KORG Legacy Collection ANALOG EDITION 2007 MS-20/Polysix/Legacy Cell Owner’s manual E 2 This product uses applied technology from ART Teknika’s CONSOLE. • Mac, Mac logo and Audio Units logo are trademarks of Apple Computer, Inc., registered in the U.S. and other countries. • Windows is a registered trademark of Microsoft Corporation in the United States and other countries. • VST and ASIO are trademarks of Steinberg Media Technologies GmbH. • RTAS is a registered trademark of Avid Technology, Inc., or its subsidiaries or divisions. • All other product and company names are trademarks or registered trademarks of their respective holders. ii About this manual The owner’s manuals and how to use them The following documentation is included with KORG Legacy software. • Software License Agreement This is the software license agreement for the KORG Legacy software. You must read this before installing the software. • KORG Legacy Collection Installation Guide This explains how to install the software, and how to register and activate the software. • KORG Legacy Collection MS-20/Polysix/Legacy Cell Owner’s Manual This explains how to use the Legacy Cell, MS-20, and Polysix software. • KORG Legacy Collection WAVESTATION Owner’s Manual This explains how to use the WAVESTATION software. • MS-20 Owner’s Manual, MS-20 Setting Examples This is the owner’s manual and setting chart included with the original MS-20, provided in PDF format. Refer to this material in conjunction with the “KORG Legacy Collection MS-20/Polysix/Legacy Cell Owner’s Manual” to learn more about the functions and parameters of the MS-20 software. • Polysix Owner’s Manual, Polysix Setting Charts This is the owner’s manual and setting chart included with the original Polysix, provided in PDF format. Refer to this material in conjunction with the “KORG Legacy Collection MS-20/Polysix/Legacy Cell Owner’s Manual” to learn more about the functions and parameters of the Polysix software. The contents of the owner’s manual and reference guide for the original product may differ in some ways from the functionality and specifications of software synthesizer. iii Conventions in this manual This manual is written for users of two operating systems; Windows XP and Mac OS X. Material that applies equally to both operating systems is given without comment. The screen shots printed in the manual are taken from the Windows XP version unless there are significant differences between the two operating systems. If there are differences, screens for the applicable operating system are shown. The names of buttons such as “Open” or “Save” that appear in dialog boxes will differ according to the settings of your computer. Also, if you are using this software as a plug-in for your host application, the names that appear in menus will differ depending on your host application. Key commands The key commands differ between the two operating systems. In this manual, the key command for Windows XP is given first, and then the key command for Mac OS X is given in parentheses ( ). Example: “To use the ... function, hold down the [Ctrl] key (Mac: [Command] key) of your computer and click ...” Buttons and knobs [ ] References to on-screen buttons or knobs are enclosed in square brackets [ ]. Parameters Parameters displayed in the screen are enclosed in double quotation marks “ ”. ☞p. ■ These indicate pages to which you can refer. , These symbols respectively indicate cautions and advice. Example screen shots The values of parameters shown in the example screens in this manual are only for explanatory purposes; they may not necessary match the values that appear on your screen. MIDI-related explanations CC# is an abbreviation for Control Change Number. iv Table of Contents Quick Start .......................................................................... 1 Basic operation ........................................................................ 1 Starting up the software ............................................................................1 Legacy Cell’s page structure ......................................................................2 Page select buttons ......................................................................................... 2 Performance page........................................................................................... 2 SYNTH 1 and SYNTH 2 pages ..................................................................... 3 Combination page .......................................................................................... 3 Selecting and playing a Performance Program ...........................................4 Using the MIDI controller area to modify the sound ....................................6 Using the on-screen controllers ..................................................................6 MIDI keyboard................................................................................................ 7 Pitch Bend wheel and Modulation wheel................................................... 7 Knobs and encoders ....................................................................................... 7 Faders and sliders........................................................................................... 8 Switches and indicators ................................................................................. 8 Slide switches .................................................................................................. 9 Patching ........................................................................................................... 9 Parameters ..................................................................................................... 10 Resetting controllers or parameters........................................................... 10 Fine adjustments to a controller or parameter ......................................... 10 Renaming....................................................................................................... 11 Trying out the sound of each synthesizer..................................................12 Play View....................................................................................................... 13 Edit View ....................................................................................................... 13 Configuration View...................................................................................... 14 Play View....................................................................................................... 15 Edit View ....................................................................................................... 16 Configuration View...................................................................................... 17 v Table of Contents MS-20 ...............................................................................18 Objects in the screen.............................................................. 19 Main display .......................................................................................... 19 Program Select....................................................................................... 19 View select buttons................................................................................. 19 MAIN (Play View) button........................................................................... 19 EDIT (Edit View) button ............................................................................. 19 CONFIG (Configuration View) button ..................................................... 20 PROGLIST (Program Template List View) button.................................. 20 WRITEPROG button .................................................................................. 20 Play View.............................................................................. 20 Edit View............................................................................... 22 VOICES .......................................................................................................... 24 PITCH ............................................................................................................ 24 EXT AUDIO GAIN ...................................................................................... 25 ANALOG....................................................................................................... 25 PAN................................................................................................................ 25 EXTERNAL MODULATION ..................................................................... 25 VOLTAGE CONTROLLED OSCILLATOR 1 .......................................... 26 VOLTAGE CONTROLLED OSCILLATOR 2 .......................................... 26 VCO MIXER .................................................................................................. 27 VOLTAGE CONTROLLED HIGH PASS FILTER................................... 27 VOLTAGE CONTROLLED LOW PASS FILTER .................................... 27 PORTAMENTO............................................................................................ 27 FINE TUNE ................................................................................................... 27 FREQUENCY MODULATION.................................................................. 27 CUTOFF FREQUENCY MODULATION (HIGH/LOW) ...................... 28 MODULATION GENERATOR ................................................................. 28 ENVELOPE GENERATOR 1...................................................................... 29 ENVELOPE GENERATOR 2...................................................................... 29 PATCH PANEL............................................................................................ 29 EXTERNAL SIGNAL PROCESSOR .......................................................... 30 Configuration View................................................................ 31 EXTERNAL MODULATION CONTROL CHANGE ............................. 31 MIDI FILTER................................................................................................. 32 TUNING ........................................................................................................ 32 Program Template List View ................................................... 33 vi Table of Contents POLYSIX ............................................................................ 35 Objects in the screen .............................................................. 35 Main display...........................................................................................36 Program Select........................................................................................36 View select buttons/WRITEPROG button...................................................36 Play View .............................................................................. 36 Edit View ............................................................................... 38 VCO ................................................................................................................ 38 VCF ................................................................................................................. 39 VCA ................................................................................................................ 39 EG ................................................................................................................... 39 OUTPUT ........................................................................................................ 39 MG .................................................................................................................. 40 ARPEGGIATOR ........................................................................................... 41 PITCH............................................................................................................. 41 KEY ASSIGN MODE ................................................................................... 42 EFFECTS ........................................................................................................ 42 EXTERNAL MODULATION ..................................................................... 43 Configuration View ................................................................ 44 EXTERNAL MODULATION CONTROL CHANGE ............................. 44 MIDI FILTER................................................................................................. 45 TUNING ........................................................................................................ 45 Program Template List View ................................................... 46 vii Table of Contents Legacy Cell ........................................................................48 PERFORMANCE ..................................................................... 48 Objects in the screen .............................................................................. 48 Page select buttons ....................................................................................... 48 Program display ........................................................................................... 49 Connection .................................................................................................... 55 Mixer .............................................................................................................. 57 Master effects ................................................................................................ 58 MIDI Controller............................................................................................ 59 MIDI keyboard ............................................................................................. 64 SYNTH 1/SYNTH 2 ................................................................ 65 Objects in the screen .............................................................................. 65 Performance program.................................................................................. 65 Main display ................................................................................................. 65 Program select .............................................................................................. 65 Insert effect .................................................................................................... 66 View select buttons/WRITEPROG button............................................... 66 COMBINATION ..................................................................... 67 Objects in the screen .............................................................................. 67 Setting display .............................................................................................. 67 Key/Velocity Zone area .............................................................................. 71 Velocity Curve area...................................................................................... 73 Effect guide ........................................................................77 Objects in the screen .............................................................................. 77 Effect display................................................................................................. 77 BYPASS.......................................................................................................... 78 DRY/WET knob ........................................................................................... 78 INPUT slider [–...+6 dB] .............................................................................. 78 OUTPUT slider [–...+6 dB] .......................................................................... 78 Effect parameters.......................................................................................... 78 Popup menu.................................................................................................. 78 About the Dynamic Modulation function .................................................. 81 DYNAMIC MODULATION SOURCE ..................................................... 82 About the TEMPO SYNC function............................................................. 83 Effect parameters ................................................................................... 84 No Effect ........................................................................................................ 84 DynaCompressor (DNC1)........................................................................... 84 Compressor (CP1) ........................................................................................ 85 viii Table of Contents Multi Band Limiter (MBL1) ........................................................................ 86 Mastering Limiter (ML1) ............................................................................. 87 OverDrive/Hi. Gain + Wah (ODW1) ........................................................ 87 4 Band EQ (EQ4)........................................................................................... 89 Exciter/Enhancer (EXH1) ........................................................................... 90 Talking Modulator (TM1) ........................................................................... 91 Decimator (DCM1) ....................................................................................... 92 Flanger (FL1) ................................................................................................. 93 Phaser (PS1)................................................................................................... 94 Polysix Ensemble (PES1) ............................................................................. 95 MultiTap Chorus/Delay (DLM1) .............................................................. 96 Stereo/Cross Delay (DLC1) ........................................................................ 97 LCR BPM Delay (DLB1) .............................................................................. 98 Reverb Hall (RVH1) ..................................................................................... 99 Reverb Smooth Hall (RVH2)..................................................................... 100 Reverb Wet Plate (RVP1)........................................................................... 100 Reverb Dry Plate (RVP2) ........................................................................... 100 Appendices ..................................................................... 101 Menus on your computer...................................................... 101 File menu..............................................................................................101 System menu ........................................................................................101 ix Quick Start Basic operation Quick Start To get started, let’s connect the external MIDI device to your computer, and try out the stand-alone version of Legacy Cell, which lets you use a combination of the MS-20 and Polysix software synthesizers plus effects as a single software synthesizer. Starting up the software 1 Use a USB cable to connect the external MIDI device to your computer. 2 Navigate to the “KORG” folder - “KORG Legacy” folder, and double-click the “Legacy Cell” icon to start up the program. Windows XP The KORG Legacy folder is in the location you specified when installing the software. By default, it will be in the “KORG” folder within the “Program Files” folder. Alternatively, you can click the [Start] button on the task bar, then “All Programs,” and start up the program by choosing “KORG”-“KORG Legacy”“Legacy Cell” from the menu. Mac OS X The KORG folder is located within the “Applications” folder. When the software starts up, the Legacy Cell software synthesizer’s Performance page will appear. 3 From the system menu, select the Preference Settings, and make operating preference settings as described in “Install Setup guide.” 1 Quick Start Legacy Cell’s page structure Let’s take a quick look at the screen pages of the Legacy Cell software synthesizer. To move between pages, use the page select buttons located at the top of each screen. Page select buttons When you click on one of the page select buttons, the button will light, and that page will appear. Performance page In the Performance page you can select a performance program, select the synthesizers used within that performance program, make master effect settings, assign how MIDI controllers will control parameters, and use the mixer to adjust the output of each synthesizer and each of the master effects. (☞p.48) 2 Quick Start SYNTH 1 and SYNTH 2 pages Quick Start In the SYNTH 1 and SYNTH 2 pages you can specify the two synthesizers used within the Legacy Cell, and the two insert effects for each synthesizer. (☞p.65) Combination page In the Combination page you can specify the range of notes and velocities played by each synthesizer, and make Transpose and MIDI Filter settings. (☞p.67) 3 Quick Start Selecting and playing a Performance Program You’ll use the Performance page to select and play the performance programs of the Legacy software synthesizer. Page select buttons Program display Connection Master effect MIDI controllers Mixer MIDI keyboard The performance programs are listed in the program display. When you start up Legacy Cell, the preset performance bank data is loaded, and performance program 000 is selected. A performance bank contains data for 128 performance programs. The 128 performance programs are divided into four groups of 32, and one group at a time is shown in the performance display. 