO 1 64x 1x 64Xx Frequency 4 LFO 1 Shape 99 0 99 99 0 99 LFO2 only LFO 2 Shape 99 0 99 Common LFO 99 0 99 Shape Notes for the table MIDI CC 83 MIDI CC 85 MIDI CC 86 MIDI CC 87 1 EXT JS X Ribbon CC 16 Knob Mod1 CC 17 Knob MIDI CC 88 Mod2 CC 19 Knob Mod3 CC 20 Knob Mod4 4 It is possible to control LFO Frequency by using Tempo CC 21 AMS and Intensity However if you use the Frequency 2 When Tempo is selected as an AMS source the base MIDI Tempo Sync function page 53 the LFO frequency value is J 120 00 can be synchronized to the tempo and note value For example if the Pitch AMS is set to Tempo and Inten sity is set to 12 00 doubling the tempo value J 120 00 gt 240 00 will raise the pitch one octave and halving the tempo J 120 00 gt 60 00 will lower the pitch one o
195. er Volume FO 7F 0g 04 01 vv mm F7 3rd byte g Global Channel 6th byte vv Value LSB 7th byte mm Value MSB mm vv 00 00 7F 7F Min Max Master Balance FO 7F 0g 04 02 vv mm F7 3rd byte g Global Channel 6th byte vv Value LSB 7th byte mm Value MSB mm vv 00 00 Left 40 00 Center 7F 7F Right Master Fine Tune Control Master Tune cent in Global FO 7F 0g 04 03 vv mm F7 3rd byte g Global Channel 6th byte vv Value LSB 7th byte mm Value MSB mm vv 20 00 50 40 00 00 60 00 50 Master Coarse Tune Control Transpose chromatic step in Global FO 7F 0g 04 04 vv mm F7 3rd byte g Global Channel 6th byte vv Value LSB 7th byte mm Value MSB mm vv 34 00 12 40 00 00 4C 00 12 143 IMPORTANT NOTICE TO CONSUMERS This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used If you have purchased this product via the internet through mail order and or via a telephone sale you must verify that this product is intended to be used in the country in which you reside WARNING Use of this product in any country other than that for which it is intended could be dangerous and could invalidate the manufacturer s or distributor s warranty Please also retain your receipt as proof of purchase otherwise your product may be disqualified from the manufacturer s
196. ers Parameters that are interrelated with specific MIDI CC messages are followed by an indication such as CC 74 For more about Relative parameters refer to Relative Rel and Absolute parameters page 21 Saving your edits of Relative parameters The way that Relative and Absolute parameters are saved will differ in Program Edit mode but in Performance mode there are no differences in how these parameters are saved The changes you make are saved in the performance and will not affect the original programs Filter Amp Here you can adjust settings for the filter and amp of the program for each of the timbres Cutoff Filter Cutoff 99 99 Rel CC 74 This scales the cutoff frequency of all of the filters at once It affects both Filters A and B Resonance Filter Resonance 99 99 Rel CC 71 This scales the resonance of all of the filters at once It affects both Filters A and B Filt EG Int Filter EG Intensity 99 99 Rel CC 79 This scales the effect of the Filter EG on the cutoff frequency It affects Filters A and B simultaneously Timbre Mixer MIDI OSC Pitch Other Main Timbres A Piano E Piano Organ Strings Brass 99 means no modulation 99 means maximum Modula tion is in the same direction positive or negative as the original Program For instance if the original Program s EG Intensity was set to 25 then setting this parameter to 99 moves the EG Intens
197. ersal exclusive Coarse Tune message to adjust the overall tuning that corresponds to the Key Trans pose page 70 parameter Please see About system exclu sive messages on page 138 Changing the pitch bend range RPN pitch bend range Bn 64 00 65 00 This RPN message can be used to adjust the pitch bend range for a timbre The procedure is as follows 1 Bn 65 00 64 00 Select RPN parameter 00 2 Bn 06 mm 26 vv Use data entry to set the value Normally only the upper byte is used A value of 0 mm vv 00 00 is 00 and a value of 1536 mm vv 0C 00 is 12 one octave Although it is possible to set a negative value for a timbre only positive values can be set using RPN messages About system exclusive messages In addition to the channel messages that handle perfor mance data MIDI provides a type of message called sys tem messages which are used to send and receive data control commands and settings between MIDI devices Of these system messages there is a subset called system exclusive messages these are MIDI messages that can be freely used by each manufacturer System exclusive mes sages provide the flexibility to transmit and receive data and settings that are specific to an individual manufacturer or model of device System exclusive messages that are specific to a manufac turer contain the following information e Manufacturer ID e Model ID Device ID on the P
198. es a preset value or the selected AMS source Fixed Value 99 99 This lets you set a specific value to be used when the Con trol Source is less than the Threshold This only applies when Below Threshold is set to Fixed Value AMS Source List of AMS Sources This lets you set an AMS source to pass through the Gate when the Control Source is less than the Threshold This only applies when Below Threshold is set to AMS A At amp Above Thresh Fixed Value AMS B This selects whether At amp Above Threshold uses a preset value or the selected AMS source Fixed Value 99 99 This lets you set a specific value to be used when the Con trol Source is greater than or equal to the Threshold This only applies when At amp Above Threshold is set to Fixed Value AMS Source List of AMS Sources This lets you set an AMS source to pass through the Gate when the Control Source is greater than or equal to the Threshold This only applies when At amp Above Threshold is set to AMS B Gate Control Source List of AMS Sources This selects the AMS source to control the gate Control At Note On Only Off On When this is enabled On the value of the Control Source at note on will select the output Below Threshold or At amp Above Threshold The selected output will then remain active throughout the duration of the note regardless of any subsequent change in the Control Source s value Note that the output value
199. et Intensity to 12 00 moving the joystick in the Y direction will gradually increase the effect of the Pitch EG toa maximum of 1 octave If Intensity has a negative value the effect of the Pitch EG will be inverted LFO 1 2 page 52 Pitch modulation intensity of the LFO1 2 can be controlled by the Common LFO an EG keyboard tracking controllers or tempo etc e If you select EG as the AMS the pitch change width of LFO modulation etc can be controlled in synchroni zation with the level changes of the EG With positive settings of Intensity the vibrato effect will gradually deepen as the EG level rises or gradually lessen as the EG level decreases With negative settings of Intensity the LFO phase will be inverted e If a controller such as a foot switch connected to the DAMPER PEDAL SW1 or PEDAL SW2 jack is selected as AMS you can apply a pitch vibrato effect by turning on the foot switch only when you want the effect Filter Cutoff Frequency page 37 The cutoff frequency of filter A B can be controlled by the pitch amp EG Common keyboard tracking controllers or tempo Use the Filter Modulation 1 2 page Filter A B Mod ulation page 38 to set AMS and Intensity for Filter A or B e Ifyou select JS X as the AMS1 or AMS2 and set Intensity to a positive value moving the joystick toward the right will raise the cutoff frequency and moving it toward the left will lower the cutoff frequency Negative
200. ey is set to C use the white keys The black keys selected key will be perfectly in tune will play the equal tempered pitches Arabic This scale includes the quarter tone intervals used Stretch This tuning is used for acoustic pianos in Arabic music User All Notes Scale This is a user programmed scale with different settings for all 128 MIDI notes You can set up this scale in Global mode page 75 Pythagoras This scale is based on ancient Greek music the ory and is especially effective for playing melodies It pro duces completely pure fifths with one exception at the expense of detuning other intervals thirds in particular User Octave Scale 00 03 These are user programmed scales with settings for each of the 12 notes in an octave You As much as Pythagoras might have liked to do so it s not can set them up in Global mode page 75 possible to make all the fifths pure while also keeping the Performance Edit amp Use Equal Temperament for programs whose multi sample Multisample select page 25 is set to mono 0002 00003 0006 0007 0009 Stereo 0001 or 0003 i e the preload programs 13 SoloStretch Grand 15 SoloS tretch Classic Key Scale Key C B This selects the key of the specified scale This setting does not apply to the Equal Temperament Stretch and User All Notes scales amp If you re using a scale other than Equal Temperament the performance of the selected scale an
201. f Tempo source for Wet Dry Sets the modulation 100 100 mount for Wet Dry 011 St Wah Stereo Wah Auto Wah This stereo wah effect allows you to create sounds that range from vintage wah pedal simulations to auto wah simulations as well as a wide variety of other settings Stereo In Stereo Out Left o gt T Wet Dry gt Wah Envelope Sens 7 Sweep Mode D Envelope Shape Coy iat lt Response y Dmag l i Wah P Righto Snaps Full Quick Explanation parameter parameter Sets the lower limit of Freq Btm the wah center frequency p 89 Frequency Bottom Sets the upper limit of Freq Top the wah center frequency p 89 Frequency Top Selects the control from auto wah modulation source and LFO p 89 Selects the modulation source Off Tempo for the wah when Sweep Mode D mod Sweep Mode Sets the response 0 100 speed when Sweep Mode Auto or D mod Sets the sensitivity of 0100 auto wah p 89 Sets the sweep curve of auto wah p 89 Sets the speed of the LFO p 89 Selects a modulation Off Tempo source for LFO speed 100 100 LFO Hz 0 02 20 00 20 00 Sets the modulation 20 00 amount of LFO speed When this is on the LFO speed is set by ow LFO MIDI Off On BPM Base Note and y y Times instead of Frequency p 89 MIDI syncs to the system tempo 40 30
202. f AMS2 are identical to those of AMS1 above Time Modulation These settings let you use an AMS source to control the Time parameters of the EG The Attack Decay and Slope times share this AMS source but each has its own modula tion intensity Pitch EG Time Modulation AMS Velocity Intensity a positive value Note on Note off Note on Note off Note on Note off Attack Attack Attack Decay Decay Decay Slope Slope Slope Softly played note Strongly played note Times are longer Strongly played note Original Shape Times are shorter Reaches Sustain more Reaches Sustain more slowly quickly AMS Source List of AMS Sources This selects the AMS source to control the EG s Time param eters Velocity and Keyboard Track can both be useful here for instance For a list of AMS sources please see Alternate Modulation Source AMS on page 121 Attack 99 99 This controls the depth and direction of the AMS modula tion for the Attack time For example if you set the AMS source to Velocity and set Attack to 99 the Attack time will get much longer at higher velocities If you set the Attack to 99 instead the Attack time will get much shorter at higher velocities When the AMS source is at its maximum value for instance when Velocity is at 127 a setting of 8 will make the Attack time almost twice as long and a setting of 8 will c
203. f the selected program will be recalled Single gt Layer settings When you switch from Single to Layer settings the settings for the program of the timbre you turned ON first will be recalled These settings will not change even if you subse quently switch the timbre s program When you return from Layer settings back to Single set tings the Single settings section listed above will apply Single or Layer gt Split settings The master effect and EQ settings will not change when you switch to a Split setting The master effect and EQ settings that had been recalled when using Single or Layer settings will remain active 79 Effect Guide PERFORMANCE Main E Program su ami Program Send1 Modulation Return 1 stereo E PIANO Mein H Program T Di ain T s Sub Timbre2 spim Program i a Send2 C Chain On Off ORGAN Main Pr MFX2 Rev Dly Timbre3 on Reverb Delay Return 2 stereo EQ Master Level STRINGS an a kO S Timbre4 oT E Progra j stereo AUDIO OUTPUT L Mono R BRASS Main C Program ip Timbre5 eat jm Program iFX SYNTH Main Program TP Timbre6 an jm Program FX PROGRAM Send1 Modulation Return 1 MEX1 Mod stereo Chain On Off MEFX2 Rev Dly
204. fect mir p 106 99 1 Wet and the dry input p 105 Note Fine 100 100 Selects a modulation source for Wet Dry Trml Depth 0 100 Off Tempo Sets the modulation amount of the 100 100 Fine adjusts the oscil lator frequency p 106 Off Tempo Direct signal after passing through the 100 4100 Sets the modulation Direct Mix pre low pass filter 7 amount for Wet Dry mixed into the ring modulation output Type ey POR 0 02 2000 Fer the speed of nsi LFO Phase deg Source Off Tempo Selects a modulation Select the type of phaser LFO and tremolo LFO for the a source for LFO speed Type parameter How the effect sound moves or rotates Amount 20 00 Sets the modulation depends on the type of LFO Selecting LFO Phase enables 2000 amount of LFO speed you to offset the timing of the phaser peak and control a When this is on the btl d rotation of th d BPM MIDI LFO MIDI LFO speed is set by subtle movement and rotation of the sound Sync Sync Off On BPM Base Note and Times instead of Phaser Wet Dry Frequency p 89 MIDI syncs to the Wet Dry system tempo 40 Phaser Wet Dry sets the balance between the phaser 300 sen thie tempo output and the dry sound OUTPUT Wet Dry sets the dividal pee p 89 balance between the final phaser and tremolo output level Selects the type of and the dry sound Base Note Mee notes that
205. ff Tempo Sets the r p m of a Speed Spd RPM 33 1 3 45 78 record Selects the switching mode for the modulation source that switches the Wah on and off p 95 Toggle Moment Sets the modulation depth p 94 Switch Mode Flutter lt 0 100 Noise Density Noise Dens 0 100 Sets the noise density Sweep Sets the range of Wah Range p 95 Noise Tone 0 100 Sets the noise tone Selects the Sweep modulation source Source Off Tempo that controls the Wah p 95 Switches between Overdrive h PA Drive Mode Eras overdrive and hi gain Hi Gain A distortion Noise Level NoiseLevel 0 100 Sets the noise level Selects the Source Off Tempo modulation source for the noise level Sets the modulation Amount 100 4100 amount of the noise level Sets the degree of Sets the click noise Drive 1 100 distortion p 95 Click Level ClickLevel 0 100 level p 94 Sets the low range Pre Low Cut 0 10 cut amount of the distortion input p 95 Selects the modulation Source Off Tempo source for the click noise level Sets the output level p 95 Selects the Source Off Tempo modulation source for the output level Sets the modulation Output Level 0 50 100 100 amount of the click noise level Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Sets the modulation Amount amount of the output level
206. ffect Panpot messages and the panning of the sound following the insert effect will change When this message is received the result will be the same as when the controller is used Programs of the Strings category support only the panpot CC 10 message Controlling effects Effect control 1 CC 12 Bn OC vv Effect control 2 CC 13 Bn OD vv When the above CC is assigned to the Assignable Pedal is selected using that controller will transmit Effect Control 1 2 messages and the specified dynamic modulation will be controlled When this message is received the result will be the same as when the controller is used Although various types of control change can be selected as dynamic modulation sources Effect Control 1 CC 12 and 2 CC 13 are dedicated for dynamic modulation Effect 1 depth Send 2 CC 91 Bn 5B vv Effect 3 depth Send 1 CC 93 Bn 5D vv When the CC above is assigned to the Assignable Pedal using that controller will transmit Effect 1 Depth Send 2 or Effect 3 Depth Send 1 messages and the send level 1 or 2 to the master effects MFX1 or MFX2 will be controlled respectively When this message is received the result will be the same as when the controller is used On the corresponding MIDI channels this will simultane ously control the timbre setting as well as the setting follow ing the Insert Effect Effect 2 depth IFX1 5 on off CC 92 Bn 5C vv Effect 4 depth MFX1 2 on off
207. fore the last note is released This is the opposite of playing detached When Mono Legato is On the first note in a legato phrase will sound normally and then subsequent notes will have a smoother sound for more gentle transitions between the notes On When you play with legato phrasing the notes within a legato phrase will sound smoother Off Legato phrasing will produce the same sound as detached playing Unison On Off Unison can be used in Mono mode On When Unison is on the Program uses two or more stacked detuned voices to create a thick sound Use the Voices and Detune parameters to set the num ber of voices and amount of detuning and the Thickness parameter to control the character of the detuning Off The Program plays normally The quick parameters are organized into the tone parame ters page 21 and parameters that have been selected from among the full parameters Voices Number of Voices 2 6 This controls the number of detuned voices that will be played for each note when using Unison It applies only when Unison is On Detune cents Detune is available when Unison is On 00 99 cents This parameter sets the tuning spread for the Unison voices in cents 1 100 of a semitone The Thicknes parameter below controls how the voices are distributed across the detune amount When Thickness is Off the voices are dis tributed evenly centered
208. ful here for instance For a list of AMS sources please see Alternate Modulation Source AMS on page 121 Attack 99 99 This controls the depth and direction of the AMS modula tion for the Attack time For example if you set the AMS source to Velocity and set Attack to 99 the Attack time will get much longer at higher velocities If you instead set Attack to 99 the Attack time will get much shorter at higher velocities When the AMS source is at its maximum value for instance when Velocity is at 127 a setting of 8 will make the Attack time almost twice as long and a setting of 8 will cut the Attack time almost in half page 125 Decay 99 99 This controls the depth and direction of the AMS modula tion for the Decay time Slope 99 99 This controls the depth and direction of the AMS modula tion for the Slope time Release 99 99 This controls the depth and direction of the AMS modula tion for the Release time AMS2 AMS3 These select the second and third AMS sources respectively for controlling the EG s Time parameters Each has its own intensities for Attack Decay Slope and Release The param eters of both AMS2 and AMS3 are identical to those of AMS1 above EG Reset AMS Source List of AMS Sources This selects an AMS source to reset the EG to the start point AMS Source on page 33 AMS Alternate Modulation Source List on page 121
209. g notes on that channel will be turned off as though the keys had been released However the release portion of the notes will remain The sound will decay according to the Release set tings All sound off CC 120 Bn 78 00 value 00 When this message is received all notes sounding on that channel will stop immediately regardless of their Release settings However effect settings will not be muted Use these two messages when you experience stuck notes due to a problem with your MIDI equipment or computer 137 138 Appendices Resetting all controllers on a specific channel Reset all controllers CC 121 Bn 79 00 value 00 When this is received the value of all controllers on that channel will be reset However notes that are playing at the time that the message is received will not be turned off Using RPN Registered Parameter Numbers RPN Registered Parameter Numbers are a type of message that allow settings to be made in a way that is common between instrument manufacturers NRPN Non registered Parameter Numbers and exclusive messages can be freely used in non compatible ways by different manufacturers and models of instrument RPN messages can be used for editing with the following procedure 1 Use RPN MSB CC 101 Bn 65 mm and RPN LSB CC 100 Bn 64 rr n channel mm rr upper and lower bytes of the parameter number messages to select the parameter 2 Use data entry MSB
210. gle AMS source as both the Control Source and a value source Set the Control Source to JS X Set Control At Note On Only to On checked Set the Threshold to 00 Set Below Threshold to AMS A JS X Set At amp Above Threshold to a Fixed Value of 00 On the OSC Pitch page assign the AMS Mixer to control the pitch auth WN 7 With the joystick in the center play a chord and hold it through step 9 8 Bend the joystick to the left and then play a new note above the chord If the pitch changes go to the OSC Pitch page and set Pitch JS X and JS X to 00 Use the joystick to bend the pitch of the new note The new note will bend but the original chord played before you bent the joystick down will not This method is particularly good for bending the top note of a chord up to pitch Generating a static value Sometimes it can be handy to have a preset value as an AMS source The Gate is one way to create this To do so 1 Set both Below Threshold and At amp Above Threshold to Fixed Value and enter the same value into each Now the AMS mixer will always generate this static value AMS Mix2 SS This is the second AMS Mixer for Oscillator 1 The parame ters are exactly the same as those for AMS Mixer 1 AMS Mixer1 on page 56 OSC 2 AMS Mix WE This page controls the two AMS Mixers for Oscillator 2 These are available only when the Oscillator Mode is set to Doub
211. gly will increase the effect of the Filter EG as shown in example B above B Velocity to A 50 D Velocity to A 99 With negative values playing more strongly will intro duce the opposite effect of the Filter EG like inverting the polarity of the envelope You can use this in several different ways e You can set an initial positive amount with the Intensity to A B parameters and then reduce this amount with velocity In this case the final effect of the EG is simply diminished and not actually inverted as shown in example C above e You can also set the Velocity to A B amounts so that they are greater than the initial amounts of Intensity to A B In this case the EG will have a positive effect at low veloc ities and an inverted effect at high velocities as shown in example D Intensity toA 99 99 This controls the initial effect of the Filter EG on Filter A s cutoff frequency before any velocity or AMS modulation The Filter EG s shape can swing all the way from 99 to 99 Positive values increase the cutoff frequency and negative values decrease the cutoff frequency For instance please see the graphic Velocity control of Filter EG above The EG shape in example A rises up at first and then falls below 0 towards the end 39 40 Program Edit When Intensity to A is set to a positive value the EG s effect will match its shape When the EG rises above 0 the cutoff frequen
