Korg modvawe Owner'S Manual Download

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Contents

Step Probability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Timing Lane probability . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Timing Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35
Timing Lane Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

Pitch Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Pitch Lane Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Shape . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Shape Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41
Shape Lane Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Seq A/B/C/D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Seq Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42
Seq Lane Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Motion Sequence Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Kaoss Physics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Using Kaoss Physics to create specific results. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45
Kaoss Physics and MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

Multi Filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

What’s a Multi Filter? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Filter Mod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55
Filter Key Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

How Key Track works: Keys and Slopes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Osc Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Osc 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59
Osc 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Common Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60
Pitch Mod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Amp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Amp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62
Amp Key Track. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Using Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Mod Knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67
Modulation Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Filter/Amp/Osc 1/Osc 2 Envelope . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70
Filter/Amp/Osc 1/Osc 2 Envelope Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Summary of Contents for modvawe

Page 1: ...modwave WAVETABLE SYNTHESIZER E1 Owner s Manual...

Page 2: ...ssign 10 Layer Setup 12 Performance Setup 13 Write 14 Saving Sounds 14 Name 14 Editing names 15 Write Metadata 15 Compare 15 Using Compare 16 Delete from Database 16 Using Delete 16 Wavetable Osc 17 O...

Page 3: ...7 Kaoss Launch 48 Arpeggiator 49 Arpeggiator 49 Filter 51 Filter 51 2 Pole LP HP BP BR 53 4 Pole LP HP BP BR 53 MS 20 LP HP and Polysix 53 Multi Filter 54 Multi Filter 54 What s a Multi Filter 55 Manu...

Page 4: ...Shaper 85 Mod FX 86 Black Chorus Flanger 86 Black Phase 86 CX 3 Vibrato Chorus 86 EP Chorus 86 Harmonic Chorus 86 Modern Chorus 86 Modern Phaser 86 Orange Phase 86 Polysix Ensemble 86 Small Phase 86...

Page 5: ...Contents iv Preferences 95 System Stats 96 About 96 USB 97 MIDI 97 Editor Librarian 97 Specifications 98 MIDI Implementation Chart 99...

Page 6: ...utton The page will appear with the parameter selected but the value will not be changed To go back to selecting sounds press PERFORM If you don t see the main page the first time press PERFORM again...

Page 7: ...System Stats About Kaoss Physics Kaoss Physics Details Kaoss Physics Launch KAOSS REV SEND Master Reverb Master Reverb Edit MASTER REVERB EDIT 1 2 3 Master EQ WET DRY Pre FX Mod FX Delay FX Edit PRE F...

Page 8: ...ise Generator a Filter an Amp a Motion Sequence a set of modulators a modulation matrix and three effects Pre FX Mod FX and Delay Modwave structure Performance Layer B Layer A Arpeggiator Program A Vo...

Page 9: ...e 2 Turn the VALUE knob or press ENTER A popup appears showing a list of sounds 3 Turn the VALUE knob or use and to select sounds Hold ENTER and press or to jump by 5 You can play the sounds as you sc...

Page 10: ...rt Order page appears 2 Select Sort Order and turn the VALUE knob or press ENTER 3 Choose the desired order You can choose from alphabetical A Z reverse alphabetical Z A or Category sorted alphabetica...

Page 11: ...rformance that you d like to assign 2 Press the SET LIST button so that it is lit 3 Hold WRITE and press the Slot to which you d like to save The Write page appears with that Slot already selected To...

Page 12: ...Kaoss Physics environment which models a ball rolling on a surface You can start the ball by flicking a finger on the x y pad or launch the ball automatically using a trigger source You can also dire...

Page 13: ...occurs working inwards from the High Vel Low Fade A B See High Fade A B above Setting values from the keyboard You can set velocities and note numbers directly from the keyboard or via MIDI This appli...

Page 14: ...ce the Program s default volume with respect to other Programs Transpose 60 60 semitones This transposes the Program by up to 5 octaves up or down in semitones Trigger On Key On Key Off Key On This is...

Page 15: ...at the two do not overlap Off When you play the same note repeatedly the notes will overlap Max of Notes Dynamic 1 32 Max of Notes is available when Voice Assign Mode is set to Poly Dynamic is the def...

Page 16: ...tune do not apply 2 16 The Program uses the specified number of more stacked detuned voices to create a thicker sound Detune 0 200 cents This parameter sets the tuning spread for the Unison voices Voi...