1 Use the list select tabs to select the desired group of programs. Click the list select tab of the desired group to show that group in the program display. List select tab 2 4 In the performance list, click on the desired performance program. Quick Start Simply clicking a list select tab to select a group will not switch the performance program. The performance program will change only when you click a program in the list. Alternatively, you can click the program number and then use the [↑]/[↓] keys of your computer to select a program number. Play the selected performance program. You can play the program from the external MIDI device connected to your computer, or by clicking the MIDI keyboard located at the bottom of the Performance page. Quick Start 3 The Legacy Cell software synthesizer also lets you “preview” a performance program by automatically playing back a preset phrase. To hear the preview playback, click the [Preview] button located at the lower right of the performance list. When you right-click (Mac: [Control]-click) the [Preview] button or click the ▼ symbol at the right, a popup menu will appear, letting you select the phrase for preview playback. You can select one of five different phrases. Click the [Preview] button again to stop the playback. If you’re using a Macintosh, you will need a Power Mac G4/1.25 GHz or faster CPU in order to play all of Legacy Cell’s preset performance programs. If your CPU clock is slower than this, the sound may not play correctly, turning into noise. Be careful of the volume setting so that you don’t damage your hearing or audio playback system if this occurs. 5 Quick Start Using the MIDI controller area to modify the sound 1 While you play, you can modify the sound by using your mouse to drag the encoders or sliders in the MIDI controller area shown below the program display. The sound of the performance program will change as you drag these controls. Synthesizer, effect, and mixer parameters can be assigned to and controlled by the eight encoders and eight sliders of the MIDI controller area. The encoders and sliders can also be linked with a MIDI device connected to your computer. (☞p.59 “Encoders and sliders”) 2 Within the performance bank data, parameters that are effective in controlling those sounds have been assigned to the encoders and sliders. Try selecting various performance programs and play them while you operate these controls. Using the on-screen controllers This section explains how to operate the controllers and edit the parameters that appear in the MS-20, Polysix, and Legacy Cell software. When you move the mouse pointer near a controller or parameter value, the name and current value of that parameter will appear, and the pointer will change shape from an arrow to a hand. In this state, you can edit the value of the controller or parameter. 6 Quick Start MIDI keyboard Quick Start You can play the synth by moving the mouse pointer to the desired note and clicking. Drag to play a glissando. The keyboard will also respond when you play the keyboard of a controller connected to your computer. Pitch Bend wheel and Modulation wheel Move the mouse pointer to the pitch bend wheel or modulation wheel and drag upward or downward to operate the wheel. The wheels will also respond when you operate the controllers of a controller connected to your computer. Knobs and encoders Move the mouse pointer to a knob or encoder. The behavior of the knobs and encoders will depend on the Preference settings “Other” - “Knob Operation” settings within each program. • If “Knob Operation” is set to Circular Move the mouse pointer to the index markings (numbers) that surround the knob, and drag in a circular motion to change the setting. You can also set a knob immediately to the desired setting by clicking that location. • If “Knob Operation” is set to Relative Circular Move the mouse pointer to the knob and drag in a circular motion to change the setting. You will not be able to set a knob simply by clicking (as in “Circular,” above). 7 Quick Start • If “Knob Operation” is set to Linear Drag upward to turn the knob toward the right (clockwise). Drag downward to turn the knob toward the left (counter-clockwise). If a MIDI controller connected to your computer is assigned to control a knob or encoder, the knob or encoder in the screen will respond to the movements on your controller. The default setting is Linear. If the software is running as a plug-in, the knobs and encoders will behave (i.e., circular/relative circular/linear) according to the settings of your host application. Faders and sliders Move the mouse pointer to a fader or slider, and drag up/down or left/right. If a MIDI controller connected to your computer is assigned to control a fader or slider, the fader/slider in the screen will respond to the movements on your controller. Switches and indicators Move the mouse pointer to a switch or indicator, and click to change its setting. 8 Quick Start Slide switches Quick Start Move the mouse pointer to a slide switch, and drag in the desired direction. You can also set a switch by clicking on the desired setting. If a MIDI controller connected to your computer is assigned to control a slide switch, the slide switch in the screen will respond to the movements on your controller. Patching To make connections between jacks in the MS-20 software’s patch panel and ESP (External Signal Processor) section, move the mouse pointer to one jack and drag to another jack. 9 Quick Start Parameters Parameters you can set by dragging Move the mouse pointer to the desired parameter. Drag upward to increase the value, or downward to decrease it. In the case of some parameters for which you can input a numerical value, you can double-click the parameter and use the numeric keys of your computer to input a value. Parameters you can set from a popup menu Click the desired parameter, and a menu will appear. Choose the desired value from the menu. Parameters you can set by clicking Click the desired parameter to change the setting. Resetting controllers or parameters A controller setting or parameter value displayed in the screen can be reset to the currently-written setting or value by holding down the [Ctrl] key (Mac: Command key) of your computer and clicking the mouse on that controller or parameter value. Fine adjustments to a controller or parameter To make fine adjustments in a controller setting or parameter value displayed in the screen, drag while holding down the [Shift] key of your computer. 10 Quick Start Renaming 1 Double-click the program name. The name will be highlighted, and is now editable. The pointer will change to an I-beam. 2 Use your computer keyboard to input a name, and press the [Enter] key. The program is renamed. Quick Start You can rename programs within the MS-20 software and Polysix software, and performance programs within the Legacy Cell software. This lets you assign a suitable name to a program you edited or created. As an example, here’s how to rename a Legacy Cell performance program. If you decide not to rename the program, press the [esc] key of your computer. If you switch to a different program without writing, the settings will revert to their prior state. If you want to keep the renamed program, you must write or save it. 11 Quick Start Trying out the sound of each synthesizer The channel input switches of the mixer let you mute the output of each section without having to operate the faders. This is an easy way to hear only the sound of the selected synthesizer, and is convenient when you are editing just one of the two synthesizers. 1 Select a performance program that uses the MS-20 for SYNTH 1 and the Polysix for SYNTH 2. 2 In the mixer, click the SYNTH 2 channel input switch to turn it off. The SYNTH 2 channel input switch will go dark, and the sound of the Polysix will be muted. When you play, you’ll hear only the sound of the MS-20 (SYNTH 1). Channel input switches 3 Click the [MS-20] page select button located at the top of the screen. The SYNTH 1 page will appear. In the SYNTH 1 page you can edit the MS-20 software synthesizer and two insert effects. Main display View select buttons Insert effects The MS-20 software synthesizer is broadly divided into three Views. When you click a View select button, that view will appear in the main display. 12 Quick Start Play View Quick Start When you click the [MAIN] View select button, the Play View appears. Play View shows the entire MS-20. Here you can edit only the MS-20 original parameters. To edit, drag the knobs or make connections in the patch panel. For details on the original parameters and patching of the MS-20, refer to “MS-20” - Edit View (☞p.22) in this manual, and to the “MS-20 Owner’s Manual” and “MS-20 Setting Examples.” Edit View When you click the [EDIT] View select button, the Edit View appears. Edit View shows an enlarged display of only the parameter area, and lets you edit the original parameters as well as the newly added parameters. As in Play View, use the mouse to edit the parameters. For details on the parameters, refer to “MS-20” - Edit View (☞p.22) in this manual, and to the “MS-20 Owner’s Manual” and “MS-20 Setting Examples.” 13 Quick Start Configuration View When you click the [CONFIG] View select button, the Configuration View appears. Configuration View lets you make overall settings that affect the entire MS-20. You can use the mouse to edit the parameters. For details on the parameters, refer to “MS-20” - Configuration View (☞p.31) in this manual. Go ahead and try editing the various parameters that appear in the different Views of the MS-20 software synthesizer, and hear how the sound is affected. 4 Click the [PERFORMANCE] Page select button to return to the Performance page. 5 In the mixer, click the SYNTH 2 (Polysix) channel input switch to turn it on. Next, click the SYNTH 1 (MS-20) channel input switch to turn it off. The SYNTH 1 channel input switch will go dark; the sound of the MS-20 is muted. When you play, you will hear only the sound of SYNTH 2 (Polysix). 14 Quick Start Click the [Polysix] Page select button. The SYNTH 2 page will appear. In the SYNTH 2 page you can edit the Polysix software synthesizer and insert effects. Quick Start 6 Main display View select buttons Insert effects The Polysix software synthesizer is also broadly divided into three Views. When you click a View select button, that view will appear in the main display. Play View When you click the [MAIN] View select button, the Play View appears. Play View shows the entire Polysix. Here you can edit only the original parameters of the Polysix. To edit, drag the knobs or click the switches. For details on the original parameters of the Polysix, refer to “Polysix” - Edit View (☞p.38) in this manual, and to the “Polysix Owner’s Manual” and “Polysix Setting Charts.” 15 Quick Start Edit View When you click the [EDIT] View select button, the Edit View appears. Edit View shows an enlarged display of only the parameter area, and lets you can edit the original parameters as well as the newly added parameters. As in Play View, use the mouse to edit the parameters. For details on the parameters, refer to “Polysix” - Edit View (☞p.38) in this manual, and to the “Polysix Owner’s Manual” and “Polysix Setting Charts.” 16 Quick Start Configuration View Quick Start When you click the [CONFIG] View select button, the Configuration View appears. Configuration View lets you make overall settings that affect the entire Polysix. You can use the mouse to edit the parameters. For details on the parameters, refer to “Polysix” - Configuration View (☞p.44) in this manual. Go ahead and try editing the various parameters that appear in the different Views of the Polysix software synthesizer, and hear how the sound is affected. In this way, the Legacy Cell software synthesizer lets you combine two synthesizers (MS-20, Polysix, MS-20 + Polysix, MS-20 + MS-20, Polysix + Polysix), edit the parameters in the various pages, and use insert/master effects to create a wide range of sounds. Numerous sounds that take full advantage of the MS-20 and Polysix are provided as preset performance programs. Try out these performance programs, take a look at how their parameters are set, and try playing and editing them. For more about the effects that are available as insert/master effects and how to use them, refer to “Effect Guide.” The MS-20 and Polysix can also be used as stand-alone applications or as plug-in instruments within a host application. The effects can also be used within a host application as the “MDE-X” plug-in. 17 MS-20 The MS-20 software synthesizer (subsequently referred to as MS-20) uses Korg’s proprietary CMT (Component Modeling Technology) to perfectly replicate not only the sound but also the character and curves of each of its parameters. In addition to faithful reproductions of the original sound and controls, this software incarnation of the MS-20 also gives you numerous functions for sound-creating flexibility, such as maximum 32-voice polyphony, maximum 16-voice unison (with Detune and Spread function), and freely assignable external modulation settings. When used in stand-alone form You can play the MS-20 as a stand-alone software synthesizer from a MIDI keyboard etc. connected to your computer. The input from the audio interface of your computer is connected to the signal input of the External Signal Processor. You can use the patch panel to send this sound through the filter, or use the input signal to control the pitch or envelope of the MS-20. When used as a plug-in within a host application The MS-20 will appear in the list of the plug-in instruments within your host application. (Refer to the manual for your host application.) You will be able to play the MS-20 using performance data from a MIDI track in your host application. The External Signal Processor will appear in the plug-in effects list within your host application under the name “MS-20FX”. You can input an audio signal from an audio track or plug-in instrument track of your host application into the Signal In of the MS-20FX External Signal Processor and process it. The capabilities, appearance, and MIDI device settings for the plug-in instruments and effects will differ depending on the host application you are using. For details, refer to the owner’s manual of your host application. 18 MS-20 Objects in the screen Main display View select buttons WRITEPROG button MS-20 Program select Main display By pressing the View select buttons you can access Play View, Edit View, and Configuration View. In Play View you can edit the original parameters of the MS-20, and in Edit View you can edit the original parameters as well as the newly added parameters. The newly added parameters include settings such as polyphony (maximum 32 voices), synchronization of the modulation generator (LFO) to MIDI clock, and external modulation source settings, etc. In the Configuration View you can make settings for MIDI filtering and scale. Program Select This indicates the currently selected program. To select a program, use your mouse to drag the program number up or down, or click the [√]/[®] buttons located at the left. You can access a popup menu showing the program by right-clicking (Mac: Control-clicking) the mouse on the program name. You can also change the program name by double-clicking it. View select buttons MAIN (Play View) button Click this to see the Play View. In Play View you can play the selected program and edit its original parameters. EDIT (Edit View) button Click this to see the Edit View. 19 MS-20 In Edit View you can edit the original parameters as well as the newly added parameters. CONFIG (Configuration View) button Click this to see the Configuration View. In Configuration View you can make overall settings for the entire MS-20. PROGLIST (Program Template List View) button Each time you click this button, the MS-20 program list will alternate between visible and hidden in the foreground of the displayed View. Here you can write the currently-edited program, or save a bank of 32 programs. WRITEPROG button Click this button, you can write the currently-edited program. Play View Play View shows the entire MS-20. Only the original parameters are displayed here. You can edit using the knobs, and also use the patch panel to route the signal. This completely replicates the original MS-20. When you move the mouse pointer to a button, knob, or switch, the parameter and its value will be displayed. For details on the MS-20’s original parameters and patching, refer to the “MS-20 Owner’s Manual” and “MS-20 Setting Examples.” 20 For details on the MS-20’s block diagram and signal flow chart, refer to “MS20 Owner’s manual, Block diagram and signal flow chart (☞p.2).” MS-20 Assigning CC#s to knobs or switches You can use CC#s (MIDI control change messages) to control the knobs or switches of the MS-20 are from an external MIDI device connected to your computer. In order to do this, the knobs or switches must be assigned to the same CC#s as are transmitted by your external MIDI device. When assigning a CC# it is convenient to use Learn mode, which automatically assigns the knob or switch to the CC# received from your external MIDI device. If you want to save the control number assignments on your computer, choose the “Save Controller Map...” command from the KORG logo menu. 1 Right-click (Mac: [Control] click) the knob or slider for which you want to assign a CC#. A popup menu will appear. 2 In the first menu choose Control Change, and in the sub-menu choose the desired CC#. If you choose Learn in the first menu, the parameter display will blink, and Learn mode will be activated. In this state, operate a controller on your connected external MIDI device; the MS-20 will receive that CC# and assign it to the knob or slider. Learn mode will remain active (i.e., continue waiting) until a CC# is received. If you decide to cancel Learn mode, right-click (Mac: [Control] click) the knob or switch, and choose Cancel to Learn from the popup menu. MS-20 If you’re using an external MIDI device to control the MS-20 are in standalone mode, the software will be controlled on all channels 1–16. You can’t assign the same CC# for more than one controller. The most recently assigned knob or switch will take priority. KORG logo menu A menu will appear when you click the KORG logo on the MS-20 itself. You can also access this menu from the KORG logo in the Edit View screen. Copy MS-20 Program Copies the MS-20 settings to the clipboard. Paste MS-20 Program Pastes the MS-20 settings (copied previously by “Copy MS-20 Program”) from the clipboard to the program which you selected. 21 MS-20 You won’t be able to choose “Paste MS-20 Program” if the clipboard does not contain MS-20 settings. Load Controller Map... Loads controller settings saved on your computer. (☞p.62) Save Controller Map... Saves control assignments to your computer. (☞p.62) Show/Hide Controller Assign Shows/hides the CC#s assigned to the MS-20’s knobs. (☞p.62) Make Current Bank Default All programs stored in MS-20’s internal memory will be saved on your computer as the default settings used when MS-20 starts up. Make Current Controller Map Default The current CC# assignments for each knob and switch will be saved on your computer as the default settings used when MS-20 starts up. About MS-20 Displays software information about the MS-20, such as the software version. Edit View Edit View lets you view and edit the original parameters as well as the newly added parameters. Numerous new parameters have been added, such as a polyphony setting of up to 32 voices, a unison setting (with Detune and Spread function) of up to 16 voices, MG synchronization settings, and freely assignable external modulation settings. 22 MS-20 Edit by using your mouse to manipulate the displayed knobs. You can drag the scroll bar located at the bottom of the screen to see the patch panel and other controls. To make a connection in the patch panel, drag the mouse pointer from a patch panel input (or output) to another jack. MS-20 For details on the MS-20’s original parameters and patching, refer to the “MS-20 Owner’s Manual” and “MS-20 Setting Examples”, in addition to the explanations on the following pages. 23 MS-20 VOICES POLY ................. [01...32] Specifies the maximum number of voices that can be played. Note on Note on EG Single Trigger EG UNISON ............ [01...16] Specifies the number of voices that will be sounded in unison. You cannot set this to a number greater than the “POLY” setting. ASSIGN ... [MONO, POLY] Specifies how notes will be played. MONO Notes will be played monophonically (one at a time). Regardless of the “UNISON” setting, the entire number of voices specified by “POLY” will be sounded in unison. POLY Notes will be played polyphonically (i.e., you will be able to play chords). The polyphony will be the “POLY” value divided by the “UNISON” value. TRIGGER (TRIGGER MODE) .. [SINGLE, MULTI] Specifies whether the note will be retriggered if you play another key before releasing the previous key. This parameter is valid when you’re playing monophonically (“ASSIGN” set to MONO); the setting is ignored if you’re playing polyphonically. SINGLE EG and MG will not be retriggered for the second or any subsequent notes, until all previously held notes have been released. MULTI EG and MG will be retriggered each time you play a note. Multi Trigger UNISON DETUNE..............................