Korg modwave Owner's Manual

modwave

WAVETABLE SYNTHESIZER

Owner’s Manual

Contents

Getting Started . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

About the modwave manuals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

If you don’t usually read manuals... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Navigation. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

SHIFT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

ENTER for accelerated editing. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Mod Knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Help pages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3

Selecting and Playing Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Selecting Sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Selecting Performances from the display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Selecting from lists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Using Set Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Assigning a Performance to a Set List Slot. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

Basic Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Home Page (PERFORM) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Layer Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Velocity Zones. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Keyboard Zones . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8

Program Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Voice Assign. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 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

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Osc 1 Waveform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Modes A and A/B . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Sample Mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Osc 1/2 Position . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Osc 1/2 Morph. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Osc 1/2 Details. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Mixer & Sub Osc . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Osc 1 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Osc 2 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Sub/Noise . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Analyzer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Motion Sequencing 2.0. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

What is Motion Sequencing 2.0? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27

Motion Seq Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Motion Sequence Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Step recording Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Real-time recording for Seq Lanes A-D. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Motion Sequence editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Editing Lanes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Editing Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Step Solo mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Motion Sequencer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32

Master Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Standard Lane Controls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

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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

Cut Steps, Copy Steps, Paste Steps, Insert Steps . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Clear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Scale Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

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

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

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

Kaoss Physics and MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Kaoss Physics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Kaoss Physics Details. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

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

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

Modulation Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

Adding Modulation Routings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Viewing and Editing Modulations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65

Mod Knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Modulation Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Controllers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Mod Knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Generators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

CC +. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

CC +/- . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

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

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

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

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

Contents

Filter/Amp/Osc 1/Osc 2 Envelope Trigger. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

LFOs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Filter/Amp/Pitch/Osc 1/Osc 2 LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Modulation Processors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Gate. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Offset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

Quantize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Curve . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Smooth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Sum. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 81

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Main page. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Level controls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Edit page . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

Pre FX . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Decimator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Graphic EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Guitar Amp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Modern Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Parametric EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Red Compressor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Ring Modulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Tremolo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

Wave 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

Talking Modulator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Vintage Chorus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86

Vintage Flanger. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Vintage/Custom Wah . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Vox Wah. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

L/C/R Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Multiband Mod Delay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Reverse Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Stereo/Cross Delay. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Tape Echo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Master Reverb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

Early Reflections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Overb

Master EQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

L (Low) and H (High) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Mid 1 and Mid 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

Randomize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Using Randomize . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89

Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

System Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

MIDI & USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92

MIDI CC Assign . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

Global Scale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

iii

Contents

Preferences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

System Stats. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

About . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96

USB . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Editor Librarian . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

MIDI Implementation Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99

Getting Started

Page IndicatorsSelected Layer (A)

Page Name

Getting Started

Thank you for purchasing the Korg modwave Wavetable Synthesizer.

About the modwave manuals

The documentation for the modwave consists of the following:

•Precautions

• Quick Start Guide

• Owner’s Manual (what you’re reading now) In this manual, the following text styles indicate:

• FRONT PANEL CONTROLS

• Parameter Names

• Parameter Values

If you don’t usually read manuals...

Even if you don’t usually read manuals, please read this section!

Navigation

Press a button or turn a knob, and the display will show the related page. See “Modwave page map” on page 2 for all of the pages in the UI and their associated front-panel controls.

Some pages, such as Mixer & Sub Osc, are only displayed by turning a knob. Similarly, the ARPEGGIATOR button both edits a parameter and displays a page. To display these or any other pages without making an edit, hold ENTER and turn or press the related knob or button. 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; two presses will always bring you to the home page with the Performance name selected.

< > and PAGE-/PAGE+ are the basic controls for moving around in the display. < and > cursor through parameters, and can also select items in lists.

Hold SHIFT and press < or > to use PAGE- and PAGE+, which select pages in the display. There are page indicators in the upper right of the display; the filled-in circle shows the current page.

Title bar with selected Layer, Page Name, and Page Indicators

LAYER A/B: Layers contain a Program, an Arpeggiator, and a handful of other settings. The front panel edits one

Layer at a time, as selected by these buttons. To turn a Layer on or off, hold SHIFT and press the Layer’s button, or just double-press the button.

Most pages on the display apply only to the selected Layer. For these pages, the Layer’s letter (A/B) is shown in the upper left of the display.