Page 17: ...e built in keyboard and receive on the Global Channel Off The Layer will receive on the channel specified below and will not play from the built in keyboard MIDI Channel 1 16 This is shown only if Use...

Page 18: ...40 300 This sets the tempo for the Performance Transpose 12 12 This transposes the entire Performance by up to 12 semitones up or down Perf Scale Off On On The Performance Scale settings below are us...

Page 19: ...f the page By default this is set to Performance 2 To choose a different data type hold WRITE and press a button such as LAYER A B or SEQ STEPS or set the Type manually in the display 3 Optionally edi...

Page 20: ...to the previous page or SHIFT ENTER to cancel Write Metadata This shows the Categories for the item shown on the Write page Note When Type is set to Set List Slot this page is not available Category 1...

Page 21: ...e next time you go to the Compare page Select will be set to Edited Performance and the previously buffered Edited Performance will be lost Delete from Database This page lets you delete user created...

Page 22: ...lay a Multisample Osc 1 Waveform Modes A and A B A Wavetable A WAVE SELECT List of Wavetables This appears if Oscillator Mode is set to A or A B Select the parameter and then either turn the VALUE kno...

Page 23: ...with moderate amounts of noise and aliasing 4 Steps Quantizes the base table to 2 bits using band limiting to minimize aliasing so you ll notice that the displayed waveform is smoother than a simple...

Page 24: ...table B Modifier This selects the Modifier for Wave B it appears only if Oscillator Mode is set to A B For more information on Modifiers see MOD Wavetable A Modifier on page 18 Sample Mode These param...

Page 25: ...ition of Wavetable B is the sum of Position above and B Offset A B Blend A B BLEND 0 00 100 00 This appears only if Mode is set to A B It controls the balance between Waves A and B Xfade Width 0 00 10...

Page 26: ...to Sample the Morph Type options are limited For Oscillator 1 Morph is completely unavailable For Oscillator 2 only the AM and Ring Mod Morph Types are available None The Wavetable is played unaltere...

Page 27: ...lower aliasing Additional Osc 2 Morph Types Osc 2 supports all of the Morph Types listed above and three more FM AM and Ring Mod For all of these Oscillator 1 is the modulator and Oscillator 2 is the...

Page 28: ...r Osc 1 or the Osc 2 Envelope for Osc 2 Vel Env VELOCITY 100 00 100 00 This lets you use velocity to scale the amount of Position modulation from the Osc 1 Envelope for Osc 1 or the Osc 2 Envelope for...

Page 29: ...er a sub oscillator or a noise generator depending on the selected Sub Noise Type Sub Noise Type Sub Noise SHIFT LEVEL Square Triangle White Noise Filtered Noise Dark Noise Speckled Noise Saturated No...

Page 30: ...r sounding noise signal Oct 2 1 0 This applies only when Sub Noise Type on the Mixer Sub Osc page is set to Square or Triangle It sets the pitch offset from Oscillator 1 in octaves This parameter is d...

Page 31: ...Analyzer 26 Analyzer The Analyzer shows a real time oscilloscope view of the full polyphonic modwave audio output including effects Press ANALYZER to go to this page...

Page 32: ...ime the sequence moves forward values from the individual lanes are combined to create the output The result can be either ever changing rhythmic patterns or smooth organic modulations You can easily...

Page 33: ...tion Sequence may be on different steps and may also have different Loop Start Loop End settings Press SHIFT 5 SEQ VIEW to go to this page The overview uses a few different symbols as shown below One...

Page 34: ...lay of the previous step to help keep your orientation when recording The Loop graphic shows the current position in the loop The Bank and Step button LEDs show the current step number After playing a...

Page 35: ...he Mod Wheel recording starts The Knob graphic shows name of the knob being recorded and Value shows the values being recorded You ll see the Loop graphic begin to fill in showing the section of the l...

Page 36: ...urrent bank press buttons 1 16 or To select from a different bank first hold either SHIFT or SEQ STEPS and then press 1 2 3 4 to select the bank Buttons 1 16 will then blink press one to select a Step...

Page 37: ...S Off On Sync Notes sets whether individual notes play on their own separate timelines or whether they are sync d together Off Each note s Motion Sequence will play independently On If at least one no...

Page 38: ...restarts all of the other Lanes after either a specified number of beats or elapsed time depending on the TEMPO On Off setting You can use this to create regularly repeating patterns even if the diff...

