Korg music workstation, sampler manual More about Alternate Modulation, LFO settings

LFO settings P5: Edit-Common LFO

For each oscillator, you can use two LFO (Low Frequency Oscillator) units: LFO1 and LFO2. You are free to select the type of each LFO and set its speed.

The depth of the LFO1 and LFO2 that you specify here is adjusted by the settings of the P2: Edit-Pitch, P3: Edit-Fil- ter and P4: Edit-Amp pages.

OSC1 LFO1, OSC1 LFO2, OSC2 LFO1, OSC2 LFO2

“Waveform” selects the type of LFO. You can choose from a variety of waveforms, including standard waveforms such as Triangle, Saw, Square, and Sine, as well as Step or Random PG waveforms that produce a sample-and- hold effect (☞PG p.25).

You can create a wide variety of effects by adjusting the “Offset,” “Fade,” and “Delay” settings, and by changing the sign (+/–) of the “Intensity” setting in the P2: Edit- Pitch, P3: Edit-Filter and P4: Edit-Amp pages. “Fre- quency” specifies the speed of the LFO.

Frequency Modulation

“AMS” can be used to vary the LFO speed. This lets you change the LFO speed by operating a controller, or by the EG or Keyboard Track settings.

Frequency MIDI/Tempo Sync.

If “MIDI/Tempo Sync” is checked, the “Frequency” set- ting will be ignored, and the LFO will synchronize to the tempo of the sequencer and arpeggiator. This lets you pro- duce vibrato, wah, auto-pan, or tremolo effects that are synchronized to the playback speed of the sequencer or arpeggiator.

Arpeggiator settings

P7: Edit-Arpeggiator

Here you can make arpeggiator settings (☞p.130).

Insert Effect settings

P8: Edit-Insert Effect

Here you can select insert effects and make settings for them. You can also specify the oscillator routing (the sig- nal sent to the insert effects, master effects, and indepen- dent outputs) (☞p.140).

Master Effect settings

P9: Edit-Master Effect

Here you can select master effects and make settings for them. The master EQ is also set here (☞p.141).

More about Alternate Modulation

Alternate Modulation is a type of modulation that can be used to control various aspects of the sound.

AMS (Alternate Modulation Source) refers to any of the numerous sources that can provide alternate modulation, and includes controllers that you operate physically such as the joystick and realtime controllers, incoming MIDI data, as well as modulators such as the EG or LFO.

Since TRITON STUDIO allows you to apply modulation to a modulator, this type of control is referred to as “alter- nate modulation.”

Intensity is a parameter that sets the degree (speed or depth) to which AMS will control alternate modulation.

Combinations of modulations that are frequently used in synthesizer performance (such as using the joystick to vary the pitch) are also provided as special parameters separate from alternate modulation.

TRITON STUDIO provides 29 types of alternate modula- tion.

In single mode you can use 29 alternate modulation desti- nations of 29 types, and in double mode you can use 55 alternate modulation destinations of 29 types.

There are 42 AMS sources. (However depending on the type of modulation, some sources cannot be selected.) For details on alternate modulation and AMS, refer to PG p.241.

Suggestions on using alternate modulation

When making 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. Then select a source (“AMS”) and set the “Intensity.” If you proceed logically in this way, you will achieve the desired effect.

For example if you want to “control a guitar-like sound so that it appears to be approaching feedback when the joy- stick is moved away,” you will make settings so that the joystick controls filter modulation or the resonance level.

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