Getting Started

System

Setup

UTILITY

OCTAVE +/–

MIDI & USB Controllers

MIDI CC

Assign

Global Scale Preferences 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 FX, MOD FX,

DELAY,

EFFECT TYPE

EDIT 1/2/3

Mods Mod List Info

Mod

Processor 1

MOD

Mod

Processor 2

Mod Knobs

MOD KNOBS 1-4

FREQUENCY, WAVEFORM,

CURVE

LFO

(LFOs) FILTER,

AMP, PITCH,

OSC 1/2 MORPH,

SYNC NOTES

Arpeggiator

ARPEGGIATOR

Perform

PERFORM

Layer

Programs

Velocity

Zones

Keyboard

Zones

Program

Setup

Voice Assign Layer Setup

Performance

Setup

TAP TEMPO

Randomize

Help

Help pages

HELP

WRITE

Write

Name

Write

Metadata

Compare

Delete from

Database

ENTER + WRITE

Lane Lane Step Lane Utility

MASTER, TIMING,

PITCH, SHAPE, SEQ A-D,

NOTE ADVANCE,

LOOP MODE

1-16

(SEQ STEPS)

Motion Seq

Overview

SEQ OVERVIEW

Motion

Sequence

SEQ STEPS

ATTACK, DECAY,

SUSTAIN, RELEASE

Envelope

Curve

Envelope

Trigger

(ENVELOPES)

FILTER, AMP,

OSC 1/2

CURVE (x3)

(AMP ENV) VELOCITY, (AMP LFO) INTENSITY

Amp

Amp Key

Track

AMP

Osc 1/2 Wave

(OSC 1/2)

WAVE SELECT

Osc 1/2

Position

Osc 1/2

Morph

Osc 1/2 Details

(OSC 1/2)

MORPH,

MORPH TYPE

(OSC 1/2) POSITION, A/B BLEND

Mixer &

Sub/Noise

(OSC 1/2)

LEVEL, PAN

(SUB/NOISE)

LEVEL, TYPE

(PITCH LFO) INTENSITY

Common

Pitch

Pitch Mod

(OSC 1/2)

OCTAVE, TUNE

Osc Pitch

PITCH

CUTOFF, RESONANCE, MFILT XFADE,

MFILT PRESET

Multi Filter

(if selected)

Filter Mod

(FILTER)

TYPE

ENV INTENSITY, (FILTER ENV) VELOCITY, (FILTER LFO) INTENSITY

Filter Key

Track

Filter

Analyzer

ANALYZER

LEGEND

Button Knob

OLED Display

Page

Modwave page map

SHIFT

Hold down SHIFT to use alternative functions for knobs and buttons, labeled in blue text. For one-handed operation, double-press SHIFT to turn on Shift Hold; press again to turn off.

ENTER for accelerated editing

Hold down ENTER to accelerate editing or scrolling. For example:

• Normally, the VALUE knob works as a “fine” value input when moved slowly, with “coarse” bigger jumps when moved quickly. To restrict it to “coarse” value changes, hold ENTER while turning VALUE.

•Hold ENTER and press < or > (or turn the VALUE dial) to scroll by a whole page in a list, such as when selecting Performances, Multisamples, or Mod routings.

Modulation

Most front-panel knobs and on-screen parameters are modulatable. Hold MOD and press > to create a new modulation routing. When viewing and editing modulations, hold MOD and press < to filter the list. See the Mod List Info page for an on-screen list of shortcuts.

Mod Knobs

You can use the Mod Knobs in real-time performance, and also save the results as new sounds. The names are shown on the main PERFORM screen. The values are stored, and can themselves be modulated. The Mod Knobs can control any number of parameters in any of the Layers.

Getting Started

Performance

Layer B

Layer A

Arpeggiator

Program A

Voice

Filter Amp

Pre FX Mod FX Delay

Mod Matrix

Voice Assign

Volume MIDI Channel MIDI Rx Filters Key & Vel Zones

Scales Tempo

Key Track

ADSR

2x Mod

Processors

Kaoss Physics

Mod Knobs

ADSR 1-3

ADSR

4x Envelopes

Pitch

Portamento, Slope,

Motion Seq

Osc 2

Wavetable A Wavetable B

Osc 1

Wavetable A Wavetable B

Sub/Noise

ADSR

1-3

LFO

ADSR

1-3

ADSR

5x LFOs

Motion Seq

4x Step Seq Lanes

Motion Seq

4x Step Seq Lanes

Motion Seq

4x Step Seq Lanes

Motion Seq

4x Step Seq Lanes

Stereo

Mixer

Reverb

Send A

Send B

Help pages

Hold SHIFT and press the (Randomize) button to bring up a set of pages containing shortcuts and usage tips.

Structure

The modwave plays one Performance at a time. A Performance has two Layers (A and B), Kaoss Physics, and a master reverb and EQ. Each Layer contains an Arpeggiator, a Program, and other settings such as MIDI channel, key and velocity zones, etc. A Program includes two Oscillators (1 and 2), each of which may play one or two Wavetables (A and B) or a single

Multisample, a Sub Oscillator/Noise 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

Selecting and Playing Sounds

Performance Name

Layer Programs

Category or Collection Sort OrderData Type

Page Indicators

Scroll Bar

Selecting and Playing Sounds

Selecting Sounds

Selecting Performances from the display

1. Press the PERFORM button, and if necessary press it again.

Wherever you are in the system, the second press will always bring up the home page, with the large Performance name selected.

