Korg Synthesizer manual 1c Amp, 1d Keyboard Track Amplitude 2 Keyboard Track, 1e Pan/Outputs

Page 56

4-1: Amp

High Int.

[–99…+99]

Specifies the way in which keyboard tracking will affect the volume of notes below the High Key.

Volume level

Int=+99

Int> 0

Int=+50

Int= 0

Int=0

Int=-50

Int<0

Int=-99

 

C-1 Low C4 High C9

Key Key

If Low Int. or High Int. are set to positive (+) settings, you will need to lower the “4-1a: Amp 1” Amplitude value.

4–1c: Amp 2

Here you can adjust the settings for Amp 2. These parameters have the same structure as the “4-1a: Amp 1” parameters.

4–1d: Keyboard Track (Amplitude 2 Keyboard Track)

Here you can adjust keyboard tracking settings for Amp 2. These parameters have the same structure as the “4-1b: Keyboard Track” parameters.

4–1e: Pan/Outputs

Pan

[OFF, L000…C064…R127]

This sets the panning for input to the insert effect.

If you are not using an insert effect, this sets the panning to output jacks 1/L/MONO and 2/R. With a setting of OFF, the sound will not be output to 1/L/MONO and 2/R.

L is left, C is center, and R is right.

AMS (Alternate Modulation Source)

[OFF…MIDI (CC#83)]

Selects the modulation source (☞ page 36 of this manual) that will move the panning of amp 1 relative to the Pan setting.

Intensity (Panpot AMS Intensity)

[–99…+99]

Specifies the depth and direction of the effect of “AMS” on the panning.

Output Level

[0…127]

Specifies the output level following the amp.

Send 1

[0…127]

Send 2

[0…127]

Here, you can specify the input levels to the master effects when insertion effects are not used.

If you are using insertion effects, the input levels to the master effects are specified by the “7-1b: Pan/Width/ Send 1, 2” parameters Send 1 and 2 (☞ page 41 in Parameter Guide).

In all modes, you must use an insertion effect when using bank M programs. If you do not use an insertion effect, the output level will be decreased.

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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 SW22b Common Pitch Modulation 2a Multi Oscillator Synthesis SetupOSC Basic 2c Bending 2d Portamento3b Pitch Modulation OSC 1 Pitch3a Basic Pitch 3c Pitch Slope OSC 2 PitchSub Pitch Waveform modulation Program Edit P2OSC 01 Standard 1c Wave Shape 1a Wave1b WaveformWaveform Modulation Type Wave Shape Table Type Offset Wave Shape Offset 99…+99Shape …99 Intensity Shape AMS Intensity 99…+99Input Comb Filter1a Input 1d High Damp 1b Level Modulation1c Feedback 1b Wave Shape 03 VPM1a Carrier 1e Frequency 1c Feedback …991d Modulator 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 Model1c Lip Character 1a Inst Type1b Breath Pressure 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 StringKTr Decay Keyboard Track 99…+99 KTr Damp Keyboard Track 99…+99Intensity Damp AMS Intensity 99…+99 1f Low EQ 1d Harmonics1e Pickup Bowed String Model 1a Bowing SpeedInt. Speed Modulation EG Intensity 99…+99 Int. Speed AMS.1 Intensity 99…+991b Bow Pressure OSC 1d Peaking EQWave Form Sub/Noise3a Sub Oscillator 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 Track1e Pan/Outputs 1c Amp1d Keyboard Track Amplitude 2 Keyboard Track 2b Time Amp EG Time Amp EG2a Level Amp EG Level …99 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 1a Wave Form/Key Sync Program Edit P6LFO 1b Frequency 1c Midi SyncFade In Time …99 1d Amplitude ModulationOffset 50…+50 Program Edit P7 Program Edit P8Retrigger Controller List Modulation Source List 18AfterTouchBank S was skipped PrecautionsAdditional message

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.
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