Page 39: ...parameters control the Steps on which the Lane begins ends and loops You can change them in real time while notes are sounding and also modulate them via LFOs Envelopes etc If you want to modulate lo...

Page 40: ...peatedly roll the dice lose the throw and roll again and again eventually we need to make some sound So if two steps in a row are skipped the third step always is played even if its probability is 0 T...

Page 41: ...inal speed Try modulating this from an envelope When TEMPO is On you can select tempo locked ratios from 1 4 to 4x of the original Speed Swing Resolution 32nd note triplet quarter note Swing Amount 30...

Page 42: ...ity switches For instance you can use this to switch between a large number of different Shapes Duration TEMPO Off 0 0000 10 0000 seconds TEMPO On List of rhythmic values If TEMPO is Off you can set t...

Page 43: ...will glide from step to step with most of the change at the end of the glide Log The pitch will glide from step to step with most of the change at the start of the glide Indv Individual The pitch tran...

Page 44: ...F G G G G B B MelodicMinor C C D D D F G G A A B B Dorian C C D D D F G G A A A A Phrygian C C D D F F G G G G A A Lydian C C D E E F F G A A B B Mixolydian C C D E E F G G A A A A Locrian C C D D F F...

Page 45: ...ne octave up or down Transition Off Lin Exp Log This controls the transition from this step to the next step whether the pitch changes abruptly at the next step or glides to the new value This applies...

Page 46: ...ne Step Step See Step on page 37 Shape List of shapes There are a large number of shapes to choose from including ones with two three or four pulses Offset 1 00 1 00 This offsets the entire shape up o...

Page 47: ...the pitch changes abruptly at each new step or glides to the new value Off Values will change abruptly at each step Lin Values will glide linearly from step to step as if you were moving a knob contin...

Page 48: ...ated only at the start of the Step For instance if an LFO is modulating Value only the LFO s amplitude at the very start of the step matters you will not hear the LFO s shape during the step Value 100...

Page 49: ...lear Steps Lane Settings resets all of the Step data and all of the Lane parameters such as Loop Start and Loop End to their defaults Any modulation routings to the Lane parameters will also be erased...

Page 50: ...aoss Physics outputs for instance try modulating Tilt X with Kaoss Y Using Kaoss Physics to create specific results Kaoss Physics can be interesting in itself but you can also use it to create specifi...

Page 51: ...sets installed on the instrument For details on sorting and filtering the list see Selecting from lists on page 4 Tilt X 100 100 Tilts the plane from left negative to right positive Tilt Y 100 100 Til...

Page 52: ...ts similar to gravitational attraction Linear Slope is constant over the entire surface Shallow Slope is steep close to the edges and more gentle in the middle like a shallow bowl Steep Slope is gentl...

Page 53: ...100 This controls the initial speed of the ball Trigger Source List of modulation sources This selects a source to trigger the launch Try using Gate Damper or Kaoss Button Note that since there is a s...

Page 54: ...based on the Resolution above 100 The second rhythmic division will be pushed to the third triplet for a full swing feel 100 The second rhythmic division will be pulled to the second triplet for a re...

Page 55: ...synchronize to any sounding tempo Motion Sequences Latch Off On Off The Arpeggiator will only play as long as notes are being held on the keyboard or via the damper pedal On The Arpeggiator will cont...

Page 56: ...all parts of the sound both highs and lows except for the region around the cutoff frequency Since this filter cuts out both high and low frequencies its effect can change dramatically depending on th...

Page 57: ...f frequency will change depending on the selected Type as described above Most filter types have a range of 4 00 to 138 00 but the MS 20 LP HP and Polysix range from 8 00 to 136 00 Res RESONANCE 0 00...

Page 58: ...BR Resonance Type Standard High Resonance Type is available only when using one of the 4 pole filters Standard provides the resonance character of a typical analog 4 pole filter High creates a more pr...

Page 59: ...ess Resonance This provides a slight volume boost on input This makes it easy to reach saturation with the input level alone leaving very little headroom for resonance Multi Filter Xfd XFADE 0 100 Thi...

Page 60: ...BP HP Dry HP LP Dry HP BP LP HP BP These combine two or more filters at equal volumes Dry is the un filtered input signal The minus sign indicates when the phase of a filter is reversed All On uses t...

Page 61: ...fect of the Keyboard Track is a combination of this value and the overall Keyboard Track shape With positive values the effect will be in the direction specified by keyboard tracking if the Slope goes...