2. Follow the instructions under “Selecting from lists,” below.

Selecting from lists

Note: These instructions also apply to selecting Set Lists, Performances, Programs, Effects Presets, Motion Sequences, Wavetables, Multisamples, and Lane Presets.

1. Cursor to the item that you’d like to select.

For this example, we’ll use Performances, continuing from above.

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 scroll through the list.

4. When you find a sound that you like, press ENTER again (or SHIFT-ENTER to cancel).

Using Categories

You can filter the list by category or collection. To do so:

1. While the list is onscreen, press CATEGORY buttons 2 (BASS) to 16 (USER) to show only a specific category

2. To show all sounds again, press button 1 (ALL).

The category names on the front panel apply to Performances, Programs, and Multisamples; for all other types of data (Wavetables, Motion Sequences, etc.), the buttons select the first 15 Categories in the list.

of sounds.

Selecting and Playing Sounds

You can also show the list of categories on the display. To do so:

1. In the list popup, hold SHIFT and press > (for PAGE+).

The Filters & Sort Order page appears.

2. Select the Category or Collection parameter, and turn the VALUE knob or press ENTER.

The Category or Collection Select popup appears. The lists will vary depending on the data type.

3. Select the desired Category or Collection, and press ENTER.

The display returns to the Performance Select popup, showing only sounds in the selected Category or Collection.

Using Sort Order

You can change the order in which sounds appear in the list. To do so:

1. In the list popup, press PAGE+.

The Filters & Sort 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 alphabetically within each Category).

Using Set Lists

Set Lists let you group and order Performances for gigs or projects. A Set List has 64 Slots, arranged into four banks AD, corresponding to MIDI Program Change messages 1-64.

Important: Set Lists don’t contain separate copies of their sounds; they just point to Performances stored in the database.

To select sounds in the current Set List:

1. Press the SET LIST button, so that it is lit.

2. To select sounds in the current bank, press buttons 1-16.

3. To select from a different bank, first hold either SHIFT or SET LIST and then press 1/2/3/4 to select the bank. Buttons 1-16 will then blink; press one to select a sound in the new bank.

Selecting and Playing Sounds

If you select a sound using the display, buttons 1-16 will go dark. To return to the Set List, just press one of the buttons again.

You can store many different Set Lists, and switch between them as desired. To select a different Set List:

1. Press UTILITY twice, to go to the System Setup page.

2. Select the Set List parameter, and press ENTER or turn the VALUE knob.

From this point, selecting Set Lists works just like selecting Performances, as described above.

Assigning a Performance to a Set List Slot

1. Select the Performance 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 change the Slot, hold WRITE and press a different Slot button.

4. Press WRITE, and then ENTER to confirm.

The Set List will also be saved. If the Performance has been edited, you’ll be prompted to save it too.

Assigning to a Slot in a different bank

While you’re on the Write page, you can also select a Slot from a different bank (for instance, if you’re copying a Performance to a different Slot):

1. Hold WRITE and SHIFT (or, if you prefer, WRITE and SET LIST), and press button 1-4 for the desired Bank.

2. Release WRITE and SHIFT.

3. Proceed to Step 3 above.

Basic Editing

Performance Name

Kaoss Physics

Layer Programs

Mod Knob Names & Values

Basic Editing

Home Page (PERFORM)

This is the modwave’s main page, where you can select Performances, set the Programs for the two Layers, see the Mod Knob names and values, and view the Kaoss Physics graphic.

Wherever you are in the system, pressing PERFORM twice in row always returns here, with the Performance name selected.

Normally, using Mod Knobs takes you to the related pages in the display. The home page is an exception, so that you can use the Mod Knobs while browsing through Performances.

The home page is also the only one on which the Page Indicators do not appear. Press PAGE+ to go to the Layer Programs page.

KAOSS Physics display

This shows the 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 directly control the ball by holding your finger on the pad. The position of the ball produces several modulation signals, which can control any modulatable parameters. For more information, see “Kaoss Physics” on page 45.

Layer Programs

This page shows the Program selection and Volume for each Layer.

A, B (Programs A, B)

[List of Programs]

This selects the Program for the Layer.

(Volume A, B)

[-Inf, -84.9…+6.0 dB]

This controls the volume of the Layer (duplicating the Layer Setup page’s Volume parameter). This is saved in the Performance, instead of the Program—so it’s a good choice when balancing levels between Layers.

Basic Editing

Fade-in/ Fade-out

Velocity Zones

Shortcut: Pressing a LAYER button switches to the current parameter in the selected Layer's column.

High Vel (A, B), Low Vel (A, B)

[1…127]

These set the highest and lowest velocities on which the Layer will sound.

High Fade (A, B)

[0…126]

0: The High Vel acts as a hard split, with full volume on one side and silence on the other. 1…126: This lets you create a velocity crossfade. As velocity approaches the High Vel, the volume fades out gradually.