[0...10] When you set “UNISON” to greater than one and play using Unison, this setting adjusts the detuning of the simultaneouslysounded notes (i.e., how far apart their pitch will be). This setting also applies when “ASSIGN” is MONO. This setting does nothing if “UNISON” is 1 (single note). UNISON SPREAD..............................[0...10] Specifies how the output of each voice will be spread between the L and R channels when using “UNISON.” If “UNISON” is set to an odd number, only one voice will be panned to the center. This setting also applies when “ASSIGN” is MONO. PITCH BEND RANGE ................. [0...12 (0...1oct)] Specifies the amount of pitch change that will occur when you operate the pitch bend wheel of the Legacy Cell’s MIDI keyboard or the pitch bender of a MIDI device connected to your computer. Specify the amount of pitch change that you want to occur when the pitch bender is moved all the way in the + (positive) direction. TRANSPOSE ......... [–24...+24 (–2oct...+2oct)] Adjusts the pitch of the oscillator in units of a semitone (100 cents). This setting has a range of ±2 octaves. 24 MS-20 EXT AUDIO GAIN EXTERNAL MODULATION INPUT ......... [–48.0 dB...+12.0 dB] Adjusts the input level when “AUDIO IN EXT SIGNAL IN” is ON (☞p.29). OUTPUT ..................... [–48.0 dB...+12.0 dB] Adjusts the output level of the external signal when “AUDIO IN EXT SIGNAL” is ON (☞p.29). MS-20 If the input or output sound is distorted when you’re using external input, adjust the EXT AUDIO GAIN “INPUT” and “OUTPUT” levels. The EXT AUDIO GAIN parameter is valid only for stand-alone operation and when the MS-20FX plug-in is running. ANALOG ANALOG ................ [0...10] Controls the amount of randomness applied to the oscillator pitch and the filter cutoff frequency at each note-on. PAN PAN (PANPOT) ......... [–5…0...+5 (L...C...R)] Adjusts the panning of the MS-20’s output. If you’re using the MS20 within Legacy Cell with a Mono In-Stereo Out or Mono In-Mono Out insert effect set completely to Wet (i.e., no direct sound), this setting will do nothing. You’ll need to adjust the PAN control of the mixer that follows the insert effect. SOURCE1, SOURCE2 [None, Velocity, KBD Track, Pressure, Pitch Bend, CC# **] These specify the modulation source that you will use for external modulation. If you select a CC# as the modulation source, specify the MIDI control change number in the Configuration View “EXTERNAL MODULATION CONTROL CHANGE” setting. EXTERNAL MODULATION 1 The modulation source selected by “SOURCE 1” will modulate the following parameters. HPF CUTOFF ...................................[–5...+5] Specifies the depth and direction of the modulation applied to the high-pass filter (HPF) “CUTOFF FREQUENCY.” LPF CUTOFF ....................................[–5...+5] Specifies the depth and direction of the modulation applied to the low-pass filter (LPF) “CUTOFF FREQUENCY.” 25 MS-20 VCO1 PULSE WIDTH........................[–5...+5] Specifies the depth and direction of the modulation applied to the oscillator 1 (VCO1) “PULSE WIDTH.” VCO2 PITCH ...................................[–5...+5] Specifies the depth and direction of the modulation applied to the oscillator 2 (VCO2) “PITCH.” AMP ...............................................[–5...+5] Specifies the depth and direction of the modulation applied to the amp (VCA). EXTERNAL MODULATION 2 The modulation source selected by “SOURCE 2” will modulate the following parameters. HPF CUTOFF....................................[–5...+5] Specifies the depth and direction of the modulation applied to the high-pass filter (HPF) “CUTOFF FREQUENCY.” LPF CUTOFF ....................................[–5...+5] Specifies the depth and direction of the modulation applied to the low-pass filter (LPF) “CUTOFF FREQUENCY.” FM MG/T.EXT..................................[–5...+5] Specifies the depth and direction of the modulation applied to FREQUENCY MODULATION “MG/T.EXT”. HPF MG/T.EXT ................................[–5...+5] Specifies the depth and direction of the modulation applied to the high-pass filter CUTOFF FREQUENCY MODULATION “MG/T.EXT”. LPF MG/T.EXT .................................[–5...+5] Specifies the depth and direction of the modulation applied to the low-pass filter CUTOFF FREQUENCY MODULATION “MG/T.EXT”. 26 VOLTAGE CONTROLLED OSCILLATOR 1 WAVE FORM ........ [ Selects the waveform of oscillator 1. ] PW ..... [ ..._ (+50%...0%)] Adjusts the pulse width of the waveform when a square wave is selected for oscillator 1. SCALE ........ [32', 16', 8', 4'] Adjusts the pitch of oscillator 1 in steps of an octave. VOLTAGE CONTROLLED OSCILLATOR 2 WAVE FORM .................[ Selects the waveform of oscillator 2. ] PITCH ... [–12...+12 (–1oct...+1oct)] Adjusts the pitch of oscillator 2. SCALE .......... [16', 8', 4', 2'] Adjusts the pitch of oscillator 2 in steps of an octave. MS-20 VCO MIXER PORTAMENTO VCO1 LEVEL ............ [0...10] Adjusts the output level of oscillator 1. TIME ........................ [0...10] Specifies the portamento time (the time over which the pitch smoothly moves to the next pitch). Higher settings will make the pitch change more slowly. Portamento is applied even if you play chords. VCO2 LEVEL ............ [0...10] Adjusts the output level of oscillator 2. VOLTAGE CONTROLLED HIGH PASS FILTER CUTOFF FREQUENCY .............................. [0...10] Adjusts the cutoff frequency of the high-pass filter. PEAK ...................... [0...10] Adds a region of emphasis at the point specified by “CUTOFF FREQUENCY” where the low region begins to be cut. When this knob is at or near the maximum setting, the filter will self-oscillate. VOLTAGE CONTROLLED LOW PASS FILTER CUTOFF FREQUENCY .............................. [0...10] Adjusts the cutoff frequency of the low-pass filter. PEAK ...................... [0...10] Adds a region of emphasis immediately before the point specified by “CUTOFF FREQUENCY” where the high region begins to be cut. When this knob is at or near the maximum setting, the filter will self-oscillate. MS-20 FINE TUNE FINE TUNE .............................. [–5...+5 (–100cent...+100cent )] Adjusts the pitch of the oscillators in steps of one cent. The range of adjustment is ±100 cents. This parameter is the same as the original parameter “MASTER TUNE” in Play View. FREQUENCY MODULATION MG/T.EXT ................ [0...10] Adjusts the depth to which the MODULATION GENERATOR will modulate the pitch of oscillator 1 and 2. EG1/EXT ................. [0...10] Adjusts the depth of modulation applied by EG1 or an external input to the pitch of oscillator 1 and 2. 27 MS-20 CUTOFF FREQUENCY MODULATION (HIGH/LOW) MG/T.EXT ................[0...10] Adjusts the depth to which the MODULATION GENERATOR will modulate the filter cutoff frequency. EG2/EXT..................[0...10] Adjusts the depth to which the EG2 or an external input will modulate the filter cutoff frequency. MODULATION GENERATOR BASE NOTE .................. [1/1...1/32 ( … )] If “TEMPO SYNC” is ON, one cycle of the MG will equal the note value you select for “BASE NOTE” (at the synchronized tempo) multiplied by the “TIMES” specified by the “FREQUENCY/TIMES” knob. If “TEMPO SYNC” is OFF, this parameter does nothing. When “BASE NOTE”: 1/4 ( ), then the MG cycle will be: • (one beat = one cycle) if “TIMES”: 1 • (two beats = one cycle) if “TIMES”: 2 • (four beats = one cycle) if “TIMES”: 4 When “BASE NOTE”: 1/16 (), then the MG cycle will be: • (one beat = four cycles) if “TIMES”: 1 TEMPO SYNC .......[ON, OFF] If this is ON, the MG (Modulation Generator) will synchronize to the tempo of Legacy Cell’s TEMPO controller (when operating in Legacy Cell stand-alone mode) or the tempo of the host application (when operating as a plug-in). If you have selected a MIDI device as the “Clock Master” in the Preference – MIDI Setting dialog box, the Modulation Generator will synchronize to the MIDI clock from that MIDI device. KEY SYNC.................................... [ON, OFF] If this setting is ON, the phase of the MG (Modulation Generator) will be reset at each note-on. 28 • (one beat = two cycles) if “TIMES”: 2 • (one beat = one cycle) if “TIMES”: 4 WAVE FORM............. [ ] Specifies the waveform of the MODULATION GENERATOR. FREQUENCY/TIMES ............... [0...10/1...16] If “TEMPO SYNC” is ON, this setting specifies the cycle of the MG in conjunction with “BASE NOTE.” (☞“BASE NOTE”). If “TEMPO SYNC” is OFF, this adjusts the frequency of the MG. MS-20 ENVELOPE GENERATOR 1 ENVELOPE GENERATOR 2 DELAY TIME ............. [0...10] Adjusts the time from when the trigger occurs until the EG begins operating. HOLD TIME .............. [0...10] Adjusts the time for which the input state of the trigger signal is held after the trigger is released. RELEASE TIME .......... [0...10] Adjusts the time from when the trigger is released until the level decays to zero. ATTACK TIME ........... [0...10] Adjusts the time from noteon until the attack level is reached. DECAY TIME............. [0...10] Adjusts the time from when the attack level is reached until the sustain level is reached. MS-20 ATTACK TIME ........... [0...10] Adjusts the time from when the trigger occurs until the attack level is reached. SUSTAIN LEVEL ........ [0...10] Adjusts the sustain level. RELEASE TIME .......... [0...10] Adjusts the time from noteoff until the level decays to zero. PATCH PANEL By pat]ching you can apply modulation to a variety of parameters. For details on the various input/output jacks of the panel and how you can patch them, refer to the “MS-20 Owner’s Manual” and “MS-20 Setting Examples.” VOLUME .......................................... [0...10] Adjusts the output level of the MS-20. AUDIO IN EXT SIGNAL IN .............[ON, OFF] If you click the indicator to turn it on, the external signal will be mixed into the MS20. You can then use the MS-20’s filter etc. to process the external signal. By setting the unison number (“UNISON”) to 2 or higher and adjusting “UNISON SPREAD” you can also use it as a stereo filter. 29 MS-20 EXTERNAL SIGNAL PROCESSOR In this section, the pitch of a signal input to SIGNAL IN can be converted into a control signal, or an envelope or trigger signal can be extracted from the input. If you’re using the stand-alone version, the input from the audio interface of your computer is connected to SIGNAL IN. If you’re using the plug-in version, you can use the External Signal Processor as an effect within your host application. When the MS-20 is running as a plug-in, you can’t input an audio signal into the SIGNAL IN of the External Signal Processor. ESP AUDIO IN.............................. [ON, OFF] If you click the indicator to turn it on, the external signal will be mixed into the SIGNAL IN of the EXTERNAL SIGNAL PROCESSOR. This lets you use an external signal to control the pitch or envelope. SIGNAL LEVEL .................................. [0...10] Adjusts the level of the signal from SIGNAL IN. Adjust this so that the peak indicator lights briefly when the input signal reaches its highest level. LOW CUT FREQ................................ [0...10] Adjusts the low cutoff frequency of the band-pass filter. 30 HIGH CUT FREQ................................[0...10] Adjusts the high cutoff frequency of the band-pass filter. CV ADJUST.......................................[0...10] Adjust this so that the input signal and the synthesizer’s output signal are the same pitch. THRESHOLD......................................[0...10] Adjusts the threshold level at which the trigger signal will be extracted. MS-20 MS-20 Configuration View Configuration View lets you make overall settings that apply to the entire MS-20, such as external modulation CC#, MIDI filtering, and scale. These settings are automatically memorized even if you don’t write them, but will disappear when you exit the application. If you want to save the settings, use the Program Template View [File] button. These settings will be saved as part of the MS-20 bank data (filename extension .fxb). EXTERNAL MODULATION CONTROL CHANGE SOURCE 1–4........................ [CC#1...CC#95] Here you can select the MIDI control change numbers that you want to use as the CC# for EXTERNAL MODULATION “SOURCE 1” and “SOURCE 2.” You can select up to four control change numbers, and your selections will appear in the Edit View EXTERNAL MODULATION “SOURCE 1” and “SOURCE 2” menu. POLARITY ..........................................[+, +–] Specifies the polarity of control. With the + setting, operating the control in the positive direction (relative to the 0 value) will deepen the modulation effect. When the control is at 127, the modulation will be at the maximum depth. With the +– setting, operating the control above or below the center position of 64 will apply modulation in the corresponding positive or negative amount. 127 is maximum, and 0 is minimum. The factory-set defaults are; CC#1:Modulation(+), CC#2:Breath(+), CC#16(+–), and CC#17(+–). 31 MS-20 MIDI FILTER SCALE ....................... [Equal Temp...User 13] Selects the scale type (temperament). You can choose one of sixteen scale types. Equal Temperament This is the most widely used temperament. Every semitone step is the same pitch distance (exactly 1/12th of an octave) apart. CTRL CHG ....................... [ENABLE, DISABLE] Disables or enables MIDI control change reception. PROG CHG ..................... [ENABLE, DISABLE] Disables or enables program change reception. CH.PRESSURE.................. [ENABLE, DISABLE] Disables or enables aftertouch (channel pressure) reception. TUNING Pure Major This temperament adjusts the pitches so that the principal major chords in the selected key will be pure. Pure Minor This temperament adjusts the pitches so that the principal minor chords in the selected key will be pure. User1–13 These are scales that you create in “MICRO TUNE.” You can choose from up to thirteen user scales you create. KEY....................................................[C...B] Specifies the key (tonic) of the scale that will be used if you’ve selected Pure Major or Pure Minor as the “SCALE.” MASTER TUNE.......... [420.00Hz...460.00Hz] Adjusts the overall pitch of the entire instrument, expressed as the pitch of the A4 note. Drag this upward or downward to adjust the value in 0.1 Hz steps. You can adjust the value in 0.01 Hz steps by holding down the [Shift] key of your computer and dragging upward or downward. Alternatively, you can double-click this and enter a value directly from the numeric keypad of your computer. This method allows you to set the value in 0.01 Hz units. This parameter is not the same as the “MASTER TUNE” parameter found in Play View. 32 MICRO TUNE .................... [–99...+99 (–99cent...+99cent)] Here you can specify the tuning of each note in a user scale. In the “SCALE” field, select User1–13 and then specify the pitch of each note in the octave. These settings are saved automatically, and you can recall them when desired by selecting a user scale in “SCALE.” The pitch of each note (C–B) in a one-octave range can be adjusted over a range of –99 – +99 relative to the equal-tempered pitch (0). With a setting of +99, the pitch will be nearly a semitone above the standard (equal-tempered) pitch. With a setting of –99, the pitch will be nearly a semitone below the standard pitch. The “MICRO TUNE” settings are not available if you’ve set “SCALE” to Equal Temp, Pure Major, or Pure Minor. MS-20 MS-20 Program Template List View The MS-20 program list will appear when you click the [PROGLIST] button. Here you can select MS-20 programs, and load/save programs either individually or in banks of 32 programs. To select a program, click its name in the list. [Write] button – write an MS-20 program This button writes (updates) an MS-20 program that you edited. Click the [Write] button, then click the location in the list to which you want to write the program, and click the [OK] button to write the program. (☞p.51) [LoadBank] button – load MS-20 bank data This button loads MS-20 bank data from a file saved on your computer. MS-20 bank data contains thirty-two MS-20 programs. Click the [LoadBank] button to get the file select dialog box, select a file, and click the [Open] button to load the file. (☞p.52) [SaveBank] button – save a bank of MS-20 programs on your computer This button saves the entire bank of thirty-two MS-20 programs currently in memory as a bank data file on your computer. Click the [SaveBank] button to get the file select dialog box, select the save-destination, input a name for the file, and click the [Save] button to save the file. (☞p.52) 33 MS-20 [LoadProg] button – load a single MS-20 programw This button loads a single MS-20 program from a file saved on your computer. Click the [LoadProg] button to get the file select dialog box, select a file, and click the [Open] button to load the file. (☞p.53) [SaveProg] button – save a single MS-20 program on your computer This button saves a single MS-20 program from memory to your computer. Click the [SaveProg] button to get the file select dialog box, select the save-destination, input a name for the file, and click the [Save] button to save the file. (☞p.53) Single-program data does not include the Configuration View parameters. Configuration View parameters are included in the bank data. 34 POLYSIX The Polysix software synthesizer (subsequently referred to as Polysix) uses Korg’s proprietary CMT (Component Modeling Technology) to completely replicate the original Polysix. In addition to faithfully reproducing the original sound and controls, the Polysix software adds a variety of functionality for even more sound-creating versatility, such as up to 32 voices of polyphony, unison (with a Spread function) of up to 16 voices, synchronization of LFO and arpeggiator to MIDI clock, and freely-assignable external modulation settings. POLYSIX When used in stand-alone form You can play the Polysix as a stand-alone software synthesizer from a MIDI keyboard etc. connected to your computer. When used as a plug-in within a host application The Polysix will appear in the list of the plun-in instruments within your host application. (Refer to the manual for your host application.) You will be able to play the Polysix software synthesizer using performance data from a MIDI track in your host application. The capabilities, appearance, and MIDI device settings for the plug-in instruments will differ depending on the host application you are using. For details, refer to the owner’s manual of your host application. Objects in the screen Main display Program select View select buttons WRITEPROG button 35 POLYSIX Main display By pressing the View select buttons you can access Play View, Edit View, and Configuration View. In Play View you can edit the original parameters of the Polysix, and in Edit View you can edit the original parameters as well as the newly added parameters. The newly added parameters include settings such as polyphony (maximum 32 voices), synchronization of the LFO and arpeggiator to MIDI clock, and external modulation source settings, etc. In the Configuration View you can make settings for MIDI filtering and scale. Program Select This indicates the currently selected program. To select a program, use your mouse to drag the program number up or down, or click the [√]/[®] buttons located at the left. You can access a popup menu showing the program by right-clicking (Mac: Control-clicking) the mouse on the program name. You can also change the program name by double-clicking it. View select buttons/WRITEPROG button The names and functions of the buttons are the same as those displayed for the MS-20. Please refer to the “MS-20.” (☞p.19) Play View Play View shows the entire Polysix. 36 POLYSIX Only the original parameters are displayed here. You can use your mouse to play the on-screen keyboard and edit the on-screen knobs. When you move the mouse pointer near a knob or switch, the parameter and its value will be displayed. For details on the Polysix’s original parameters and patching, refer to the “Polysix Owner’s Manual” and “Polysix Setting Charts.” Assigning CC#s to knobs or switches You can use CC#s (MIDI control change messages) to control the knobs or switches of the Polysix from an external MIDI device connected to your computer. In order to do this, the knobs or switches must be assigned to the same CC#s as are transmitted by your external MIDI device. When assigning a CC# it is convenient to use Learn mode, which automatically assigns the knob or switch to the CC# received from your external MIDI device. If you want to save the control number assignments on your computer, choose the “Save Controller Map...” command from the KORG logo menu. POLYSIX If you’re using an external MIDI device to control the Polysix software in stand-alone mode, the software will be controlled on all channels 1–16. The procedure for making assignments is the same as for the MS-20 software. (☞p.21) KORG logo menu A menu will appear when you click the KORG logo on the Polysix itself. You can also access this menu from the KORG logo in the Edit View screen. The contents of the menu are the same as for the MS-20 software. (☞p.21) 37 POLYSIX Edit View Edit View lets you view and edit the original parameters as well as the newly added parameters. Numerous new parameters have been added, such as a polyphony setting of up to 32 voices, a unison setting (with Detune and Spread function) of up to 16 voices, LFO and arpeggiator synchronization settings, and freely assignable external modulation settings. Edit by using your mouse to manipulate the displayed knobs and switches. For details on the Polysix’s original parameters and patching, refer to the “Polysix Owner’s Manual” and “Polysix Setting Charts”, in addition to the explanations on the following pages. VCO VIBRATO INT.................................... [0...10] Adjusts the depth of modulation applied to the VCO pitch from the modulation wheel (MIDI CC#1). PW/PWM ........................................