Page 62: ...ce if the Low Mid Slope is set to 0 the value will stay the same between the Low Key and the Mid Key You can think of the resulting shape as being like two folding doors attached to a hinge in the cen...

Page 63: ...C 1 G9 This sets the breakpoint note between the two lower slopes the hinge of the lower door The Low Key can t be set above the Mid Key Low Mid Slope Inf 12 00 12 00 Inf This sets the slope between t...

Page 64: ...tave When the Oscillator is set to Sample this also affects the index into the Multisample map potentially changing the sample selection similar to transposing the entire keyboard Sub Octave 2 1 0 Thi...

Page 65: ...egative values cause the pitch to fall as you play higher on the keyboard When Slope is 0 playing different notes on the keyboard won t change the pitch at all it will be as if you re always playing C...

Page 66: ...he units are simply secs seconds Pitch Mod These settings apply to the entire Program including Osc 1 2 and the Sub Oscillator To modulate the pitches of individual Oscillators use the Osc Pitch page...

Page 67: ...art with a low level or silence and then use modulation to raise the level to maximum use the Filter Output Level instead Level 0 100 This sets the basic volume of the Program optimized for per voice...

Page 68: ...kly over the middle of the keyboard and then increase more slowly or not at all in the higher octaves Create abrupt changes at specific keys You can also use Amp Key Track as a general purpose modulat...

Page 69: ...you want to use a mod source which can t be selected from the front panel such as Exponential Velocity or Mod Processors press ENTER and manually select the mod source in the following screen If the m...

Page 70: ...to edit 3 Use and to select the Source Intensity and Int Mod Src Intensity Mod Source parameters 4 Edit the Intensity as desired using the VALUE knob 5 To change the Source or Int Mod Src select the p...

Page 71: ...ther selections such as Key Track or Mod Processors Note moving a knob in this popup will not edit the knob s parameter 3 Press ENTER to confirm close the popup and return to the Mods page Alternative...

Page 72: ...gn on page 94 Name The Mod Knobs can be named there s room for about 12 characters on the main Perform page To edit the name 1 Select the name parameter 2 Press ENTER The Name page appears For more in...

Page 73: ...uch as at the beginning of a phrase Gate Damper is similar except that it is triggered by a new note on after all notes and the damper are released Note On Trig and NoteTrig Damp Note On Trig is simil...

Page 74: ...00 the value continues to increase up to 300BPM Note that this is different from tempo synchronization for that purpose use the dedicated Tempo functions for the LFOs and Motion Sequence Program Perfo...

Page 75: ...s only positive Sustain levels R Release Time RELEASE 0 0000 90 0000 seconds This sets how long it takes the envelope to fall to 0 after releasing a note Filter Amp Osc 1 Osc 2 Envelope Curve Often en...

Page 76: ...nt By default the Osc 1 2 Envelopes use 0 linear for all segments A Attack D Decay R Release CURVE 0 linear 1 9 10 exp log These set the curvatures of the Attack Decay and Release segments respectivel...

Page 77: ...or 100 This can happen due to smoothing or with LFOs when using certain shapes and faster speeds If this is the case Thresholds of 100 or 100 will cause inconsistent behavior To avoid this issue reduc...

Page 78: ...te For instance if the Base Note is set to a sixteenth note and Times is set to 3 the LFO will cycle over a dotted eighth note Frequency FREQUENCY 0 001 32 000 Hz If Tempo is Off the LFO speed is set...

Page 79: ...tch change produced by vibrato The one exception to this is the Guitar waveform which is designed to emulate bending a string on a guitar so that the pitch only goes up and not down Because of this th...

Page 80: ...e SYNC NOTES button Off The LFO starts each time you press a key and an independent LFO runs for each note This is the default On The LFO starts from the phase determined by the first note in the phra...

Page 81: ...hreshold For instance you can use Gate to Apply pitch bend or other effects to some notes but not to others using Control at Note On Only Apply modulation only after the source reaches a certain thres...

Page 82: ...and inverts the phase Offset 200 00 200 00 This controls how the Input is shifted up or down 200 shifts an input of 100 all the way to 100 Converting from bipolar to unipolar You can use Offset to con...

Page 83: ...pup MOD and set the Destination to Pitch Tune 2 Press ENTER to close Add New Modulation and bring up the Modulation Source popup since there isn t a front panel control to select for Mod Processors 3...