High Fade sets the velocity range over which the fade-out 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 applies throughout the modwave. To do so:

1. Select the velocity or note number parameter you’d like to edit.

2. Press and hold the ENTER button.

3. Play a note on the keyboard to set the parameter.

4. Release the ENTER button.

Keyboard Zones

Shortcut: Pressing a LAYER button switches to the current parameter in the selected Layer's column.

High (A, B), Low (A, B)

[C-1…G9]

These set the highest and lowest notes on which the Layer will sound. Note: The graphic shows only the standard range of 88 notes.

Basic Editing

HFade (High Fade A, B)

[0…127]

0: The High key acts as a hard split, with full volume on one side and silence on the other. 1…127: This allows you to create a keyboard crossfade. As the notes approach the High key, the volume will fade out

gradually. This sets the number of semitones over which the fade-out occurs, working inwards from the High key.

LFade (Low Fade A, B)

[0…127]

See “HFade (High Fade A, B),” above.

Program Setup

The settings on this page are stored with the Program, if the Program is written separately.

Volume

[-Inf, -84.9…0.0 dB]

This controls the overall volume of the Program. Unlike Layer Volume, it’s stored with the Program. Use this to balance 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 the default setting, in which the Program is played when a key is pressed. Key-Off: The Program will play as soon as you release the key. You can use this to create the “click” heard when a

harpsichord note is released, for instance. In general, when using Key-Off it’s also best to set the Amp Envelope Sustain to 0.

Random Pitch Range

[0.0…50.0 cents]

This parameter creates random variations in pitch for each note. At the default of 0.0, pitch will be completely stable; higher values create more randomization. This can be helpful for simulating instruments that have natural pitch instabilities, such as analog synths, tape-loop keyboards, or acoustic instruments.

Basic Editing

Voice Assign

Mode = Poly

The settings on this page are stored with the Program, if the Program is written separately.

(Voice Assign) Mode

[Poly, Mono]

This selects the basic voice allocation mode. Depending on which one you select, various other options will appear, such as Single Trig (Poly mode only) and Unison (Mono mode only).

Poly: The Program will play polyphonically, allowing you play chords. Mono: The Program will play monophonically, producing only one note at a time.

Single Trigger

[Off, On]

Single Trigger is available when Voice Assign Mode is set to Poly. On: When you play the same note repeatedly, the previous note will be silenced before the next note is sounded, so that

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 default. With this setting, you can play as many notes as the system allows. 1-32 limits the number of notes played by the Program. Voices will be allocated dynamically up to this maximum. You

can use this to:

• Model the voice-leading of vintage synthesizers

• Control the resources required by individual Programs

This setting does not limit the Unison Voices parameter. For instance, if Max # of Notes is set to 6, and Unison Voices is set to 3, you can play up to 6 notes, each with 3 Unison voices.

Mode = Mono

Mono Legato

[Off, On]

Mono Legato is available when Voice Assign Mode is set to Mono. Legato means to play in a smooth, connected way; the next note is played before the last note is released.

Basic Editing

On: The first note in a legato phrase will sound normally; subsequent notes in the phrase will sound smoother (for instance, envelopes will continue instead of restarting).

Off: Legato playing will produce the same sound as detached playing.

Priority

[Low, High, Last]

Priority is available when Voice Assign Mode is set to Mono. This determines what happens when more than one note is being held down.

Low: The lowest note will sound. Many vintage monophonic analog synths work this way. High: The highest note will sound. Last: The most recently played note will sound.

Unison Voices

[1…16]

Unison can be used in both Mono and Poly modes.

1: Unison is off, and Stereo Spread and Detune 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.

Voices = 3, Detune = 24, Thickness Off

Voices Detune

1–12

2 0

3+12

Voices = 4, Detune = 24, Thickness Off

Voices Detune

1–12

2 –4

3+4

4 +12

Thickness

[0…100]

This parameter controls the character of the detuning for the unison voices.

0: Unison voices are evenly distributed across the Detune range, as shown above. 1…100: Unison voices are detuned asymmetrically. This makes the detuning more complex, and changes the way in

which the pitches beat against one another—like slightly out-of-tune oscillators in a vintage synthesizer. Higher numbers increase the effect.

Stereo (Spread)

[0…100]

Stereo lets you create a wider stereo field when using Unison. It applies only when Unison Voices is 2 or greater.

Basic Editing

Layer Setup

Volume

[-Inf, -84.9…+6.0 dB]

This controls the volume of the Layer. Note that this is saved in the Performance, but not with the Program—so it’s a good choice when balancing levels between Layers.

Octave

[-3…+3]

This transposes the Layer by up to 3 octaves, up or down.

Tune

[-100…+100 cents]

This lets you detune the Layer by up to 100 cents (1/100 of a semitone), up or down.