[0...10] Adjusts the pulse width of the waveform when PW or PWM is selected as the “WAVEFORM.” OCTAVE ..................................... [16', 8', 4'] Switches the octave. PWM SPEED .....................................[0...10] Adjusts the speed of pulse width modulation when PWM is selected as the “WAVEFORM.” WAVEFORM ............... [ (SAW), PW, PWM] Selects the oscillator waveform. SUB OSC ......................... [OFF, 1OCT, 2OCT] Sets the octave of the sub-oscillator. 38 POLYSIX VCF EG CUTOFF............................................ [0...10] Adjusts the cutoff frequency of the filter. ATTACK ............................................[0...10] Adjusts the time from note-on until the attack level is reached. EG INTENSITY................................. [–5...+5] Specifies the depth and direction to which the EG will affect the cutoff frequency. KBD TRACK .................................... [0...150] Adjusts the depth to which the cutoff frequency will change according to the pitch of the note that is input. With a setting of 100, the change in cutoff frequency will be proportionate to the change in pitch. DECAY ..............................................[0...10] Adjusts the time over which the level changes from the attack level to the sustain level. SUSTAIN...........................................[0...10] Adjusts the sustain level. POLYSIX RESONANCE .................................... [0...10] Boosts the region near the cutoff frequency. When this knob is at or near the maximum setting, the filter will self-oscillate. RELEASE ...........................................[0...10] Adjusts the time over which the level falls from the sustain level to zero following note-off. OUTPUT VCA PAN ............................[–5...0...+5 (L...C...R)] Adjusts the panning of the Polysix’s output. MODE ............................................[EG, ] Select the envelope source that will produce time-variant change in the volume. ATTENUATOR ............................. [–10...+10] Adjusts the volume of the program. If you’re using the Polysix within Legacy Cell with a Mono In–Stereo Out or Mono In–Mono Out insert effect set completely to Wet (i.e., no direct sound), this setting will do nothing. You’ll need to adjust the PAN control of the mixer that follows the insert effect. VOLUME...........................................[0...10] Adjusts the Polysix’s output level. 39 POLYSIX MG TEMPO SYNC ...............................[ON, OFF] If this is ON, the MG (Modulation Generator) will synchronize to the tempo of Legacy Cell’s TEMPO controller (when operating in stand-alone mode) or the tempo of the host application (when operating as a plug-in). If you have selected a MIDI device as the “Clock Master” in the Preference – MIDI Setting dialog box, the Modulation Generator will synchronize to the MIDI clock from that MIDI device. KEY SYNC ....................................[ON, OFF] If this setting is ON, the phase of the MG (Modulation Generator) will be reset at each note-on. BASE NOTE ...................[1/1...1/32 ( … )] If “TEMPO SYNC” is ON, one cycle of the MG will equal the note value you select for “BASE NOTE” (at the synchronized tempo) multiplied by the “TIMES” specified by the “FREQUENCY/TIMES” knob. If “TEMPO SYNC” is OFF, this parameter does nothing. When “BASE NOTE”: 1/4 ( ), then the MG cycle will be: • (one beat = one cycle) if “TIMES”: 1 • (two beats = one cycle) if “TIMES”: 2 • (four beats = one cycle) if “TIMES”: 4 When “BASE NOTE”: 1/16 ( ), then the MG cycle will be: • (one beat = four cycles) if “TIMES”: 1 • (one beat = two cycles) if “TIMES”: 2 • (one beat = one cycle) if “TIMES”: 4 40 FREQUENCY/TIMES................[0...10/1...16] If “TEMPO SYNC” is ON, this setting specifies the cycle of the MG in conjunction with “BASE NOTE.” (☞“BASE NOTE”). If “TEMPO SYNC” is OFF, this adjusts the frequency of the MG. DELAY...............................................[0...10] Adjusts the time from note-on until the MG is applied. LEVEL................................................[0...10] Adjusts the depth of the effect produced by the MG. MODE ................................[VCO, VCF, VCA] Selects the module to which the MG will be applied. POLYSIX ARPEGGIATOR KEY SYNC ....................................[ON, OFF] If this setting is ON, the arpeggiator will be reset at each note-on. TEMPO.........................................[ON, OFF] If this is ON, the arpeggiator will synchronize to the tempo of Legacy Cell’s TEMPO controller (when operating in Legacy Cell stand-alone mode) or the tempo of the host application (when operating as a plug-in). If you have selected a MIDI device as the “Clock Master” in the Preferences – MIDI Setting dialog box, the Modulation Generator will synchronize to the MIDI clock from that MIDI device. BASE NOTE .................. [1/1...1/32 ( … )] This determines the resolution of the arpeggio pattern when “TEMPO SYNC” is ON. If “TEMPO SYNC” is ON, one cycle of the arpeggio pattern will equal the note value you select for “BASE NOTE” (at the synchronized tempo) multiplied by the “TIMES” specified by the “SPEED/TIMES” knob. If “TEMPO SYNC” is OFF, this parameter does nothing. When “BASE NOTE”: 1/4 ( ), then the arpeggio pattern will be: • (one beat = one cycle) if “TIMES”: 1 • (two beats = one cycle) if “TIMES”: 2 • (four beats = one cycle) if “TIMES”: 4 When “BASE NOTE”: 1/16 ( ), then the arpeggio pattern will be: • (one beat = four cycles) if “TIMES”: 1 • (one beat = two cycles) if “TIMES”: 2 • (one beat = one cycle) if “TIMES”: 4 SPEED/TIMES .........................[0...10/1...16] If “TEMPO SYNC” is ON, this setting in conjunction with “BASE NOTE” will specify the cycle length of the arpeggio pattern (☞“BASE NOTE”). If “TEMPO SYNC” is OFF, this adjusts the speed of the arpeggiator pattern playback. RANGE.......................... [FULL, 2OCT, 1OCT] Specifies the range in which the arpeggiator will play the pattern. POLYSIX ON/OFF ......................................[ON, OFF] Switches the arpeggiator on/off. MODE ................... [UP, DOWN, UP/DOWN] Selects the pattern that the arpeggiator will play. LATCH ......................................... [ON, OFF] Specifies whether the arpeggiator will continue playing even after note-off occurs. PITCH BEND RANGE .................... [0...12 (0...1oct)] Specifies the amount of pitch change that will occur when you operate the pitch bend wheel of Legacy Cell’s MIDI keyboard or the pitch bender of a MIDI device connected to your computer. This setting specifies the pitch change that will occur when the pitch bender is operated all the way in the positive (+) direction. TRANSPOSE..........[–24...+24 (–2oct...+2oct)] Adjusts the pitch of the oscillator in steps of one semitone (100 cents). The range of adjustment is ±2 octaves. TUNE............ [–5...+5 (–100cent...+100cent)] Adjusts the pitch of the oscillator in steps of one cent. The range of adjustment is ±100 cents. 41 POLYSIX KEY ASSIGN MODE HOLD .......................................... [ON, OFF] If this is ON, notes will be held following note-on. CHORD........................................ [ON, OFF] If this is ON, memorizes the chord you are playing, so that you can play that chord in parallel from a single note-on. UNISON SPREAD..............................[0...10] Spreads the voices between the left and right channels when you use “UNISON” to play multiple voices in unison. If the “UNISON” setting is odd-numbered, only one voice will be located in the center. UNISON ...................................... [ON, OFF] Makes the Polysix play in Unison mode. ANALOG..........................................[0...10] Controls the amount of randomness applied to the oscillator pitch and the filter cutoff frequency at each note-on. POLY ........................................... [ON, OFF] Makes the Polysix play phonically. EFFECTS If either “CHORD MEMORY,” UNISON,” or “POLY” is turned on, the others will be turned off. VOICES TOTAL ............................... [01...32] Specifies the maximum polyphony. VOICES UNISON............................ [01...16] Specifies the number of unison voices used when playing polyphonically. The maximum polyphony when playing polyphonically depends on “VOICES TOTAL” and “VOICES UNISON.” The actual maximum polyphony will be the “VOICES TOTAL” value divided by the “VOICES UNISON” value. UNISON DETUNE ............................. [0...10] Specifies the detuning (pitch difference) between simultaneously-sounded voices when you use “UNISON” to play multiple voices in unison. This parameter does nothing if “UNISON” is set to 1 (a single voice). 42 MODE .....[OFF, CHORUS, PHASE, ENSEMBLE] Switches the effect mode. Choose from chorus, phase, and ensemble. SPREAD............................................[0...10] Adjusts the width to which the effect sound will be panned. SPEED/INTENSITY.............................[0...10] Adjusts the speed and intensity of the effect. If “MODE” is set to chorus or phase, this adjusts the speed. If ensemble is selected, this adjusts the depth. POLYSIX EXTERNAL MODULATION EXTERNAL MODULATION 1 EXTERNAL MODULATION 2 The modulation sources you select for “SOURCE 1” and “SOURCE 2” will modulate the following parameters. VCF CUTOFF ...................................[–5...+5] Specifies the depth and direction of the modulation applied to the filter (VCF) “CUTOFF.” POLYSIX SOURCE 1, SOURCE 2 ... [None, Velocity, KBD Track, Pressure, Pitch Bend, CC# **] Specifies the modulation sources that will be used for External Modulation. If you select a CC# as the modulation source, use the Configuration View “EXTERNAL MODULATION CONTROL CHANGE” settings to select the MIDI control change numbers. VCA GAIN ......................................[–5...+5] Specifies the depth and direction of the modulation applied to the amp (VCA). MG LEVEL .......................................[–5...+5] Specifies the depth and direction of the modulation applied to the MG (Modulation Generator) “LEVEL.” VCO PULSE WIDTH ......................... [–5...+5] Specifies the depth and direction of the modulation applied to the oscillator (VCO) “PW/PWM.” 43 POLYSIX Configuration View Configuration View lets you make overall settings that apply to the entire Polysix, such as MIDI filtering and scale settings. These settings are automatically memorized even if you don’t write them, but will disappear when you exit the application. If you want to save the settings, use the Program Template View [File] button. These settings will be saved as part of the Polysix bank data (filename extension .fxb). EXTERNAL MODULATION CONTROL CHANGE 44 SOURCE 1–4 ............. [None, CC#1...CC#95] Here you can select the MIDI control change numbers that you want to use as the CC# for EXTERNAL MODULATION “SOURCE 1” and “SOURCE 2.” You can select up to four control change numbers, and your selections will appear in the Edit View EXTERNAL MODULATION “SOURCE 1” and “SOURCE 2” menu. POLARITY .......................................... [+, +–] Specifies the polarity of control. With the + setting, operating the control in the positive direction (relative to the 0 value) will deepen the modulation effect. When the control is at 127, the modulation will be at the maximum depth. With the +– setting, operating the control above or below the center position of 64 will apply modulation in the corresponding positive or negative amount. 127 is maximum, and 0 is minimum. The factory-set defaults are; CC#1:Modulation(+), CC#2:Breath(+), CC#16(+–), and CC#17(+–). POLYSIX MIDI FILTER SCALE........................[Equal Temp...User 13] Selects the scale type (temperament). You can choose one of sixteen scale types. Equal Temperament This is the most widely used temperament. Every semitone step is the same pitch distance (exactly 1/12th of an octave) apart. PROG CHG ..................... [ENABLE, DISABLE] Disables or enables program change reception. CH.PRESSURE .................. [ENABLE, DISABLE] Disables or enables aftertouch (channel pressure) reception. TUNING Pure Major This temperament adjusts the pitches so that the principal major chords in the selected key will be pure. Pure Minor This temperament adjusts the pitches so that the principal minor chords in the selected key will be pure. User1–13 These are scales that you create in “MICRO TUNE.” You can choose from up to thirteen user scales you create. POLYSIX CTRL CHG........................ [ENABLE, DISABLE] Disables or enables MIDI control change reception. KEY ....................................................[C...B] Specifies the key (tonic) of the scale that will be used if you’ve selected Pure Major or Pure Minor as the “SCALE.” MASTER TUNE .......... [420.00Hz...460.00Hz] Adjusts the overall pitch of the entire instrument, expressed as the pitch of the A4 note. Drag this upward or downward to adjust the value in 0.1 Hz steps. You can adjust the value in 0.01 Hz steps by holding down the [Shift] key of your computer and dragging upward or downward. Alternatively, you can double-click this and enter a value directly from the numeric keypad of your computer. This method allows you to set the value in 0.01 Hz units. MICRO TUNE.... [–99...+99 (–99cent...+99cent)] Here you can specify the tuning of each note in a user scale. In the “SCALE” field, select User1–13 and then specify the pitch of each note in the octave. These settings are saved automatically, and you can recall them when desired by selecting a user scale in “SCALE.” The pitch of each note (C–B) in a one-octave range can be adjusted over a range of –99 – +99 relative to the equal-tempered pitch (0). With a setting of +99, the pitch will be nearly a semitone above the standard (equal-tempered) pitch. With a setting of –99, the pitch will be nearly a semitone below the standard pitch. The “MICRO TUNE” settings are not available if you’ve set “SCALE” to Equal Temp, Pure Major, or Pure Minor. 45 POLYSIX Program Template List View The Polysix program list will appear when you click the [PROGLIST] button. Here you can select Polysix programs, and load/save programs either individually or in banks of 32 programs. To select a program, click its name in the list. [Write] button – write a Polysix program This button writes (updates) a Polysix program that you edited. Click the [Write] button, then click the location in the list to which you want to write the program, and click the [OK] button to write the program. (☞p.51) [LoadBank] button – load Polysix bank data This button loads Polysix bank data from a file saved on your computer. Polysix bank data contains thirty-two Polysix programs. Click the [LoadBank] button to get the file select dialog box, select a file, and click the [Open] button to load the file. (☞p.52) [SaveBank] button – save a bank of Polysix programs on your computer This button saves the entire bank of thirty-two Polysix programs currently in memory as a bank data file on your computer. Click the [SaveBank] button to get the file select dialog box, select the save-destination, input a name for the file, and click the [Save] button to save the file. (☞p.52) 46 POLYSIX [LoadProg] button – load a single Polysix program This button loads a single Polysix program from a file saved on your computer. Click the [LoadProg] button to get the file select dialog box, select a file, and click the [Open] button to load the file. (☞p.53) [SaveProg] button – save a single Polysix program on your computer This button saves a single Polysix program from memory to your computer. Click the [SaveProg] button to get the file select dialog box, select the save-destination, input a name for the file, and click the [Save] button to save the file. (☞p.53) POLYSIX Single-program data does not include the Configuration View parameters. Configuration View parameters are included in the bank data. 47 Legacy Cell Legacy Cell software synthesizer (subsequently referred to as Legacy Cell) is a combination structure that lets you freely combine the MS-20 and Polysix software synthesizers together with insert effects and master effects, and use this combination as a single software synthesizer that delivers amazing possibilities for sound creation and control. PERFORMANCE Here you can select and play performance programs, adjust the output levels, make master effect settings, and control the parameters that are assigned to the MIDI controllers. The Performance page will appear when you start up Legacy Cell in standalone mode. Objects in the screen Page select buttons Program display Connection Master effect MIDI controllers Mixer MIDI keyboard Page select buttons 48 By clicking the PERFORMANCE/SYNTH1 (MS-20)/SYNTH2 (POLYSIX)/COMBINATION buttons you can move to the corresponding page. The button of the selected page is shown in yellow. Legacy Cell The page select buttons are visible in each page. The SYNTH1/SYNTH2 buttons will show the name of the selected synthesizer. If no synthesizer is selected, no name is displayed. Program display In the program display you can view and select a performance program, and save/load various types of data. Performance program List select tabs [Write] button Performance list [Preview] button [File] button [Info.] button Legacy Cell Performance program This area shows the name and category (e.g., Bass/Lead/Pad/Sequence) of the currently selected performance program. You can play the performance program that is shown here. You can edit the name of the performance program by double-clicking it, entering a name from your computer keyboard, and pressing the [Enter] key. You can edit the category by double-clicking it and assigning the desired category name. If you right-click (Mac: [Control] + click) the category or click the ▼ symbol at the right, a menu listing the currently-registered categories will appear, allowing you to select one of them. After editing the performance program name or category, you’ll need to click the [Write] button to write (update) the performance program. A “performance program” is data containing the parameter settings for up to two synthesizers, up to two insert effects for each synthesizer, up to two master effects, mixer settings, and the parameter settings of the COMBINATION page. The performance program will change when a MIDI program change message is received from an external MIDI device connected to your computer or from a MIDI track of your host application. These program change messages are received on the MIDI channel specified by the COMBINATION field of the Connection area. Selecting a performance program You can select a performance program displayed in the performance list by clicking it. 49 Legacy Cell Performance list This lists the 128 performance programs in the performance bank currently loaded into memory, in groups of thirty-two. To switch the list to a different group, click one of the list select tabs. To select the performance program you want to play, click one of the performance programs in the list. Moving a performance program Here’s how to move a performance program to a new location. 1 Drag and drop the performance program name to the desired number. It will change places with the program onto which you dropped it. You can also move a program to a part of the list that is not currently displayed. Drag the performance program name onto the list select tab, and that list will appear. Now you can drag and drop the program onto the desired location in the list that just appeared. Copying a performance by dragging and dropping By holding down the [Alt] key (Mac: [Option] key) while you drag and drop, you can create a duplicate of the performance program at the location where you dropped it. The performance program that was previous at that location will be overwritten. In the same way as when moving a program, you can drag it to one of the list select tabs and create a copy in a different list. Using the popup menu to copy a performance program 1 50 Select the performance program that you want to copy, and right-click (Mac: [Control]-click) it. A popup menu will appear. Legacy Cell 2 From the popup menu, choose Copy. 3 Select the copy-destination performance program, right-click (Mac: [Control]-click) it, and choose Paste from the popup menu. A duplicate will be created at the copy-destination. Erasing a performance program Select the performance program that you want to erase, right-click (Mac: [Control]-click) it, and choose Erase from the popup menu. That performance program will be initialized. List select tabs The 128 performance programs are listed in groups of 32. Press these tabs to switch between the displayed groups. Simply switching the list does not switch the performance program. The change will occur when you click one of the performance programs displayed in the new list. [Write] button – writing a performance program 1 Click the [Write] button. An [OK] button and a [Cancel] button will appear in the lower right of the program display. 2 Click a performance program in the list to specify the writing-destination. 