212. h control the pitch You can control the strength of each LFO s modulation in three different ways e Set an initial amount of LFO modulation using the LFO1 Int parameter e Use JS Y Int to adjust the amount of LFO produced by JS Y operations e Use any AMS source to scale the amount of the LFO The results are added together to produce the total LFO effect LFO1 Intensity 12 00 12 00 This controls the initial effect of the LFO on the pitch in semitones before any JS Y Int or AMS modulation Negative settings will invert the phase of the LFO JS Y Intensity 12 00 12 00 Specify the depth of pitch modulation produced by OSC1 LFO1 when the joystick is moved in the Y away direction or when CC 1 is received Joystick control in the Y direc tion is called JS Y This parameter sets the maximum amount of LFO modula tion added by JS Y in semitones As this value is increased moving the joystick in the Y direction will cause the OSC1 LFO1 to produce deeper pitch modulation Negative settings will invert the phase of the LFO You can also use this to reduce the initial amount of the LFO as set by LFO1 Int above For example 1 Set LFO1 Int to 7 00 The LFO will now have a fairly strong effect on the pitch bending it by a perfect 5th 2 Set JS Y Int to 7 00 Now if you move the joystick up the effect of the LFO will fade away When the joystick is all the way a
213. he Effect Dynamic Modulation function is not affected by these settings With the EXT or EX2 setting the corresponding MIDI data will be transmitted on the channel of that timbre when you use the PS60 s controllers MIDI transmit receive settings for the entire PS60 are made in Global mode MIDI Filter page 73 MIDI filtering for controllers whose function is user assign able the foot switch or foot pedal will apply if that MIDI control change is assigned to the controller If you assign the same control change as the damper or joystick the damper or joystick setting will take priority If the same control change is assigned to more than one controller turning On just one of them will enable that control change Off Transmission and reception of MIDI data is disabled Note MIDI CC MIDI control change message numbers Program Change Off On Specifies whether or not MIDI program change messages will be transmitted and received Damper Off On Specifies whether or not MIDI CC 64 hold damper pedal messages will be transmitted and received Portamento SW Off On Specifies whether or not MIDI CC 65 portamento on off messages will be transmitted and received JS X as AMS Off On Specifies whether or not MIDI pitch bend messages the X axis of the joystick will be received to control the AMS effect assigned to JS X This is not a filter for MIDI pitch bend message reception Timbre Mixer MIDI OSC Pitch
214. he balance between the effect and the dry input BPM MIDI LFO MIDI Sync Sync Base Note Ao x1 x32 Dry 1 99 99 1 Wet Selects a modulation Off empo source for Wet Dry Sets the modulation 100 4100 amount for Wet Dry Voice Top Voice Center Voice Bottom These parameters assign vowels to the top center and bottom position of the controller E g When Voice Top A Voice Center I and Voice Bottom U If Sweep Mode is set to D mod is selected as the modulation source moving your finger from the right to left of will change the sound from a to i then u If Sweep Mode is set to LFO the sound will change cyclically from a to i u i then a Talking Modulator Control Voice Center Voice Top _ Woice Bottom 7 aad i o i moar JSX D JS Y Max Zero amex JS Y i i i etc i gt Max Zero Formant Shift This parameter adjusts the frequency level where the effect is applied If you wish to apply the effect to a higher range sound set this parameter to a higher value to apply the effect to a lower range sound set this to a lower value Resonance This parameter sets the intensity of resonance for the voice pattern A larger value will add more character to the sound 018 St Decimt Stereo Decimator This effect creates a rough sound li
215. he controller had been used For Foot switch CC 82 Soft pedal CC 67 vv of 63 3F or less will be OFF and 64 3F or greater will be ON Controlling via the controllers of a connected MIDI instrument such as the M3 Ribbon Controller CC 16 Bn 10 vv When a control change is received from the ribbon control ler or other assigned controller of a MIDI instrument such as the PS60 the specified effect e g alternate modulation or dynamic modulation will be applied e You can turn transmission and reception on off for each timbre Enable Ribbon CC 16 on page 104 page 161 SW1 modulation CC 80 Bn 50 vv SW2 modulation CC 81 Bn 51 vv When the control change assigned for SW1 or SW2 of a MIDI device such as the M3 is received the assigned alter nate modulation or dynamic modulation effect will be applied You can turn transmission and reception on off for each tim bre Other CC on page 10 Controller CC 85 86 87 88 When the VALUE slider of MIDI instruments such as the M3 or a control change assigned to a controller is received the specified alternate modulation or dynamic modulation effect will be applied Controlling Program tone amp envelope shapes CC 70 79 control specific parameters of a program For details on the program parameters that correspond to each control change and how the PS60 will respond in each mode when these are received refer to PS60 and MIDI
216. he direct sound Dry Adjust the Return 1 and Return 2 return levels to return the signal to the L R bus and mix it with the L R bus signal The master effects are stereo in out but depending on the selected effect type the output may be monaural For more information please see In Out on page 81 On Off Off On This switches the master effect 1 on off When off the out put will be muted This will alternate between on and off each time it is pressed M Separately from the settings here you can use control change 94 to turn master effects 1 and 2 off A value of 0 turns them off and values of 1 127 restore the origi nal setting The global MIDI channel specified by MIDI Channel page 72 is used for this message MFX EQ Master Effect EQ IFX APIANO EPIANO ORGAN STRINGS GRASS SYNTH MODULATION REVERB 4 1 Stereo Piano single gt BRACE J 120 00 Mai amp a DELAY CHORUS PLATE RATE DEPTH FB TIME LEVEL FB BASS MID TREBLE I a WS lt alle 7 a LL Here you can adjust the settings for the master effects and EQ For instance you can MFX1_ No Effect Stereo Chorus Stereo Flanger Vintage Cho Flg Stereo Phaser MFX2 No Effect Hall Plate Room Delay These select the effect type for each master effect page 117 page 119 Click the effect type and choose from the list that appears If you choose No Effect the output from the master effect
217. he overdrive output level Off Tempo Sets the modulation Amount amount of the overdrive output level Sets the center frequency for Low EQ shelving type Low Cutoff Hz 20 1 00k ate Gain O Low dB Sets the gain of Low 18 418 EQ Sets the center frequency for Mid 300 10 00k High EQ 1 peaking type Mid1 Cutoff Hz Sets the band width Mid1 Q of Mid High EQ 1 p 87 Mid1 Gain dB Sets the gain of Mid O Mid1 dB High EQ 1 Sets the center frequency for Mid 500 20 00k High EQ 2 peaking type Mid2 Cutoff Hz Sets the band width Mid2 Q of Mid High EQ 2 p 87 Mid2 Gain dB Sets the gain of Mid O Mid2 dB High EQ 2 Phaser LFO Triangle Waveform Sine Selects the LFO Waveform LFO Freq Hz 0 02 20 00 P LFO Hz e the speed of the Sets the frequency where the effect is applied Manual P Manual 0 100 Sets the depth of LFO modulation Depth P Depth 0 100 Sets the resonance 100 100 gt For D99 Resonance P Reso Normal Wet Invert Output Mode Selects the phaser P Out output mode p 107 Wet P W D 1 99 Dry 1 99 Wet Phs Wet Dry Sets the phaser effect balance p 91 p 99 Selects the Wet Dry modulation source for the phaser Phs Source Off Tempo Sets the Wet Dry modulation amount for the phaser Phs Amount 100 100 O
218. he phrase so that the LFOs for all notes being held are synchronized together The Fade and Delay settings will only apply to the first note s LFO Note that even if Key Sync is Off each note s LFO speed may still be different if you modulate the Frequency by note number velocity key scaling or other note specific AMS sources Offset 99 99 By default almost all of the LFO waveforms are centered around 0 and then swing all the way from 99 to 99 This parameter lets you shift the LFO up and down so that for instance it s centered on 50 and then swings from 49 to 149 For example let s say that you re using an LFO for vibrato If the Offset is 0 the vibrato will be centered on the note s original pitch bending it both up and down If the Offset is 99 on the other hand the vibrato will only raise the pitch above the original note Offset settings and pitch change produced by vibrato Offset 99 Pitch WW Offset 0 Offset 99 Ww MM The one exception to this is the Guitar waveform which is designed to emulate bending a string on a guitar so that the pitch only goes up and not down Because of this the wave form is centered on 50 and not on 0 Of course you can always use a negative Offset to shift it back down below 0 again Since Offset affects the output values of the LFO it s impor tant to note that it affects the signal after the Shape function as shown below How the
219. her things you can e Select Multisamples for the Oscillator in a Single or Double Program e Set the Oscillator s basic pitch e Create velocity splits and crossfades between Multisamples What is a multisample A sample is a digital recording of a particular instrument or waveform or other natural or artificially processed sound recorded at a specific pitch A multisample is a collection of similarly voiced samples used to create the same type of sound piano bass guitar strings organ across the entire keyboard as the basis of a program The oscillators of single and double programs use multisamples There are 136 mul tisamples available in this instrument You can assign up to four multisamples to each oscillator and switch between them by velocity High Start Offset Off 1st 8th In addition to simply starting playback from the beginning Multisamples can have up to 8 different pre programmed alternate starting points The Start Offset specifies whether to use the normal start point Off or to use one of the alternate start points 1st 8th Some Multisamples may have fewer than 8 pre pro grammed points in which case only the available points can be selected Level 0 127 This sets the basic volume level of the multisample The Amp section can modify this basic level extensively with envelopes LFOs keyboard tracking and other modulation for more information please see Amp on page 45 a
220. his page controls the pitch settings for Oscillator 2 It is available only when the Oscillator Mode is set to Double if not the page will be grayed out The parameters are identical to those for Oscillator 1 as described under OSC1 Pitch on page 28 OSC1 Multi Sample OSC2 Multi OSC1 Pitch Sample OSC2 Pitch OSC Common Here is where you can specify the pitch of each oscillator the delay time until the oscillator will begin sounding and the velocity zone Frequency OSC1 OSC2 Octave 32 16 8 4 This sets the basic pitch of the Oscillator in octaves The default is 8 The standard octave of a multisample is 8 Transpose 12 12 This adjusts the pitch in semitones over a range of 1 octave Tune 1200 1200 This adjusts the pitch in cents over a range of 1 octave A cent is 1 100 of a semitone Freq Ofs Hz Frequency Offset 10 0Hz 10Hz This adjusts the pitch by increments of 0 1 Hz Frequency Offset is different from Tune in that when used to detune the two oscillators it can create a constant beat frequency across the range of the keyboard Note On Control OSC1 Delay ms 0000ms 5000ms KeyOff This specifies the time from when you press a key until oscillator 1 actually begins to sound This is most useful in Double Programs for delaying one oscillator in relation to the other KeyOff is a special setting Instead of delaying the sound by a particular
221. his selects the first modulation source for controlling Filter A s cutoff frequency For a list of AMS sources please see Alternate Modulation Source AMS on page 121 AMS1 Intensity 99 99 This controls the depth and direction of AMS1 AMS2 Source List of AMS Sources This selects the second modulation source for controlling Filter A s cutoff frequency For a list of AMS sources please see Alternate Modulation Source AMS on page 121 AMS2 Intensity 99 99 This controls the depth and direction of AMS2 Filter B Filter B is available if the Routing is Serial or Parallel Oth erwise all parameters in this section are unavailable and cannot be edited The filter B parameters are the same as for filter A Filter A on page 36 Filter Filter LFO Mod Filter1 LFO Mod LFO1 LFO2 and the Common LFO can all modulate Filter A and B s cutoff frequencies You can control the strength of each LFO s modulation independently for each filter in three different ways e Set an initial amount of LFO modulation using the Intensity to A and B parameters e Use JS Y to scale the amount of the LFO e Use any AMS source to scale the amount of the LFO You can use each of these methods for each of the three LFOs and do so separately for both Filter A and Filter B The results are added together to produce the total LFO effect LFO 1 Intensity to A 99 99 Filter LFO1 I
222. hmic value of the LFO For instance if you set Base Note to 1 8 and Times x to 2 each cycle of the LFO will last for a quarter note two eighth notes BPM MIDI Sync LFO Dynamic modulation to control an effect parame ter in realtime Use the PS60 Editor Plug In Editor to make these settings 1 Select any desired program from other than the Strings timbre and then enter Program Edit mode 2 Access the IFX page 3 In IFX Select set IFX to 029 Stereo Phaser Notice that the sound now has a twisting character Now we can set the Dmod to change the delay level via the Joystick 4 Set the LFO Freq Hz Amount to 5 0 5 Set Source to JS Y 01 Now you can use the joystick to control the LFO speed When you move the joystick away from you the modu lation produced by the LFO will gradually become faster Using a foot switch connected to the DAMPER PEDAL SW jack to vary the feedback level via Dmod 6 Connect a foot switch to the rear panel DAMPER PEDAL SW jack 7 Enter GLOBAL mode and in Basic MIDI Controllers Controller set the Foot Switch Pedal Damper Type Sw Pedal to Switch and set Foot Switch Function to Foot Switch 8 In Prog Edit access the IFX page and then set Depth Source to Foot SW 82 and Amount to 30 Move the joystick away from yourself and then press the foot switch the depth of modulation will change The Amount setting determines the change
223. ifferent category the insert effect will change to 00 No Duc Effect For more information please see Dynamic Modulation e If you ve assigned insert effect 62 Organ V C or 63 Sources Dmod on page 127 Rotary SP to a program of the Organ category and then save the program to a different category the insert effect will change to 00 No Effect Tempo Synchronization You can synchronize some effects parameters such as LFO speeds and delay times to the system tempo This lets you sync the effects to Program LFOs or an external MIDI clock Editing effect parameters on the PS60 itself On the PS60 itself you can only edit the main parameters of each effect These effects parameters are marked with the logo 38 On the tables that explain the effect parameters on page 83 and following the parameter names are listed in either Full parameter or Quick parameter If a parameter s name is Insert Effects IFX Synchronizing LFOs Most effects with LFOs such as S11 St Wah can be synchro nized to tempo This applies to the individual effects LFOs To set up LFOs to synchronize to tempo 1 Set MIDI Sync to On 2 Set the BPM as desired To synchronize to the system clock set BPM to MIDI To set the LFO to a specific tempo separate from the sys tem clock set BPM to the desired tempo between 40 00 and 300 00 BPM 3 Use the Base Note and Times x parameters to set the rhyt
224. igher values mean longer times as shown below EG Value Actual Time 10 10 ms 20 44 ms 30 104 ms 40 224 ms 50 464 ms 60 944 ms 70 1 8 seconds 80 3 8 seconds 90 10 9 seconds 99 87 3 seconds Attack 00 99 This sets how long the EG takes to move from the Start level to the Attack level For the fastest possible attack time you can set the Start level to 99 in this case the EG will start instantaneously at its maximum value Decay 00 99 This sets the time it takes to move from the Attack level to the Break level Slope 00 99 This sets how long the EG takes to move from the Break level to the Sustain level which for the Pitch EG is always 0 Once it reaches the Sustain the EG will stay there until note off unless it is reset via AMS Release 00 99 This sets how long it takes the EG to move from the Sustain level to the Release level Level Each of the four levels can be either positive or negative Positive levels will make the pitch or other AMS destina tion go up from its programmed value negative levels will make it go down Note that unlike the Filter and Amp EGs the Pitch EG s Sustain Level is always 0 Start This sets the initial EG level at note on 99 99 Attack This sets the level at the end of the Attack time 99 99 OSC1 Multi Sample OSC2 Multi Sample osc OSC1 Pitch OSC2 Pitch Envelope Common Level Modulation Break 99 99 Break sho
225. ill be trans mitted together with program change messages This is valid when Prog Chg is turned on Off Bank Select messages will not be transmitted or received After Touch AfterTouch Off On On MIDI aftertouch messages will be transmitted and received Off MIDI aftertouch messages will neither be transmitted nor received Performing on the PS60 s keyboard will transmit neither channel aftertouch nor polyphonic aftertouch However since the PS60 does support aftertouch as an Alternate Mod ulation Source AMS it can receive aftertouch to control Control Change Ctrl Chg Off On On Control change messages will be transmitted and received Off Control change messages will neither be transmitted nor received SysEx System Exclusive Off On On System exclusive data will be transmitted and received You should also turn this on if you ve connected the PS60 to your computer for data transfer or editing via the editing software Off System exclusive data will not be transmitted or received 73 74 Global Controllers JS Lock X Y Y Y XY You can switch the joystick between Lock and Unlock states the LED will light when the joystick is locked If you turn the Lock function on while using the joystick the effect will be locked at that controller position This parameter specifies the range where the joystick effect will be locked The effect will be locked only within the ra
226. ill be transmitted Here we will explain only control changes but the same applies for pitch bend change When one of the PS60 s controllers is used a control change message will be transmitted on the global MIDI channel page 72 Simultaneously the message will also be transmitted on the MIDI channel page 7 of any timbre whose Status page 7 is EXT or EX2 When one of the PS60 s controllers is used its effect will apply to any timbre whose Status is INT and whose MIDI Channel setting is either Gch or the same as the global MIDI channel In the case of Master Volume the universal exclusive message Master Volume will be transmitted only on the global MIDI channel You can use the MIDI Filter settings page 10 to enable or disable control changes and controllers for each tim bre If the setting is On the above operations will be enabled PS60 and MIDICCs Responses to standard MIDI controllers PS60 and MIDI CCs Responses to standard MIDI controllers The following table shows how the PS60 responds to MIDI control change messages and the relation between settings and controller movements on the PS60 Control Bank select MSB Function bank select message MSB 1 Modulation 1 corresponds to joystick movement in the Y direction Vertical upward Modulation 2 corresponds to joystick movement in the Y direction Vertical downward Foot controller corresponds to when the assignab
227. imbres If you are using mono in stereo out or mono in mono out Insert Effects the Pan settings for the oscillators timbres and tracks are ignored and they are set to Center Use the Pan Post parameter to set the pan L000 is hard left and R127 is hard right For more about effect types such as stereo in stereo out See In Out on page 81 Mi You can control these parameters via CC 8 Send1 Send2 These parameters enable you to set the send level of the sig nals routed to Master Effects MFX1 and MFX2 The signal is sent in stereo to master effects MFX1 and MFX2 You can also use the EASY SETUP knobs to adjust each send amount I Send responds to CC 93 and Send2 responds to CC 91 Controlling the Insert Effects via MIDI For an insert effect you can use the Dynamic Modulation Dmod function to control effect parameters in realtime using the PS60 s controllers or an external MIDI device In the same way you can also control the Pan Post setting that follows the insert effect as well as the Send 1 and Send 2 settings You can control the parameters on the global MIDI channel page 72 Master Effects MFX1 2 In Out The I Os of Master Effects MFX1 and MFX2 are stereo in stereo out Send1 and Send2 determine the send level to the Master Effects For more about Send 1 and Send 2 refer to Mixer in the explanation of insert effects Master effects will not output
228. ime Filter EG Attack Time Decay Time Sustain Level Release Time LFO1 Int Common LFO Speed Quick OSC1 OSC LFO Here is where you can adjust LFO settings for oscillators 1 and 2 Each oscillator has two LFOs LFO1 and LFO2 There s also a common LFO that can be shared by the two oscillators LFO1 and LFO2 are independent for each voice but the common LFO is shared by all voices of the program It s useful when you want to produce a uniform LFO effect that is the same for all voices LFO1 These parameters adjust LFO1 for oscillators 1 and 2 at the same time LFO1 Speed 99 99 Rel CC 76 This scales LFO1 s frequency Frequency on page 51 LFO1 Fade 99 99 Rel This scales LFO1 s fade in time Fade on page 52 LFO1 Delay 99 99 Rel CC 78 This scales LFO1 s delay time the time between note on and the onset of the LFO Delay on page 52 LFO1 Stop PROG Off On Abs This Absolute parameter controls whether LFO1 is stopped or running Stop on page 52 The PROG setting restores the Program s original values For example if you set this to PROG when the oscillator 1 LFO is stopped and oscillator 2 is playing the original set ting of the parameter will be used LFO2 These parameters adjust LFO2 for oscillators 1 and 2 at the same time LFO2 Speed 99 99 Rel This scales LFO2 s frequency Frequency on page 51 LFO2 Fad