Use Global MIDI Channel

[Off, On]

On: This is the default. The Layer will play from the 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 Global MIDI Channel is Off. It sets the channel on which the Layer will receive MIDI.

Rx Damper

[Off, On]

On: This is the default. The Layer will respond to the connected damper pedal and to MIDI CC#64. Off: The Layer will ignore both the connected damper pedal and MIDI CC#64.

Rx Other CCs

[Off, On]

On: This is the default. The Layer will respond normally to MIDI CCs. Off: The Layer will ignore all MIDI CCs (except for CC#64), as well as Aftertouch, Poly Aftertouch, and Pitch Bend.

Basic Editing

Performance Setup

Volume

[-Inf, -84.9…0.0 dB]

This controls the Performance volume, for balancing levels with other sounds.

Octave

[-2…+2]

This transposes the entire Performance by up to 2 octaves, up or down.

Tempo (TAP TEMPO)

[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 used—unless Global Scale is On, in which case the Global scales are used instead.

Off: The Performance Scale settings are ignored.

Active Scale, 1 (Scale 1), (Key), 2 (Scale 2), (Key)

For details on the scale parameters, see “Global Scale” on page 94.

Write

Saving Sounds

The Performance, with its two Layers, contains a complete modwave sound. When selecting, editing, and saving sounds, Performance are all you need to use. While you can save Programs and presets for Motion Sequences, Motion Sequence Lanes, and Kaoss Physics, you don’t have to do so: all data is contained in the Performance.

Similarly, when you load any of these other data types into a Performance, a new copy of the data is created in the Performance. Any edits affect only the local copy inside the Performance, and not the original data. This lets you edit freely without worrying about changing other sounds.

To save:

1. Press the WRITE button.

The Write page appears, with the type of data to write shown at the top of 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, edit the name and/or Categories before proceeding.

For more details, see “Editing names” on page 15 and “Write Metadata” on page 15.

Important: changing the name does not automatically make a new copy of the sound!

4. To overwrite the existing sound, press WRITE. To make a new copy and leave the existing sound unchanged, press SHIFT-WRITE.

5. Press ENTER to confirm, or SHIFT-ENTER to cancel.

Factory sounds may be write-protected, in which case only “save new” is available.

Never turn off the power while data is being saved. Doing so may destroy the internal data.

Name

Note: you can name Programs, Motion Sequences, Lanes, and Kaoss Physics Presets without writing them separately. As long as you save the enclosing Performance, the new name will be saved.

Write

Editing names

1. On the Write page, select the Name.

2. Press ENTER, or turn the VALUE dial.

The Name page appears.

3. Use the cursor buttons to move back and forth in the text, and use VALUE to select a character from the set shown below.

Names can be up to 24 characters long.

4. Press SHIFT to toggle between A-Z, a-z, numbers, and symbols.

5. Hold SHIFT and press > (PAGE+) to insert a space.

6. Hold SHIFT and press < (PAGE-) to delete the previous character.

7. When you’ve finished entering text, press ENTER to return 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 1/2

[List of Categories]

Each object type—Performances, Programs, etc.—has its own list of Categories. You can create new Categories using the Editor Librarian software, if desired. Note that only the first 15 Categories are mapped to the front-panel buttons.

Compare

Select

[Saved Performance, Edited Performance]

Saved Performance: The saved version of the Performance will be heard. Edited Performance: The edited version of the Performance will be heard. If the Performance has not been edited, this

is not available.

Write

Using Compare

To use compare:

1. Hold ENTER and press WRITE.

The Compare page will appear.

2. Hold ENTER and press WRITE, again, to toggle between the saved and edited versions of the Performance.

When you change from Edited Performance to Saved Performance, the edited version is stored in a buffer, and the Performance reverts to the version saved in the database. You can toggle back and forth between the two as many times as you like.

If you change to Saved Performance and then make any edits, the 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 items from the database.

Note: Factory data cannot be deleted.

Using Delete

To delete an item from the database:

1. Set the Type as desired.

2. Cursor to Select, and press ENTER.

The selection popup appears.

3. Select a user-created item from the list. Optionally, use PAGE+ to change the filters or sort order.

4. Press ENTER to confirm the selection and close the popup.

5. Hold SHIFT and press WRITE to delete the selected item.

A confirmation dialog will appear.

6. Press ENTER to confirm, or any other key to cancel.

Wavetable Osc

Overview

Osc 1 and Osc 2 can each play either a single Wavetable, a modulatable blend of two Wavetables, or a Multisample. The modwave ships with over 200 Wavetables, and you can also import your own via the Sound Librarian software. The sound of the Wavetables can be changed in different ways. Wavetable Modifiers change the way that the tables are generated at load time, resulting in subtle to extreme changes in timbre. Morph Types change the way that the Wavetables are played, and can be modulated in real-time from Envelopes, LFOs, and so on.