3 Click the [OK] button. The performance program will be overwritten onto the writing-destination you specified. If you decide to cancel without writing, click the [Cancel] button. Legacy Cell Here’s how to write (update) an edited performance program into memory. Performance programs you edit will be lost if you exit the application without saving. If you want to keep your edited performance programs, click the [File] button and choose “Save Bank…” or “Save Program…” to save them. 51 Legacy Cell [File] button – loading and saving data You can load performance bank data or performance program data from your computer or save it on your computer. Load Bank – loading performance bank data Here’s how to load performance bank data from your computer. Performance bank data contains 128 performance programs. 1 Click the [File] button and choose a “Load Bank…” from the popup menu that appears. The Load Bank dialog will appear. 2 Select a file that has an “.fxb” filename extension and click the [Open] button. The performance bank data will be loaded. If you decide to cancel, click the [Cancel] button. You can also load a performance bank data file by dragging it from anywhere on your computer into the program display. The buttons that appear in the dialog will depend on your operating system. Save Bank – saving a performance bank Here’s how to save the 128 performance programs currently in memory as performance bank data on your computer. 52 1 Click the [File] button and choose a “Save Bank…” from the popup menu that appears. The Save Bank dialog will appear. 2 Input a filename, specify the save-destination, and click the [Save] button. All 128 performance programs will be saved on your computer as one performance bank data file. The filename will have an extension of “.fxb”. If you decide to cancel without saving, click the [Cancel] button. Legacy Cell Load Program – loading one performance program Here’s how to load a single performance program from your computer. 1 Click the [File] button and choose a “Load Program…” from the popup menu that appears. The Load Program dialog will appear. 2 Select a file that has an “.fxp” filename extension and click the [Open] button. The data will be loaded into the currently selected performance program. If you decide to cancel, click the [Cancel] button. You can also load a performance program data file by dragging it from anywhere on your computer into the program display. 1 Click the [File] button and choose a “Save Program…” from the popup menu that appears. The Save Program dialog will appear. 2 Input a filename, specify the save-destination, and click the [Save] button. The performance program will be saved on your computer as a performance program data file with an extension of “.fxp”. If you decide to cancel without saving, click the [Cancel] button. Legacy Cell Save Program – saving one performance program Here’s how to save the currently selected performance program on your computer. Make Current Bank Default Click the [File] button and choose a “Make Current Bank Default…” from the popup menu that appears. The 128 performance programs stored in Legacy Cell’s internal memory will be saved on your computer as the default settings used when Legacy Cell starts up. [Info.] button When you press this button, information about the performance program will appear in the program display. Click the button to view information about each synthesizer, the effects, author, date, and a comment. To return to the performance list display, click the [Close] button. 53 Legacy Cell Performance Program, CATEGORY The performance program and category are shown at the top. (☞p.49 “Performance program”) SYNTH1/SYNTH2 This area shows the name and polyphony settings of each synthesizer. “Poly” indicates the maximum polyphony, “UniPoly” is unison polyphony, and the voice mode is shown in square brackets [ ]. The voice mode will be either MONO or POLY for the MS-20, and either POLY, UNISON, or CHORD for the Polysix. IFX1/IFX2/MFX1/MFX2 This area shows the name of the effect program used by each effect. The first line shows the insert effects for SYNTH1, the next line shows the insert effects for SYNTH2, and the bottom line shows the master effects. AUTHOR Displays the name of the author. You can double-click this and edit it. To save your edits, press the [Write] button to update the performance program, and then press the [File] button and choose “Save Bank…” or “Save Program…” to save it. COMMENT Displays a comment. You can double-click this and edit it. To save your edits, press the [Write] button to update the performance program, and then press the [File] button and choose “Save Bank…” or “Save Program…” to save it. DATE Displays the date and time at which this performance program was last updated or saved. [Preview] button This button lets you hear the performance program play a pre-assigned phrase. When you click the [Preview] button to highlight it, preview playback will start. If you then click the [Preview] button again, playback will stop and the [Preview] button will return to its original appearance. If you right-click (Mac: [Control]-click) this button or click the ▼ symbol at the right, a popup menu will appear, letting you choose the phrase that is used for preview playback. You can choose one of the five phrases. 54 Legacy Cell Connection The Connection area shows how the synthesizers (SYNTH1/SYNTH2), insert effects (INSERT FX), master effects (MASTER FX), and mixer (MIXER) are connected. Here you can also select the synthesizers you want to use, and set the MIDI receive channels. CPU LOAD SYNTH1 COMBINATION SYNTH2 Legacy Cell MIDI messages from an external device are received by the COMBINATION. The COMBINATION distributes the received MIDI messages and sends them to each synthesizer and to the insert/master effects. The sound produced by each synthesizer in response to these incoming note messages is sent through the insert effects (two effects for each synthesizer) and then input to the mixer. The mixer combines and outputs the two signals, and creates the final sound by adding the sound from the two master effects connected to the mixer’s send/return connections. SYNTH1, SYNTH2 These areas show the name, icon, and MIDI receive channel of the synthesizers you are using. Here you can select the synthesizers that will be used in this performance program, and set the MIDI receive channel for each synthesizer. You can click the icon for one of the synthesizers to move to the edit page for that synthesizer. Selecting a synthesizer Right-click (Mac: [Control]-click) the icon or click the ▼ symbol, and choose a synthesizer from the popup menu that appears. Setting the MIDI receive channel of a synthesizer Click the MIDI receive channel displayed at the lower left of each synthesizer, and choose a MIDI receive channel from the popup menu that appears. The MIDI channel you specify here is used to control each synthesizer independently. MIDI messages sent from an external device on this channel will control only that particular synthesizer. MIDI messages sent from an external device on the MIDI channel you specify for the Combination will be received by both synthesizers, regardless of the channel you specify for each synthesizer. 55 Legacy Cell COMBINATION This area shows the MIDI receive channel for the combination. You can click this and choose a MIDI receive channel from the popup menu that appears. When you’re playing via a Combination, the following messages will be received regardless of the MIDI channel setting. • CC#s used as an external modulation source by the MS-20 or Polysix (by default, these are CC#01, CC#02, CC#16, and CC#17) • CC#s used for dynamic modulation of the insert/master effects (by default, these are CC#01, CC#02, CC#16, and CC#17) • The MS-20’s control wheel (fixed at CC#01) • The Polysix’s modulation wheel (fixed at CC#01) If you’re transmitting on the MIDI channel specified for each individual synthesizer (default: channel 2 for Synth 1, and channel 3 for Synth 2), all CC#s will be received. Of the MIDI messages that pass through the COMBINATION, the synthesizers and insert effects will receive only Wheel (CC#1) messages and the CC#s used for the synthesizers’ external modulation and the effects’ dynamic modulation. No other CC#s will be received. CPU LOAD This indicates the current CPU load of the computer. The indicator at right will light if a buffer underrun occurs, causing an interruption in the sound. Once the indicator lights, it will remain lit until you click the indicator to reset it (it will then go dark). If this occurs, check the following points. • If other applications are running, close them. • Reduce the maximum polyphony of the synthesizers you are using. • Try increasing the audio buffer size in the Preferences “Audio Device” dialog box. However, be aware that increasing this will make the sound slower to respond (i.e., it will increase the latency). CPU LOAD is displayed only when running in stand-alone mode. 56 Legacy Cell Mixer The mixer adjusts the input level, output panning, master effect send/return levels, and the final output. Operate the knobs and sliders by dragging them with the mouse. To make fine adjustments, hold down the [Shift] key of your computer while you operate the control. Switches will turn on/off each time you click them with the mouse. MFX1 SEND LEVEL knob, MFX1 SEND PRE/POST switch MFX2 SEND LEVEL knob, MFX2 SEND PRE/POST switch PAN Input faders, Level indicators Master fader, level indicator Channel input switches Mixer input channels Output Legacy Cell Mixer input channels There are four mixer input channels; SYNTH1, SYNTH2, MFX1, and MFX2. Each channel adjusts the signal sent from the corresponding section to the mixer. Channel input switch These input switches can be switched on/off by clicking them. Each switch shows the (abbreviated) name of the synthesizer or master effect algorithm you are using. When on (the switch is lit), the output signal of that section will be input to the mixer. When off (the switch is dark), the output signal of that section will not be sent to the mixer (i.e., that signal will not be output from the mixer). Input faders and level meters The faders adjust the input levels to the mixer. The level indicator located beside each fader will light according to the adjusted level. If the input clips, the clip indicator located at the top of the indicator will light and remain lit until you click to reset it. PAN Adjusts the panning of the signal. MFX1 SEND LEVEL knob, MFX2 SEND LEVEL knob These adjust the send levels to the master effects. 57 Legacy Cell MFX1 SEND PRE/POST switch, MFX2 SEND PRE/POST switch These specify the routing to the master effects. With the PRE setting, the signal from the synthesizer or master effect 1 (when sending it to master effect 2) will be taken from before the input fader and sent to the master effect. This means that the signal will be sent to the master effect at the level adjusted by the MFX SEND LEVEL knob without being affected by the fader. With the POST setting, the signal from the synthesizer or master effect 1 (when sending it to master effect 2) will be taken from after the input fader and sent to the master effect. This means that the fader will affect the send level to the master effect. Output Adjusts the final output. Master fader This fader adjusts the level of the final output (i.e., the overall volume). The level meter located beside the fader will light according to the adjusted level. If the output clips, the clip indicator located at the top of the indicator will light and remain lit until you click to reset it. Use the master fader to adjust the output level so that the clip indicator does not light. Master effects Master effect 1 Master effect 2 Two master effects are provided for each performance program. The one to the left is master effect 1, and the one to the right is master effect 2. The two master effects are connected to the Send/Return buses of the mixer section. The mixer lets you connect the two master effects in series or in parallel. In the mixer’s MFX1 input channel, you can turn the MFX2 SEND LEVEL knob toward the right to send the MFX1 output to master effect 2 (i.e., the two effects are connected in series), or you can turn this knob all the way to the left so that the effects are connected in parallel. For details on the effect controls, their function, and the available types of effect, refer to the “Effect guide” (☞p.77) 58 Legacy Cell MIDI Controller Controller logo Encoders TEMPO controller Parameter displays Sliders Legacy Cell The MIDI controller section consists of eight encoders, eight sliders, parameter displays for each of these, and a TEMPO controller. You can assign parameters of the synthesizers, effects, or mixer as the control destination for each encoder and slider. You can use the mouse or an external MIDI device connect to your computer to control the assigned parameters. (☞p.59 “Encoders and sliders”) You can use MIDI control change messages (CC#) to control the encoders and sliders from a connected external MIDI device. To do so, make settings for your external MIDI device so that it will transmit the CC#s that the encoders and sliders are assigned to receive. When assigning CC#s to the encoders and sliders, you can use “Learn” mode to automatically assign the CC# that is sent from your external MIDI device. (☞p.60 “Assigning a CC# to a controller”) In order to control the MIDI Controller section, your connected external MIDI device must be set to the MIDI channel that is selected in the COMBINATION field of the Connection section. The assignments for these encoders and sliders can be saved on your computer as a single file. (☞p.62 “Save Controller Map...”) Encoders and sliders These control the parameters that are assigned to them. You can operate the encoders and sliders by dragging them upward or downward with the mouse. To make fine adjustments to the value, hold down the [Shift] key of your computer while dragging the encoder or slider. If the software is running as a plug-in, the knobs and encoders will behave (i.e., circular/relative circular/linear) according to the settings of your host application. You can assign a CC# to each encoder and slider. If these are set to the same CC#s as transmitted by an external MIDI device connected to your computer, you can use the connected external MIDI device to operate the encoders and sliders. 59 Legacy Cell CC# assignments to the encoders and sliders are used by all of the performance programs. You cannot make these assignments individually for each performance program. If the microKONTROL or KONTROL 49 (sold separately) is connected in Korg native mode, the controlled content is fixed; the CC# assignments will be ignored. Assigning a CC# to a controller 1 Right-click (Mac: [Control]-click) the encoder or slider to which you want to assign a CC#. A popup menu will appear. 2 Choose “Control Change” from the first menu, and choose a CC# in the submenu. If you choose Learn from the first menu, the parameter display will blink, indicating that Learn mode is active. In this state, operate a controller on your external MIDI device. The Legacy Cell controller will be assigned to the CC# of the MIDI message it receives. Learn mode will remain active until a CC# is received. If you want to cancel Learn mode, click the MIDI controller. You cannot assign the same CC# to more than one controller. The controller to which you last assigned that CC# will take priority. CC# assignments are ignored if the microKONTROL or KONTROL 49 (sold separately) is connected in Korg native mode. The MIDI controller receives CC#s on the MIDI channel specified in the COMBINATION field of the Connection area. (The default setting is channel 1.) 60 Legacy Cell Of the MIDI messages that pass through the COMBINATION, the synthesizers and insert effects will receive only Wheel (CC#1) messages and the CC#s used for the synthesizers’ external modulation and the effects’ dynamic modulation. However, all CC#s transmitted on the MIDI channel specified for each synthesizer (the default settings are channel 2 for Synth 1 and channel 3 for Synth 2) will be received. Parameter display These displays show the name of the parameters assigned to each encoder and slider, and their value. Normally these displays show the name of the parameter assigned to the controller. When you click a display, it will show the current value (controller position). When you operate the controller, the value will change correspondingly. Parameter assignments to each encoder and slider are made individually for each performance program. 1 Right-click (Mac: [Control]-click) the parameter display of the controller to which you want to assign a parameter. A popup menu will appear. 2 Choose a module from the first menu, and choose a parameter from the submenu. Legacy Cell Assigning a parameter to a controller Here’s how to assign a parameter to an encoder or slider. You cannot assign the same parameter to more than one controller. The controller to which you last assigned that parameter will take priority. 61 Legacy Cell Controller logo Normally, this will show the KORG logo. The microKONTROL or KONTROL 49 logo will be displayed only if the microKONTROL or KONTROL 49 is connected in Korg native mode. If the KORG logo is displayed, you can click the logo to see a controller menu containing the following items. Load Controller Map... Loads previously-saved controller settings from your computer. 1 From the controller menu, choose “Load Controller Map...” The Load Controller Map dialog will appear. 2 Select a file with a filename extension of “.cmap” and click the [Open] button. The controller settings will be loaded into the currently selected performance program. Save Controller Map... Saves controller assignments to your computer. 1 From the controller menu, choose “Save Controller Map...” The Save Controller Map dialog will appear. 2 Input a filename, specify the save-destination, and click the [Save] button. The controller assignments will be saved on your computer. The filename will have an extension of “.cmap”. Show/Hide Controller Assign Shows or hides the CC#s assigned to the controllers. When you choose “Show Controller Assign” from the controller menu, the CC#s assigned to each encoder and slider will be shown in the display as follows. 