KLC AE 2007 MS20/POLYSIX/Legacy Cell Owner`s manual

KLC AE 2007 MS20/POLYSIX/Legacy Cell Owner`s manual
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.
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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.
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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.
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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.)
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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.
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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.
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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.
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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)
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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.
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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.
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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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