229. in the PS60 Editor Plug In Editor to the PS60 to the PS60 All Sound Off Depending on the host application hung notes may occur while using the host s functions If this happens please use the All Sound Off command Panel The upper part of the PS60 Editor panel simulates the main buttons and knobs of the PS60 s own front panel These cannot be edited in Global mode Software Setup EASY SETUP A x PROG PERF EDIT GLOS UTILITY APIAND E PIANO ORGAN STRINGS BRASS SYNTH MODULATION REVERS EQ DELAY SPLIT SETTING CTRL RATE DEPTH FB TIME LEVEL FB BASS MID TREBLE Total Recall amp Data Sync Settings zm PS6a OUND I Global mode Software Setup lets you specify the default set tings that the PS60 Editor will use when it starts up This set ting is saved when you use the UTILITY command Save as Default and will be remembered the next time you start up Total Recall amp Data Sync Settings Here you can specify the editor data that will be saved and loaded as part of the song data by your DAW software This setting lets you save only the data you need When the PS60 Editor starts up the types of data that you ve checked here will also be loaded automatically from the PS60 that s con nected to your computer In other words this data will be synchronized Since a data dump requires a certain amount of time you may wish to shorten the startup time by using the Load Data Fi
230. in the middle Most LFOs are bipolar for instance so is Pitch Bend Generally bipolar AMS sources will work better with the Asymmetric mode but Symmetric may also produce inter esting results Unipolar sources only go from 0 to 99 with 50 in the mid dle MIDI controllers such as JS Y CC 1 are all unipolar In practice EGs are usually programmed to be unipolar even though the Filter and Pitch EGs do allow both positive and negative levels With unipolar sources it s almost always better to use the Symmetric mode The Asymmetric mode can cause offsets and other strange results AMS Mix C KeyTrk AMS Mixer Common Keyboard Track OSC1 AMS Mix AMS Mixer Shape examples Bipolar Triangle Wave Asymmetric 99 99 99 99 Bipolar Sawtooth Wave Asymmetric Symmetric 99 99 Unipolar Triangle Wave Asymmetric not recommended Symmetric Shape 0 original waveform Shape 99 Shape 99 Quantize This Mixer Type changes the input from a continuous signal into a series of discrete steps Instead of moving smoothly between values it will snap immediately from one value to another You can use this to change the shape of LFOs or EGs or to force a controller to land on a few specific values AMS Mixer Quantize examples Unipolar e g JS Y 99 Original 0 AMSA 99 99 Quantize 0 Steps 8 99 99 Quantize 0 Steps 16 99 Bipolar e g LFO AMS A Source
231. isamples will require twice as many voices as mono Multisamples Mono Internal monaural multisamples Stereo Internal stereo multisamples Multisample select List of Multisample This specifies a multisample for High amp Some multisamples have an upper limit notes played above that limit will not sound A Set the Scale Type page 22 to Equal Temperament when using mono 0002 00003 0006 0007 0009 Stereo 0001 or 0003 as the multisample 25 26 Program Edit Mid High Mid Low Low These are the settings for the second third and fourth velocity zones The parameters for Mid High and Mid Low are exactly the same as those for High as described above The parameters for Low are also similar to those for High except that Low has no settings for Bottom Vel which is always fixed at 1 Xfd or Curve OSC2 Here you can select the multisample for Oscillator 2 It is only available when the Oscillator Mode is set to Dou ble if it s not the page will be grayed out The parameters are identical to those for Oscillator 1 OSC1 on page 25 PITCH EG This displays the pitch EG envelope specified in the Pitch EG page The graphic shows the shape of the Pitch EG You can also change the shape by using the mouse to drag each of the squares OSC1 Multisample Program s sounds are based on multisamples and this page lets you set up all of the basic multisample related settings Among ot
232. ites it Receive Current Performance Receives the performance data currently selected on the PS60 into PS60 Editor Plug In Editor Transmit Current Performance Transmits the performance data currently selected in PS60 Editor Plug In Editor to the PS60 All Sound Off Depending on the host application hung notes may occur while using the host s functions If this happens please use the All Sound Off command 13 14 Performance Edit Program Edit EASY SETUP APIANO E PIANO ORGAN STRINGS BRASS SYNTH MODULATION REVERS 000 Grand Piano MOD SEND DELAY REVWDLY SEND CHORUS PLATE 4 APIANO d 120 90 SPLIT SETTING CTRL tr RATE DEPTH FB TIME LEVEL FB BASS MID TREBLE PROG PERF EDIT GLOS UTILITY I gt stereo Double ET OSC Common Filter Amp Voice Filter Riff No Voice Assign Mode gt Poly Cutoff Mono Legato Resonance 705 eee ie Unison EG Int Voices I Amp Detune cents _ 7 Vel Int Thickness gt Off Selecting the program that you want to edit Here s how to select the program that you want to edit e If you re using Single settings you ll enter the program edit page with that program automatically selected e If you re using Layer or Split settings all timbres that are turned on will blink Press the LOWER or UPPER button as necessary and then press an ON button to select the timbre of the program you want to edit The edit page will appear and you ll hear only the
233. ity to 99 AmpVel Int AmpVelocity Intensity 99 99 Rel This scales the effect of velocity on the Amp level 99 removes the velocity modulation entirely 99 means maximum modulation in the same direction positive or negative as the original Program Filter Amp EG Here you can adjust settings for the filter EG and amp EG of the program for each of the timbres Attack Filter Amp EG Attack Time 99 99 Rel CC 73 This scales the attack times of the Filter and Amp EGs along with other related parameters When the value is 1 or more this also affects the Amp EG s Start and Attack Levels Start Level AMS and Attack Time AMS Between values of 1 and 25 the Start Level Start Level AMS and Attack Time AMS will change from their pro grammed values to 0 Over the same range the Attack Level will change from its programmed value to 99 AMS Alter nate Modulation Source page 28 Decay Filter Amp EG Decay Time 99 99 Rel CC 75 This scales the decay and slope times of the Filter and Amp EGs Sustain Filter Amp EG Sustain Level 99 99 Rel CC 70 This scales the sustain levels of the Filter and Amp EGs Release Filter Amp EG Release Time 99 99 Rel CC 72 This scales the release times of the Filter and Amp EGs Sub Timbres A Piano E Piano Organ Strings Brass Filter Amp A A A Cutoff 00 00 00 ALA Resonance 00 00 A PN Filter EG Int
234. ke a cheap sampler by lowering the sampling frequency and data bit length You can also simulate noise unique to a sampler aliasing Stereo In Stereo Out one Wet Dry Pre LPF Resolution High Damp Output Level N ra gt Decimator i A F F 4 Sampling Frequency Y Y R Fa gt Decimator x A PreLPF Resolution High Damp ne Righto Snares Full Quick parameter parameter Explanation Selects whether the harmonic noise caused by a decrease in sampling frequency is generatedornot p 93 Pre LPF Off On Sampling 1 00k Freq Hz 48 00k Sets the sampling frequency Selects the Off Tempo modulation source of the sampling frequency Source Sets the modulation amount of the sampling frequency Sets the depth of the sampling frequency LFO modulation Selects the LFO Off Tempo modulation source of the sampling frequency 48 00k 48 00k LFO Depth 0 100 IFX Insert effects List 018 St Decimt Stereo Decimator Sets the LFO 100 100 modulation amount of the sampling frequency Amount Sets the ratio of cut of the high range High Damp 96 0 100 Sets the data bit length p 93 Resolution bit Bit Reso 4 24 Sets the output level Output Level OutLevel 0 100 p 93 Selects a modulation Source Off Tempo source for
235. keyboard of the PS60 itself cannot transmit after touch If you want to use this message to control the PS60 it must be received from an external device Aftertouch reception for the entire instrument can be turned on off in After Touch page 73 Polyphonic aftertouch An kk vv n channel kk note number vv value There is another type of aftertouch called Polyphonic Key Pressure which allows aftertouch to be applied indepen dently for individual keys This message can be used as an alternate modulation source but cannot be transmitted by the PS60 s keyboard In order to use this message it will have to be received from an external device The aftertouch mentioned in this manual refers to Channel After Touch Pitch bend Pitch bend change En bb mm n channel bb lower byte of the value mm upper byte of the value together expressing a value of 16 384 steps where 8 192 bb mm 00H 40H is the center value When the PS60 s joystick is moved in the X axis left right a pitch bend effect will be applied and pitch bender messages will also be transmitted When these messages are received a pitch bend effect will be applied The range of pitch change that is produced by pitch bend messages can also be adjusted via MIDI Please see Changing the pitch bend range on page 138 Control change Bn cc vv Transmitted and received as n channel cc control change no vv value For more inform
236. l switch PS 1 sold sepa rately connected to the DAMPER PEDAL SW1 jack 7 List of Foot Switch assignments on page 128 Damper Switch Polarity KORG Standard Set this to match the polarity of the damper pedal or pedal switch that s connected to the DAMPER PEDAL SW1 jack If you ve connected a Korg damper pedal separately sold DS 1H or a Korg pedal switch separately sold PS 1 choose the Korg setting since these products use a 4 polarity If you ve connected a damper pedal or pedal switch that uses a 1 polarity choose the setting Q open type closed type If this polarity setting is incor rect using the damper pedal or pedal switch will not pro duce the correct result If you have not connected a damper pedal or pedal switch leave this set to Foot Switch amp Pedal PEDAL SW 2 Type Switch Pedal Specify the switch or pedal that is connected to the PEDAL SW2 jack Switch Choose this if a pedal switch is connected Pedal Choose this if a volume pedal is connected Foot SW function List of Foot Switch Assign This is shown if Type is set to Switch For more information please see List of Foot Switch assignments on page 128 Foot Pedal function List of Foot Pedal Assign This is shown if Type is set to Switch Specify the function that will be controlled by the pedal switch PS 1 sold sepa rately connected to the PEDAL SW2 jack List of Foot
237. le if not the page will be grayed out The parameters are identical to those for Oscillator 1 amp OSC1 AMS Mix on page 56 AMS Mix C KeyTrk AMS Mixer Common Keyboard Track Common KeyTrack Common Key Common KeyTrack Common Keyboard Track The two Oscillators share two Common keyboard tracking generators in addition to each Oscillator s dedicated key board tracking for the Filter and Amp You can use these Common keytracks as AMS sources for modulating most AMS destinations The Common Keyboard Track parameters are shared by the entire Program but the actual AMS values are calculated individually for each voice What does Keyboard Tracking do At its most basic keyboard tracking lets you vary the modu lation amount as you play up and down the keyboard This can be useful for making the timbre consistent across the entire range or adjusting parameters according to pitch The PS60 keyboard tracking can be fairly complex if desired You can create different rates of change over up to four different parts of the keyboard For instance you can e Make the modulation increase very quickly over the middle of the keyboard and then increase more slowly or not at all in the higher octaves e Make the modulation increase as you play lower on the keyboard e Create abrupt changes at certain keys for split like effects Common Keyboard Tracking At the Center Key the AMS value is always 0 AMS Ramp 99 99 5
238. le Automatically function instead of this function or by using the UTILITY command Load to load a previously saved data file into the PS60 Editor Auto Load File Load data file automatically at starting up When the PS60 Editor starts up the data file that you spec ify here will automatically be loaded into the editor After this process is completed the data you checked in Total Recall amp Data Sync Setting will be loaded via data dump Local Control Auto Local Control This setting automatically sets the PS60 s Local Control set ting to the appropriate state when you start up the editor We recommend that you normally leave this parameter on The PS60 s Local Control setting will be reset to its original state when you close the editor MIDI Settings Here you can adjust the settings for MIDI connections between the PS60 Editor and the PS60 MIDI IN Port MIDI OUT Port This selects the connection port for the PS60 and the PS60 Editor The name of the MIDI port that s currently con nected is shown You won t need to change this setting if the PS60 and the PS60 Editor are connected correctly since the PS60 Editor will search for the PS60 when it starts up and will specify the MIDI port automatically 69 70 Global Basic MIDI Controllers APIANO E PIANO ORGAN STRINGS SRASS SYNTH MmOOULATION REVERE EQ A 1 Stereo Piano single gt DELAY d 120 00 PROG RATE DEPTH FB TIME LEVEL
239. le pedal function is set to Foot Pedal Portamento time portamento time Data entry MSB MSB of RPN and NRPN data Volume volume Post Insert Effect panpot pan after the Insert Effect Panpot pan Expression volume Effect control 1 corresponds to effect dynamic control source FX Controll page 136 Effect control 2 corresponds to effect dynamic control source FX Control2 page 136 Controller CC 16 127 for controlling AMS or Dmod Controller CC 17 s127 for controlling AMS or Dmod 127 for controlling AMS or Dmod 5127 for controlling AMS or Dmod Controller CC 20 127 for controlling AMS or Dmod Controller CC 18 Controller CC 19 Controller CC 21 127 for controlling AMS or Dmod 127 Bank select LSB 0 0 0 0 0 0 0 0 127 LSB of bank select message 127 LSB of RPN or NRPN data Data entry LSB Damper sa T27 damper effect Portamento On Off 0 63 0ff 127 On turn the portamento effect on off Sostenuto On Off 63 Off 127 On turn the sostenuto effect on off Soft wal 27 soft pedal effect Sustain level wb 27 sustain levels of the filter EG and amp EG Filter resonance level 127 resonance level of the filter Release time 27 cutoff frequency of the high pass fi
240. ling sssscssseee 98 027 St TubPre Stereo Tube PreAmp Modeling 98 028 Mic Model Mic Modeling PreAmp s 98 029 Stereo Phaser rsssessssesssssscsssssssecssscsssccssscssssccsncsessessneceses 99 030 Small Phs Small Phaser w cccccsssssssssssesssessesees 99 031 OrangePhs Orange Phaser sssssccssessesssecesseees 100 032 BlackPhsr Black Phaser cssssssssscsssssssessessesseees 100 033 UVIBE sscessscsccsasesaassscestscarsesevasssstesecaaissvassaseativaabeastbvascanaces 100 034 St RndPhs Stereo Random Phaser c cssssseseees 100 035 St EnvPhs Stereo Envelope Phaser ssssse 101 036 2Vo Reso 2 Voice Resonator eesssesssssseressercessecer 101 037 St Tremlo Stereo Tremolo z 038 TEX Treml TEXTREM cesccssesssesssessecssesssessssssessseeeee 040 St AutPan Stereo Auto Pan 041 St PhsTrm Stereo Phaser Tremolo ss ssssss00001 104 042 St Ring M Stereo Ring Modulator eccsee 105 043 P4EQ Xctr Parametric 4 Band EQ Exciter 106 045 P4EQ Phaser Parametric 4 Band EQ Phaser 107 046 Comp Wah Compressor Wah Auto Wah 107 047 Comp Amp Compressor Amp Simulation 108 049 Comp P4EQ Compressor Parametric 4 Band EQ 109 052 Limtr Phsr Limiter Phaser ssesssessssesesssseseseseseeee 110 053 Xctr Comp Exciter Compressor secsseeseeeseeeee 111 058 Wah Amp Wah Amp Simulation csse 113 060 Deci Comp
241. ller when desired Common LFO Reset page 54 You can use a controller or tempo etc to reset the Common LFO e By setting AMS to Gate 1 you can make the Common LFO reset when a note is played from a state in which all notes are off For example this will ensure that a filter sweep always starts from the same place You can set AMS to a controller such as JS Y CC 01 and use the controller when you want to reset the LFO Dynamic Modulation Source Dmod Alternate Modulation settings Dynamic Modulation Source Dmod You can control certain effect parameters using the joystick realtime control knobs etc on the fly For programs of the Organ category you can also use the ORGAN SLOW FAST button to switch the rotary speaker effect between slow fast speeds Controlling effects in this way is referred to as Dynamic Modulation For example you can use joystick to speed up the LFO of the phaser or to sweep a wah effect This lets you take full advantage of the effects as part of the expres sive potential of your instrument Most of the parameters for dynamic modulation consist of parameter values for Source and Amount The Source field selects the modulation source and Amount sets the modu lation intensity When the Source is at its maximum value for instance when JS Y is moved all the way up the actual degree of the effect will be the parameter value plus the Amount Example Wet Dry 10 90 Source
242. low cut filter of stage 1 ubel Low Cut Hz Thru T1 LHz 21 8 00k ubel High Cut Hz Sets the cutoff en frequency for the high cut filter of stage 1 T1 H Hz Tubel Gain dB Sets the input gain for T1 G Hz stage 1 24 0 24 0 ubel Sets the input output Saturation T1 Saturat 0 100 response for stage 1 p 98 this value will produce distortion even at low gain levels Since this will also change the overtone structure you can use it to control the tonal character Mic Pre Amp Bias Out Bias 100 Bias 50 Bias 0 Satulation 50 Tube1 Phase With the Wet Invert setting the phase of the signal will be inverted between stage 1 and stage 2 Since Bias is applied to the inverted signal in stage 2 this will change the tonal character 027 St TubPre Stereo Tube PreAmp Modeling This is a stereo vacuum tube preamp simulator See 026 Tube Pre Tube PreAmp Modeling on page 98 Sets the bias voltage ubel Bias T1 Bias 0 100 for stage 1 p 98 Normal Turns phase reversal Tube1 Phase T1 Phase Wet Invert on off p 98 Sets the cutoff frequency for the low cut filter of stage 2 ube2 Low Cut Hz Thru T2 L Hz 21 8 00k ube2 High Cut Hz Sets the cutoff frequency for the high cut filter of stage 2 53 20 00k T2 H Hz Thru Stereo In Stereo Out Left o o Wet Dry Tube Pre A
243. lter Attack time 127 release times of the filter EG and amp EG Filter cutoff frequency 127 cutoff frequency of the low pass filter Decay time 127 decay times slope times of the filter EG and amp EG LFO1 speed 127 LFO1 speed LFO1 depth 127 pitch LFO1 intensity LFO1 delay 127 LFO1 delay Filter EG intensity 127 filter EG intensity Controller CC 80 S S S S S S S eSLi 63 0ff 127 On for controlling AMS or Dmod Controller CC 81 63 Off 127 On for controlling AMS or Dmod Foot switch On Off 0 63 Off 64 127 On corresponds to on off when the function of the assignable foot switch is set to Foot SW 131 132 Appendices Control Controller CC 83 0 127 Function for controlling AMS or Dmod Controller CC 85 88 0 127 for controlling AMS or Dmod Effect depth 1 send 2 level 0 127 send 2 level Effect depth 2 Insert Effect On 0 63 Off Off 64 127 On turn Insert effect on off Effect depth 3 send 1 level 0 127 send 1 level Effect depth 4 master effect 1 2 0 63 Off On Off 64 127 On master effect 1 2 on off Data increment 0 Data decrement 0 NRPN LSB LSB of NRPN NRPN MSB MSB of NRPN selects the pitch bend range RPN LSB controls Fine Tune controls Coarse Tune
244. lter LFO e In Performance transmission reception can be turned on off for each timbre JS Y on page 10 Other manufacturers use this message for other purposes e g breath controller etc 135 136 Appendices Controlling portamento Portamento time CC 05 Bn 05 vv If you assign the above CC to an assignable pedal on the PS60 and use it portamento time messages will be transmit ted changing the time over which the portamento function changes the pitch When this message is received the result will be the same as when the controller is used Portamento switch CC 65 Bn 41 vv When the above CC is assigned to the Assignable Switch using that switch will transmit vv 127 7F for ON or vv 0 00 for OFF and the portamento effect will be switched on off When this message is received the result will be the same as when the controller is used vv of 63 3F or less will be OFF and 64 40 or greater will be ON Transmission and reception of this message can be turned on off for each timbre Controlling volume Volume CC 07 Bn 07 vv When the above CC is assigned to the Assignable Pedal is selected using that controller will transmit Volume mes sages and the volume will change When this message is received the result will be the same as when the controller is used Expression CC 11 Bn 0B vv When the CC above is assigned to the Assignable Pedal selected operating that
245. lter1 EG Level Mod Time Mod 1 Time Mod 2 Time Mod 3 Reset Pitch EG Level Mod 1 Level Mod 2 Time Mod Reset Intensity Mod to B Intensity Mod to B Intensity Mod to B Intensity Mod Intensity Mod Amp Mod Pan Mod Output Level Mod Intensity Mod to B Amp1 EG Level Mod Time Mod 1 Time Mod 2 Time Mod 3 Reset 121 122 Appendices JSX This is the horizontal movement of the main joystick It also receives MIDI Pitchbend JS Y CC 01 This is the vertical movement of the main joystick upwards from the center It also receives MIDI CC 01 mod wheel JS Y CC 02 This is the vertical movement of the main joystick down wards from the center It also receives MIDI CC 02 breath controller JS Y amp AT 2 Joy Stick Y amp After Touch 2 The effect will be controlled by the joystick Y Vertical upward and by aftertouch In this case the effect of after touch will be only half of the specified intensity JS Y amp AT 2 Joy Stick Y amp After Touch 2 The effect will be controlled by the joystick Y Vertical downward and by aftertouch In this case the effect of aftertouch will be only half of the specified intensity Pedal CC 04 Foot Pedal CC 04 If you want to use the assignable foot pedal as an AMS set the Controllers Foot Pedal Function SW page 74 to Foot Pedal Foot Pedal Assign on page 129 This let