62 Legacy Cell Edit Mapping... When you choose Edit Mapping... from the controller menu, the Parameter Assignment dialog will appear. Here you can edit the assignments for all encoders and sliders, and also save/ load them. The “MIDI CCs” column shows the CC# assigned to each controller. You can click in this field and choose a CC# from the menu that appears. The “Items” column shows the parameter that is being controlled. You can click in this field and assign a parameter by choosing it from the menu that appears. [Load] button Loads previously-saved controller settings from your computer. This is the same function as “Load Controller Map...” command that appears when you right-click the controller logo. Legacy Cell [Save] button Saves controller assignment settings to your computer. An extension of “.cmap” is added to the name of the saved file. This is the same function as the “Save Controller Map...” command that appears when you right-click the controller logo. [Clear] button Clears all assignments currently shown in the dialog. [Learn CC] button Sets the “MIDI CCs” assignment to the controller number that is received from the external MIDI device connected to your computer. Make Current Controller Map Default The current CC# assignments for each knob and switch will be saved on your computer as the default settings used when Legacy Cell starts up. TEMPO controller [SYNC] button Tempo display [▲]/[▼] buttons Use the TEMPO controller to set the internal clock tempo. You can adjust the tempo setting in a range of =20–300. This setting is remembered independently for each performance program. The modulation generator (MG) of the MS-20 and Polysix, the arpeggiator of the Polysix, and various parameters of the insert/master effects can be synchronized to this internal clock. This internal clock can also be synchronized with an external 63 Legacy Cell MIDI device connected to your computer or with a host application such as a sequencer. Tempo display This indicates the current tempo. You can double-click this and input a numerical value from your computer keyboard. [▲]/[▼] buttons You can specify the tempo by using the mouse to click these buttons. [SYNC] button If this is on (the button will light), the internal clock tempo will synchronize with another host application or with an external MIDI device connected to your computer. If Legacy Cell is running as a stand-alone program, it will synchronize to the MIDI clock of a connected external MIDI device. In this case, the tempo display will show the tempo of the MIDI clock from the external MIDI device. If Legacy Cell is running inside a sequencer or other host application as a VST/ Audio Units/RTAS plug-in, it will synchronize to the tempo of the host application. In this case, the tempo display will show the tempo of the host application. If [SYNC] is on, you won’t be able to set the tempo by using the [▲]/[▼] buttons or by numerical input from the computer keyboard. MIDI keyboard This section consists of an 88-note keyboard, a pitch bend wheel, and a modulation wheel. You can click the keyboard to play notes, and even play a glissando by dragging over the keyboard to left or right. Operate the pitch bend wheel and modulation wheel by dragging them upward or downward. The keyboard and wheels will respond to MIDI messages received from an external MIDI device connected to your computer. This performance data is sent via COMBINATION in the Connection area to each of the two synthesizers. The on-screen MIDI keyboard receives messages on the MIDI channel specified by the COMBINATION field in the Connection area. 64 Legacy Cell SYNTH 1/SYNTH 2 In the SYNTH 1 page and SYNTH 2 page you can make settings for Legacy Cell’s two synthesizers and the two insert effects for each synthesizer. These two pages let you view and edit the parameters of the synthesizers you selected in “SYNTH 1” and “SYNTH 2” of the Connection area. Since two insert effects are added to each synthesizer you select in “SYNTH 1” and “SYNTH 2,” you have a wide range of sound-creating possibilities. Objects in the screen Performance program Legacy Cell Main display View select buttons Program select WRITEPROG button Insert effects Performance program This shows the currently selected performance program. You cannot switch performance programs here; this area is only for display. Main display By pressing the View select buttons you can view and edit the Play View, Edit View, and Configuration View for the selected synthesizer. For details on each synthesizer refer to “MS-20” (☞p.19) or “POLYSIX” (☞p.36). Program select This shows the currently selected program. To select a program, use your mouse to drag the program number up or down, or click the [√]/[®] buttons located at the left. 65 Legacy Cell You can access a popup menu showing the program by right-clicking (Mac: Control-clicking) the mouse on the program name. You can also change the program name by double-clicking it. Insert effect Insert effect 1 Insert effect 2 Two insert effects are provided for each synthesizer. At the left is insert effect 1, and at the right is insert effect 2. The two effects are connected in series; synthesizer ➝ insert effect 1 ➝ insert effect 2. For details on the effect controls and functions, and on the effects that are available, refer to “Effect guide” (☞p.77). Insert effect settings are not included in the program that is selected for the synthesizer. The insert effect will not switch settings even if you change the synthesizer program. Insert effect settings are included in the performance program. View select buttons/WRITEPROG button The names and functions of the buttons are the same as those displayed for the MS-20 and Polysix. Please refer to the “MS-20.” (☞p.19) 66 Legacy Cell COMBINATION In the COMBINATION page you can specify the range of notes and velocities that each of the two synthesizers will sound, specify the transposition, and make MIDI filter settings. The settings you make here will affect only MIDI messages of the MIDI channel selected in the COMBINATION field of the Connection area in the Performance page. Objects in the screen Setting display Key/Velocity Zone area Legacy Cell Velocity Curve area MIDI keyboard The MIDI keyboard has the same functionality as the MIDI keyboard in the Performance page. (☞p.64) Setting display KEY ZONE KEY TRANSPOSE CHANNEL PRESSURE Synth select buttons VELOCITY ZONE CONTROL CHANGE The Setting display contains settings for key zone, velocity zone, transpose, and MIDI filter, as well as data for the velocity curve control points. The upper line shows the settings for SYNTH 1, and the lower line shows the settings for SYNTH 2. 67 Legacy Cell SYNTH select buttons When editing the parameters of the Key/ Velocity Zone area or the Velocity Curve area, you can use these buttons to select the syntheSYNTH 1 sizer for which you are making settings. You can use these buttons when the settings (conSYNTH 2 trol points) for the two synthesizers in the Key/Velocity Zone area or Velocity Curve area coincide or overlap, making them difficult to grab with the mouse. The upper icon is a button that selects SYNTH 1, and the lower icon is a button that selects SYNTH 2. To select the synthesizer for which to make settings, click the icon or the name of the synthesizer shown beside the icon. The settings of the synthesizer you select will be displayed in the foreground. KEY ZONE These settings specify the range of notes (key zone) that each synthesizer will sound. A synthesizer will not sound if it receives a note number that is outside this range. By setting the key zone you can play different synthesizers from different regions of the keyboard. There are two ways to do this, referred to as “layers” and “splits.” You can create layers, splits, or a combination of the two. Layer A setup in which two synthesizers sound simultaneously when you play the keyboard is called a “layer.” To create a layer, set the “KEY ZONE LOW” and “KEY ZONE HIGH” parameters of the two synthesizers to the same values. Synth1 Synth2 Layer: the two synthesizers will sound together simultaneously Split A setup in which two synthesizers are played separately according to the range of incoming note messages is called a “split.” To create a split, set the “KEY ZONE LOW” and “KEY ZONE HIGH” parameters of the two synthesizers so that they do not overlap. Synth1 Synth2 Split: the two synthesizers will sound separately according to the note range (key position) You can also create settings that combine the two. Synth1 Synth2 68 Both synthesizers will sound in the central range of the keyboard, and separately in the remaining ranges of the keyboard. Legacy Cell Set the “KEY ZONE LOW” and “KEY ZONE HIGH” values according to the setup you want to create. KEY ZONE LOW......................................................................................[C-1...G9] Specifies the lowest note that the synthesizer will sound. The synthesizer will not sound in response to an incoming note number below this setting. You can’t set this higher than “KEY ZONE HIGH.” KEY ZONE HIGH .....................................................................................[C-1...G9] Specifies the highest note that the synthesizer will sound. The synthesizer will not sound in response to an incoming note number above this setting. If you change a KEY ZONE parameter while a note is sounding, so that the currently-sounding note falls outside the key zone, that note will be turned off immediately. By default, LOW is set to C-1 and HIGH is set to G9. Legacy Cell The key zone settings are also displayed in the Key/Velocity Zone area, and can be edited there. (☞p.71) VELOCITY ZONE These settings specify the range of velocities that each synthesizer will sound. A synthesizer will not sound if it receives a note whose velocity is outside this range. By setting the velocity zone you can play different synthesizers depending on how strongly you play the keyboard. Velocity switch “Velocity switch” refers to a setup in which different synthesizers will sound when you play the keyboard strongly or softly. Synth1 Synth2 Strong Soft Keyboard playing dynamics Velocity switch: the two synthesizers will sound separately according to the playing dynamics To use velocity to switch between the two synthesizers in this way, set the “VELOCITY ZONE LOW” and “VELOCITY ZONE HIGH” parameters appropriately. VELOCITY ZONE LOW...............................................................................[1...127] Specifies the lowest velocity that the synthesizer will sound. The synthesizer will not sound in response to an incoming note whose velocity is below this value. You can’t set this higher than “VELOCITY ZONE HIGH.” VELOCITY ZONE HIGH ..............................................................................[1...127] Specifies the highest velocity that the synthesizer will sound. The synthesizer will not sound in response to an incoming note whose velocity is above this value. 69 Legacy Cell By default, LOW is set to 1 and HIGH is set to 127. The velocity zone settings are also displayed in the Key/Velocity Zone area and in the Velocity Curve area, and can be edited there. (☞p.71) KEY TRANSPOSE Specifies the transposition of each synthesizer. The note numbers received from the keyboard will be shifted by this amount, and the synthesizer will sound accordingly. KEY TRANSPOSE ...................................................................................[–24...+24] A setting of ±1 shifts the pitch by a semitone, ±2 by a whole tone, ±7 by a fifth, and ±12 by one octave. If you edit the “KEY TRANSPOSE” setting while a note is sounding, the currently-sounding note will be immediately turned off. CONTROL CHANGE Here you can enable or disable CC# reception for each synthesizer. CONTROL CHANGE................................................................... [DISABLE, ENABLE] ENABLE allows the synthesizer to receive CC# messages from the MIDI device connected to your computer. With the DISABLE setting, CC# messages from the MIDI device connected to your computer will not be received. The default setting is ENABLE. CHANNEL PRESSURE Here you can enable or disable aftertouch message reception for each synthesizer. CHANNEL PRESSURE ................................................................. [DISABLE, ENABLE] ENABLE allows the synthesizer to receive aftertouch messages from the MIDI device connected to your computer. With the DISABLE setting, aftertouch messages from the MIDI device connected to your computer will not be received. The default setting is ENABLE. 70 Legacy Cell Key/Velocity Zone area Rectangle indicating the settings for SYNTH 1 Rectangle indicating the settings for SYNTH 2 Legacy Cell This area shows the key zone and velocity zone settings in graphical form. The key zone settings correspond to the horizontal axis, and the velocity zone settings correspond to the vertical axis. The settings for SYNTH 1 and SYNTH 2 are shown as colored rectangles. You can edit the key zone and velocity zone settings by dragging the corners of these rectangles within this area. Use the SYNTH select buttons to select the synthesizer whose settings you want to edit, and use the mouse to drag the corner, edge, or entire rectangle. Editing in the Key/Velocity Zone area As an example, here’s how to edit the right vertical edge of the rectangle. 1 Move the mouse pointer to the rectangle that indicates the settings of the synthesizer you want to edit. For this example, move the mouse pointer to the right vertical edge. The pointer will change to the shape of an index finger. You can move a corner, an edge, or the entire rectangle. If the rectangles for both synthesizers coincide where the mouse pointer is located, click one of the SYNTH select buttons to select the synthesizer whose settings you want to edit. 71 Legacy Cell 2 Press and hold the mouse button. In this example, you will press on the right vertical edge. When you press the mouse button, the two points at the ends of the right edge will turn white. Pressing the corner makes that corner point turn white, pressing the edge makes the two end-points of the edge turn white, and pressing within the rectangle to move the entire rectangle makes all four corners turn white. 3 Drag in the direction that you want to move. In this example, drag the edge toward the left. Movement is limited to the horizontal direction (left/right) when dragging a vertical edge, and to the vertical direction (up/down) when dragging a horizontal edge. When dragging a single corner or the entire rectangle, you can move in any direction (up/down/ left/right). 4 Release the mouse button when you reach the desired position. In the same way, try moving a different edge, a corner, or the entire rectangle. 72 Legacy Cell Velocity Curve area This area shows the velocity curve and velocity zone settings of the two synthesizers. The velocity values received from the keyboard correspond to the horizontal axis (Input Velocity), and the velocity values sent to the synthesizer correspond to the vertical axis (Output Velocity). The relationship between these two values is shown as a straight line or curve. In the Input Velocity (horizontal) axis, the velocity zone settings (“VELOCITY ZONE LOW” and “VELOCITY ZONE HIGH”) are shown in color, indicating that only velocity values that are within this colored region will play the corresponding synthesizer. SYNTH 1 settings SYNTH 2 settings Editing the Velocity Curve The default state of the curve By default, both synthesizers have a velocity curve consisting of two breakpoints. One breakpoint is located at the lower left and the other is located at the upper right, producing a linear “curve” ascending toward the upper right with a slope of “one” (see diagram at right). In other words with this default setting, the outgoing Output Velocity values will be the same as the incoming Input Velocity values. You can edit the velocity curve by moving these breakpoints, or adding or deleting other breakpoints. Legacy Cell You can use “breakpoints” to edit the velocity curve. Breakpoints are indicated by small squares enclosed in white square frames. Upper right breakpoint Lower left breakpoint 73 Legacy Cell Adding a breakpoint Here’s how to add a breakpoint. As an example, we’ll add three breakpoints to the velocity curve. 1 Click a SYNTH select button to select the synthesizer that you want to edit, and move the mouse pointer to the velocity curve. If other breakpoints already exist, be careful that the mouse pointer is not located at an existing breakpoint. 2 Click the mouse. A new breakpoint is created where you click the mouse. 3 Repeat steps 1–2 to add two more breakpoints to the velocity curve. You can create up to 127 breakpoints in the velocity curve of each synthesizer. 74 Legacy Cell Moving a breakpoint 1 First we’ll move the middle breakpoint. When you move the mouse pointer onto a breakpoint, the pointer will change to the shape of an index finger. Press and hold down the mouse button to grab the breakpoint. If breakpoints of both synthesizers are at the same location, click one of the SYNTH select buttons to select the synthesizer whose settings you want to edit. When you hold down the mouse button to grab a breakpoint, that breakpoint will turn white and the coordinates of that location (Input Velocity value and Output Velocity value) will appear at the right of the setting display. In the illustration at below, the breakpoint you are grabbing has coordinates of 64 and 64. 2 Continue holding down the mouse button, and drag the breakpoint (see illustration at right). The breakpoint will move. You cannot move a breakpoint horizontally (i.e., on the Input Velocity axis) beyond the adjacent breakpoints. In the vertical (Output Velocity) axis, you can move a breakpoint anywhere between 1 and 127. Legacy Cell Here’s how to move a breakpoint. As an example, we’ll move the three breakpoints we created in “Adding a control point.” The breakpoints at the two ends of the line cannot be moved in the Input Velocity (horizontal) axis. 3 Release the mouse button at the desired position. A color of the breakpoint you moved will change back. 75 Legacy Cell 4 Repeat steps 1–3 to move the other two breakpoints. Deleting a breakpoint Here’s how to delete a breakpoint. 76 1 Move the mouse pointer to the breakpoint that you want to delete. 2 Double-click the mouse button. The breakpoint will be deleted. Effect guide The Legacy Cell lets you use two synthesizers, two insert effects for each synthesizer, and two master effects. For each effect, you can choose one of nineteen effect types. You can also use these nineteen effects from within any VST/Audio Units/ RTAS compatible host application via the “MDE-X” plug-in effect. Objects in the screen KORG logo BYPASS Effect parameters Effect display DRY/WET knob INPUT GAIN and OUTPUT GAIN sliders This area shows the contents of the effect program you are using. Normally, the top line shows the effect program name, and the lower line shows the effect you are using. When you move the mouse pointer to a knob or slider, its parameter name and value will appear in this display. You can edit the effect program name by doubleclicking it. After editing the name, you’ll need to write the effect program. (☞p.79) Effect guide Effect display Effect program name Effect When the effect parameter and value are displayed Selecting an effect program You can choose from 128 effect programs. When you right-click (Mac: [Control] + click) the displayed effect program, a popup menu will appear. Choose an effect program from the menu. Alternatively, you can click the KORG logo to get the popup menu, choose “Program List,” and then choose an effect program from the program list that appears. Selecting the effect algorithm used by an effect program When you click the effect algorithm name shown in the effect display, a popup menu will appear, allowing you to choose an effect algorithm. 77 Effect guide BYPASS This bypasses the effect. When you click the LED it will light, and the effect will be bypassed. DRY/WET knob Adjusts the balance between the effect sound and direct sound. The “DRY/WET” parameter can be controlled by Dynamic Modulation. To specify the dynamic modulation setting, double-click the knob. (☞p.81 “About the Dynamic Modulation function”) INPUT slider [– ...+6 dB] Adjusts the input level to the effect. Watch the input level meter located above the slider and listen to the audio output while you adjust this slider. OUTPUT slider [– ...+6 dB] Adjusts the output level of the effect. Watch the output level meter located above the slider and listen to the audio output while you adjust this slider. If the output level is set to 0, the signal will not be sent to the mixer in the Performance page. Effect parameters This area displays the parameters of the selected effect. Use the mouse to edit the parameters directly. For details on each effect, refer to “Effect parameters” (☞p.84). Popup menu A popup menu will appear when you click the KORG logo of the effect. Copy MDE-X Program Copies the effect settings to the clipboard. Paste MDE-X Program Pastes the effect settings (copied previously by “Copy MDE-X Program”) from the clipboard to the effect from which you displayed the popup menu. You won’t be able to choose “Paste MDE-X Program” if the clipboard does not contain effect data. You may copy settings from an insert effect and paste them to a master effect. 78 Effect guide Program List Displays a list of the effect programs used by each effect. In this list you can select effects, write (update) an effect program, and load/save effect programs either individually or in banks. Saving an effect program 1 Click the KORG logo to see the popup menu. 2 From the popup menu, choose “Program List.” The effect program list will appear. 3 In the screen, click the [File] button. The [LoadBank], [SaveBank], [LoadProg], and [SaveProg] buttons will appear. 4 In the screen, click the [SaveProg] button. The SaveProg dialog box will appear. 5 Input a filename, specify the location for saving, and click [Save]. The single effect program will be saved on your computer as effect program data, with a filename extension of “.fxp”. Effect guide The effect programs you write will be lost when you exit the software. If you want to keep the effect programs, you must save them on your computer as effect program data. As an example, here’s how to store a single edited effect program on your computer. If you use [SaveBank] to save effect program data, all 128 effect programs will be saved, and the filename extension will be “.fxb”. 79 Effect guide Global Settings Here you can specify the MIDI control changes used for dynamic modulation, and specify the polarity of modulation. Choose “Global Settings” from the popup menu to display the global settings. DYNAMIC MODULATION CONTROL CHANGE SOURCE 1–4 .................................................................................. [CC#1...CC#95] Here you can select the MIDI control change numbers that you want to use as the CC# for dynamic modulation. You can select up to four control change numbers. POLARITY ....................................................................................................[+, +–] Specifies the polarity of control. With the + setting, operating the control in the positive direction (relative to the 0 value) will deepen the modulation effect. When the control is at 127, the modulation will be at the maximum depth. With the +– setting, operating the control above or below the center position of 64 will apply modulation in the corresponding positive or negative amount. 