Korg Synthesizer manual Program structure, OSC 1, Sub oscillator, Noise generator

Page 4

Bank M Program Structure

2. Bank M program structure

Program structure

Each program of bank M has the following structure.

OSC Section

Mixer Section

 

Oscillator 1

Filter Section

AMP Section

Oscillator 2

Filter 1

Amp1

 

LPF/HPF/BPF/BRF/2BPF

Pan

Sub Oscillator

Mixer

 

Filter 2

Amp2

Noise Generator

LPF/HPF/BPF/BRF/2BPF

 

 

 

 

 

Feedback

FX Section

Master

Effect

Insert

 

EQ

 

Effect

 

 

 

3 4

1/L/Mono 2/R

EG1 EG2 EG3 EG4 Amp.EG

LFO1 LFO2 LFO3 LFO4

Joy Stick, Ribbon Controller

& other controllers

Oscillator section

This is the section which creates the waveform that is the basis of the sound.

These settings are made by the “Program Edit P1” and “Program Edit P2” parameters.

• OSC 1, 2

Thirteen methods of sound production (i.e., thirteen oscillator types) are provided. Two of these oscillator types can be used together, and settings made to specify the basic pitch, etc. However depending on the oscillator type, only one oscillator may be available.

These settings are made by the “1-2: OSC Basic,” “1-3: OSC 1 Pitch,” “1-4: OSC 2 Pitch,” and “2-1: OSC” parameters.

• Sub oscillator

This lets you use one of four types of basic waveform. Pitch-related settings can be made in the same way as OSC 1 and 2.

These settings are made by the “1-5: Sub Pitch” and “2-2: Sub/Noise” parameters.

• Noise generator

This generates white noise. The noise can be sent through a multi-mode filter (low pass filter, high pass filter, band pass filter).

These settings are made by the “2-2: Sub/Noise” parameters.

Mixer section

The output of oscillators 1 and 2, the sub oscillator, and the noise generator are mixed with the feedback from the amp section, and output to multi-mode filters 1 and 2 (the filter section).

These settings are made by the “3-1: Mixer” parameters.

Page 3 Page 5
Image 4
Page 3 Page 5
Contents Page Contents Features of MOSS-TRI IntroductionProgram structure OSC 1Sub oscillator Noise generatorEditing Filter sectionCharacteristics of each oscillator Program Play Mode Program Play P1 Program PlayProgram Edit Mode Program Edit P1Prog Basic 1a Program Name1c Assign/Hold 1d Unison1e Scale Type Scale TypeKey Scale Key Random …991f Panel Switch Assign SW2OSC Basic 2a Multi Oscillator Synthesis Setup2b Common Pitch Modulation 2c Bending 2d Portamento3a Basic Pitch OSC 1 Pitch3b Pitch Modulation Sub Pitch OSC 2 Pitch3c Pitch Slope OSC 01 Standard Program Edit P2Waveform modulation 1b WaveformWaveform Modulation 1a Wave1c Wave Shape Type Wave Shape Table Type Offset Wave Shape Offset 99…+99Shape …99 Intensity Shape AMS Intensity 99…+991a Input Comb FilterInput 1c Feedback 1b Level Modulation1d High Damp 1a Carrier 03 VPM1b Wave Shape 1d Modulator 1c Feedback …991e Frequency Resonance 1b BPF1…4 1c ResonanceRing Modulation 1b Mod. DepthCross Modulation Carrier Saw, Square, Triangle, SineSync Modulation Slave Saw, Square, Triangle, SineOrgan Model 1a DrawbarCoarse Harmonics Coarse …16 Fine Harmonics Coarse Fine 99…+991b Percussion Level …99 1c Drawbar1d Drawbar 1e Percussion GeneratorElectric Piano Model 1a Hammer1b Tone Generator 1c Overtone1d Pickup Position 1e Low EQBrass Model Brass Model1b Breath Pressure 1a Inst Type1c Lip Character 1d Bell Character 1e Peaking EQReed Model Reed Model1c Reed Character 1e Wave ShapeIntensity Reed AMS Intensity 99…+99 Offset 99…+991f Peaking EQ Plucked String Model 1a AttackAttack Level …99 Velocity 99…+991b Attack Curve 1c StringIntensity Damp AMS Intensity 99…+99 KTr Damp Keyboard Track 99…+99KTr Decay Keyboard Track 99…+99 1e Pickup 1d Harmonics1f Low EQ Bowed String Model 1a Bowing SpeedInt. Speed Modulation EG Intensity 99…+99 Int. Speed AMS.1 Intensity 99…+991b Bow Pressure OSC 1d Peaking EQ3a Sub Oscillator Sub/NoiseWave Form 3b Noise Generator Program Edit P3 Mixer1a OSC 1 Out Output Level 00...991b OSC 1 Out 1c OSC 2 Out1d OSC 2 Out 1e Sub OutFilter 2a Routing Filter Routing Serial 1/serial 2/parallel2b Filter 2c Cutoff/Cutoff a Cutoff FrequencyEG Cutoff Frequency Modulation EG Intensity Cutoff Frequency Mod. EG Intensity 99…+992d Keyboard Track 2e Resonance/Resonance aLow Key …G9 High Key …G9Filter 1SUB 3a Input Trim …993b Cutoff B Cutoff Frequency B 3c Keyboard Track3d Resonance B AMS Intensity 99…+99Filter 2 SUB 4a Link to FilterProgram Edit P4 Amp1a Amp 1b Keyboard Track Amplitude 1 Keyboard Track1d Keyboard Track Amplitude 2 Keyboard Track 1c Amp1e Pan/Outputs 2a Level Amp EG Level …99 Amp EG2b Time Amp EG Time 2c Level Control 2d Level Modulation2e Time Modulation Intensity EG Level AMS Intensity 99…+99Program Edit P5 EG 1 AMSource1a Level 1b Time Amp EG Time1c Level Control 1dLevel Modulation1e Time Modulation Release Slope Time …99EG 2, 5-3 EG 3, 5-4 EG LFO Program Edit P61a Wave Form/Key Sync 1b Frequency 1c Midi SyncOffset 50…+50 1d Amplitude ModulationFade In Time …99 Program Edit P7 Program Edit P8Retrigger Controller List Modulation Source List 18AfterTouchAdditional message PrecautionsBank S was skipped

