Korg NAUTILUS Series, Parameter Manual, Page: 40 / 961

PROGRAM mode: HD-1
30
for instance), and saves the results into the Program
parameters directly. At that point, all of the Relative
parameters are reset to 0.
Edits to Absolute parameters are immediately reflected in
the corresponding on-screen parameters, and vice-versa.
Tone Adjust and MIDI SysEx
The Tone Adjust sliders, and switches all send and receive
MIDI System Exclusive messages. You can use this to
record and play back Tone Adjust edits with a sequencer,
including the built-in sequencer.
Note: The SysEx messages are tied to the physical controls,
and not to the functions to which they are assigned. For
instance, let’s say that slider 1 is assigned to control Filter
Resonance, and move slider 1 while recording into a
sequencer. The sequencer will record that slider 1 has
moved, and not that Filter Resonance has changed. If you
later change slider 1 to control LFO1 Speed, playing back
the sequence will affect the LFO, and not Filter Resonance.
Interaction between Tone Adjust and MIDI CCs
A number of the Common Tone Adjust parameters affect
parameters which are also modulated by dedicated MIDI
CCs. The specific CC numbers are noted in the descriptions
for the individual Tone Adjust parameters, below.
Tone Adjust and the CCs work separately. It’s possible, for
instance, for Tone Adjust to reduce the value of a parameter,
and then for a CC to increase it again.
Tone Adjust scales the parameter first, and then the CC
scales the result of the Tone Adjust.
Absolute, Relative, and Meta parameters
There are three kinds of Tone Adjust parameters: Absolute,
Relative, and Meta.
For more on the types of each parameter, see “Common
Tone Adjust Parameters” on page 31 and “HD-1 Tone
Adjust Parameters” on page 32.
Absolute parameters usually control a single Program
parameter, such as Oscillator 1 Transpose . The Program
and Tone Adjust parameters mirror one another; when you
change one, the other will change to match.
Relative parameters typically adjust two or more Program
parameters simultaneously. For instance, Filter/Amp EG
Attack Time affects a total of six Program parameters. The
value of the Relative parameter shows the amount of change
to these underlying Program parameters.
When the Relative parameter is at 0, the underlying Program
parameters are unchanged.
The meanings of higher and lower settings can vary,
depending on the specific parameter. Unless noted
otherwise, they work as follows:
When the Relative parameter is at +99 (the maximum), the
Program parameters are all at their maximum as well.
Similarly, when the Relative parameter is at –99 (the
minimum), the Program parameters are at zero.
Relative Tone Adjust parameter scaling
A few of the Program parameters controlled by Relative
Tone Adjust are bipolar, meaning that they can be either
positive or negative (instead of just positive). When these
Program parameters are set to negative values, Tone Adjust
may behave differently from the description above.
For instance, if EG Intensity is set to a negative value,
Relative Tone Adjust will take it from 0 to –99, like the
inverse of the diagram above. EG Sustain works differently;
if it’s set to a negative value, Tone Adjust takes it from 0
down to the programmed value, and then up to +99, as
shown below.
Relative Tone Adjust parameter scaling: EG Sustain
Meta parameters don’t affect Program parameters directly.
Instead, they affect the way that other Tone Adjust
parameters work. For instance,
Multisample Min # and
Max # set the minimum and maximum values of the Tone
Adjust Multisample parameter.
99
00
Relative Tone Adjust Value
Parameter
Value
As Programmed
0 –99 +99
99
-99
00
Relative Tone Adjust Value
Parameter
Value
As Programmed
0 –99 +99