246. me Decay Time Release Time Slope Time Attack Time Start Level Attack Time Filter Amp EG Attack Time 99 99 Rel CC 73 This scales the attack times of the Filter and Amp EGs along with other related parameters When the value is 1 or more this also affects the Amp EG s Start and Attack Levels Start Level AMS and Attack Time AMS Between values of 1 and 25 the Start Level Start Level AMS and Attack Time AMS will change from their pro grammed values to 0 Over the same range the Attack Level will change from its programmed value to 99 AMS Alter nate Modulation Source on page 28 Decay Time Filter Amp EG Decay Time 99 99 Rel CC 75 This scales the decay and slope times of the Filter and Amp EGs Sustain Level Filter Amp EG Sustain Level 99 99 Rel CC 70 This scales the sustain levels of the Filter and Amp EGs Release Time Filter Amp EG Release Time 99 99 Rel CC 72 This scales the release times of the Filter and Amp EGs OSC EG Filter EG These parameters adjust the filter EG envelope for oscilla tors 1 and 2 at the same time Attack Filter EG Attack Time 99 99 Rel This scales the attack times of the Filter EGs Decay Filter EG Decay Time 99 99 Rel This scales the decay and slope times of the Filter EGs Sustain Filter EG Sustain Level 99 99 Rel This scales the sustain levels of the Filter EGs Release Filter EG R
247. mp Depending on the multisample high Level settings may cause distortion when playing many notes at a time If this occurs lower the Level Reverse Off On This plays the selected multisample in reverse without loop ing it If an individual sample within the multisample is already set to reverse it will play in reverse without this setting On The multisample will play in reverse Off The multisample will play normally Crossfade Bottom Vel Bottom Velocity 1 127 This sets the lowest velocity where the Multisample will sound High s Bottom Vel can be equal to but not lower than that of Mid High OSC Pitch OSC1 Multisample Range Crossfade Range Off 1 127 This sets the range of velocities over which High will fade into Mid High going up from the Bottom Vel For instance if the Bottom Vel is set to 64 and the Range is set to 20 Mid High will start to fade in at veloci ties of 84 and below When velocities are within the Range the Oscillator will use twice as much polyphony as it would normally Note You can only fade between two zones at once osci man 1 127 Xfade Range 20 _84 Curve Linear T 64 Bottom Velocity 64 Curve Linear Power Layer This controls the volume curve of the crossfade Linear and Power short for Equal Power let you fine tune the way that the two Multisamples mix together one or the other may be more
248. mp1 to o Tube Pre Amp2 Invert Output Level Tube Pre Amp1 rt Tube Pre Amp2 Righto 4 o Wet Dry Tube2 Gain dB Sets the input gain for T2 G Hz stage 2 24 0 24 0 ube2 Sets the input output Saturation T2 Saturat 0 100 response for stage 2 p 98 Sets the bias voltage Tube2 Bias T2 Bias 0 100 for stage 2 p 98 ube2 Output Level Lvl dB 48 0 40 0 Sets the output level dB Sets the balance between the effect and the dry input Dry 1 99 Wet Dry 99 1 Wet 028 Mic Model Mic Modeling PreAmp This effect simulates a mic and vacuum tube preamp You can choose from various types of mic and positions to create differing sonic characters Selects a modulation Source Off Tempo source for Wet Dry Sets the modulation 100 100 smount for Wet Dry Amount Saturation With higher settings of this value the waveform will change at high gain levels tending to cause distortion Lower settings of this value will produce linear response Mic Pre Amp Saturation Saturation 0 Saturation 50 Tube Bias This expresses the effect that changes in vacuum tube bias have on the distortion of the waveform Higher settings of Wet Mono In Mono Out Dry Stereo In Stereo Out Left o Wet Dry Mic Simulation Tube Pre Amp
249. mper Cali bration on page 53 of the Owner s manual The off and full on positions of the half damper work just like a standard footswitch In conjunction with the Enable Half Damper parameter below intermediate positions allow a graduated control of sustain similar to the damper pedal of an acoustic piano Basic About Relative Rel and Absolute parameters Enable Half Damper On Off On Half Damper pedals normal sustain pedals and MIDI CC 64 will all modulate the Amp EG as described below Off the pedals and MIDI CC 64 will still hold notes as usual but will not modulate the Amp EG Half Damper Pedal and Release Time The amount of modulation depends on whether the Amp EG Sustain Level is set to 0 as is the case with most acoustic piano sounds or set to 1 or more The modulation is contin uous from 1x no change to 55 times longer the table below shows a selection of representative points Half Damper modulation of Amp EG Release Time CC 64 Multiply Amp EG Release Time by Value If Sustain 0 If Sustain 1 or more 0 1x 1x 32 2 1x 2 1x 64 3 2x 80 5 9x 96 22 3x ae 127 55x Key Zone You can create keyboard splits by setting top and bottom key limits for Oscillators 1 and 2 Also you can control the keyboard range over which the Hold parameter takes effect OSC1 Bottom Key C 1 G9 This sets the lowest key where Oscillator 1 will play Top Key
250. mpo source for Wet Dry 91 92 Effect Guide Sets the modulation 016 St SubOsc Stereo Sub Oscillator This effect adds very low frequencies to the input signal It is very useful when simulating emphasizing powerful low range This effect is different from the equalizer in that you can add very low range harmonics You can also adjust the oscillator frequency to match a particular note number for use as an octaver Stereo In Stereo Out Left o e ore eee a a ore Envelope Shape y Envelope Sens Pre LPF Dmet2 Fixed Frequency Fixe Note Nl gt Note Interval Fine got Note Key Follow Envelope Sens Pre LPF he Ks Envelope Shape Righto lt Full Quick Value Explanation parameter parameter Determines whether Note Key the oscillator frequency Follow follows the note Fixed number or whether it is fixed p 92 OSC Mode Osc Sets the pitch difference from the note number when OSC Mode Note Key Follow p 92 Note Interval Notelntrvl Fine adjustment of 100 100 the oscillator frequency p 92 Note Fine Sets the oscillator frequency when OSC Mode Fixed Selects the modulation Off Tempo Source for the oscil P lator frequency when OSC Mode Fixed Sets the oscillator frequency modulation amount when
251. n Keyboard Track IFX Insert Effect EASY SETUP 000 Grand Piano 4 PIANO j 120 80 PROG PERF EDIT GLOS UTILITY DLUME MOD SEND a OCTAVE REWDLY SEND wr fom SPLIT SETTING CTRL uick Pitch Filter Amp gt AmtAxB gt Offset AMS Aje 1 Amount Offset OSC2 AMS Mix Common Key Track AMS Mixer 1 APIANO EPIANO ORGAN STRINGS BRASS SYNTH MODULATION REVERB DELAY a a CHORUS PLATE RATE DEPTH FB TIME LEVEL FB BASS MID TREBLE I 7 gt Offset gt Offset i P Offset Amount Offset AMS Mixer 2 Amt A x B AMS 4 Source AMS A Amount 0 AMS B Source AMS B Amount 997 Here you can adjust settings for the insert effects For more information please see Effect Guide on page 79 The IFX and MFX EQ tab pages allow you to edit all of the effect parameters that cannot be edited from the PS60 itself Parameter names shown in purple are the effect parameters that can be edited from the PS60 IFX Routing Here you can view and edit the settings for the selected insert effect its on off status and the send level to the mas ter effect IFX 00 52 53 54 This specifies the type of insert effect The direct sound Dry is always input and output in stereo through the insert effect The input and output of the effect sound Wet will depend on the type of effect page 81 The number of effect types to choose from will depend on the timbre c
252. n Mode Mode Poly Mono Voice Assign Mode Voice Mode on page 16 Poly Poly Legato Off On Poly Legato is available when the Voice Assign Mode is set to Poly Legato means playing notes so that they are smooth and connected the next note is played before the last note is released This is the opposite of playing detached On When you play a legato phrase only the first note of that phrase and other notes played within 30 msec of that note will use the multisample start point specified by Start Offset page 26 subsequent notes will use the legato start point specified by each multisample This is a useful way to simulate the percussive attack of a tonewheel type organ Off Notes will always use the setting of the Start Offset regardless of whether you play legato or detached he With some Multisamples Poly Legato may not have any effect Single Trigger Off On Single Trigger is available when the Voice Assign Mode is set to Poly On When you play the same note repeatedly the previous note will be silenced before the next note is sounded so that the two do not overlap Off When you play the same note repeatedly the notes will overlap Mono Mono Legato Off On Mono Legato on page 16 Mono Mode Normal Use Legato Offset This parameter is available only when Mono Legato is On Normal When you play legato the multisample envelopes and LFOs will not be reset only the pitch
253. nd 1 p 87 Full Quick Band1 parameter parameter Gain dB Band2 Cutoff Hz E1 G dB 18 18 Sets the gain of Band 1 Explanation Sets the center Limiter frequency of Band 2 Sets the bandwidth of Band 2 p 87 E2 F Hz 50 5 00k Sets the signal compression ratio p 110 Sets the level above which the compressor is applied p 110 Attack L Attack 1 100 Sets the attack time Release L Release 1 100 Sets the release time Gain Adjust dB Phaser LFO Triangle Selects the LFO Waveform Sine Waveform LE a e 50 0 1 Inf 1 Ratio Band2 Q E2Q 0 5 10 0 Band2 Gain dB Band3 Cutoff Hz E2 G dB 18 18 Sets the gain of Band 2 Threshold dB L Trsh dB 40 0 Sets the center frequency of Band 3 Sets the bandwidth of Band 3 p 87 E3 F Hz 300 10 00k Band3 Q E3Q 0 5 10 0 LG dB Inf Sets the limiter Bands 38 24 output gain p 110 Gain dB Band4 Cutoff Hz E3 G dB 18 18 Sets the gain of Band 3 Sets the center frequency of Band 4 Sets the bandwidth of Band 4 p 87 E4 F Hz 500 20 00k Band4 Q E4Q 0 5 10 0 PLFO Hz 0 02 20 00 Pets the speed of the Band4 Gain dB E4 G dB 18 18 Sets the gain of Band 4 Sets the frequency P Manual 0 100 where the effect is applied Sets the depth of LFO Switches the order of the limiter and parametric EQ Lmt gt P4EQ R
254. nd set Attack to 99 the Attack time will get much longer at higher velocities If you instead set At Attack to 99 the Attack time will get much shorter at higher velocities When the AMS source is at its maximum value for instance when Velocity is at 127 a setting of 8 will make the seg ment time almost twice as long and a setting of 8 will cut the segment time almost in half Decay 99 99 This controls the depth and direction of the AMS modula tion for the Decay time Slope 99 99 This controls the depth and direction of the AMS modula tion for the Slope time Release 99 99 This controls the depth and direction of the AMS modula tion for the Release time AMS2 AMS3 These select the second and third AMS sources respectively for controlling the EG s Time parameters Each has its own intensities for Attack Decay Slope and Release The param eters of both AMS2 and AMS3 are identical to those of AMS1 above EG Reset AMS List of AMS Sources This selects an AMS source to reset the EG to the start point AMS Source on page 33 Alternate Modulation Source AMS on page 121 Threshold 99 99 This sets the AMS level which will trigger the EG reset Threshold on page 34 Amp2 Modulation This page controls Oscillator 2 s amp modulation It is avail able only when the Oscillator Mode is set to Double if not the page will be grayed out The parameters are ide
255. nd settings data Data Dump Data for programs and performances can be transmitted as MIDI System Exclusive messages The operation of sending this system exclusive data to an external device is called a data dump By performing a data dump you can store the PS60 s sounds and settings on an external device or rewrite the sounds and settings of another PS60 If the SysEx System Exclusive page 73 setting is on data will also be dumped in response to a Dump Request message When the PS60 receives this data the data will be written into the edit buffer If you want to save the data into internal memory you ll have to save by using the Write operation This can be done either by executing the Write operation See Saving Storing Writing on page 25 of the Owner s manual on the PS60 itself Editor Utility or by a MIDI Sys tem Exclusive program write request performance write request or global setting write request Editing sounds via SysEx By using various MIDI System Exclusive data dumps you can rewrite all programs or an individual program By using parameter change messages you can edit individual parameters as follows Parameter changes e In Program Edit mode all parameters other than the program name can be edited e In Performance Edit mode parameters other than the performance name can be edited A Cautions regarding data dumps and sound editing e After MIDI System Exclusive data has b
256. ng is PreMIDI the curve is applied immediately after the keyboard If the setting is PostMIDI the curve is applied immediately before the sound generator In the case of PreMIDI your keyboard playing dynamics are modified as shown by transmission curves 1 8 lower left diagram and reception is fixed at curve 4 linear diagram at lower right In the case of PostMIDI your keyboard playing dynamics are transmitted according to transmission curve 4 linear lower left diagram and will be interpreted according to reception curve 1 8 lower right diagram If you re using the PS60 as a MIDI sound module and want to adjust the overall brightness of the sound set Convert Position page 72 to PostMIDI and select the appropriate velocity curve For a setting of PreMIDI For a setting of PostMIDI Velocity KBD gt MIDI Out Velocity MIDI In gt TG 127 MAX Velocity effect Transmitted Table Curve 1 9 Curve 4 Received Table Curve 4 Curve 1 9 MIDI Post Global Convert Position 1 2 3 Strongly played notes will be affected 4 Normal The normal curve 5 6 Produces an effect even if you do not play very strongly 7 This curve produces a relatively consistent effect for softly played notes 8 This curve produces an even more consistent effect 9 Compared with the standard curve 4 this curve softens the response of gently played notes This allows velocity control with
257. ng the Source parameter Mioi The effect is off when a value for the modulation source specified for the Source parameter is smaller than 64 and the effect is on when the value is 64 or higher The Envelope Generator is triggered when the value changes from 63 or smaller to 64 or higher EG Attack EG Decay Attack and Decay speed are the only adjustable parameters on this EG 036 2Vo Reso 2 Voice Resonator This effect resonates the input signal at a specified pitch You can set the pitch output level and pan settings for two resonators individually You can control the resonance intensity via an LFO Wet Mono In Stereo Out Dry Stereo In Stereo Out Left gt o Wet Dry High Damp Resonator H N Trim 7 Resonance Resonator H N Lever P Trim F High Damp evel Pan men l Pra 1 Dry mode invert On Off i A 1 L Pitch Fine cents Level Pan Full parameter Value Explanation parameter Sets the input level at Trim lt 0 100 tharesenator Switches the controls of resonance intensity p 102 Reverses the Voice 1 and 2 control when LFO D mod is selected p 102 Sets the speed of the LFO Control Mode Manual LFO Control D mod LFO D mod invert Mod Invert Off On LFO Freq Hz 0 02 20 00 LFO Hz Selects the modulation source that controls resonance intensity
258. nge you specify JS X Lock allows you to lock the effect within the full range of the X axis JS Y Lock within the full range of the Y axis JS Y Lock within the Y axis JS Y Lock within the Y axis and JS X amp Y Lock within the full ranges of the X axis and Y axis X Y Y Y XY A N For example if you choose JS Y Lock and then move the joystick away from yourself and turn Lock on the joystick Y operation will be locked held at that position modu lation will continue to be applied even when you return the joystick to its original position You can then move the joy stick in the Y direction to apply both types of modulation simultaneously If you lock the joystick MIDI transmission of the corre sponding controller will stop but reception will still occur Foot Switch amp Pedal Damper PEDAL SW 1 Type Damper Switch Pedal This specifies the type of the switch or pedal that is con nected to the DAMPER PEDAL SW1 jack Damper Choose this if a half damper pedal is connected Switch Choose this if a pedal switch is connected Pedal Choose this if a volume pedal is connected Foot Switch function List of Foot Switch Assign This is shown if Type is set to Switch For more information please see List of Foot Switch assignments on page 128 Foot Pedal function List of Foot Pedal Assign This is shown if Type is set to Switch Specify the function that will be controlled by the peda
259. ntensity to A FILLFO1toA on page 20 JS Y InttoA 99 99 This adjusts the depth of how the LFO will modulate the cutoff frequency of filter A when you move the joystick from the center in the Y direction toward yourself or when CC 2 is received Joystick control in the Y direction is called JS Y Negative settings will invert the phase of the LFO You can also use this to reduce the initial amount of the LFO as set by Intensity to A above For example 1 Set Intensity to A to 50 The LFO will now have a fairly strong effect on the filter cutoff 2 Set JS Y Intensity to A to 50 Now if you move the joystick down the effect of the LFO will fade away When the joystick is all the way at the bottom of its range the LFO will be completely can celled out Intensity to B 99 99 Filter LFO1 Intensity to B FItLFO1toB on page 20 JS Y Int to B 99 99 This lets you use JS Y to scale the amount of the LFO applied to Filter B JS Y Int to A on page 41 AMS Source LFO1 List of AMS Sources This selects any AMS modulation source to scale the amount of the LFO applied to Filters A and B The two fil ters share a single AMS source but with separate intensity settings For a list of AMS sources please see Alternate Modulation Source AMS on page 121 Filter Modulation Filter1 EG Filter2 LFO1 AMS int to A 99 99 This controls the depth and directi
260. ntical to those for Oscillator 1 Amp1 Modulation on page 46 Amp2 EG This page controls Oscillator 2 s amp EG It is available only when the Oscillator Mode is set to Double if not the page will be grayed out The parameters are identical to those for Oscillator 1 Amp1 EG on page 48 49 50 Program Edit EASY SETUP APIANO EPIANO ORGAN STRINGS GRASS SYNTH MODULATION REVERB LFO 000 Grand Piano f MOD SEND is 7 an A APANO J 120 00 REWDLY SEND al SPLIT SETNING CTRL RATE DEPTH FB TIME LEVEL FB BASS MID TREBLE PROG PERF EDIT GLOGS UTILITY I 7 C fRandomi S H mmc Mca re mma m ce OSC1LFO2 OSC2LFO1 osc2LFo2 Common LFO OSC1LFO1 Frequency Modulation Frequency MIDI Tempo Sync Shape AMS Src AMS1 O Mbi Tempo Syne Shape AMS Int SO Source Base Note Intensity Times aT O Stop IntMod Sre Key Syne IntMod Int Offset e_ _ oe AMS2 Fade _ oo Source Delay Be Intensity KORG Each of the Oscillators 1 2 has two LFOs which you can use LFO1 LFO2 to modulate the filter amp pitch and many other parame ters Waveform Triangle Random6 Continuous The two Oscillators also share a single Common LFO simi This selects the basic LFO waveform as shown in the lar to the global LFO on some vintage analog synths graphic below These pages let you set up all of the parameters for all five Most of the waveforms shoul
261. o gt Tremolo TA Righto gt o Wet Dry LFO TrilSinVintage LFO Shape 4 F Envelope f Envelope Shape Envelope Sens Full Quick Value Explanation parameter parameter Sets the envelope s Env Sens 0 100 sensitivity to the input signal Envelope Sens Envelope 100 100 Sets the envelope s Shape ay curvature LFO Triangle Selects the LFO Waveform Sine Vintage Waveform LFO Changes the 100 100 curvature of the LFO Waveform p 90 Sets the LFO phase difference between the left and right p 103 Sets the speed of the LFO p 103 Sets the amount LFO added to or subtracted EnvA Hz from the Frequency when the envelope is at maximum p 103 Sets the initial Depth amount of tremolo p 103 Sets the amount Tremolo added to or subtracted Amount DepthEnvA 100 100 from the Depth when the envelope is at maximum p 103 Shape LFO Phase deg 180 180 LFO Freq Hz LFO Hz 0 02 20 00 Amount Hz Tremolo Depth Full Quick Value Explanation parameter parameter Sets the tremolo Speed Hz lt 0 10 10 0 speed Select the tremolo depth Sets the width of the Spread 0 100 stereo image of the effect sound Level Adjust 1 100 Sets the output level Wet Sets the balance Wet Dry 1 99 Dry between the effect 1 99 Wet and the d
262. o gram change message will be transmitted Value Inc Using the foot switch will produce the same function as pressing the A button Value Dec Using the foot switch will produce the same function as pressing the V button Tap Tempo The foot switch will control the system tempo in real time JS Y CC 01 The switch will control the effect produced by joystick movement in the Y direction Vertical upward JS Y CC 02 The switch will control the effect produced by joystick movement in the Y direction Vertical downward JS Lock Switch operations will turn Joystick Lock on off Foot Pedal Assign Alternate Modulation settings Foot Pedal Assign Here you can specify the function that will be controlled by an assignable pedal separately sold XVP 10 EXP 2 con nected to the DAMPER PEDAL SW1 or PEDAL SW2 jack e Set the Global Basic MIDI Controllers Type to Pedal and use the Foot Pedal Function Pdl parameter page 74 to specify the function MDI Some of the assignments include MIDI CCs which are transmitted whenever the slider is moved Note that the MIDI CCs can still be received even if they are not assigned to a physical controller List of Foot Pedal assignments Off This setting disables the pedal Master Vol This controls the overall volume and transmits the Univer sal System Exclusive Master Volume message FOH 7FH nn 04 01 vv mm F7H You can use this to adjust the vol umes of