Oscillator Mode (OSC MODE)

[A, A/B, Sample]

This three-way switch on the front panel controls the basic capabilities of the Oscillator.

A: The Oscillator will play a single Wavetable. A/B: The Oscillator will play a blend of two Wavetables, A and B. A/B BLEND lets you

control the balance between the two. Use this to combine characteristics of two different Wavetables (such as a pure-sounding table and a buzzy-sounding one), or the same Wavetable processed by two different Wavetable Modifiers.

Sample: The Oscillator will play 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 knob or press

ENTER to bring up the Wavetable Select popup, which shows all of the Wavetables installed on the instrument. For

details on sorting and filtering the list of Wavetables, see “Selecting from lists” on page 4.

Listening to the Wavetables

When auditioning Wavetables, play lower-pitched notes. The lower the pitch, the more clearly you’ll hear all of the high harmonics.

By default, the OSC 1 and OSC 2 Envelopes modulate Position; this sweeps the Wavetables for their respective oscillators. Attack sweeps forward in the Wavetable, and Decay sweeps backwards; the Sustain level determines the resting point. Try both fast and slow envelope times for both Attack and Decay—even 10 or more seconds may be useful for particularly complex Wavetables!

Adjust the amount of modulation using Env Intensity (SHIFT-VELOCITY). Sometimes, you may want the intensity to be at its maximum; other times, especially with more complex Wavetables, much smaller amounts of modulation may be better.

Some Wavetables may be optimized for use with an LFO, instead. Try using a Triangle-shaped LFO to modulate Position.

Wavetable Osc

MOD (Wavetable A Modifier)

Each waveform in a Wavetable is stored as a single 32-bit floating-point table with 2048 samples, referred to below as the “base table.” This corresponds to a pitch of about 25 Hz. Tables for higher pitches are generated when the Wavetable is loaded. The Wavetable Modifier options let you change how these tables are generated, creating differentsounding variations of the stored data.

None: The Wavetable is loaded without alteration. Odd Only: This preserves only the odd harmonics. All even harmonics (2, 4, 6, etc.) are removed. Even Only: This preserves the fundamental and all the even harmonics. All odd harmonics (3,5,7, etc.) are removed.

The result can sound like a sine wave at the fundamental plus a waveform an octave above that.

Skip Every 3: This removes every third harmonic (3, 6, 9, etc.). Odd + Clip: This combines Odd Only and Hard Clip, producing a brighter version of the Wavetable with increased

overtones and only odd harmonics. Even + Clip: This combines Even Only and Hard Clip, producing a brighter version of the Wavetable with increased

overtones with only even harmonics. Skip + Clip: This combines Skip Every 3 and Hard Clip, producing a brighter version of the Wavetable with increased

overtones and with every third harmonic removed.

Low 20: This removes all but the lowest 20 harmonics. Low 12: This removes all but the lowest 12 harmonics. Organ-ize: This emphasizes the harmonics that correspond to organ drawbars: 1 (8’), 2 (4’), 3 (2

/3’), and 8 (1’). The other harmonics are still present, but greatly reduced. The result is drawbar organ sounds with

6(1 “stops” based on the Wavetable.

Vintage 8: This quantizes to 8 bits and disables band-limiting for all but the highest notes, resulting in a brighter sound with higher noise and significant aliasing.

Vintage 12: This quantizes to 12 bits and disables band-limiting for all but the highest notes, resulting in a brighter sound 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 2-bit waveform).

8 Steps: Quantizes the waveform to 3 bits, similar to 4 Steps, above. 16 Steps: Quantizes the waveform to 4 bits, similar to 4 Steps, above. Soft Clip: Applies gentle soft clipping to the base table, adding overtones and increasing brightness. Hard Clip: Applies a gain of 3.0 and then clips the result, for a greater increase in overtones and brightness. Infinite Clip: Applies a ridiculous amount of gain, then clips the result.

Note that Soft Clip, Hard Clip, and Infinite Clip are very different from applying clipping to the audio output. The timbre isn’t affected by the oscillator level or the number of voices being played, and the results are band-limited to avoid harsh tones.

Tilt Up: This reduces the levels of lower harmonics, and increases the levels of higher harmonics, tilted around the 12th harmonic.

Tilt Up +: Similar to Tilt Up, but more extreme. Tilt Down: This increases the levels of lower harmonics, and reduces the levels of higher harmonics, tilted around the

12th harmonic. Tilt Down +: This increases the levels of lower harmonics, and reduces the levels of higher harmonics, tilted around the

8th harmonic.