Synthesizer specifications

Korg synthesizers have established themselves as a powerhouse in the music production landscape, combining cutting-edge technology with user-friendly features to cater to musicians, producers, and sound designers alike. These iconic instruments have continuously evolved since the company’s inception in 1963, embodying innovation and quality.

One of the defining features of Korg synthesizers is their diverse range of models which cater to different musical styles and needs. From the grand M1 synthesizer that popularized MIDI in the late 1980s to the more recent Minilogue and Prologue, each model presents unique capabilities. The Minilogue offers a straightforward interface and powerful four-voice polyphony, ideal for both novices and seasoned musicians. In contrast, the Prologue, with its advanced circuitry and multi-engine technology, provides extensive sound design possibilities.

Korg synthesizers are known for their rich sound engines. Many models utilize the proprietary EDS (Enhanced Definition Synthesis) technology, which delivers detailed and dynamic sounds. Users can expect a broad sonic palette, facilitating everything from lush pads to biting leads. The multi-engine architecture found in the Prologue adds another layer of versatility, allowing for the integration of wavetable and FM synthesis alongside traditional analog sounds.

Another key characteristic of Korg synthesizers is their connectivity options. Most models are equipped with MIDI, USB, and audio outputs, making them easy to integrate into any studio setup or live performance rig. The ability to control virtual instruments and external devices through MIDI enhances the functionality of Korg synthesizers, enabling seamless integration into modern production environments.

Korg emphasizes portability with many of its synthesizers. The compact design of products like the Volca series allows musicians to create music on the go, making them ideal for traveling artists. Each Volca unit houses powerful synthesis technology within a small footprint, ensuring that users don’t sacrifice quality for convenience.

Korg also recognizes the importance of community and education in music production. The company frequently updates its synthesizers with new patches, features, and sound libraries, empowering users to keep their sounds fresh and relevant. Additionally, Korg offers various online resources, tutorials, and forums to support their users in exploring the full potential of their synthesizers.

Overall, Korg synthesizers encapsulate a balance of tradition and innovation. With their rich sound engines, user-friendly interfaces, and extensive connectivity options, they remain a favorite among musicians and producers seeking to push the boundaries of their sound. As technology progresses, Korg continues to set new standards in the world of synthesizers, inspiring creativity and musical exploration.
Top Page Image Contents