263. o the setting specified by full parameter editing tw Some parameters in this group are interrelated with control of certain MIDI CC messages For these an indication such as CC 74 appears following the parameter value Filter Amp Here you can adjust filter and amp settings for oscillator 1 and 2 Filter settings let you boost or attenuate specific frequency regions of the sound Amp settings control the volume Note Relative parameters are indicated by Rel following the parameter value Absolute parameters are indicated by Abs following the parameter value For more about these parameters please refer to Relative Rel and Absolute parameters page 21 Filter Cutoff Filter Cutoff 99 99 Rel CC 74 This scales the cutoff frequency of all of the filters at once It affects both Filters A and B Resonance Filter Resonance 99 99 Rel CC 71 This scales the resonance of all of the filters at once It affects both Filters A and B Fit EG Int Filter EG Intensity 99 99 Rel CC 79 This scales the effect of the Filter EG on the cutoff frequency It affects Filters A and B simultaneously 99 means no modulation 99 means maximum Modula tion is in the same direction positive or negative as the original Program For instance if the original Program s EG Intensity was set to 25 then setting this parameter to 99 moves the EG Intensity to 99 Amp This parame
264. ode 11th byte vv System Version 1st 12th byte ww System Version 2nd 13th byte xx System Version 3rd 0 i e Version 1 0 2 vv 01 ww 00 xx 02 1 3 2 UNIVERSAL SYSTEM EXCLUSIVE MESSAGE REALTIME Master Volume FO 7F 0g 04 01 vv mm F7 3rd byte g Global Channel 6th byte vv Value LSB 7th byte mm Value MSB mm vv 00 00 7F 7F Min Max 141 142 Appendices 2 RECOGNIZED RECEIVE DATA 2 1 CHANNEL MESSAGES Hex H D H D Status Second Third Hex H D H D 8n kk kk xx xx 9n kk kk 00 00 9n kk kk vv vv An kk kk vv vv Bn 01 01 vv vv Bn 02 02 vv vv Bn 04 04 vv vv Bn 05 05 vv vv Bn 06 06 vv vv Bn 07 07 vv vv Bn 08 08 vv vv Bn OA 10 vv vv Bn OB 11 vv vv Bn OC 12 vv vv Bn OD 13 vv vv Bn 10 16 vv vv Bn 11 17 vv vv Bn 12 18 vv vv Bn 13 19 vv vv Bn 14 20 vv vv Bn 15 21 vv vv Bn 26 38 vv vv Bn 40 64 vv vv Bn 41 65 S3F 240 S63 264 Bn 42 66 S3F 240 S63 264 Bn 43 67 vv vv Bn 46 70 vv vv Bn 47 71 vv vv Bn 48 72 vv vv Bn 49 73 vv vv Bn 4A 74 vv vv Bn 4B 75 vv vv Bn 4C 76 vv vv Bn 4D 77 vv vv Bn 4E 78 vv vv Bn 4F 79 vv vv Bn 50 80 vv vv Bn 51 81 vv vv Bn 52 82 vv vv Bn 53 83 vv vv Bn 55 85 vv vv Bn 56 86 vv vv Bn 57 87 vv vv Bn 58 88 vv vv Bn 5B 91 v
265. odulation Amount amount for Wet Dry 100 100 062 Organ Vib Chorus Organ Vibrato Chorus This effect simulates the chorus and vibrato circuitry of a vintage organ The modulation speed and depth can be customized This can be used only for programs of the Organ category Wet Mono In Mono Out Dry Stereo In Stereo Out Left o o Wet Dry Vibrato Chorus F aoa Sea 4 Custom Parameters Mode Right gt o Wet Dry Full Quick Value Explanation parameter parameter Input Trim 0 100 Sets the input level Selects either preset or custom settings p 116 Control Preset Mode Custom Selects the effect type when Mode Preset V1 V2 V3 are varia tions of vibrato and C1 C2 C3 are varia tions of chorus p 116 V1 C1 V2 Preset Type CZ V3 C3 Selects the modulation source Off Tempo that will change the effect type Sets the modulation 5 5 amount for changing the effect type p 116 Sets the mix level of the direct sound when Mode Preset p 116 Vibrato 1 99 99 1 Chorus Custom Mix Selects the modulation source Off Tempo that will control the mix level of the direct sound Sets the modulation amount for 100 100 controlling the mix level of the direct sound Sets the vibrato depth p 116 Selects the modulation source Off Tempo that will control vibrato depth Sets
266. om a program or from a performance Src Source A000 name 000 name Select the copy source bank and number FX All Mod Rev Dly EQ Select the effect and or EQ settings that you want to copy Load Loads the PS60 Editor Plug In Editor data that was previ ously saved on the computer Save Saves data from the PS60 Editor Plug In Editor to your com puter as a file All Data PS6all Performances programs and global set tings of all All Performance PS6apf All performances Performance PS6pf One performance Note These functions load or save the data as dedicated files for the editor application Receive All Note These Receive and Transmit commands use a KORG SysEx MIDI Dump to send or receive data or to synchro nize the data between the PS60 and the software Don t touch the keyboard or the mouse of your com puter while data is being sent or received Also don t touch the panel switches or the keyboard of the PS60 Receives all data performances programs global settings into PS60 Editor Plug In Editor Transmit All Transmits all data from PS60 Editor Plug In Editor perfor mances programs global settings to the PS60 and writes it into internal memory Receive All Performance Receives all of the PS60 s performance data into PS60 Editor Plug In Editor Transmit All Performance Transmits all performance data from PS60 Editor Plug In Editor to the PS60 and wr
267. omplete silence to twice as loud as the programmed level Bottom Low Inf 99 99 inf This sets the slope between the bottom of the MIDI note range and the Key Low key For normal key track use nega tive values Low Center Inf 99 99 inf This sets the slope between the Key Low and Center keys For normal key track use negative values Center High Inf 99 99 inf This sets the slope between the Center and Key High keys For normal key track use positive values High Top Inf 99 99 Inf This sets the slope between the Key High key and the top of the MIDI note range For normal key track use positive val ues Ramp Change in level Inf Silent in one half step _99 Silent in one whole step 95 Silent in one octave _48 Silent in two octaves 25 Silent in four octaves 00 no change 25 x2 in four octaves 50 x2 in two octaves 99 x2 in one octave Inf x2 in one half step inf and inf ramps Inf and Inf are special settings which create abrupt changes for split like effects When a ramp is set to Inf or Inf the keyboard tracking will go to its extreme highest or lowest value over the span of a single key When a ramp is set to Inf the keyboard tracking will go to its highest value double the programmed volume over a single half step Similarly when a ramp is set to Inf the keyboard tracking will go to its lowest value complet
268. on the LFO speed is set by BPM Base Note and Times instead of Frequency p 89 MIDI syncs to the system tempo 40 300 sets the tempo manually for this individual effect p 89 Selects the type of Ao notes that specify the LFO speed p 89 LFO MIDI Sync Off On Base Note LFO Sets the number of 4 x1 x32 notes that specify the Times LFO speed p 89 Sets the balance between the effect and the dry input Dry 1 99 Wet Dry 99 1 Wet Selects a modulation Source source for Wet Dry Off Tempo IFX Insert effects List 038 TEX Treml TEXTREM Sets the modulation LFO Waveform This parameter sets the basic shape of the LFO The Vintage waveform models classic guitar amp tremolo Tremolo LFO Waveform Triangle Sine Vintage Up Down LFO Phase deg This parameter determines the difference between the left and right LFO phases A higher value will simulate the auto pan effect in which the sound is panned between left and right 038 TEX Treml TEXTREM This models the highly acclaimed tremolo circuit that was built into a US made combo amp The Spread setting lets you create a pan effect that wavers between left and right Stereo In Stereo Out Left gt Wet Dry Tremolo 7 Tremolo i Righto j sA Wet Dry Spread Stereo In Stereo Out Left gt o Wet Dry gt Tremol
269. on of the LFO1 AMS modulation for Filter A For example if AMS is set to JS Y CC 01 positive settings mean that YS Y will increase the amount of LFO1 applied to Filter A AMS Int to B 99 99 This controls the depth and direction of the LFO1 AMS modulation for Filter B LFO 2 The parameters for LFO2 are identical to those for LFO1 For more information please see the descriptions under LFO1 above Common LFO The parameters for the Common LFO are identical to those for LFO1 For more information please see the descriptions under LFO1 above Note that while LFO1 and LFO2 are separate for each voice the Common LFO is shared by all voices in the Program This makes it useful when you want all of the voices to have an identical LFO effect Filter2 Modulation Filter2 LFO Mod Filter2 EG Common LFO Intensity to A toa me JS Y Int to A Foa Intensity toB 0 JS YinttoB AMS Source Knob Mod2 19 a ee are i te AMS Int to A 00 a 36 AMS InttoB 06 i rn i 00 700 00 Intensity to A JS Int to Intensity to B JS Int to B AMS Source AMS Int to A AMS Int to B el 41 42 Program Edit Filter1 EG The Filter EG or Envelope Generator lets you create com plex time varying changes to the cutoff frequencies of Fil ters A and B The parameters on this page control the shape of the EG Among other things you can e Create the basic EG shape by setting the le
270. ons For details on alternate modulation and AMS please see Alternate Modulation Source AMS on page 121 Tips for using AMS When adjusting settings for alternate modulation think of the effect that you wish to produce what type of modula tion will be necessary to produce that effect and what parameter of the oscillator filter or amplifier needs to be controlled OSC2 Multi Sample osc OSC2 Pitch CRTATI Pitch Pitch EG Next select a source AMS and set the Intensity If you pro ceed logically in this way you will achieve the desired effect For example in a guitar sound program where you want to use the joystick to control the feedback you would make assignments so that the joystick controls the filter frequency and resonance Pitch Pitch Slope 1 0 2 0 PtchSlope Pitch Slope on page 19 Ribbon CC 16 12 12 This specifies in semitones how the pitch will change when CC 16 is received With a positive setting the pitch will rise when the value of CC 16 is higher than the center value of 64 With a nega tive setting the pitch will fall JS X 60 12 Pitch JS X on page 20 JS X 60 12 Pitch JS X on page 20 AMS Pitch List of AMS Sources This selects an AMS source to control the pitch For a list of AMS sources please see AMS Alternate Mod ulation Source List on page 121 AMS Intensity 12 00 12 00 This controls
271. ot pedal CC 04 p 128 FXCtrl1 12 MIDI effect control 1 CC 12 FXCtrl2 13 MIDI effect control 2 CC 13 CC 16 Rbn MIDI Control Change MIDI Control Change CC 16 CC 18 Vol value slider CC 18 KnobM1 17 MIDI control change CC 17 KnobM2 19 MIDI control change CC 19 KnobM3 20 MIDI control change CC 20 KnobM4 21 MIDI control change CC 21 Damper 64 damper pedal CC 64 PrtaSW 65 portamento switch CC 65 Sostenu 66 sostenuto pedal CC 66 Soft 67 soft pedal CC 67 CC 80 SW1 MIDI Control Change CC 80 CC 81 SW2 MIDI Control Change CC 81 FootSW 82 assignable foot switch CC 82 p 128 CC 83 MIDI Control Change CC 83 CC 85 MIDI Control Change CC 85 CC 86 MIDI Control Change CC 86 CC 87 MIDI Control Change CC 87 CC 88 MIDI Control Change CC 88 tempo internal clock or external MIDI clock tempo Tempo data p 128 Gate1 Gate1 Dmpr Gate1 Gate1 Damper The effect is at maximum during note on and will stop when all keys are released With Gatel Damper the effect will remain at maximum even after the keys are released as long as the damper sustain pedal is pressed Gate1 Gate1 Dmpr Dmpr aw 1 2 1 2 3 M Note 1 Yoa aoa Damper Pedal 1 A 4on Gate1 yor Gate1 Dmpr Time 127 128 Appendices Gate2 Gate2 Dmpr Gate2 Gate2 Damper This is essentially the same as for Gate 1 or Ga
272. outing Route P4EQ gt Lmt P Depth 0 100 Sets the balance modulation ee ae between the effect R En Sets the resonance L and the dry input esonance eso 100 100 amount p 99 Selects a modulation Output Normal Selects the phaser Off Tempo source for Wet Dry Mode pout Wet Invert outputmode p 109 Sets the modulation Wet 100 100 Phs Wet g Sets the phaser effect amount for Wet Dry Dry Pw D a a balance p 91 p 99 Ratio Selects the phaser s Phs Source Off Tempo Wet Dry modulation Threshold dB source Gain Adjust dB Phs tte re the phasers Wet i 100 ry modulation This parameter sets the signal compression L Ratio Amount Se Compression is applied only when the signal level exceeds imi h a hold PE y 8 rasa Switches the order of the resnhold value Routing Phaser _ the limiter and phaser Adjust the output level using the Gain Adjust parameter Limiter p 107 since compression causes the entire level to be reduced 110 IFX Insert effects List 053 Xctr Comp Exciter Compressor Dry 1 99 Sets the balance 99 1 Wet between the effect D lt 054 Xctr Lmtr Exciter Limiter and the dry input Off Tempo Selects a modulation This effect combines a mono exciter and a limiter You can source for Wet Dry change the order of the effects 100 100 Sets the modulation
273. piano sounds You can add spread to the sound by offsetting the phase of the left and right LFOs from each other Stereo In Stereo Out Lett Pet TDry Phaser 7 _ A Resonance At High Damp Phaser _ if Sia 7Dry Right LFO Tri Sine gt _LFO Shape Full Quick Explanation parameter parameter Sets the frequency where the effect is applied Manual lt Selects the modulation source for the LFO modulation Off Tempo Sets the modulation 100 100 amount of the LFO modulation Sets the depth of LFO modulation 0 100 Selects the modulation source for the LFO modulation depth Off Tempo Sets the modulation Amount 100 100 amount of the LFO modulation depth Sets the resonance 100 100 gt 7 ein p99 Resonance Sets the resonance 0 100 damping amount in the high range p 99 Triangle Selects the LFO Waveform Sine Waveform Changes the 100 4 100 curvature of the LFO Waveform p 90 LFO Shape Sets the LFO phase 180 180 difference between the left and right p 91 Phase deg LFO Freq Sets the speed of the Hz LFO LFO Hz 0 02 20 00 p 89 Selects a modulation source for LFO speed Off Tempo 20 00 Sets the modulation 20 00 amount of LFO speed When this is on the
274. pitch one octave lower When Control Mode LFO the intensity of resonance varies according to the LFO The LFO sways between positive and negative values causing resonance to occur between specified pitches an octave apart in turn When Control Mode D mod the resonance is controlled by the dynamic modulation source If JS X is assigned as the modulation source the pitch an octave higher and lower can be controlled similar to when LFO is selected for Control Mode LFO D mod Invert When Control Mode LFO or D mod the controlled phase of either Voice 1 or 2 will be reversed When the resonance pitch is set for Voice 1 Resonance has a positive value Voice 2 will resonate at a pitch an octave below Resonance has a negative value Sets the depth of LFO 0 100 modulation Depth lt Selects the modulation source of the depth of modulation Source Off Tempo Sets the modulation amount of the depth of modulation 100 100 Triangle LFO Sine Selects the LFO Waveform Vintage Up Waveform p 103 Down FO Changes the z 100 100 curvature of the LFO Waveform p 90 Sets the LFO phase difference between the left and right p 103 Sets the speed of the LFO p 91 Selects a modulation source for LFO speed Shape LFO Phase deg 180 180 LFO Hz 0 02 20 00 Off Tempo 20 00 20 00 Sets the modulation amount of LFO speed When this is
275. planations of MIDI messages numbers in square brackets always indicate hexadecimal numbers All product names and company names are the trade marks or registered trademarks of their respective owners Table of Contents Performance Edit cccccccsssscceee 1 Panel EESE E cael eo G ie Bee Cee eas iss st 1 Keyboard Wheels cssssssssecssecssecssccseecseecneersees 2 OVEIVICW ewes cane E tictieh S 3 Main Tires unasant an 3 Sub THIS amsn i a aaa aS 4 MIDI OSC sreda e T 7 Piteh Other a anann a aana 8 TiO he E RANEE EE AEE ES E 9 MIDIFiltEt nenoaiith 10 MFX EQ Master Effect EQ essssesesssesesscessse 11 MFX amp EQ Routing sssssssssssssssssssssssssssseeeeeeseesssssussseseeereeeeessssssssse 11 MEX ee Tar E A EAAS 12 Full Parameters sic acnicnusniiamunnsens 22 Y fo E EEEE 22 Program BASIC xii aia aana aaa ENSS 24 OSC Pite hinna 25 OSC1 Multisample sssssssessssssssssssssssoeeocssssssssssssssoooeresesoessssssss 26 OSCI Pitch ririo cide iesusdcnsaesvecavesctees 28 OSC2 Multisample cccccsssssssssscssscssssssssccsssssssscsnssessessseecses 30 OS C2 PHM innin a E a OSC Common PitCH E EEE EE TE AE R EEL AY Filt r ccsancidadmunaniadsancbuaasancnan 35 Filteri sssssccadescassscestnesscesseciaseoastitadssaesseacatbesscessecssscvaistndsbeosteccsebenset 37 Filter Modulation ccsccscssssssssescssssceesesesessessesesess 38 Filteri LFO Mod ssscscssssceccsssscscacseecacsssecscacscacacoees 41
276. r example if Pan is set to C064 and Pan AMS Source is set to Note Number positive intensities will cause the sound to move toward the right as you play higher than C4 and toward the left as you play lower than C4 Negative intensities will have the opposite effect 45 Program Edit Amp1 EG This displays the Amp1 EG envelope specified in the Amp1 EG page The graphic shows the shape of the Amp1 EG You can also change the shape by using the mouse to drag each of the squares Amp2 This page controls Oscillator 2 s basic level and Pan settings It is available only when the Oscillator Mode is set to Dou ble if not the page will be grayed out The parameters are identical to those for Oscillator 1 Amp1 on page 45 Amp Keyboard Tracking Amp1 Modulation This page contains the settings for Oscillator 1 s Amp level modulation Among other things you can e Set up complex keyboard tracking shapes to control the Amp level e Assign AMS modulation for the Amp level e Control the effect of the LFOs on the Amp level The total effect of the modulation can increase the volume to a maximum of two times louder than the Amp Level set ting Keyboard Track Keyboard tracking lets you vary the volume as you play up and down the keyboard Usually some amount of key track ing is necessary in order to make the volume consistent across the entire range PS60 s keyboard tracking can
277. r modulation and tremolo effects synchronize with each other creating a soothing modulation effect particularly suitable for electric piano Stereo In Stereo Out A Left o gt Phaser j Wet Dry Resonance 7 Phaser Wet Dry gt Tremolo F gt Phaser IF Right i E D gt Tremolo rr LFO Type LFO LFO Phase LFO Shape o Wet Dry Full Quick Value parameter parameter Explanation Phaser Manual Phs Manual 0 100 Sets the phaser frequency range Phaser Phs Reso Resonance 100 100 Sets the phaser resonance amount Phaser Depth Phs Depth 0 100 Sets the phaser modulation depth Phaser Source Off Tempo Selects the modulation source for the phaser modulation depth Phaser 100 100 Sets the modulation amount for the phaser modulation depth Wet 2 98 Dry 2 98 Wet Pyhs W D Sets the balance between the phaser effect and dry sounds p 105 Phs Trml Phs LR Trml LR Selects the type of the tremolo and phaser LFOs p 105 Phaser Tremolo Phaser Tremolo Spin Phaser Tremolo LR Phaser LR Tremolo Phaser LR Tremolo Spin Phaser LR Tremolo LR 180 180 Sets the phase difference between the tremolo and phaser LFOs p 105 LFO Hz 0 02 20 00 Sets the speed of the LFO p 91
278. ranspose will be applied to data before it enters the tone generator This means that the Velocity Curve aftertouch Curve and Transpose settings will affect the data that is sent to the internal tone generator when you play the PS60 s keyboard or when data is received from MIDI IN This setting will not affect the data that is transmitted from MIDI OUT MIDLIN Velocity Curve ais nar Generator Pitch change PS60 MIDI OUT Received Table Note Receive All Even Odd This setting specifies whether even numbered odd num bered or all note numbers will be sounded when note data is received from the PS60 s keyboard or from an external MIDI device By connecting the PS60 to another PS60 and setting one instrument to Even and the other to Odd you can effectively double the polyphony by dividing the notes between the two instruments All All note numbers will be received Normally you will leave this set to All Even Even numbered notes C D E F G A will sound Odd Odd numbered notes C D F G A B will sound w This setting has no effect on the MIDI data that is received PS60 MIDI OUT MIDI IN Another PS60 ODD EVEN MIDI IN MIDI OUT MIDI IN MIDIOUT p PS60 MIDI Patchbay oe L Another PS60 MIDI keyboard etc MIDI IN EVEN MIDI Clock MIDI Clock Internal External MIDI External USB Auto Thi
279. rces please see Alternate Modulation Source AMS on page 121 Start 99 99 This controls the depth and direction of the AMS modula tion for the Start level For example if you set the AMS source to Velocity and set Start to 99 the Start level will increase as you play harder If you instead set Start to 99 the start level will decrease as you play harder Attack 99 99 This controls the depth and direction of the AMS modula tion for the Attack level Break 99 99 This controls the depth and direction of the AMS modula tion for the Break level Time Modulation These settings let you use three different AMS sources to control the Time parameters of the EG For each of the three AMS sources the Attack Decay Slope and Release times each have their own modulation intensities Filter EG Time Modulation AMS Velocity Intensity a positive value Note on Note off Note on Note off Note on Note off Attack Decay Attack Decay Attack Decay Slope Release Slope Release Slope Release Softly played note Stongly played note Stongly played note Original Shape Times are longer Times are shorter Reaches Sustainmore Reaches Sustainmore slowly quickly AMS1 Source List of AMS Sources Selects the first AMS source to control the EG s Time param eters Velocity and Keyboard Track can both be use
280. rdrive Hi Gain Switches between overdrive and high gain distortion Overdrive Drive Mode O Mode Hi Gain Sets the degree of O Drive distortion p 95 Sets the overdrive O Out Level output level p 95 Selects the modulation source for the overdrive output level Off Tempo Sets the modulation amount of the overdrive output level Sets the center frequency for Low EQ shelving type Low Cutoff Hz 20 1 00k Low Gain dB O Low dB 18 418 H the gain of Low Sets the center Mid1 Cutoff frequency for Mid Hz 300 10 00k_ High EQ 1 peaking type Sets the band width of Mid High EQ 1 p 87 Sets the gain of Mid High EQ 1 Sets the center frequency for Mid High EQ 2 peaking type Sets the band width of Mid High EQ 2 p 87 Sets the gain of Mid High EQ 2 Mid1 Q 0 5 10 0 Mid1 Gain dB O Mid1 dB 18 18 O Mid2 Cutoff Hz 500 20 00k Mid2 Q 0 5 10 0 Mid2 Gain dB O Mid2 dB 18 418 Dry O Wet Dry 1 99 99 1 Wet Sets the overdrive effect balance Selects the Wet Dry modulation source for the overdrive Sets the Wet Dry modulation amount for the overdrive O Source Off Tempo O Amount 100 100 Comp gt Switches the order of OD HG OD the compressor and HG Comp overdrive Routing Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Sel