Low Boost: Boosts the first 5 harmonics. Low Cut: Reduces the fundamental and first few harmonics. Low Cut +: Reduces the first 5 harmonics. Muted: Dramatically lowers the level of all harmonics above the fundamental. Fade Out: Crossfades successive waves in the Wavetable with 0 so that the waveform fades out to 0 as Position

increases. Use this to create decaying plucked or percussive sounds just by sweeping the Position. Reverse: Loads the Wavetable’s individual waves in reverse order. This is particularly useful for Wavetables which

sweep from a bright or complex sound on one end to a dark or simple sound on the other. Gain +3 dB, Gain +6 dB, Gain -3 dB, Gain -6 dB: Increase or decrease gain by the specified amounts. These are

particularly useful for balancing the volume between Wavetables A and B.

/3’), 4 (2’), 5 (1 3/5’),

Wavetable Osc

Tip: Fade between modified and original versions of a Wavetable

1. Set Mode to A/B.

2. Select the same Wavetable for both A and B.

3. Make sure that B Offset is set to 0.00.

4. Set Wavetable A Modifier to None.

5. Set Wavetable B Modifier as desired (for instance, Hard Clip).

6. Use A/B BLEND to fade between the normal and modified versions.

With Hard Clip, this will create a sound similar to a low-pass filter. Try modulating A/B BLEND via an Envelope or LFO! Since Wavetables A and B are phase-locked, you can use this technique to fine-tune the effects of any of the Modifiers. For example, try using this with any of the Tilt, Boost, or Cut options.

B (Wavetable B) (WAVE SELECT)

[List of Wavetables]

This selects the Wavetable for Wave B; it appears only if Oscillator Mode is set to A/B. A/B BLEND then controls the mix of Wavetables A and B. Pressing WAVE SELECT toggles between selecting Wavetables A and B.

MOD (Wavetable 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 parameters are shown when Oscillator Mode is set to Sample.

MS (Multisample)

[List of Multisamples]

Select this parameter and then either turn the VALUE knob or press ENTER to bring up the Multisample Select popup.

Channel

[Stereo, Left, Right, n/a]

This applies to stereo Multisamples only; for mono Multisamples, “n/a” is shown. You can choose whether to use the original Stereo signal, or only the Left or Right channels (in mono).

S. Offset (Start Offset)

[Off, 1st…8th]

In addition to simply starting playback from the beginning, Multisamples may have up to 8 different pre-programmed alternate starting points, or “Start Offsets.” These skip part of the beginning of the samples, either to make them more gentle (for percussive sounds) or to make them start more quickly (for sounds with slow attacks). The number of available offsets will vary depending on the specific Multisample.

If no alternate start points are available, this will show n/a.

Wavetable Osc

Wavetable with 4 waveforms

Wavetable with 11 waveforms

Wavetable with 23 waveforms

Osc 1/2 Position

Position (POSITION)

[0.00…100.00]

Wavetables contain up to 64 waveforms. Position sweeps through all of the waveforms in the Wavetable. 0.00 always selects the first waveform, and 100.00 selects the last waveform. The range between these extremes is divided between the total number of waveforms in the selected Wavetable, as shown below.

Note that when Mode is set to A/B, Wavetables A and B may have different numbers of waveforms. In this case, Position will divide the range evenly for each Wavetable, just as if they were being used individually. For instance, if A has four waveforms and B has 23 (see the graphic below), a Position just under 50 will play waveform 2 in A, and waveform 12 in B.

Position

Wavef orm1Wavef orm2Wavef orm3Wavef orm 4Wavef orm 5Wavef orm 6Wavef orm 7Wavef orm 8Wavef orm 9Wavef orm 10Wavef orm

Wave1Wave2Wave3Wave 4Wave 5Wave 6Wave 7Wave 8Wave 9Wave10Wave 11Wave12Wave13Wave14Wave 15Wave 16Wave 17Wave 18Wave 19Wave 20Wave21Wave 22Wave

0 Position 100

B Offset

[0.00…100.00]

This appears only if Mode is set to A/B. The position 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…100.00]

As the Position changes, the Wavetable changes from one waveform to another. When changing between two adjacent waveforms, the transition can be gradual or immediate. Xfade Width controls the amount of the Position range spent interpolating between neighboring waveforms vs. the amount playing single waveforms. Note that this does not affect A/B Blend.

Wavef orm

Wavetable Osc

Wavef orm

Crossfade 1-2

Wavef orm

Crossfade 2-3

Wavef orm

Crossfade 3-4

Wavef orm

Crossfade 1-2 Crossfade 2-3 Crossfade 3-4

Wavef orm

Crossfade 1-2 Crossfade 2-3 Crossfade 3-4

Wavef orm 1

Wavef orm

0 Position 100

Xfade Width = 0.00

Xfade Width = 50.00

Xfade Width = 100.00

When Xfade Width = 50.00, half of the Position range is taken up by crossfades, and the other half is taken up by the single waveforms playing unaltered. Note how the total length of the three crossfade zones is the same as the total length of the four single waveform zones.