127 is maximum, and 0 is minimum. The factory-set defaults are; CC#1:Modulation(+), CC#2:Breath(+), CC#16(+–), and CC#17(+–). MIDI FILTER CTRL CHG ................................................................................. [ENABLE, DISABLE] Disables or enables MIDI control change reception. PROG CHG ............................................................................... [ENABLE, DISABLE] Disables or enables program change reception. AFTER T. ................................................................................... [ENABLE, DISABLE] Disables or enables aftertouch (channel pressure) reception. Make Current Bank Default All 128 effect programs stored in internal memory will be saved on your computer as the default settings used when MDE-X starts up. About MDE-X Displays the version of the software and information about the effect plug-in. 80 Effect guide About the Dynamic Modulation function Many effect parameters support Dynamic Modulation, allowing you to control these parameters from a connected external MIDI device while you perform. You can use this to make your performance more expressive. For example you might use aftertouch to control the chorus or flanger LFO speed, or use a CC# to control wah from a MIDI controller. Of the effect parameters displayed, parameters whose knobs have an indicator on the ring support dynamic modulation. Double-click one of these knobs to view the dynamic modulation settings. Effect guide In most cases, dynamic modulation parameters consist of a “SOURCE” and “AMOUNT” settings. “SOURCE” selects the modulation source. Click “SOURCE” and choose a source from the menu that appears. “AMOUNT” specifies the amount of effect produced by dynamic modulation. When the modulation source is at its maximum, the parameter value plus the “AMOUNT” value will be the actual value of the parameter. For example with settings of “WET/DRY” 10:90, “SOURCE” After Touch, and “AMOUNT” +50, the effect balance is normally 10:90, but the proportion of effect sound will gradually increase as you apply aftertouch. When you are applying the maximum amount of aftertouch, the effect balance will be 60:40. If you adjust the “AMOUNT” setting while dynamic modulation is being applied, the dynamic modulation effect will not change. The new setting will apply the next time you operate the dynamic modulation source. 81 Effect guide DYNAMIC MODULATION SOURCE The following dynamic modulation sources are available. Gate1, Gate1+Dmp (Gate1+ Damper) Gate1 uses note-on/off to control the parameter. The effect will be at maximum while the note is on, and will stop when note-off occurs. Gate1+Dmp uses note-on/off + damper on/off to control the parameter. Even if note-off is received, the effect will continue at maximum until CC#64 (damper pedal) Off is received. Gate2, Gate2+Dmp (Gate2+Damper) Gate2 uses note-on/off (retriggered) to control the parameter. Gate2+Dmp uses note-on + damper on/off (retriggered) to control the parameter. These two sources operate in essentially the same way as Gate1 and Gate1+Dmp, but Gate2 and Gate2+Dmp will retrigger the target parameter at every note-on. (Gate1 and Gate1+Dmp retrigger only at the first note-on.) Gate1,Gate1+Dmp 1 Note 2 1 3 2 3 Damper Pedal On Off Gate1 Gate1+Dmp Time Gate2,Gate2+Dmp 1 Note 2 1 3 2 3 Damper Pedal Gate2 On Off Gate2+Dmp Time Note Number Use the note number to control the parameter. Velocity Use velocity to control the parameter. After Touch Use aftertouch (channel pressure) to control the parameter. Pitch Bend Use pitch bend to control the parameter. CC#01...CC#95 Use a MIDI control change to control the parameter. To specify the CC#s you want to use and the polarity for each CC#, click the KORG logo to open the popup menu, and choose “Global Settings.” 82 Effect guide About the TEMPO SYNC function You can use TEMPO SYNC on effects that have an LFO (such as a flanger) or on the LCR BPM Delay effect. This lets you apply modulation that is synchronized to the tempo, or specify the delay time in terms of a note value so that it will remain synchronized even if you adjust the tempo. Example 1. LFO “TEMPO Sync”: On “Base Note”: 1/4 ( ) “Times”: 1 In this example, one cycle of the LFO will be the same length as a quarter note. TEMPO Sync: LFO LFO Example 2. Delay time “L Delay Base Note”: 1/8 ( ) “Times”: 1 Effect guide “R Delay Base Note”: 1/16 ( ) “Times”: 3 In this example, the left channel delay time is set to an eighth note, and the right channel delay time is set to a sixteenth note triplet. TEMPO Sync: Delay Time Dry Wet Lch Dry Wet Rch A “T” appended to the note value for “Base Note” indicates a triplet. 83 Effect guide Effect parameters An effect program can use one of nineteen effect types. Parameters that support dynamic modulation are indicated by the bol. sym- No Effect Choose this if you don’t want to use an effect. The input will be output without change. DynaCompressor (DNC1) 2 1 3 4 5 6 7 This is a stereo compressor that compresses the input signal, making it more consistent and punchy. It is especially effective when used on piano or drums. Processing is performed in stereo, and you can link the left and right channels or use them independently. 1. EQ-TRIM ........................[–24.00dB...0.00dB] 6. SENS. .......................................[1.0...100.0] Adjusts the input level to the equalizer. Adjusts the sensitivity. 2. EQ-HIGH ........ [–15.00dB....0.00dB…+15dB] 7. LEVEL Adjusts the gain of the high-frequency equalizer. Adjusts the output level. When you double-click the “LEVEL” knob, the following dynamic modulation parameters will appear. (☞p.81) 3. EQ-LOW..............................[–15dB...+15dB] Adjusts the gain of the low-frequency equalizer. 4. L/R Link......................................... [L R, L+R] Specifies whether the operation of the left and right channels will be linked, or whether they will operate independently. 5. ATTACK ........................[0.100ms...500.0ms] Adjusts the strength of the compressor’s attack. 84 ...............................[0.0...100.0] SOURCE .......................... [Off, Gate1...CC17] Selects the source that will modulate the output level. AMOUNT ................................. [–100...+100] Specifies the amount by which the output level will be modulated. Effect guide Compressor (CP1) 1 2 5 6 7 3 4 8 10 9 11 12 13 14 This is a stereo compressor that compresses the portion of the sound that exceeds a specified level, preventing unwanted peaks from occurring. By applying a filter to the trigger signal you can freely specify the band to which the compressor responds. The left and right channels can also be linked. 1. SOURCE ................................. [L, R, L R, L+R] 8. Q........................................[0.500...10.000] Selects the input source whose level will be detected. Adjusts the bandwidth of the filter applied to the trigger signal. 2. DETECT ..................................... [PEAK, RMS] 9. THRESHOLD .................. [–40.00dB...0.00dB] Selects whether the level will be detected from the peak or from the RMS average. Adjusts the level at which compression will be applied. 3. LOOK AHEAD .................................[Off, On] 10. RATIO ..............................[1.000:1... Selects whether level detection will look ahead. Adjusts the compression ratio. 4. TRIG.MONITOR...............................[Off, On] Adjusts the attack time. Switches monitoring between the effect output and the trigger signal. 12. RELEASE ................... [1.000ms...5000.0ms] Switches the filter that is applied to the trigger signal. 6. TYPE.... [ (LPF), (BPF), (HPF), (BRF) ] Selects the type of filter applied to the trigger signal. 11. ATTACK ...................... [0.100ms...500.0ms] Effect guide 5. SIDE CHAIN ....................................[Off, On] :1] Adjusts the release time. 13. KNEE ............................[0.00dB...30.00dB] Adjusts how suddenly the signal will be compressed. Higher settings of this parameter will produce softer compression. 14. OUTPUT GAIN............ [– dB...+24.00dB] Adjusts the output gain. 7. FREQ .......................... [20.00Hz...12.00kHz] Specifies the center frequency of the filter applied to the trigger signal. 85 Effect guide Multi Band Limiter (MBL1) 1 2 3 4 5 6 7 8 This is a stereo multi-band limiter that divides the input signal into low, mid, and high-frequency bands, and applies limiting to each band. Since this lets you control the dynamics independently for each frequency band, you can adjust the loudness of the low, mid, and high-frequency bands in a way unlike an equalizer. 1. RATIO................................ [1.000:1... :1] Adjusts the compression ratio. 2. THRESHOLD .....................[–40.0dB...0.00dB] Adjusts the level at which compression will be applied. 3. ATTACK ........................[0.100ms...500.0ms] ).............. [– dB...+24.000dB] Adjusts the output gain. When you double-click the “GAIN” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE .......................... [Off, Gate1...CC17] Adjusts the attack time. Selects the source that will modulate the output gain. 4. RELEASE ........................[1.000ms...5000ms] AMOUNT ................................. [–100...+100] Adjusts the release time. 5. LOW .............................[–40.00dB...0.00dB] Adjusts the trigger signal gain for the lowfrequency region. 6. MID ...............................[–40.00dB...0.00dB] Adjusts the trigger signal gain for the midfrequency region. 7. HIGH.............................[–40.00dB...0.00dB] Adjusts the trigger signal gain for the highfrequency region. If you want to avoid compressing a specific frequency region, lower the setting for that region to a point below the “THRESHOLD” level. With this setting, the limiter for that region will not respond, and compression will not be applied. 86 8. GAIN ( Specifies the amount by which the output gain will be modulated. Effect guide Mastering Limiter (ML1) 1 2 3 This is a mastering limiter. You can use it effectively to make the sound subjectively louder, or to adjust the level. 1. THRESHOLD ...................[–30.00dB...0.00dB] 2. OUTCEILING.................. [–30.00dB...0.00dB] Adjusts the level at which compression will be applied. The output level will automatically increase by the amount of compression. Adjusts the output level. 3. RELEASE ....................... [0.01ms...1000.0ms] Adjusts the release time. OverDrive/Hi. Gain + Wah (ODW1) 5 8 Effect guide 3 1 9 2 4 6 7 This is a distortion effect with two modes; overdrive and high-gain. It provides wah, a three-band equalizer, and an amp simulator to give you a wide range of distortion sounds. This effect is ideal for organ or guitar sounds. 1. OUTPUT ( ) ...................... [0.00...50.00] Adjusts the output level. “OUTPUT” is the input level to the threeband equalizer. If the signal clips in the three-band equalizer, adjust this “OUTPUT” parameter. When you double-click the “OUTPUT” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE .......................... [Off, Gate1...CC17] Selects the source that will modulate the output level. AMOUNT .................................[–100...+100] Specifies the amount by which the output level will be modulated. 2. LOW CUT ............... [THRU, 1.0Hz…180.0Hz] Adjusts the amount of low-frequency cut that is applied at the input to the distortion. You can produce a sharper distortion by cutting the low-frequency before the signal enters the distortion unit. 87 Effect guide 3. WAH ..............................................[Off, On] Switches the wah on/off. 4. RANGE LOW FREQ ..............................[20.00Hz...20.00kHz] ........................... [0.0...10.00] Adjusts the range over which the center frequency of the wah will be swept. When you double-click the “RANGE” knob, the following dynamic modulation parameter will appear. (☞p.81) Specifies the center frequency of the lowrange equalizer band (shelving type). GAIN ................................ [–18.0dB...+18.0dB] Adjusts the gain of the low-range equalizer band. SOURCE...........................[Off, Gate1...CC17] MID 1 Selects the modulation source that will control the wah. FREQ ..............................[20.00Hz...20.00kHz] 5. TYPE............... [O.D. (OVER DRIVE), HI GAIN] Switches between overdrive and high-gain distortion. 6. DRIVE ....................................... [1.0...100.0] Adjusts the depth of distortion. The depth of distortion is determined by the size of the input signal itself together with this “DRIVE” parameter. Since raising “DRIVE” will increase the overall volume, you’ll need to use “OUTPUT” to adjust the volume. Q................................................[0.50...10.00] Adjusts the bandwidth of the MID1 equalizer band. GAIN ................................ [–18.0dB...+18.0dB] Adjusts the gain of the MID1 equalizer band. MID 2 FREQ ..............................[20.00Hz...20.00kHz] 7. 3 Band EQ This is a three-band EQ with LOW, MID1, and MID2. Set the three points by dragging them with the mouse. For LOW you can set the frequency and gain, and for MID1 and MID2 you can set the frequency, bandwidth, and gain. LOW Specifies the center frequency of the MID1 equalizer band (peaking type). MID1 Specifies the center frequency of the MID2 equalizer band (peaking type). Q................................................[0.50...10.00] Adjusts the bandwidth of the MID2 equalizer band. GAIN ................................ [–18.0dB...+18.0dB] Adjusts the gain of the MID2 equalizer band. 8. CABINET ........................................ [Off, On] Switches the cabinet simulator on/off. MID2 Set the frequency (“FREQ”) by dragging a point to left/right, set the gain (“GAIN”) by dragging up/down, and set the bandwidth (“Q”) by holding down the [Alt] key (Mac: [Option] key) and dragging to left/right. For any of these parameters, you can make fine adjustments by holding down the [Shift] key while you drag. 88 9. DIRECT MIX .................................[0.0...50.0] Adjusts the amount of direct sound that is mixed with the distortion. Effect guide 4 Band EQ (EQ4) 2 3 1 5 4 6 7 This is a stereo four-band parametric equalizer. Bands 1 and 4 allow you to choose either peaking or shelving types. Adjusts the input level. 3. BAND select .................. [BAND1, BAND2, BAND3, BAND4] 2. EQ display These buttons select the band adjusted by the knobs located at the right. Use the mouse to drag the four points that control band 1, band 2, band 3, and band 4. For each band, you can specify the frequency, bandwidth, and gain. To adjust the parameters of each band, use the mouse to drag the points in the “EQ display” located in the center. Alternatively, you can click one of the “BAND select” buttons located below the EQ display to select a band, and use the knobs to adjust the parameters of that band. Band 1 Band 3 4. BAND 1/4 TYPE ......... [PEAKING, SHELVING] Selects the filter type for band 1 and band 4. This parameter will be displayed and can be selected if band 1 or band 4 are selected in the EQ display “BAND select.” 5. FREQ ..........................[20.00Hz...20.00kHz] Specifies the center frequency of each band. Use the EQ display or “BAND select” to select a band, and then adjust this parameter. Effect guide 1. TRIM..............................[–24.00dB...0.00dB] 6. Q........................................[0.500...10.000] Adjusts the bandwidth of each band. Use the EQ display or “BAND select” to select a band, and then adjust this parameter. 7. GAIN ........................ [–18.00dB...+18.00dB] Band 2 Band 4 Set the frequency (“FREQ”) by dragging a point to left/right, set the gain (“GAIN”) by dragging up/down, and set the bandwidth (“Q”) by holding down the [Alt] key (Mac: [Option] key) and dragging to left/right. For any of these parameters, you can make fine adjustments by holding down the [Shift] key while you drag. Adjusts the gain of each band. Use the EQ display or “BAND select” to select a band, and then adjust this parameter. 89 Effect guide Exciter/Enhancer (EXH1) 4 2 1 3 5 6 7 8 This effect combines an exciter which adds sparkle and improved definition to the sound, and an enhancer which adds spaciousness and presence. 1. EQ-TRIM ........................[–24.00dB...0.00dB] 6. L-DELAY ....................... [0.000ms...50.00ms] Adjusts the input level to the equalizer. Adjusts the gain of the high-range equalizer. Specifies the delay time for the left channel of the exciter. You can control the sense of stereo or the sense of depth by slightly skewing the left and right delay times. 3. EQ-LOW..... [–15.00dB...0.00dB…+15.00dB] 7. R-DELAY ....................... [0.000ms...50.00ms] 2. EQ-HIGH .... [–15.00dB...0.00dB…+15.00dB] Adjusts the gain of the low-range equalizer. 4. POINT ........................... [0.00...70.00] Specifies the frequency region that the exciter will emphasize. As you increase this value, the emphasized frequency region will extend further downward. When you double-click the “POINT” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE...........................[Off, Gate1...CC17] Selects the source that will modulate the emphasized frequency region. AMOUNT................................. [–100...+100] Specifies the amount by which the emphasized frequency region will be modulated. 5. BLEND ....................... [–100.0...100.0] Adjusts the depth of the exciter effect. Positive (+) and negative (–) settings produce a different pattern of emphasized frequencies. When you double-click the “BLEND” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE...........................[Off, Gate1...CC17] Selects the source that will modulate the depth of the exciter effect. AMOUNT................................. [–100...+100] 90 Specifies the amount by which the depth of the exciter effect will be modulated. Specifies the delay time for the right channel of the exciter. 8. DEPTH .............................[0.0...100.0] Adjusts the depth of the enhancer effect. When you double-click the “DEPTH” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE .......................... [Off, Gate1...CC17] Selects the source that will modulate the depth of the enhancer effect. AMOUNT ................................. [–100...+100] Specifies the amount by which the depth of the enhancer effect will be modulated. Effect guide Talking Modulator (TM1) 4 3 1 5 2 6 9 7 10 8 This effect applies a human vocal character to the input signal. By using dynamic modulation to vary the tone, you can create the impression of a “talking” synthesizer or guitar 1. SWEEP MODE ...................... [LFO, MANUAL] SOURCE .......................... [Off, Gate1...CC17] Selects whether the effect will be controlled by a modulation source or by the LFO. Selects the source that will modulate the vocal character. 2. FREQ (Frequency)/TIMES ........................... [0.020Hz...20.000Hz/1...16] 6. BOTTOM ..................................[A, I, U, E, O] SOURCE...........................[Off, Gate1...CC17] Selects the source that will modulate the LFO speed. AMOUNT ................................. [–100...+100] Specifies the amount by which the LFO speed will be modulated. 3. TEMPO SYNC..................................[Off, On] If this is Off, the LFO speed will be the frequency specified by “FREQ”. If this is On, the LFO speed will be the cycle length specified by the “BASE NOTE” and “FREQ” parameters, relative to the tempo specified by the TEMPO controller in the Performance page. 4. BASE NOTE............................... [1/16...1/1] Selects the note value in terms of which the LFO speed will be specified. (☞p.83) 5. VOICE CTRL ... [Bottom, 1.0…49.0, Center, 51.0…91.0, Top] Controls the vocal character. When you double-click the “VOICE CTRL” knob, the following dynamic modulation parameter will appear. (☞p.81) Specifies the vowel at the bottom of the control range. 7. CENTER....................................[A, I, U, E, O] Specifies the vowel at the center of the control range. 8. TOP .........................................[A, I, U, E, O] Specifies the vowel at the top of the control range. Example: if you’ve set “TOP” to a, “CENTER” to i, and “BOTTOM” to u With “SWEEP MODE” set to MANUAL, and Pitch Bend assigned as the dynamic modulation source for “VOICE CTRL,” moving the pitch bend wheel in the Legacy Cell Performance page from top to bottom will cause the vocal character to shift from “aah” to “eeh” to “ooh”. If you set “SWEEP MODE” to LFO, the LFO will cyclically vary the vocal character through the range “aah,” “eeh”, “ooh,” “eeh,” “aah” ... Effect guide Adjusts the LFO speed. (☞p.83) When you double-click the “FREQ” knob, the following dynamic modulation parameters will appear. (☞p.81) 9. FORMANT................ [–100.0...0.0…+100.0] Adjusts the frequency range at which the effect is applied. Set this to a larger value if you want to apply the effect to higher pitches, or set it to a lower value if you want to apply the effect to lower pitches. 10. RESONANCE ...........................[0.0...100.0] Adjusts the strength of resonance. Increasing this value will give the sound a more distinctive character. 91 Effect guide Decimator (DCM1) 1 2 3 4 5 6 7 This effect lowers the sampling frequency or bit-depth of the data, giving the sound a rougher character reminiscent of an inexpensive sampler. The typical noise of a sampler is also simulated. 1. PRE-LPF ..........................................[Off, On] 5. LFO-DEPTH Selects whether the high-frequency aliasing noise produced by down-sampling will be present. On samplers with a low sampling frequency, inputting a high-frequency sound that is too high for the sampler to play back correctly will generate a noise whose pitch is unrelated to the original sound. Turning “PRE-LPF” On will limit the occurrence of this noise. If you set “SAMPLE RATE” to about 3 kHz and turn “PRE-LPF” Off, a ring-modulatorlike sound will be produced. Adjusts the depth to which the LFO will modulate the sampling frequency. When you double-click the “FREQ” knob, the following dynamic modulation parameters will appear. (☞p.81) 2. HIGH DAMP .......[20.00Hz...18.66kHz, Thru] 6. LFO-FREQ Adjusts the amount of the high-frequency range that will be cut. 3. SAMPLE RATE ................................. [1.000kHz...48.000 kHz] Specifies the sampling frequency When you double-click the “FS” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE...........................[Off, Gate1...CC17] Selects the source that will modulate the sampling frequency. AMOUNT................................. [–100...