281. ressed M Separately from the settings here you can use control change 94 to turn master effects 1 and 2 off A value of 0 turns them off and values of 1 127 restore the origi nal setting The global MIDI channel specified by MIDI Channel page 72 is used for this message Type No Effect Stereo Chorus Stereo Flanger Vintage Chorus Franger Stereo Phaser This selects the effect type for master effect 1 When you click the effect name a list will appear allowing you to choose an effect from the list Rate 0 02 10 00 Depth 0 100 Feedback 0 100 These parameters adjust the effect page 117 MFX2 Rev Dly MFX2 On Off Off On MEX1 On Off Type No Effect Hall Plate Room Delay This selects the effect type for master effect 2 When you click the effect name a list will appear allowing you to choose an effect from the list Time sec 0 1 10 00 0 1 10 00 0 1 3 0 0 549 Level 0 100 Feedback 0 100 These parameters adjust the effect page 119 EQ Bass 18 0 18 0 Mid 18 0 18 0 Treble 18 0 18 0 These parameters adjust the gain of the equalizer s bass mid and treble high bands page 120 SplitPoint SplitPoint C 2 C7 This specifies the split point This setting is valid only if Split is on Tips To adjust this setting on the PS60 itself press the LOWER button and UPPER button and then press the key that you want to specify as th
282. rogram parameters directly At that point all of the Relative parameters are reset to 0 Absolute Edits to Absolute parameters are immediately reflected in the corresponding on screen parameters and vice versa Interaction between parameters and MIDI CCs A number of the parameters can affect parameters that are also modulated by dedicated MIDI CCs The specific CC numbers are noted in the descriptions for the individual parameters Parameters and the CCs work independently It s possible for instance to reduce the value of a parameter and then for a CC to increase it again This allows you to first edit a parameter and then use CCs to adjust the edited result 21 22 Program Edit Full Parameters The parameters listed in the pages that follow are the full parameters They can be edited only from the editor Basic EASY SETUP APIANO EPIANO ORGAN STRINGS GRASS SYNTH MODULATION REVERE DELAY 000 Grand Piano L MOD SENO 4 APIANO d 120 00 SPLIT SETMNG CTRL RATE DEPTH FB TIME LEVEL FB BASS MID TREBLE PROG PERF EDIT GLOS UTILITY 7 CHORUS PLATE See DU AAAAAAMARARAAMAAARGAMAAAROAMGAORAAMAAORGAMAAORGAMGAOROAMGAORGAGEAOROAOE a aa LJ mz 3 Voice Assign Mode Mode gt Poly Poly Mono C Poly Legato Mono Legato O Single Trigger Mono Mode Normal Priority Last Unison Voices Detune cents UE This page contains all of the basic settings for
283. rowser will appear allowing you to select a performance from the list Click the OK button to load the performance You can also switch performances by clicking the amp symbols shown to the right of the name Tempo 040 00 300 00 The tempo is shown in the lower right side of the display To change the tempo setting click the value to highlight it and then enter a value from the keyboard Performance Controls Easy Setup REV DLY SEND Here you can specify the function that will be controlled by each timbre s knob Timbre Control Knobs Use these knobs to adjust the selected Easy Setup parameter for each timbre Volume 000 127 page 3 Octave 5 5 page 3 Send1 Mod 000 127 page 4 Send2 Rev 000 127 page 4 Timbre On buttons On Off These buttons select the timbre s that will play A button will alternate on off each time that you click it Note These behave differently from the timbre ON buttons of the PS60 itself VOLUME OCTAVE MOD SEND APIANO E PIANO ORGAN STRINGS BRASS SYNTH MOODULATION REVERB eg DELAY LEVEL FB BASS MID TREBLE 1 _ 7 Split Setting Split Setting OFF MAIN LOWER MAIN UPPER This specifies the Split setting MAIN LOWER The main timbre will be assigned to the lower region and the sub timbre will be assigned to the upper region MAIN UPPER The main timbre will be assigned to the upper region and the sub timbre will
284. rt for Break Point sets the level at the end of the Decay time Release 99 99 This sets the level at the end of the Release time Curve For the sake of simplicity most of the diagrams in this man ual show envelopes as being made out of straight lines In actuality though envelopes are more likely to be made out of curves In other words each segment s level will change quickly at first and then slow down as it approaches the next point This tends to sound better than straight linear segments Classic analog synth envelopes made these curved shapes naturally The PS60 goes a step further than vintage synths however and lets you control the amount of curvature sepa rately for each of the four envelope segments Pitch EG Curve Curve 0 Linear Curve 10 Exp Log Curve 0 Linear Curve 10 Exp Log When you change the curvature the EG times remain the same However greater curvature will tend to sound faster because the value changes more quickly at the beginning Different curve settings for up and down You may find that different amounts of curvature are suit able for segments which go up and segments which go down For instance a curve of 3 is a good default setting for upward segments such as Attack On the other hand a curve of 6 or more is good for downward segments such as Decay and Release Attack OL Linear 1 9 10E Exp Log This sets the curvature of the Atta
285. ry input Depth 0 100 Selects a modulation source for Wet Dry Source Off Tempo Sets the modulation Amount 100 100 amount for Wet Dry 039 St Env Trm Stereo Envelope Tremolo This effect uses the input signal level to modulate a stereo tremolo LFO volume modulation For instance you can create a tremolo effect that becomes deeper and faster as the input gets more quiet Sets the balance between the effect and the dry input Dry 1 99 Wet Dry 99 1 Wet Selects a modulation Source Off Tempo source for Wet Dry Sets the modulation Amount 100 100 e mount for Wet Dry LFO Freq Hz Envelope Amount Hz Tremolo Depth Tremolo Amount The graphic below shows an example of tremolo modulation with negative modulation of both Depth and Frequency At the start of the note the input is at maximum volume This slows down the LFO Frequency to 1 0Hz but also modulates the Depth to 0 so the tremolo doesn t have any effect As the input volume dies down the Frequency speeds up the Depth also increases making the tremolo effect increasingly audible When the input volume approaches silence the Depth is at its maximum 100 and Frequency is at 8Hz Shimmer Level Diy Envelope LFO Frequency Hz 8 0 a Envelope Amount Hz 7 0Hz Depth 100 Envelope Amount 100 Louder Time
286. s e Set up an AMS source such as an LFO to restart the EG To control how much effect the EG has on the pitch use the Pitch EG parameters on the OSC Pitch OSC1 Pitch page and OSC2 Pitch page as described under Pitch EG on page 28 Differences from the other EGs The Pitch EG is different from the Filter and Amp EGs in several ways e The single Pitch EG is shared by both Oscillator 1 and Oscillator 2 e The Sustain level is always 0 e The Level modulation has two AMS sources instead of one and the Time modulation has one AMS source instead of three Pitch EG is also an AMS source You can use the Pitch EG as an AMS source to modulate other parameters just like the keyboard tracking and LFOs Simply select the Pitch EG in the AMS list for the desired parameter Envelope Pitch EG Attack Break Sustain Level Level Level Always 0 Start Release Level Level Change to fitch Time Attack Decay Slope Release Time Time Time Time Note on or reset Note off The envelope moves to a specified level over the specified time and then moves to the next specified level over the specified time It produces a modulation signal correspond ing to this movement The parameters below let you set four levels the amount of time it takes to go from each of the levels to the next and the shape from linear to curved of each transition 31 32 Program Edit Time H
287. s affect the AMS out put Ramp value AMS change Inf goes to 99 in 1 half step 99 20 per octave 50 10 per octave 0 no change 50 10 per octave 99 20 per octave Inf goes to 99 in 1 half step Keyboard Track2 Key Ramp Low Break Bottom Low Center Low Center High Break Center High High Top High Break G6 Key Ramp Low Break F2 Center Freq Bottom Low Low Center Center High High Top LAILALILALILAALALAALAAALAJLAAALAALALALAALAALALAALAAALAALAAALAALAALALAALALALAALIS LAALAALALAALAAALAALAAALAALAALALAALAALALAALALAALAALAAALAALAAALAALALALALALALALLALI co cl ce ca ca cs cB ce cs cs co cl ce c3 ca cs ce ce cs cs 61 62 Program Edit inf and inf ramps Inf and Inf are special settings which create abrupt changes for split like effects When a ramp is set to Inf or Inf the keyboard tracking will go to its extreme highest or lowest value over the span of a single key Inf and Inf Ramps Ramp Inf Ramp Inf Key Low Center Key High Note If you set the Center High ramp to Inf or Inf the High Top parameter will be grayed out Similarly if you set the Low Center ramp to Inf or Inf the Bottom Low ramp will be grayed out Keyboard Track 2 NEES This is the second Common keyboard tracking generator Its parameters are exactly the same as those for Keyboard Track 1 Keyboard Track 1 on page 61 IFX Insert Effect Common KeyTrack Commo
288. s specifies how the PS60 s LFO or effects will synchro nize with an external MIDI device e g sequencer or rhythm machine or computer when using the MIDI Tempo Sync function Internal The PS60 s internal clock will be used Choose the Internal setting if you re using the PS60 by itself or if the PS60 is the master controlling device in a setup where external MIDI devices are synchronized to the PS60 s MIDI clock Ext MIDI The PS60 will synchronize to MIDI clock mes sages from an external MIDI device connected to the MIDI IN connector Ext USB The PS60 will synchronize to MIDI clock messages from a computer e g DAW application connected to the USB connector Auto The PS60 will basically function the same as if you were using the Internal setting However if external MIDI clock messages are received via the MIDI IN connector or USB connector the PS60 will automatically switch to Ext MIDI or Ext USB clock mode MIDI Filter Program Change Prog Chg Off On On Program changes will be transmitted and received The performance will change when the PS60 receives a pro gram change on the global MIDI channel When you switch performances a program change will be transmitted on the global MIDI channel and on the MIDI channel of each timbre whose Status page 7 is set to EXT or EX2 Off Program changes will not be transmitted or received Bank Change Bank Chg Off On On The Bank Select control change message w
289. s the LFO Waveform Sine Waveform P LFO Hz 0 02 20 00 Sets the frequency Manual P Manual 0 100 where the effect is applied Sets the depth of LFO modulation Depth P Depth 0 100 Sets the resonance Resonance P Reso 100 100 amount p 99 Output Mode Normal Selects the phaser Wet Invert output mode p 109 Wet P W D 1 99 Dry 1 99 Wet P Out Wet Sets the phaser effect balance p 91 p 99 Selects the Wet Dry Source Off Tempo modulation source for the phaser Sets the Wet Dry 100 100 modulation amount for the phaser Comp gt Phaser Phaser gt Comp Switches the order of the compressor and phaser p 107 Sets the balance py au a between the effect ed and the dry input Selects a modulation Off lempo source for Wet Dry Sets the modulation est 100 amount for Wet Dry Output Mode When Wet Invert is selected the right channel phase of the chorus flanger effect sound is inverted This creates pseudo stereo effects and adds spread However if a mono input type effect is connected after this effect the left and right sounds may cancel each other eliminating the chorus flanger effects 109 Effect Guide Limiter Threshold Ratio 051 Lmtr P4EQ Limiter k Ratio 1 0 1 Parametric 4 Band EQ Output Lvl Ratio 2 0 1 This effect combines a mono limiter and a four
290. s the modulation 100 100 amount of the Exciter intensity Exciter Amount Emphasis Freq Sets the frequency to Frequency 0 70 be emphasized p 88 Selects the modulation source of the frequency to be emphasized Source Sets the amount of modulation of the frequency to be emphasized Selects the Off Tempo modulation source of the Enhancer width Sets the modulation 100 100 amount of the Enhancer width Sets the 2 band EQ PreEQ Trim 0 100 input level Selects the cutoff Low frequency low or Mid Low mid low of the low range equalizer Selects the cutoff High frequency high or Mid High mid high of the high range equalizer Hi EQ Freq Sets the gain of the Lo EQ dB LEQ dB Low EQ 15 0 15 0 Sets the gain of the Hi EQ dB High EQ HEQ dB 15 0 15 0 Sets the balance between the effect and the dry input Dry 1 99 Wet Dry 99 1 Wet Selects a modulation source for Wet Dry Source Off Tempo Sets the modulation Amount 100 100 amount for Wet Dry 87 88 Effect Guide Exciter Blend This parameter sets the depth intensity of the Exciter effect Positive values give a frequency pattern to be emphasized different from negative values Emphasis Freq This parameter sets the frequency to be emphasized Higher values will emphasize lower frequencies 010 St Isolat Stereo I
291. s will be scrolled if they contain a larger number of characters than can be shown in the display EQ Offset Bass 18 0 00 0 18 0 dB Mid 18 0 00 0 18 0 dB Treble 18 0 00 0 18 0 dB These specify the EQ offset internal reference values Since these settings adjust the overall tone of the PS60 you can use them to change the PS60 s character These settings are added to the settings made by the front panel EQ knobs and the EQ settings of the performance or program Example Offset value EQ setting Actual response Bass 47 5 3 5 4 0 dB Mid 1 0 0 0 1 0 dB Treble 3 0 8 5 5 5 dB You can use these settings to adjust your sound to compen sate for differences in the speakers you re using or the venue in which you re performing without having to edit and re save each program and performance For example this makes it easy to boost the low end to give more depth to the 71 72 Global overall sound or to back off the high range to soften the sound Memory Protect Program Off On This setting protects the internal program memory On Internal program memory will be protected and the following write operations cannot be performed e Writing a program e Loading preloaded program data e Receiving program data via MIDI data dump Off Data can be written to internal program memory Performance Off On This setting protects the internal performance memory
292. s you use a foot pedal connected to DAMPER PEDAL SW1 or PEDAL SW2 to control parameters Damper 64 This is the Damper pedal also sometimes called the sustain pedal It corresponds to MIDI CC 64 When using Korg s optional half damper pedal the DS 1H this AMS source is continuous not just on off Portamento SW 65 This is the MIDI portamento switch CC 65 which also enables and disables portamento Sostenuto 66 This is the MIDI sostenuto pedal CC 66 Soft CC 67 This is the MIDI oft pedal CC 67 SW 1 CC 80 SW 1 Modulation CC 80 MIDI control change CC 80 SW 2 CC 81 SW 2 Modulation CC 81 MIDI control change CC 81 Foot SW 82 Foot SW CC 82 If you want to use an assignable foot switch as an AMS set the DAMPER PEDAL SW1 or PEDAL SW2 jack s Foot Switch Function SW page 74 to Foot Switch Foot Switch Assign on page 128 This lets you use a foot switch connected to DAMPER PEDAL SW1 or PEDAL SW2 to control parameters Tempo This lets you use the system tempo as a modulation source 120 is the center for a value of 0 60BPM is 99 and 240BPM is 99 Note that this is different from actually syncing to tempo for that purpose use the dedicated synchronization func tions for the LFOs effects etc Gate1 Gate1 Damper Gate 1 is triggered by a new note after all notes have been released such as at the beginning of a phrase Gate 1 Damper is similar except that it is
293. save it Either use the utility command Write Global Setting or click the DUMP button located in the upper right User Octave Scale User Octave Scale User Octave Scale 00 03 Selects the User Octave Scale that you want to edit Tune 99 99 Adjusts pitch settings for each note in the octave When you adjust the pitch of each note in the octave C B in one cent steps your settings will be applied to all octaves This adjustment is relative to equal temperament A setting of 99 lowers the pitch approximately a semitone below normal pitch A setting of 99 raises the pitch approximately a semitone above normal pitch By using the utility command Copy Scale you can copy set tings from a preset scale other than Stretch or from another user scale User All Notes Scale Tune 99 99 Makes independent pitch settings for each of the 128 notes Adjust the pitch of each of the 128 notes C 1 G9 in one cent steps This adjustment is relative to equal temperament A setting of 99 lowers the pitch approximately a semitone below normal pitch A setting of 99 raises the pitch approximately a semitone above normal pitch Use the keyboard at the bottom of the window to select the key whose setting you want to edit By using the utility command Copy Scale you can copy set tings from a preset scale including Stretch or another user scale 75 Global Category PROG PERF EDIT GLOB UTILITY APIA
294. scillator pan will be controlled in synchronization with the changes in EG level If Intensity is set to a positive value the pan will move toward the right as the EG level increases and toward the left as the EG level decreases If Intensity is set to a negative value the opposite effect will occur EG Reset Pitch EG page 33 Filter EG page 43 Amp EG page 49 You can use the EG LFO keyboard tracking controllers or tempo etc to control EG Reset Use the Threshold setting to specify the AMS value at which result will occur e By setting AMS to Common LFO you can reset the envelope cyclically at the interval of the Common LFO The result is just as if the shape specified by the envelope were being used as a special LFO e You can reset the envelope by setting AMS to a controller such as JS Y and using the controller when desired producing a one shot filter envelope sweep EG Level Pitch EG page 32 Filter EG page 42 Amp EG page 48 EG levels can be controlled by the Common LFO keyboard tracking controllers or tempo etc You can specify an Intensity value for each EG segment Start Attack Break If you set the Intensity value to 66 you will be able to control the respective level over a maxi mum range of 99 e Set AMS to Velocity for Amp EG Level Modulation Intensity Start to 00 Attack to 66 and Break to 66 Set all Amp EG levels to 00 As you play with increasing
295. se a damper pedal optional DS 1H connected to the DAMPER PEDAL SW1 jack and the damper effect will be turned on off If the DS 1H is used a half damper effect can be applied e You can turn transmission and reception on off for each timbre Damper on page 10 Foot switch CC 82 Bn 52 vv If the CC above is assigned as the function of the foot switch using the switch will transmit this message with vv 127 7F for ON and vv 00 00 for OFF You can turn transmission and reception on off for each tim bre Foot SW on page 10 Sostenuto CC 66 Bn 42 vv If the CC above is assigned as the function of the foot switch using the switch will transmit this message with vv 127 7F for ON and vv 00 00 for OFF and the soste nuto effect will be turned on off When this message is received the result will be the same as when the controller is used OFF for vv 63 3F or below and ON for vv 64 40 or above Soft pedal CC 67 Bn 43 vv If the CC above is assigned as the function of the foot switch using the switch will transmit and the soft pedal effect will be turned on When this message is received the result will be the same as when the controller is used When the Foot pedal CC 04 Soft pedal CC 67 mes sages are used on the PS60 the specified alternate modula tion or dynamic modulation etc will be controlled When these messages are received the result will be the same as if t
296. solator This is a stereo effect that separates the input signal into low mid and high frequency bands allowing you to control the volume of each band You can also cut or boost the volume and control it in realtime Stereo In Stereo Out Left gt 3 JA tow m a n Trim i sigh Isolator bow i y Wet Dry Quick parameter Value Explanation lt 0 100 Sets the input level Sets the frequency at which the low and mid bands are divided Sets the frequency at which the mid and high bands are divided Inf Sets the low 59 12 frequency gain Lo Mid Hz 100 500 Mid Hi Hz 2000 6000 Low G dB Selects the source Off Tempo that will modulate low frequency gain Sets the amount by which the low frequency gain will be modulated Inf Sets the mid 59 12 frequency gain 72 472 Mid G dB Selects the modulation source for mid frequency gain Off Tempo Sets the amount by which the mid requency gain will be modulated Inf Sets the high HighG dB 59 412 requency gain 72 472 Selects the modulation source or high frequency gain Off Tempo Sets the amount by which the high requency gain will be modulated Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation Of
297. sonance Top If Mode Preset this simulates a vintage wah pedal In this case internally fixed values are used for Frequency Bottom Top and Resonance Bottom Top and these settings will be ignored The settings for Frequency Bottom Top and Resonance Bottom Top are valid if Mode Custom 013 VOX Wah This models the legendary VOX V847 and V848 Clyde McCoy wah pedals Its distinctive tone sounding as though it were wrung from the throat made this pedal a favorite of many pro musicians Wet Mono In Mono Out Dry Stereo In Stereo Out Left Wet Dry t gt Wah Auto Sensitivity Anis 7 Gl gt Envelope Attack Polarity jono a a i Mode Pedal D mod Righto Wet Dry Full Quick Value Explanation parameter parameter Selects the type of wah lt V847 V848 Sets the lower limit of 1 100 the wah center frequency p 89 Sets the balance between the effect and the dry input Wet Dry Selects a modulation Source source for Wet Dry Sets the modulation Amount amount for Wet Dry 014 St RndFit Stereo Random Filter This stereo band pass filter uses a step shape waveform and random LFO for modulation You can create a special effect from filter oscillation Stereo In Stereo Out Left gt o Pwa TDry Filter O Filter E Right sJ Wet Dry LFO Phase LFO Step Tri Random
298. sources please see Alternate Modulation Source AMS on page 121 AMS B Amount 99 99 This controls the depth and direction of the AMS B modula tion of AMS A For example if AMS A is set to LFO1 and AMS B is set to the Filter EG positive settings mean that the EG will increase the amount of LFO1 Tips Using a foot switch to turn an AMS source on off You can use Amt AxB as a gate control for an AMS source You ll need to connect a foot switch set Global Controllers Type SW Pedal to Switch and set Foot SW Function to Foot Switch CC 82 before you continue with the following procedure 1 Assign AMS A to a desired source and set AMS A Amount to 0 2 Assign AMS B Source to Foot Switch CC 82 and set AMS B Amount to 99 Now you can use the foot switch connected to the PS60 to turn AMS A on off Offset AMS Mixer Type Offset AmtA OffsetA f 4 AMSA gt x Output This simple processor adds a constant offset to the input and also allows you to double the gain of an AMS source For instance you can use this to convert a bipolar LFO both negative and positive to a unipolar LFO positive only To do this 1 Select the LFO as the AMS A input 2 Set the AMS A Amount to 50 This cuts the overall level of the LFO in half so that instead of swinging between 99 and 99 it only swings between 50 and 50 3 Set the AMS A Offset to 5