It may be helpful to think of the Position value range 0-100 as a ribbon, with the Wavetable stretched to fit, regardless of how many waveforms it contains. Each waveform is a stripe on the ribbon. Xfade Width controls the amount of blurring between the stripes. A given value for Position will always yield the same output, which will be either a solid stripe or some amount of blurring between two stripes. When Position changes continuously, as with an envelope or LFO, this causes crossfades between the waveforms.

Xfade Width

Osc 1/2 Morph

Morph Type (SHIFT-MORPH)

[List of Morph Types]

The Morph Types let you stretch, squeeze, reflect, and otherwise alter the Wavetables in real-time, changing their timbre and—when modulated—creating additional motion in the sound.

When the Oscillator MODE is set 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 unaltered. Sync: The Wavetable is reset by a phantom oscillator, creating the classic sync sound. Morph Amount controls the

frequency of the phantom oscillator.

Wavetable Osc

Windowed Sync: Similar to Sync above, but with reduced high frequencies for lower aliasing. Stretch: The waveform is stretched in one direction and squeezed in the other, creating an effect similar to Pulse Width

Modulation. When Morph Amount is set to 50, the waveform is unaltered. Flip: This inverts the polarity of a section of the waveform, with the “flip” point determined by Morph Amount. Mirror: Shrinks the waveform to half its length, and then reflects that half-length waveform around the center as a

mirror image. Morph Amount stretches and squeezes the waveform similar to Stretch, above. Mirror Stretch: This is similar to Mirror, above, but doubles the Stretch effect. Narrow: As Morph Amount increases, the waveform is compressed towards the front, with zeros filling the rest of the

duty cycle. The effect is different from Stretch, but also has some similarities to Pulse Width Modulation. Narrow Stretch: This combines Narrow and Stretch, compressing the waveform’s length while also stretching and

squeezing.

Windowed Narrow: Similar to Narrow above, but with reduced high frequencies for lower aliasing. W.NarrowStretch: Similar to Narrow Stretch above, but with reduced high frequencies for 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 carrier. If you’re using Oscillator 1 solely as a modulator, you may wish to set its Level to 0%.

Note: when using these Morph Types, the waveform graphic will be an approximation. If you’d like to see the exact results graphically, use the ANALYZER instead (see “Analyzer” on page 26).

FM: Oscillator 1 modulates the frequency of Oscillator 2. Morph Amount controls the amount of frequency modulation.

AM, or amplitude modulation, includes both ring modulation, as below, and the dry signal from Oscillator 2. Morph Amount controls the amount of amplitude modulation.

Ring Mod combines the two Oscillators to generate new sideband frequencies based on those inputs. The result can be everything from subtle brightening to wild, dissonant, gong-like timbres. When the frequencies of Oscillators 1 and 2 are the same, the Ring Modulator produces steady, constant waveforms. When they are detuned, it produces more movement and overtones. Morph Amount controls the amount of ring modulation.

AMT (Morph Amount) (MORPH)

[0.00…100.00]

This controls the intensity of the Morph process, as described above.

LFO (INTENSITY)

[-100.00…+100.00]

This sets the intensity of the Morph modulation from the Osc 1 LFO (for Osc 1) or the Osc 2 LFO (for Osc 2).

Wavetable Osc

Osc 1/2 Details

Envelope (OSC ENV INTENSITY)

[-100.00…+100.00]

This sets the amount of Position modulation from the Osc 1 Envelope (for 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 Osc 2).

Phase

[-180…+180]

This controls the phase of the waveform at the start of the note. It’s most useful when Oscillators 1 and 2 are not detuned.

Wavetable Osc

Mixer & Sub Osc

Osc 1

Level (LEVEL)

[0%…100%]

This controls Oscillator 1’s volume.

Pan (SHIFT-LEVEL)

[L100…L1, C0, R1…R100]

This controls Oscillator 1’s stereo position.

Osc 2

Level (LEVEL)

[0%…100%]

Pan (SHIFT-LEVEL)

[L100…L1, C0, R1…R100]

See the descriptions for Osc 1, above.

Sub/Noise

This section can be either 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 Noise]

Square, Triangle: These produce the specified waveform at the same pitch as Osc 1, or one or two octaves below. White Noise: This is classic, full-spectrum white noise. Filtered Noise: Similar to White Noise, above, but less bright. Dark Noise: Similar to Filtered Noise, but with significant high-end roll-off.

Wavetable Osc

Speckled Noise: This is noise with both roll-off and clipping, producing a very aggressive timbre. With additional lowpass filtering, it can produce sounds reminiscent of thunder and explosions.

Saturated Noise: This uses moderate filtering and saturation to produce a thicker-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 duplicated on the Osc Pitch page. Set Octave to -1 or -2 to add rumbling bass, or to 0 to supplement the fundamental of a thin-sounding Wavetable.

Level (LEVEL)

[0%…100%]

This sets the volume of the Sub/Noise component.

Pan

[L100…L1, C0, R1…R100]

This sets the stereo position of the Sub/Noise component.

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