+100] Specifies the amount by which the sampling frequency will be modulated. 4. RESOLUTION .............................[4bit...24bit] Specifies the bit-depth. Lower settings will produce a rougher and more distorted sound. Since this setting will affect the volume, you’ll need to use “LEVEL” to readjust the volume. 92 ......................[0.0...100.0] SOURCE .......................... [Off, Gate1...CC17] Selects the source that will modulate the LFO speed. AMOUNT ................................. [–100...+100] Specifies the amount by which the LFO speed will be modulated. ............[0.020Hz...20.00Hz] Adjusts the LFO speed. When you double-click the “DEPTH” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE .......................... [Off, Gate1...CC17] Selects the source that will modulate the LFO modulation depth. AMOUNT ................................. [–100...+100] Specifies the amount by which the LFO modulation depth will be modulated. 7. LEVEL ...............................[0.0...100.0] Adjusts the output level. When you double-click the “LEVEL” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE .......................... [Off, Gate1...CC17] Selects the source that will modulate the output level. AMOUNT ................................. [–100...+100] Specifies the amount by which the output level will be modulated. Effect guide Flanger (FL1) 5 1 2 4 6 3 7 8 9 10 This effect adds an intense sensation of modulation and pitch movement. It is effective when applied to sounds that contain a rich overtone structure. This is a stereo effect, and you can skew the LFO between left and right to control the spaciousness of the effect. 1. WAVE .................................... [Triangle, Sine] 7. DELAY .......................... [0.000ms...50.00ms] Selects the LFO waveform. Specifies the delay time from the original sound. Specifies the degree to which the LFO waveform will be deformed. 8. DEPTH.......................................[0.0...100.0] 3. FREQ (Frequency) /TIMES ............................. [0.020Hz...20.00Hz/1...16] 9. FEEDBACK................ [–100.0...0.0…+100.0] Adjusts the LFO speed. (☞p.83) When you double-click the “FREQ” knob, the following dynamic modulation parameters will appear. (☞p.81) Adjusts the LFO modulation depth. Adjusts the amount of feedback. 10. HIGH DAMP .... [20.0Hz...18.66kHz…THRU] Adjusts the amount of high-frequency attenuation for the feedback. Effect guide 2. SHAPE .............................. [–100.0...+100.0] SOURCE...........................[Off, Gate1...CC17] Selects the source that will modulate the LFO speed. AMOUNT ................................. [–100...+100] Specifies the amount by which the LFO speed will be modulated. 4. TEMPO SYNC..................................[Off, On] If this is Off, the LFO speed will be the frequency specified by “FREQ”. If this is On, the LFO speed will be the cycle length specified by the “BASE NOTE” and “FREQ” parameters, relative to the tempo specified by the TEMPO controller in the Performance page. 5. BASE NOTE............................... [1/16...1/1] Selects the note value in terms of which the LFO speed will be specified. (☞p.83) 6. L-R PHASE ........................ [–180.0...+180.0] Specifies the phase difference between the left and right LFO. 93 Effect guide Phaser (PS1) 5 1 2 4 6 3 7 8 9 10 This is a stereo phaser effect that shifts the phase of the sound to create a sense of modulation. It is particularly effective when applied to electric piano sounds. You can skew the LFO between left and right to control the spaciousness of the effect. 1. WAVE .................................... [Triangle, Sine] 7. MANUAL ..................................[0.0...100.0] Selects the LFO waveform. Specifies the frequency at which the effect will be applied. 2. SHAPE .............................. [–100.0...+100.0] Specifies the degree to which the LFO waveform will be deformed. 3. FREQ (Frequency) /TIMES ............................. [0.020Hz...20.00Hz/1...16] Adjusts the LFO speed. (☞p.83) When you double-click the “FREQ” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE...........................[Off, Gate1...CC17] Selects the source that will modulate the LFO speed. .............................[0.0...100.0] Adjusts the LFO modulation depth. When you double-click the “DEPTH” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE .......................... [Off, Gate1...CC17] Selects the source that will modulate the LFO modulation depth. AMOUNT ................................. [–100...+100] Specifies the amount by which the LFO modulation depth will be modulated. AMOUNT................................. [–100...+100] 9. RESONANCE............ [–100.0...0.0…+100.0] Specifies the amount by which the LFO speed will be modulated. Adjusts the amount of resonance. Positive (+) and negative (–) settings will cause the peak to occur in different ways. If you want the overtones to be emphasized when the direct sound and effect sound are mixed, set “RESONANCE” and “WET/DRY” both to positive (+) values or both to negative (–) values. 4. TEMPO SYNC..................................[Off, On] If this is Off, the LFO speed will be the frequency specified by “FREQ”. If this is On, the LFO speed will be the cycle length specified by the “BASE NOTE” and “FREQ” parameters, relative to the tempo specified by the TEMPO controller in the Performance page. (☞p.83) 5. BASE NOTE............................... [1/16...1/1] Selects the note value in terms of which the LFO speed will be specified. (☞p.83) 6. L-R PHASE ................ [–180.0...0.0…+180.0] Specifies the phase difference between the left and right LFO. 94 8. DEPTH 10. HIGH DAMP .... [20.0Hz...18.66kHz…THRU] Adjusts the cutoff frequency for the highfrequency attenuation applied to the resonance. Effect guide Polysix Ensemble (PES1) 1 2 3 This simulates the ensemble effect built into the Polysix, producing a rich chorus sound. You can skew the LFO between left and right to control the spaciousness of the effect. 1. HIGH DAMP.......[20.0Hz...18.66kHz…THRU] Adjusts the attenuation of the high-frequency region. 2. SPREAD .................................. [0.00...10.00] Adjusts the panning of the effect sound. 3. INTENSITY ..................... [0.00...10.00] Adjusts the depth of the effect. When you double-click the “INTENSITY” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE...........................[Off, Gate1...CC17] Effect guide Selects the source that will modulate the effect depth. AMOUNT ................................. [–100...+100] Specifies the amount by which the effect depth will be modulated. 95 Effect guide MultiTap Chorus/Delay (DLM1) 2 4 3 5 6 1 7 8 This is a tap delay with four choruses of differing LFO phase. By specifying the delay time, modulation depth, output level, and panning independently for each chorus, you can create a complex sense of stereo. You can also fix several of the choruses, and use this as an effect that combines chorus and delay. 1. TAP select .............. [TAP1, TAP2, TAP3, TAP4] Selects the tap delay that you want to adjust. You can set the “DEPTH,” “DELAY,” “PAN,” and “LEVEL” parameters for the selected tap delay. TAP1: LFO phase = 0 degrees TAP2: LFO phase = 180 degrees TAP3: LFO phase = 90 degrees TAP4: LFO phase = 270 degrees 2. DEPTH .................................... [0.00...30.00] Adjusts the modulation depth of the chorus. 3. DELAY...............................[1.0ms...570.0ms] Adjusts the delay time. 4. PAN . [L6.00...L0.10, CENTER, R0.10…R6.00] Adjusts the stereo position. 5. LEVEL ..................................... [0.00...30.00] Adjusts the output level. 6. DELAY/PAN display This area shows the “DELAY” and “PAN” settings for each tap delay in a semi-circular field. Field The tap delay settings selected by “TAP select” are indicated by the symbol, and the others are indicated by the symbols. As the “DELAY” setting is increased, the and symbols will move farther from the original sound (shown in the field as a semicircle). The symbols will be located between left and right according to the “PAN” setting. You can also drag the or symbols to set the “DELAY” and “PAN” of the corresponding tap delay. 7. LFO FREQ....................[0.020Hz...13.000Hz] Specifies the LFO speed. 8. FEEDBACK ...... [–100.0...0.0…+100.0] Adjusts the amount of feedback for the TAP1 delay. When you double-click the “FEEDBACK” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE .......................... [Off, Gate1...CC17] Selects the source that will modulate the feedback amount. AMOUNT ................................. [–100...+100] Specifies the amount by which the feedback amount will be modulated. Original sound 96 Effect guide Stereo/Cross Delay (DLC1) 5 1 2 3 4 7 6 10 8 11 9 This is a stereo delay. You can also change the feedback connection and use it as a cross-feedback delay in which the delay sound alternates between left and right. 1. TYPE.................................. [STEREO, CROSS] 7. FEEDBACK-R Selects either stereo delay or cross-feedback delay. Adjusts the amount of feedback for the right channel. When you double-click the “FEEDBACK-R” knob, the following dynamic modulation parameters will appear. (☞p.81) If this is Off, the delay time will be specified by “DELAY-L” or “DELAY-R.” If this is On, the delay time will be specified by the “BASE NOTE” and “DELAY-L” or “DELAYR” parameters, relative to the tempo specified by the TEMPO controller in the Performance page. 3. BASE NOTE............................... [1/16...1/1] Selects the note value in terms of which the delay time will be specified. (☞p.83) 4. DELAY-L ............................[0.0ms...680.0ms] Specifies the delay time for the left channel. 5. FEEDBACK-L ....[–100.0...0.0…+100.0] Adjusts the amount of feedback for the left channel. When you double-click the “FEEDBACK-L” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE...........................[Off, Gate1...CC17] Selects the source that will modulate the feedback amount. AMOUNT ................................. [–100...+100] Specifies the amount by which the feedback will be modulated. 6. DELAY-R............................[0.0ms...680.0ms] Specifies the delay time for the right channel. SOURCE .......................... [Off, Gate1...CC17] Selects the source that will modulate the feedback amount. AMOUNT .................................[–100...+100] Specifies the amount by which the feedback amount will be modulated. 8. INPUT TRIM Effect guide 2. TEMPO SYNC..................................[Off, On] ... [–100.0...0.0…+100.0] ......................[0.0...100.0] Adjusts the input level. When you double-click the “INPUT TRIM” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE .......................... [Off, Gate1...CC17] Selects the source that will modulate the input level. AMOUNT .................................[–100...+100] Specifies the amount by which the input level will be modulated. 9. SPREAD.......................... [–50.0…0.0...50.0] Adjusts the width to which the effect sound will be panned. 10. LOW DAMP...................[1.00Hz...5.30kHz] Specifies the cutoff frequency for the lowfrequency attenuation. 11. HIGH DAMP ......[20.0Hz...18.66kHz, THRU] Specifies the cutoff frequency for the highfrequency attenuation. 97 Effect guide LCR BPM Delay (DLB1) 5 1 2 3 4 6 7 8 This is an LCR delay in which the delay time can be synchronized to the song tempo. You can synchronize to MIDI clock, or input the tempo beforehand to synchronize to a realtime performance. The delay time can be specified in terms of a note value. 1. INPUT TRIM ( ) ................... [0.0...100.0] Adjusts the amount of modulation for the input level. When you double-click the “INPUT TRIM” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE...........................[Off, Gate1...CC17] Selects the source that will modulate the input level. AMOUNT................................. [–100...+100] Specifies the amount by which the input level will be modulated. 2. LEFT Specifies the left channel tap delay. BASE ......................................... [1/16...1/1] Selects the note value in terms of which the delay time will be specified. (☞p.83) TIMES ................................................ [1...16] Specifies the delay time as a multiple of the above note value. (☞p.83) Level .........................................0.00…50.00] Adjusts the output level for the left channel. 3. CENTER Specifies the center channel tap delay. BASE ......................................... [1/16...1/1] Selects the note value in terms of which the delay time will be specified. (☞p.83) TIMES ................................................ [1...16] Specifies the delay time as a multiple of the above note value. (☞p.83) Level .........................................0.00…50.00] 98 Adjusts the output level for the center channel. 4. RIGHT Specifies the right channel tap delay. BASE ..........................................[1/16...1/1] Selects the note value in terms of which the delay time will be specified. (☞p.83) TIMES .................................................[1...16] Specifies the delay time as a multiple of the above note value. (☞p.81) Level ........................................ 0.00…50.00] Adjusts the output level for the right channel. 5. FEEDBACK ...... [–100.0...0.0…+100.0] Adjusts the amount of feedback for the center channel tap delay. When you double-click the “FEEDBACK” knob, the following dynamic modulation parameters will appear. (☞p.81) SOURCE .......................... [Off, Gate1...CC17] Selects the source that will modulate the feedback amount. AMOUNT ................................. [–100...+100] Specifies the amount by which the feedback amount will be modulated. 6. SPREAD...................................[0.00...50.00] Adjusts the width to which the effect sound will be panned. 7. HIGH DAMP ........[20.0Hz...16.88kHz, THRU] Specifies the cutoff frequency for the highfrequency attenuation. 8. LOW DAMP.....................[1.00Hz...5.30kHz] Specifies the cutoff frequency for the lowfrequency attenuation. Effect guide Reverb Hall (RVH1) 1 2 4 3 5 6 7 This is a hall-type reverb that simulates the reverberation of a mid-sized concert hall or ensemble hall. 1. PRE DELAY THRU ..................[0.0%...100.0%] Adjusts the proportion of undelayed sound that will be mixed. This lets you emphasize the attack. 2. PRE DELAY ........................[0.0ms...200.0ms] Specifies the delay time that follows the direct sound. This controls the spaciousness of the hall. 3. PRE EQ TRIM..................[–24.00dB...0.00dB] Adjusts the input level to the equalizer. Effect guide 4. EQ HIGH GAIN ........................ [–15.00dB...0.0dB…+15.00dB] Adjusts the gain of the high-frequency equalizer. 5. EQ LOW GAIN ........................ [–15.00dB...0.0dB…+15.00dB] Adjusts the gain of the low-frequency equalizer. 6. HIGH DAMP.....[20.00Hz.…18.66kHz, THRU] Specifies the cutoff frequency for the highfrequency attenuation. 7. REVERB TIME.................... [0.100s...10.000s] Specifies the reverb time. 99 Effect guide Reverb Smooth Hall (RVH2) This is a hall-type reverb that simulates the reverberation of a large hall or stadium, producing reverberation that has a smooth release. The effect parameters are the same as for Reverb Hall. Reverb Wet Plate (RVP1) This is a plate reverb that produces a warm and dense reverberation effect. The effect parameters are the same as for Reverb Hall. Reverb Dry Plate (RVP2) This is a plate reverb that produces a dry-sounding (light) reverberation effect. The effect parameters are the same as for Reverb Hall. 100 Appendices Menus on your computer The menus that appear on your computer screen contain the following commands. These are displayed only when the software is running in stand-alone mode; they are not available when the software is functioning as a plug-in. File menu Load Bank... The same operation as when you click the [LoadBank] button. Shortcut key: [Ctrl] (Mac: [Command]) + [O] Save Bank Saves the currently selected program by overwriting it onto the “.fxb” file. Shortcut key: [Ctrl] (Mac: [Command]) + [S] Load Program... The same operation as when you click the [LoadProg] button. Shortcut key: [Shift] + [Ctrl] (Mac: [Command]) + [I] Appendices Save Program... The same operation as when you click the [SaveProg] button. Shortcut key: [Shift] + [Ctrl] (Mac: [Ctrl]) + [E] Exit Exits the software. Shortcut key: [Ctrl] key (Mac: [Command]) + [Q] System menu Play Audio/Stop Audio Switches audio between playing/stopped. This command is displayed as a toggle. Preference Opens the Preference (Mac: [Preferences]) dialog box. 101 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 or distributor’s warranty. 4015-2 Yanokuchi, Inagi-city, Tokyo 206-0812 Japan 2006 KORG INC. [Virtual Instruments/Effects] Date : 2006. 10. 19 MIDI Implementation Chart KLC Legacy Cell Function Transmitted Recognized Basic Channel Default Changed 1 1 – 16 Mode Default Messages Altered 3 Note Number: Velocity Remarks 0 – 127 0 – 127 True Voice Note On Note Off 9n, V=1 – 127 Aftertouch Polyphonic (Key) Monophonic (Channel) *A, *1 Pitch Bend 1 Modulation wheel *C 6 Data Entry *C Assignable controller 0–95 Control Change 96, 97 RPN/NRPN (Inc/Dec) *C 98, 99 NRPN (LSB, MSB) *C RPN (LSB, MSB) *C 120 All Sound Off *C 121 Reset All Controllers 100, 101 Program Change 0 – 127 Variable Range System Exclusive System Common *C, *1 Song Position Song Select Tune Clock System Real Time Command Local On/Off Aux All Notes Off Messages Active Sense Reset Notes *A: Received if COMBINATION page “CHANNEL PRESSURE” is set to ENABLE. *C: Received if COMBINATION page “CONTROL CHANGE” is set to ENABLE. *1: Received if assigned as a Dynamic Modulation Source. Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO Consult your local Korg distributor for more information on MIDI IMPLEMENTATION. : Yes : No [Virtual Instruments/Effects] Date : 2006. 10. 19 MIDI Implementation Chart KLC MS-20/MS-20FX Function Transmitted Recognized Basic Channel Default Changed 1 1 Mode Default Messages Altered 1 Note Number: Velocity Remarks 0 – 127 0 – 127 True Voice Note On Note Off 9n, V=1 – 127 Aftertouch Polyphonic (Key) Monophonic (Channel) *A, *1, *2 Pitch Bend 1 Modulation wheel 6 Data Entry *C Damper *C 64 Control Change Assignable controller 0–95 RPN/NRPN (Inc/Dec) *C 98, 99 NRPN (LSB, MSB) *C RPN (LSB, MSB) 120 All Sound Off 121 Reset All Controllers *C, *1 *C *P 0 – 31 Variable Range *4 System Exclusive System Common *C, *1 96, 97 100, 101 Program Change *C, *3 Song Position Song Select Tune Clock System Real Time Command Local On/Off Aux All Notes Off Messages Active Sense Reset Notes *A: Received if MIDI FILTER “CH.PRESSURE” is set to ENABLE. *C: Received if MIDI FILTER “CTRL CHG” is set to ENABLE. *P: Received if MIDI FILTER “PRG CHG” is set to ENABLE. *1: Received if assigned as a Dynamic Modulation Source. *2: Received as a momentary switch. *3: Received as Wheel. *4: Transmitted only during stand-alone operation. Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO Consult your local Korg distributor for more information on MIDI IMPLEMENTATION. : Yes : No [Virtual Instruments] Date : 2006. 10. 19 MIDI Implementation Chart KLC Polysix Function Transmitted Recognized Basic Channel Default Changed 1 1 Mode Default Messages Altered 1 Note Number: Velocity Remarks 0 – 127 0 – 127 True Voice Note On Note Off 9n, V=1 – 127 Aftertouch Polyphonic (Key) Monophonic (Channel) *A, *1 Pitch Bend 1 Modulation wheel *C 6 Data Entry *C 0–95 Control Change Assignable controller 96, 97 RPN/NRPN (Inc/Dec) 98, 99 NRPN (LSB, MSB) 100, 101 Program Change RPN (LSB, MSB) *C 120 All Sound Off *C 121 Reset All Controllers *P 0 – 31 Variable Range System Exclusive System Common *C, *1, *2 Song Position Song Select Tune Clock System Real Time Command Local On/Off Aux All Notes Off Messages Active Sense Reset Notes *A: Received if MIDI FILTER “CH.PRESSURE” is set to ENABLE. *C: Received if MIDI FILTER “CTRL CHG” is set to ENABLE. *P: Received if MIDI FILTER “PRG CHG” is set to ENABLE. *1: Received if assigned as a Dynamic Modulation Source. *2: Received if assigned to a parameter. Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO Consult your local Korg distributor for more information on MIDI IMPLEMENTATION. : Yes : No [Virtual Effects] Date : 2006. 10. 19 MIDI Implementation Chart KLC MDE-X Function Transmitted Recognized Basic Channel Default Changed 1 1 Mode Default Messages Altered 1 Note Number: Velocity Remarks *1 *1 0 – 127 0 – 127 True Voice Note On Note Off *1 9n, V=1 – 127 Aftertouch Polyphonic (Key) Monophonic (Channel) *A, *1 Pitch Bend *1 Assignable control 0–95 Control Change 96, 97 RPN/NRPN (Inc/Dec) 98, 99 NRPN (LSB, MSB) RPN (LSB, MSB) 100, 101 Program Change 120 All Sound Off *C 121 Reset All Controllers *P 0 – 127 Variable Range System Exclusive System Common Song Position Song Select Tune Clock System Real Time Command Local On/Off Aux All Notes Off Messages Active Sense Reset Notes *A: Received if Global Settings MIDI FILTER “AFTER T.” is set to ENABLE. *C: Received if Global Settings MIDI FILTER “CTRLCHG” is set to ENABLE. *P: Received if Global Settings MIDI FILTER “PROGCHG” is set to ENABLE. *1: Received if assigned as a Dynamic Modulation Source. Mode 1: OMNI ON, POLY Mode 3: OMNI OFF, POLY *C, *1 Mode 2: OMNI ON, MONO Mode 4: OMNI OFF, MONO Consult your local Korg distributor for more information on MIDI IMPLEMENTATION. : Yes : No
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