299. specify the LFO speed p 89 Sets the number of notes that specify the LFO speed p 89 e 042 St Ring M Stereo Ring Serer cris modulation for the Modulator oscillator frequency This effect creates a metallic sound by applying the t S so rceof oscillators to the input signal Use the LFO or Dynamic mEmpO Ithe depth of Modulation to modulate the oscillator to create a radical modulation modulation Matching the oscillator frequency with a note 100 100 acis the ee e number will produce a ring modulation effect in specific key of modulation ranges Dry Sets the balance 1 99 99 1 between the effect Wet and the dry input Stereo In Stereo Out Left o Pre LPF Direct Mix Selects a modulation source for Wet Dry Off Tempo Wet Dry Sets the modulation amount for Wet Dry 100 100 Ring Modulator 7 OSC Mode Pre LPF Ring Modulat a This parameter determines whether or not the oscillator i Right Aang frequency follows the note number Jenene ied Sine Oscilator OSC Mode Pitch Note nll gt C Note Offset Fine _ 0 i Pre LPF Note Key Follow TEn This parameter enables you to set the damping amount of the high range sound input to the ring modulator If the input sound contains lots of harmonics the effect may sound dirty In this case cut a certain amount of high range
300. ssion is applied only when the signal level exceeds the Threshold value Adjust the output level using the Gain Adjust parameter since compression causes the entire level to be reduced Limiter Threshold Ratio Ratio 1 0 1 A Output Level _ Ratio 2 0 1 Threshold __ Ratio 4 0 1 Ration Inf 1 Louder Louder gt Input Level Level Dry Ratio 1 0 1 oo Ratio 2 0 1 Ratio 4 0 1 Threshold Ratio Inf ot gt Time Attack Release These parameters set the attack time and release time A higher attack time will cause the compression to be applied more slowly Limiter Attack Release Threshold Ratio Inf 1 Attack 1 Release 1 Ratio Inf 1 mm HANNA Attack 100 AY Release 100 Release Attack IFX Insert effects List 004 MulLimitr
301. sssss 129 MIDI transmission when the PS60 s control lers are used sssssessseesesseserssersersersreresressesessees 130 PS60 and MIDI CCS sssssssssssssssssssssssesssesssssssssss 131 Responses to standard MIDI controllers ssccsseeesees 131 Parameters controlled by MIDI CCs 70 79 sssssee 133 MIDI application ssssseessssssssssssseeseessssssssseeeee 134 About MIDI sisccssessclesscoscssscccesssacasceassanssestuassissensssabsestisseasseaivess 134 Settings when connected to a MIDI device or computer 134 Messages transmitted and received by the PS60 134 MIDI Implementation ccesseccseecseeeseeeees 140 Performance Edit Panel EASY SETUP 4 1 Stereo Piano single gt EEE d 120 00 L OGTAVE REVDLY SEND PLATE RATE DEPTH FB TIME aol semna ama PROG PERF EDIT GLOB UTILITY s MAIN LOWER MAIN UPPER The upper part of the PS60 Editor panel simulates the main buttons and knobs of the PS60 s own front panel Mode Select Utility Mode button PERF PROG EDIT GLOB To select a mode click the button for the mode that you want to edit PERF Performance Performance Edit PROG EDIT Program Edit GLOB Global UTILITY See Utility Command Here you can perform useful commands that are applicable to each mode Please see UTILITY Command on page 13 Display Performance Select A 1 D 5 Name The display shows the performance bank and name When you click this a b
302. t For a list of AMS sources please see Alternate Modulation Source AMS on page 121 List of AMS Sources AMS A Amount 99 99 This controls the depth and direction of the AMS A input AMS B Source List of AMS Sources This selects the second AMS input For a list of AMS sources please see Alternate Modulation Source AMS on page 121 AMS B Amount 99 99 This controls the depth and direction of the AMS B input AMS Mix C KeyTrk AMS Mixer Common Keyboard Track OSC1 AMS Mix Amt AxB AMS Mixer Type Amt Ax B AMSA AMS B _ t f Amt B AmtA Output This Mixer Type uses AMS B to scale the amount of AMS A For instance you can control the amount of LFO1 with the Filter EG or control the amount of the Pitch EG with the joystick AMS Mixer Amt AxB example AMS A LFO AMS B EG Amt A B Output AMS A Source List of AMS Sources This selects the first AMS source which can then be scaled by AMS B For a list of AMS sources please see Alternate Modulation Source AMS on page 121 AMS A Amount 99 99 This controls the initial amount of AMS A before modula tion from AMS B Input from AMS B then adds to this initial amount Even if Amount A is set to 0 AMS B can still control the final amount of AMS A over the full 99 range AMS B Source List of AMS Sources This selects the second AMS source to scale the amount of AMS A For a list of AMS
303. t Wah the parametric Wah gt P4EQ equalizer and wah connection IFX Insert effects List 045 P4EQ Phaser Parametric 4 Band EQ Phaser Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 100 mount for Wet Dry 045 P4EQ Phaser Parametric 4 Band EQ Phaser This effect combines a mono four band parametric equalizer and a phaser Wet Mono In Stereo Out Dry Stereo In Stereo Out Left Wet Dry Parametric 4BandEQ _ Phaser F N jormal Output Mode Wet Invert Resonance Phaser Wet Dry Right o Wet Dry LFO Tri T Sine Full Quick Explanation parameter parameter Parametric 4 Band EQ E Trim Sets the parametric Trim 0 100 EQ input level Band1 Cutoff Hz Sets the center E1 FIHz frequency of Band 1 20 1 00k Sets the bandwidth of E1Q 0 5 10 0 Band 1 p 87 E1 G dB 18 18 Sets the gain of Band 1 BandCutoff Hz Sets the center 50 5 00k frequency of Band 2 E2 F Hz Sets the balance between the effect and the dry input Dry 1 99 99 1 Wet Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 100 amount for Wet Dry Output Mode Routing When
304. t Pedal TO SS T SS E SSR SER T SSS E See Other CC MFX EQ Master Effect EQ EASY SETUP PROG SPLIT SETTING CTRL PERF EDIT GLOS UTILITY SUB OFF MAIN MAIN LOWER MAIN UPPER MFX EQ MFX amp EQ Routing eee MXi Stereo Chorus SS Mrxorste L R lolx MFX2 EQ Stereo Chorus m e Specify the routing for the master effects e Select the effect type for the master effects and edit the effect parameters e Turn each effect on off e Edit the return level to the L R bus for the master effect outputs The IFX and MFX EQ tab pages allow you to edit all of the effect parameters that cannot be edited from the PS60 itself Parameter names shown in purple are the effect parameters that can be edited from the PS60 MFX amp EQ Routing MFX1 MFX2 The master effects do not output any direct Dry sound The return level settings Return 1 and Return 2 adjust the amount of effect sound Wet that is returned to the L R bus and mixed with the L R bus signal The master effect input output is stereo in stereo out but the output may be monaural depending on the type of effect you select On Off MEX1 On Off on page 4 Off On MFX EQ Master Effect EQ MFX amp EQ Routing APIANO EPIANO ORGAN STRINGS GRASS SYNTH MODULATION REVERB 4 1 Stereo Piano single gt BRACE EE OCTAVE REVWDLY SEND DELAY CHORUS PLATE
305. t a time the two controllers work in exactly the same way a MIDI value of 127 is equal to the Amp Level setting and lower values reduce the volume Velocity Intensity AMS Source AMS Intensity LFO1 Intensity 00 AMS Source fJS y CC 01 AMS Intensity ae zy ME AMS Mixer2 i 65 LFO2 Intensity fi 00 AMS Source JS Y CC 02 AMS Intensity 66 If both CC 7 and CC 11 are used simultaneously the one with the lower value determines the maximum vol ume and the one with the higher value scales down from that maximum This is controlled on the global MIDI channel page 72 Pan RND L001 C064 R127 This controls the stereo pan of Oscillator 1 A setting of L001 places the sound at the far left C064 in the center and R127 to the far right When this is set to RND Random the pan position will be different for each note on w You can also control pan via MIDI Pan CC 10 A CC 10 value of 0 or 1 places the sound at the far left 64 places the sound at the location specified by the Pan parameter and 127 places the sound at the far right This is controlled on the global MIDI channel page 72 Pan AMS Src Pan AMS Source List of AMS Sources This selects an AMS source to modulate Pan For a list of AMS sources please see Alternate Modulation Source AMS on page 121 Pan AMS Int Pan AMS Intensity 99 99 This controls the depth and direction of the AMS modula tion for Pan Fo
306. t on the right channel R Manu Top Determines whether the flanger is controlled by the envelope generator or by the modulation source p 101 Sweep Mode EG D mod Selects the modulation source that triggers the EG when EG is selected for Sweep Mode or modulation source that causes the flanger to sweep when D mod is selected for Sweep Mode p 101 Off Tempo Sets the EG attack EG Attack 1 100 speed p 101 Sets the EG decay EG Decay 1 100 speed p 101 Sets the resonance 100 100 en p99 Resonance Sets the resonance damping amount in the high range p 99 Wet Sets the balance agira between the effect 1 99 Dry d the dry i 1 99 Wet and theary input p 91 p 99 Selects a modulation Off Tempo source for Wet Dry Sets the modulation 100 100 mount for Wet Dry Sweep Mode Source This parameter switches the flanger control mode With Sweep Mode EG the flanger will sweep using the envelope generator This envelope generator is included in the envelope flanger and not related to the Pitch EG Filter EG or Amp EG The Source parameter selects the source that starts the envelope generator If you select for example Gate the envelope generator will start when the note on message is received When Sweep Mode D mod the modulation source can control the flanger directly Select the modulation source usi
307. t the top of its range the LFO will be completely cancelled out AMS LFO1 List of AMS Sources This selects any AMS modulation source to scale the amount of the LFO that s applied to pitch For a list of AMS sources please see AMS Alternate Mod ulation Source List on page 121 AMS Intensity 12 00 12 00 This controls the depth and direction of the AMS LFO1 modulation for pitch With a setting of 0 modulation will not be applied With a setting of 12 00 the OSC1 LFO1 will apply a maximum of 1 octave of pitch modulation For example if AMS LFO1 is set to JS Y CC 01 and you move the joystick in the Y direction pitch modulation from OSC1 LFO will be applied in positive phase if this is a posi tive value or applied in negative phase if this is a nega tive value LEO Int JS Y Int and AMS LFO1 settings are summed to determine the depth and direction of pitch mod ulation produced by OSC1 LFO1 LFO2 The parameters for LFO2 are identical to those for LFO1 For more information please see the descriptions under LFO1 above 29 30 Program Edit OSC2 Multisample This page controls the basic settings for Oscillator 2 It is available only when the Oscillator Mode is set to Double if not the page will be grayed out The parameters are identical to those for Oscillator 1 as described under OSC1 Multisample on page 26 OSC2 Pitch T
308. te As Selects the type of notes that specify the LFO speed p 89 LFO Times X1 x32 Sets the number of notes that specify the LFO speed p 89 Wet Dry Dry 1 99 99 1 Wet Sets the balance between the effect and the dry input Source Off Tempo Selects a modulation source for Wet Dry Amount LFO Shape 100 100 Sets the modulation amount for Wet Dry You can change the panning curve by modifying the LFO s Shape LFO Phase deg This determines the phase difference between the left and right LFOs When you gradually change the value away from 0 the sounds from the left and right channels will seem to chase each other around If you set the parameter to 180 or 180 the sounds from each channel will cross over each other You ll only hear the effect of this parameter if the input is true stereo with different signals in the left and right channels Stereo Auto Pan LFO Phase IFO Phase degrees _ CAFO Phase 90 degrees _ LFO Phase 180 degrees Qo amp D aD aD 0 H r me H i Cie p e G o S amp amp D amp F gt amp gt amp Left Center Right Output Stereo Image 041 St PhsTrm Stereo Phaser Tremolo This effect combines a stereo phaser and tremolo with linked LFOs Swelling phase
309. te 1 Dmpr However when Gate 2 or Gate 2 Damper are used as a dynamic modulation source for the EG of 075 St Env Flanger etc or the AUTOFADE of 076 Stereo Vibrato a trig ger will occur at each note on In the case of Gate 1 and Gate 1 Dmpr the trigger occurs only for the first note on Gate2 Gate2 Dmpr 1 2 3 note 1 k Damper Pedal A Dmpr 40n Gate2 voff Gate2 Dmpr e Time Exp Vel Exponential Velocity Modulation will be applied exponentially according to the velocity value Weak velocity values will produce little effect but the effect will increase rapidly as the velocity val ues rise Pedal 04 Foot Pedal CC 04 If you wish to use the assignable foot pedal as a dynamic modulation source set DAMPER PEDAL SW1 or PEDAL SW2 Pdl Globa Controllers to FootPedal Foot Pedal Assign on page 129 A foot controller etc connected to the DAMPER PEDAL SW1 or PEDAL SW2 jack can be used to control an effect FootSW 82 Foot Switch CC 82 If you wish to use an assignable foot switch as a dynamic modulation source set PEDAL SW SW Globa Media Controllers to Foot Switch CC 82 Foot Switch Assign on page 128 The effect will be controlled when you use a foot switch etc connected to the DAMPER PEDAL SW1 or PEDAL SW2 jack Tempo The resulting modulation will be zero at 120 BPM the maxi mum positive value at 300 BPM and the maximum negative value at 40 BP
310. te LFO 1 2 If Intensity is set to a value of 16 33 49 66 82 or 99 the cor responding frequency can be multiplied by a maximum of 2 4 8 16 32 or 64 times or divided by 1 2 1 4 1 8 1 16 1 32 1 64 e Select JS Y CC 01 for AMS and set Intensity to 16 When you move the joystick in the Y direction the LFO frequency will be increased by a maximum of 2 times If you set Intensity to 16 and move the joystick in the Y direction the LFO frequency will be decreased by up to 1 2 LFO Frequency AMS Intensity page 52 You can use the EG keyboard tracking controllers or tempo etc to control the intensity of the AMS that controls the frequency of the LFO 1 2 or Common LFO For example if you re using the pitch EG to modulate the LFO frequency you could use a separate AMS to control the depth of this effect e Ifa foot switch connected to the DAMPER PEDAL SW1 or PEDAL SW2 jack is selected as AMS the pitch EG will lightly modulate the LFO frequency when the foot switch is off the pitch EG will deeply modulate the LFO frequency when the foot switch is on LFO Shape page 51 You can use a EG keyboard tracking controllers or tempo etc to control the shape of the LFO 1 2 or Common LFO waveform You can also use the LFO2 frequency to modu late LFO1 or use the Common LFO frequency to modulate LFO 1 2 e You can control the LFO waveform by setting AMS to a controller such as JS Y and using the contro
311. ter Rate Hz lt 0 02 10 00 LFO speed LFO modulation depth Feedback 0 100 Feedback amount Explanation Depth 0 100 Depth Separately from the LFO modulation depth you can also adjust the depth of the phaser effect by editing the effect level Use the MOD Send level and the Return 1 level to make adjustments MFX2 Rvb Dly Master Effect2 Revreb Delay List No Effect MFX2 Rvb Dly Master Effect2 Revreb Delay List No Effect Delay Choose this if you don t want to use an effect When selected This is a simple and easy to use mono delay with a for the master effect this mutes the output maximum delay time of 549 ms Mono In Mono Out Left o _ H a l l Feedback a This is a hall type reverb that simulates the reverberation of ai a medium sized concert hall or ensemble hall Peay a Time Right o a Level Plate This is a plate reverb that produces warm dense Full Quick reverberation parameter parameter Explanation Delay Time 3 F Mono In Stereo Out ms Time ms Delay time Left o _ Level Delay Level Level Delay amount Feedback lt Feedback amount y Reverb y x Time Feedback High Damp Righto ga Level Full Quick parameter parameter Explanation Reverb Time sec Time sec Reverb time Reverb
312. ter EQ is a three band stereo EQ This is located immediately before the L R bus is output from the AUDIO OUTPUT L and R jacks and is used for overall equalizing using the EQ to adjust the tonal character EQ Equal izer on page 120 UTILITY Command EQ UTILITY Command Procedure for utility commands 1 Click the UTILITY button and choose a command from the menu that appears 2 Adjust settings in the dialog box For details on the contents of each dialog box refer to the explanation for each command 3 Click the OK button to begin or click the Cancel button if you decide not to continue Store Performance This command saves the edited performance e Save the changes you made e Rename the performance e Copy a performance to a different bank number New Name characters Specify the performance name Choose Destination A 1 D 5 name Select the save destination for the performance Initialize Performance This command initializes the settings of the selected perfor mance e Single settings with A Piano index 01 e Main timbres set to index 01 of each category e Sub timbres set to index 02 of each category Copy MFX EQ This command copies the effect or EQ settings from a pro gram or performance saved in the PS60 s memory to the performance that you re currently using Copy MFX EQ is available on all of the MFX EQ page From Mode Prog Perf Specify whether you re copying settings fr
313. ter adjusts the amp velocity intensity for oscilla tors 1 and 2 at the same time AmpVel Int Amp Velocity Intensity 99 99 Rel This scales the effect of velocity on the Amp level 99 removes the velocity modulation entirely 99 means maximum modulation in the same direction positive or negative as the original Program Audition When you select a preload program a previously specified audition riff phrase appropriate for that sound can play Audition Riff No 000 Off 383 name This selects the audition riff The PS60 contains 383 audi tion riffs that are suitable for a wide range of instrumental sounds and musical styles If you choose 000 Off no riff will play Note You can t change the playback tempo of the audition riff Transpose 24 24 This transposes the pitch of the audition riff in semitone steps 17 18 Program Edit OSC EG LFO OSC EG Filter Amp EG Here you can adjust the settings for the filter EG and amp EG of oscillators 1 and 2 In the Filter Amp EG group all filter EGs and amp EGs are adjusted simultaneously In contrast each parameter is adjusted independently in the Flt EQ and Amp EG groups A program contains three EGs pitch filter and amp These respectively produce time varying change in the pitch tone and volume note off note on Attack Level Y Break Level v Level Release Sustain Level Level y gt L Ti
314. ter is at 99 the minimum the Program parameters are at zero Relative Tone parameter parameter scaling 99 Parameter Value As Programmed 00 99 0 99 Relative Tone Adjust Value A few of the Program parameters controlled by the Relative Tone parameter are bipolar meaning that they can be either positive or negative instead of just positive When these Pro gram parameters are set to negative values the Tone parameter may behave differently from the description above For instance if the EG Intensity is set to a negative value the Relative Tone parameter values will range from 0 to 99 the inverse of the diagram above EG Sustain works differ ently if it s set to a negative value Tone parameter values range from 0 down to the programmed value and then up to 99 as shown below Relative parameter scaling EG Sustain 99 Parameter Value 00 As Programmed 99 99 0 99 Relative Tone Adjust Value Saving Tone parameter Edits Tone parameter edits are saved in two different ways depending on whether the parameter is Relative or Abso lute For more information please Please see About Relative Rel and Absolute parameters on page 21 Relative Edits to Relative parameters affect the sound immediately but don t change the underlying Program parameter settings until the Program is saved When the Program is saved the PS60 calculates the combined effects and saves the results into the P
315. that specify the LFO speed p 89 IFX Insert effects List 035 St EnvPhs Stereo Envelope Phaser Sets the number of notes that specify the LFO speed p 89 Selects the type of notes to specify the LFO step speed p 89 Sets the number of notes to specify the LFO step speed p 89 x1 x32 Sets the balance between the effect and the dry input p 91 p 99 Wet 1 99 Dry 1 99 Wet Selects a modulation Off Tempo source for Wet Dry Sets the modulation amount for Wet Dry 100 100 035 St EnvPhs Stereo Envelope Phaser This stereo phaser uses an envelope generator for modulation You will obtain the same pattern of phasing each time you play You can also control the Phaser directly using the modulation source Stereo In Stereo Out Left Wet Dry Phaser F i oN i High Damp Phaser T7 Right o ig Aak D p L i i gt EG Attack Decay zg Sweep ode Full Quick Explanation parameter parameter Sets the lower limit o the frequency range for the effect on the left channel L Manual Bottom L Manu Btm Sets the upper limit o the frequency range for the effect on the left channel L Manu Top Sets the lower limit o the frequency range for the effect on the right channel R Manu Btm Sets the upper limit o the frequency range for the effec
316. the LFO Sweep Mode W Sweep Source Off Tempo LFO Freq Hz 0 02 20 00 W LFO Hz Sets the resonance W Reso amount Resonance 0 100 Switches the wah low LPF Off On pass filter on and off Di ry W Wet Dry 1 99 99 1 2ets the wah effect Wet altance 107 108 Effect Guide W Source Off Tempo Selects the Wet Dry modulation source for the wah W Amount Routing 100 100 Sets the Wet Dry modulation amount for the wah Comp Wah Wah gt Comp Switches the order of the compressor and wah Wet Dry Dry 1 99 99 1 Wet Sets the balance between the effect and the dry input Source Off Tempo Selects a modulation source for Wet Dry Amount 100 100 Sets the modulation amount for Wet Dry 047 Comp Amp Compressor Amp Simulation This effect combines a mono compressor and an amp simulation You can change the order of the effects Left Wet Mono In Mono Out Dry Stereo In Stereo Out Right o Compressor EQTrim LEQ HEQ Routing _Amp Simulation A Comp 2 Amp Simulation Filter DPS output Level A gt Envelope Control o Wet Dry Full parameter Quick parameter Explanation Compressor Sensitivity C Sens Sets the sensitivity p 83 Attack C Attack