Page 84: ...scale the Input Scale Amount 100 00 100 00 This controls the gain and polarity of the affect of the Scale Source For example the main input is an LFO and the Scale Source is an Envelope positive setti...

Page 85: ...are bipolar for instance so is Pitch Bend Generally bipolar modulation sources will work better with the Asymmetric mode but Symmetric may also produce interesting results Unipolar sources only go fr...

Page 86: ...programmable mod sources such as LFOs and envelopes For instance you can turn a blip into a simple envelope shape as shown below Input List of Modulation Sources This selects the input for the Mod Pro...

Page 87: ...essor Main Input Amount 100 00 100 00 This controls the gain and polarity of the Input Sum Source List of Modulation Sources This selects the modulation source to merge into the Input Sum Source Amoun...

Page 88: ...and Master Reverb below All types Delay All Chorus All etc let you select Presets from all related algorithms Preset List of Presets These are the presets available for the selected Type Wet Dry WET D...

Page 89: ...se it to compensate for level changes caused by Drive Output Level Inf 84 9 0 0 dB This controls the output volume from the effect Use it to compensate for level changes in effects such as the Wavesha...

Page 90: ...stereo EQ with a single adjustable parametric band Presets may include additional EQ Red Compressor Need to play chordal passages with smooth even dynamics Then look no further this mono compressor i...

Page 91: ...rus This stereo effect adds thickness and warmth to the sound by modulating the delay time of the input signal Modern Phaser This is a modern stereo phaser effect Orange Phase This models a mono phase...

Page 92: ...ereo out multitap delay has three taps panned to the left right and center respectively Multiband Mod Delay This monster effect divides the input signal into four frequency bands with a modulatable de...

Page 93: ...s enables and disables the Master EQ Trim Inf 84 9 0 0 dB Use this volume control to compensate for EQ boosts L Low and H High Mode Pk Shlv Cut The Low and High bands can be set to Pk Peaking Shlv She...

Page 94: ...the standard LFO and Envelope intensities for Filter Amp Osc 1 2 and Pitch Randomize Fx Enables controls the On Off settings for the Effects with probability weighted towards On 2 Press again to rand...

Page 95: ...f transposition Transpose 12 12 semitones This adjusts the pitch in semitone steps over a 1 octave range Note Transpose is affected by the Convert Position setting see Convert Position on page 92 Tune...

Page 96: ...this when playing the modwave by itself or when you want the modwave to control the tempo of external MIDI devices such as a sequencer or drum machine External The modwave tempo will synchronize to i...

Page 97: ...e of control in the middle of the range 8 Light This curve produces the most uniform output for when velocity sensitivity is not desired 9 Wide This curve is designed for the heavier touch of external...

Page 98: ...ped to the current parameter value Moving the knob counter clockwise goes from the current value to the minimum moving clockwise goes from the current value to the maximum If you turn the knob all the...

Page 99: ...ent Active Scale 1 2 If Global Scale is On this chooses which of the two scales below is used You can control this via MIDI See also Octave Selects Scale below 1 Scale 1 Arabic Equal Temperament Kirnb...

Page 100: ...rmance scale depending on which is in use SHIFT OCTAVE then performs octave up down functionality Layer Transpose Transposes Scale Within Scale This parameter determines how the Layer Transpose parame...

Page 101: ...ted On At power up Set List Slot A1 will be selected System Stats This page provides diagnostic information for the system CPU Usage 0 00 100 00 This shows the percentage of available processing power...

Page 102: ...he modwave Editor Librarian MIDI The modwave is a class compliant USB MIDI device and requires no driver for MIDI functionality Editor Librarian The modwave Editor Librarian supports MacOS and Windows...

Page 103: ...d Compressor Ring Modulator Tremolo Wave Shaper Mod FX Black Chorus Flanger Black Phase CX 3 Vibrato Chorus EP Chorus Harmonic Chorus Modern Chorus Modern Phaser Orange Phase Polysix Ensemble Small Ph...

Page 104: ...X O 123 127 O X O 2 0 63 System Real Time Clock Commands Aux Messages Local On Off All Notes Off Active Sense System Reset Notes Mode 1 Omni On Poly Mode 3 Omni Off Poly Mode 2 Omni On Mono Mode 4 Om...

Page 105: ...Published 06 2021 2021 KORG INC www korg com...

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