Korg NAUTILUS Series, Руководство по параметрам, Страница: 270 / 961

EXi: MS-20EX
260
VOLTAGE CONTROLLED OSCILLATOR 2
WAVEFORM [ , , , RING
This sets the basic timbre of Oscillator 2.
( Sawtooth ): This produces the traditional, buzzy analog
synth sound. For more information, see “WAVEFORM” on
page 259.
( Square Wave ): This is a hollow-sounding waveform,
containing only odd-numbered harmonics. The original MS-
20 manual notes that this is used to “simulate reed
instruments and other closed pipe sounds.”
( Pulse Wave ): This is a relatively narrow pulse
waveform, with a nasal tone quality and strong upper
harmonics. The original MS-20 manual suggests that it be
used to “simulate double reed instruments (e.g., the oboe)
and certain plucked string sounds (e.g., harpsichord and
clavinet).”
RING ( Ring Modulator ): This setting combines the two
VCOs to create sums and differences of all their harmonics,
creating a complex tone. The original MS-20 manual
describes it this way: “The result is a clangorous, “metallic”
sound which is useful for gong, chime and other such effects.
VCO 1 and VCO 2 SCALE , PITCH , and PW all affect the
resulting sound, and should be used judiciously to create the
desired effect.”
PITCH [–12.00…+12.00]
This adjusts the pitch of Oscillator 2 up and down by one
octave, in one-cent steps. You can create thicker sounds by
moving this slightly away from 0.00, so that the two
oscillators beat against one another.
SCALE [16’, 8’, 4’, 2’]
This adjusts the pitch of Oscillator 2 in steps of an octave.
Note that the range is one octave higher than that of
Oscillator 1.
PORTAMENTO
TIME [0.00…10.00]
This controls the amount of time it takes to glide from one
pitch to the next.
This is scaled by MIDI CC#5. You can also enable and
disable Portamento using MIDI CC#65 (“Portamento
Switch”). For more information, see “Assigning SW1 or
SW2 to Portamento On/Off” on page 151
FINE TUNE
FINE TUNE [–5.00…+5.00]
This adjusts the pitch of the oscillators, in steps of 1/5 of a
cent (for a total range of +/- 1 semitone).
FREQUENCY MODULATION
Each of the FREQUENCY MODULATION controls affects
both VCO 1 and VCO 2.
MG/T.EXT [0.00…10.00]
If nothing is connected to the patch panel’s TOTAL input
jack, this adjusts the depth of pitch modulation from the
MG’s Triangle Wave.
If a cable is connected to the TOTAL input jack, this
controls the depth of pitch modulation from that signal.
For more information, see “TOTAL input jack” on page 269.
This is scaled by MIDI CC#77.
EG1/EXT [0.00…10.00]
If nothing is connected to the patch panel’s FREQ jack, this
controls the depth of pitch modulation from EG 1.
If a cable is connected to the FREQ jack, this controls the
depth of pitch modulation from that signal.
With nothing connected to the FREQ jack, try increasing the
EG1/EXT value, and then play a note on the keyboard.
Notice that the pitch of the note rises and falls corresponding
to EG 1’s
DELAY , ATTACK , and RELEASE controls.
With the normalled connection to EG1, the pitch always
starts low, rises to the played note, and then falls again on
release. The setting of the EG1/EXT knob determines the
low point of this modulation, while the high point stays
constant.
You can create a different effect by manually patching the
EG1 OUT jack into the FREQ jack. In this case, the pitch
will start at the played note, rise up to the EG1/EXT setting,
and then fall back to the played note.
VCO Mixer
This mixer controls the levels of the two VCOs into the
Highpass Filter.
Note that both filters will show some amount of saturation
and overdrive when their input levels are high, and
PEAK
settings are moderate or high. You can control the resulting
tone by rasing or lowering the VCO levels in this mixer.
VCO 1 LEVEL [0.00…10.00]
This adjusts the volume of Oscillator 1.
VCO 2 LEVEL [0.00…10.00]
This adjusts the volume of Oscillator 2.
4–1b: High Pass Filter
VOLTAGE CONTROLLED HIGHPASS FILTER
This filter cuts out the parts of the sound which are lower
than the cutoff frequency. You can use this to make timbres
sound thinner or more buzzy, or to enhance bass sounds (see
“Using the HPF as a sub-oscillator for bass sounds,” below).
FREQUENCY [0.00…10.00]
This controls the cutoff frequency of the Highpass Filter.