317. the Filter Envelope on filter cutoff e Assign AMS modulation for filter cutoff Filter B is available when the Filter Routing is set to Serial or Parallel Otherwise the parameters for Filter B will be grayed out Keyboard Track Most acoustic instruments get brighter as you play higher pitches At its most basic keyboard tracking re creates this effect by raising the lowpass filter cutoff frequency as you play higher on the keyboard Usually some amount of key tracking is necessary in order to make the timbre consistent across the entire range The PS60 keyboard tracking can also be much more com plex since it allows you to create different rates of change over up to four different parts of the keyboard How it works Keys and Ramps The keyboard tracking works by creating four ramps or slopes between five keys on the keyboard The bottom and top keys are fixed at the bottom and top of the MIDI range respectively You can set the other three keys named Key Low Center and Key High to be anywhere in between The four Ramp values control the rate of change between each pair of keys For instance if the Lo Cent Low Center Ramp is set to 0 the value will stay the same between the Key Low key and the Center key The Key value will be the break point and the slope of the lower and higher regions on the keyboard is specified by the Ramp At the Center key the main hinge the keyboard tracking has no effect Break Key Low Ke
318. the depth and direction of the pitch modula tion in semitones For example if you set AMS Pitch to JS Y CC 01 and then move the joystick in the Y direction the pitch will rise if this parameter is set to a positive value or fall if this parameter is set to a negative value Pitch EG Intensity 12 00 12 00 This controls the initial effect of the Pitch EG on Oscillator 1 s frequency in half steps before any AMS modulation The Pitch EG s shape can swing all the way from 99 to 99 When the Intensity is set to a positive value positive val ues from the EG raise the pitch and negative values lower the pitch When the Intensity is set to a negative value the effect of the EG is reversed positive EG values mean lower pitches and negative EG values mean higher pitches Portamento LFO1 Pitch Slope ay F Intensity Ribbon cc 16 T AMS JS x oo AMS Intensity T JS x AMS off AMS Intensity a 7 Enable O Fingered Mode gt Rate Time LFO1 Intensity JS Intensity AMS AMS Intensity LFO2 LFO2 Intensity JS Y Intensity AMS AMS Intensity OSC Pitch OSC1 Pitch AMS Pitch EG List of AMS Sources This selects any AMS modulation source to scale the amount of the Pitch EG For a list of AMS sources please see AMS Alternate Mod ulation Source List on page 121 AMS Intensity 12 00 12 00 This controls the depth and direction
319. the setting of Drive Raising the Drive setting will cause the entire volume level to increase Use the Output Level parameter to adjust the volume level The Output Level parameter uses the signal level input to the 3 Band EQ If clipping occurs at the 3 Band EQ adjust the TWEED 1x12 TWEED 4x10 BLACK 2x10 BLACK 2x12 VOX AC15 1x12 VOX AC30 2x12 VOX AD412 4x12 UK H30 4x12 UKT75 4x12 US V30 4x12 Selects the type of the cabinet Open back cabinet with one 12 speaker typically used for blues Open back cabinet with four 10 speakers Open back cabinet with two 10 speakers American open back cabinet with two12 speakers Vox AC15 open back cabinet with one 12 Blue speaker Vox AC30 open back cabinet with two 12 Blue speakers VOX AD412 closed back cabinet with four 12 speakers Closed back classic cabinet with four 30W 12 speakers Closed back cabinet with four 75W 12 speakers Closed back cabinet with four 30W 12 speakers Output Level parameter Dry 1 99 99 1 Wet Sets the balance between the effect and the dry input Off Tempo Selects a modulation source for Wet Dry 100 100 Sets the modulation amount for Wet Dry 95 Effect Guide 022 St Bs Cab Stereo Bass 023 Bass Amp Cabinet This simulates a bass amp
320. tive values of this parameter will make the volume increase when move the joystick in the Y direction Note that if the other modulation settings have already raised the volume to its maximum level double the Amp Level and Amp EG level settings the volume cannot be increased any further LFO1 Intensity 99 99 This controls the depth and direction of LFO1 s effect on the oscillator s volume Negative values will invert the LFO waveform AMS Source List of AMS Sources This selects an AMS modulation source to scale the amount of the LFO1 applied to the Amp level For a list of AMS sources please see Alternate Modulation Source AMS on page 121 AMS Intensity 99 99 This controls the depth and direction of the LFO1 AMS modulation for the Amp level LFO2 The parameters for LFO2 are identical to those for LFO1 For more information please see the descriptions under LFO1 above 47 48 Program Edit Amp1 EG These parameters let you create time varying changes in the volume of oscillator 1 Envelope These parameters specify how the amp 1 EG will change over time Amp EG Start Attack Break Sustain Level Level Level Level Volume L NATN i Time Aak ey Siope E Release E Time Time Time Time Note on or reset Note off Level Start 00 99 This sets the initial volume level at note on Attack 00 99 This sets the level at the end of the Attack time Break 00 9
321. to 99 Set the Bottom Low and Lo Center ramps to 50 Set the Center High and High Top ramps to 50 Set the Center Key to C4 The settings for the Low Key and High Key don t matter in this case 2 3 4 5 Filter Keyboard Track is also an AMS source You can use the keyboard tracking as an AMS source to modulate other parameters just like the envelopes and LFOs Simply select Filter KTrk in the AMS list for the desired parameter Filter EG The Filter EG modulates the Filter A and B cutoff frequen cies over time You can control how strongly the EG will affect the filters in three different ways e Set an initial amount of EG modulation using the Intensity to A and B parameters e Use velocity to scale the amount of the EG applied to the filter e Use any AMS source to scale the amount of the EG applied to the filter You can use all three of these at once and the results are added together to produce the total EG effect To set up the EG itself including attack and release times levels and so on please see Filter1 EG on page 42 Velocity toA 99 99 This lets you use velocity to scale the amount of the Filter EG applied to Filter A Velocity control of Filter EG In all examples below Intensity to A 50 A Original EG Original ae E Filter Cutoff C Velocity to A 25 Original Tn E Filter Cutoff With positive values playing more stron
322. triggered by a new note on after all notes and the damper are released You can use this to reset the Common LFO For instance to create an effect similar to the per voice LFO and Step Sequencer s Key Sync Off setting use Gate 1 Damper as the reset source Gate2 Gate2 Damper Gate 2 is similar to Gate 1 but it triggers with every new note on Even in the middle of a legato phrase Gate2 Damper includes the damper pedal in the equation as shown in the diagram below When used as a reset controller for Common LFO Gate2 and Gate2 Damper will have the same effect Gate1 Gate1 Dmpr 1 2 3 WM note A i Damper Pedal y A On Gate1 Ton Dmpr Gate1 Dmpr gt Time Alternate Modulation settings When you use an AMS Alternate Modulation Source the modulation destination will be affected as shown in the table below By using alternate modulation you can create complex sys tems of modulation in which EG LFO keyboard tracks and controllers work together e You can apply complex change to an LFO or EG for example by using the pitch filter amp EG to control the frequency or intensity of an LFO that modulates the pitch filter amp or by using LFO2 to control the frequency of LFO1 e The tone EG and LFO etc can be controlled not only by key velocity or the joystick but also from a knob or pedal etc e Panning can be controlled in realtime from a controller EG or LFO etc e You can use the
323. ts the balance Right Aag 99 1 Wet between the effect Wet Dry f and the dry input ya et Selects a modulation source for Wet Dry Source Off Tempo Quick Sets the modulation premiered parameter Value Explanation amount for Wet Dry Amount 100 100 Trim 0 100 Sets the input level Threshold Peaking pH Selects the type of Band1 Type B1Type Shelving Attack YP yP Low 9 Band 1 p 86 Release Peaking all Selects the type of Threshold specifies the level where gating occurs when Band4 Type B4Type Ne Band 4 p 86 Envelope Select is set to L R Mix L Only or R Only Band2 Selects the Attack and Release specify the attack time and release Dynamic Off Tempo modulation source of time of the gate Gain Source the Band2 gain p 87 Sets the modulation 18 0 18 0 amount of Band 2 Amount dB gain p 87 Band1 Cutoff Hz Gate Threshold A Output Level Sets the center B1 F Hz 20 1 00k frequency of Band 1 Sets the bandwidth of Band 1 p 87 Sets the gain of Band 1 Threshold S B1Q 0 5 10 0 B1 Gain 18 0 18 0 Louder Sets the center B2 F Hz 50 10 00k frequency of Band 2 Sets the bandwidth of Band 2 p 87 Louder Input Level Cutoff Hz Band2 Q B2 Q 0 5 10 0 Gate Attack Release Band2 Gain dB Band3 Cutoff Hz Sets the gain of Band 2 B2 Gain 18 0 18 0
324. ulation in synchronization 012 St VtgWah Stereo Vintage Custom Wah This effect simulates the tonal character of a vintage wah pedal You can customize the tone and range settings Stereo In Stereo Out Left o T TDry gt Wah Envelope Sens Sweep Mode TR Mode a o __ Preset Setting i y ae i r i Custom Parameters i gt Wah Righto es Full Quick parameter parameter Value Explanation Selects either preset or custom settings p 90 Sets the curve of the sweep p 90 Preset Mode Custom Shape 100 100 Inverts the polarity of Invert Off On the sweep Sets the lower limit of the wah center frequency when Mode Custom p 90 Sets the upper limit of the wah center frequency when Mode Custom p 90 Sets the lower limit of resonance amount when Mode Custom p 90 Sets the upper limit of resonance amount when Mode Custom p 90 Selects the control from auto wah modulation source and LFO p 89 Selects the modulation source for the wah when Sweep Mode D mod Frequency Bottom CstmFrqBtm Frequency Top CstmFrqTop Resonance Bottom CstmResBtm Resonance Top CstmResTop Sweep Mode Off Tempo Sets the center frequency when Sweep Mode D mod and Source Off Sets the auto wah sensitivity Sets the speed of response when Sweep Mode Auto or D mod
325. use the keyboard or controllers of the PS60 messages will be transmitted on the global MIDI channel and will also be transmitted on the MIDI channel of any timbre whose Status page 7 is set to EXT or EX2 e Channel messages will be received if they match the MIDI channel of a timbre whose Status is set to INT Note on off Note on 9n kk vv Note off 8n kk vv n channel kk note number vv velocity When you play a note on the PS60 s keyboard it will trans mit note on off messages However most instruments do not receive or transmit note off velocity and neither does the PS60 Program changes Bank select When selecting a timbre s program on the PS60 you are specifying an index number that starts with 1 for each cate gory When selecting a timbre s program via MIDI you use a bank and program number You can view this bank and program number as follows While viewing timbre information for a performance press the CURSOR VALUE lt 4 gt buttons simultaneously the bank and program number will be displayed Changing the program bank Program change Cn pp n channel pp program number that allows 128 sounds to be selected e Programs 000 127 in banks correspond to program changes Cn 00 Cn 7F Bank select MSB CC 0 Bn 00 mm Bank select LSB CC 32 Bn 20 bb n channel mm bank number upper byte bb bank number lower byte e When you select a performance program change and bank
326. ut the Attack time almost in half Decay 99 99 This controls the depth and direction of the AMS modula tion for the Decay time Slope 99 99 This controls the depth and direction of the AMS modula tion for the Slope time EG Reset AMS Source List of AMS Sources This selects an AMS source to reset the EG to the start point For instance you can use a tempo synced LFO to trigger the EG in a repeating rhythm This reset is in addition to the ini tial note on which always causes th Alternate Modulation Source AMS on page 121 33 34 Program Edit Threshold 99 99 This sets the AMS level which will trigger the EG reset When the Threshold is positive the EG triggers when passing through the threshold moving upwards When the Threshold is negative the EG triggers when passing through the threshold moving downwards Note For several LFO waveform types or if the LFO cycle is fast the LFO output may not always keep up with high val ues such as 99 or 99 Filter 000 Grand Piano A APIANO EASY SETUP J 120 00 PROG PERF EDIT GLOS UTILITY OLUA MOD SEND OTAVE REWDLY SEND os fo SPLIT SETTING CTRL uich gt 24dB 4Pole i 5 R Filter4 Modulation A m a o Filter1 LFO Mod Filter1 EG Filter2 Filter A APIANO EPIANO ORGAN STRINGS BRASS SYNTH Filter Pitch EG MODULATION REVERB DELAY a ea im 4 lt CHORU
327. v vv Bg 5C 92 00 00 00 000 Bn 5D 93 vv vv Bg 5E 94 00 00 00 000 Bg 5F 95 00 00 00 000 Bn 60 96 00 00 Bn 61 nae 00 00 Bn 64 100 Or Or Bn 65 101 00 00 Bn 78 120 00 00 Bn 79 121 00 00 Bn 7A 122 00 7F 00 127 Bn 7B 123 00 00 Bn 7C 124 00 00 Bn 7D 125 00 00 Bn 7E 126 10 S16 Bn 7F 127 00 00 Cn pp a gt Dn vv vv En bb bb bb bb Description Use off off Note Note Note On Poly Key Pressure Modulationl Modulation2 Foot Pedal Portamento Time Data Entry MSB Volume Balance Control Panpot Expression Effect Control 1 Effect Control 2 Multi Purpose Ctr Multi Purpose Ctr Multi Purpose Ctr Multi Purpose Ctr Data Entry Holdl Portamento Off On Sostenuto Off On Soft Pedal Sound Control LSB ler Control Control Control Sound Sound Sound ler ler ler Control Control Control Control Control Control Purpose Purpose Purpose Purpose Sound Sound Sound Sound Sound Sound Multi Multi Multi Multi ler Ler ler ler ler ler CET Ctr CEL Ctr Effect Effect Effect Effect Depth Effect 5 Depth Data Increment Data Decrement RPN Param No RPN Param No All Sound Off Reset All Depth Depth Depth BwWwnhde off off On All Notes Mode Mode Mono Mode On Poly mode On Program Change Channel Pressure Bender Change Omni Omni 11 12 13 14 DIDROBWNP Fw
328. ve changes of the AMS e In addition to the time variant changes in volume produced by the amp EG you can also make the volume change in synchronization with the pitch filter EG Select Pitch EG or Filter EG as the AMS and adjust Intensity If you wish to cancel the effect of the Amp EG and use the pitch filter EG to control the volume set all levels of the Amp EG to 99 Amp LFO1 2 Intensity page 47 The amp modulation intensity of LFO 1 2 can be controlled by the EG Common LFO keyboard tracking controllers or tempo etc e If you select EG as the AMS the depth of the tremolo effect produced by LFO modulation will change in synchronization with the changes in EG level If you set Intensity to a positive value the tremolo effect will deepen as the EG level rises and lessen as the EG level falls If Intensity is set to a negative value the phase of the LFO will be inverted e Ifa foot switch connected to the DAMPER PEDAL SW1 or PEDAL SW2 jack is selected as AMS you can apply the tremolo effect by turning on the foot switch only when desired Pan page 45 The oscillator pan can be controlled by the EG LFO key board tracking controllers or tempo etc e If you select Note Number as the AMS and set Intensity to 50 panning will be controlled by the keyboard position center at the C4 note far right at C9 or above and far left at C 1 or below e If EG is selected as the AMS the o
329. vels and times of each segment e Control the curvature of each EG segment for subtle control over the modulation shape of the EG e Set up complex modulation of EG levels and times e Set up an AMS source such as an LFO to restart the EG To control how much effect the EG has on the filters use the Filter EG parameters on the Filter Modulation page as described under Filter EG on page 18 Filter EG is also an AMS source You can use the Filter EG as an AMS source to modulate other parameters just like the keyboard tracking and LFOs Simply select the Filter EG in the AMS list for the desired parameter Envelope Filter EG Attack Break Sustain Level Level Level Start Release Level Level Change to filter cutoff Time Attack Decay Slope Release Time Time Time Time Note on or reset Note off An envelope creates a modulation signal by moving from one level to another over a specified time and then moving to another level over another period of time and so on The parameters below let you set five levels the amount of time it takes to go from each of the levels to the next and the shape from linear to curved of each transition Level Each of the five levels can be either positive or negative Positive levels will make the cutoff frequency or other AMS destination go up from its programmed value negative lev els will make it go down Start This sets the initial EG level at note on
330. will be muted Return 1 000 127 Return 2 000 127 These specifies the return level from the master effect to the L R bus after which it passes through EQ and is sent from OUTPUT L MONO and R Chain Mastern FX Chain Off On On Master effects 1 and 2 will be connected in series in the order of master effect 1 gt master effect 2 Chain Level 000 127 When the chain is On this sets the level where the sound is sent from the first master effect to the next master effect If you select a double size effect the Chain settings will be ignored 65 66 Program Edit MFX1 MFX1 Parameters Here you can edit the parameters of the master effect selected in the MFX EQ page For more information please see Effect Guide on page 79 MID Effect dynamic modulation Dmod is controlled on the global MIDI Channel MIDI Channel on page 72 For more information please see Dmod List Dynamic Modulation Source List on page 127 MFX2 These pages let you edit the parameters of Master Effect 2 To select different effects types use the MFX EQ page The parameters for MFX2 is the same as for MFX1 EQ The EQ is a three band stereo EQ It is located immediately before the L R bus is output from the AUDIO OUTPUT L and R and applies equalization adjustment of the tonal character to the overall sound EQ Equalizer page 120 UTILITY Command EQ UTILITY Command
331. x Faster 49 8x 33 4x 16 2x 16 1 2x 33 1 4x 49 1 8x Slower 66 1 16x 82 1 32x 99 1 64x IntMod Src Intensity Mod AMS List of AMS Sources This selects a secondary AMS source to scale the intensity of AMS1 For a list of AMS sources please see Alternate Modulation Source AMS on page 121 IntMod Int 99 99 This controls the depth and direction of the Int Mod Src Even if the main AMS1 Intensity is set to 0 Int Mod Src can still control the final amount of AMS A over the full 99 range For example if Source is set to the Pitch EG and Int Mod Src is set to JS Y CC 01 positive settings mean that YS Y will increase the intensity of the Pitch EG modulation of the LFO Frequency AMS2 Source List of AMS Sources This selects the second AMS source for the LFO1 s fre quency For a list of AMS sources please see Alternate Modulation Source AMS on page 121 Intensity 99 99 This controls the amount of modulation from Source Frequency MIDI Tempo Sync MIDI Tempo Sync Off On When MIDI Tempo Sync is On the LFO will synchronize to the system tempo as set by either the Tempo or MIDI Clock The LFO speed will be controlled by the Base Note and Times parameters below All settings for Fre quency and Frequency Modulation will be ignored When MIDI Tempo Sync is Off the Frequency and Fre
332. y C 1 G9 This specifies the note at which the two sloped lines in the lower range will be connected Center Key C 1 G9 This specifies the note that will be the break point for the center of keyboard tracking At this key the keyboard track ing has no effect on the filter cutoff or on any AMS destina tions Filter1 LEO Mods GRPCLEG Filter2 Keyboard Track High Key C 1 G9 This specifies the note where the two sloped lines in the upper range will be connected Intensity Intensity toA 99 99 This controls how much the keyboard tracking will affect Filter A s cutoff frequency The overall effect of the Key board Track is a performance of this Intensity value and the overall Keyboard Track shape With positive values the effect will be in the direction specified by keyboard tracking if the ramp goes up the fil ter cutoff will increase With negative values the effect will be in the opposite direction if the ramp goes up the filter cutoff will decrease Keyboard Track Shape and Intensity Intensity 99 Original Shape ee SOE Ae Intensity 0 No Effect pe nn Intensity 99 Inv rted Low Break Key Center Key High Break Key Intensity to B 99 99 This controls how much the keyboard tracking will affect Filter B s cutoff frequency Ramp Positive ramp values mean that the keyboard tracking out put increases as you play farther from the Center Key nega
333. yclically crossfade between the outputs of filters A and B Filter EG Intensity page 39 Filter EG intensity can be controlled by the Common LFO Common keyboard tracking a controller or tempo etc You can use Intensity to A and Intensity to B to independently specify the intensity for Filter A and B e If you select JS Y CC 02 as the AMS and set Intensity to A and Intensity to B to a positive value moving the joystick in the Y direction will gradually increase the effect of the Filter EG If you set Intensity to A and Intensity to B to a negative value the effect of the Filter EG will be inverted e If you select JS X as the AMS and set Intensity to A and Intensity to B to a positive value moving the joystick toward the right will gradually increase the effect of the Filter EG Moving the joystick toward the left will gradually increase the effect of the Filter EG with an inverted phase Alternate Modulation Source AMS Alternate Modulation settings Filter LFO1 2 Intensity page 41 The LFO 1 2 filter modulation intensity can be controlled by the EG Common LFO keyboard tracking controller or tempo etc You can use Intensity to A and Intensity to B to independently specify the intensity for Filter A and B e If you select EG as the AMS the auto wah effect produced by LFO modulation will be controlled by the changes in EG level If you set Intensity to A and Intensity to B to a positive value the wah

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