Korg Nautilus Operation guide

OperationGuide

E 1

About this manual

Thank you for purchasing the Korg NAUTILUS. To help you get the most out of your new instrument, please read this manual carefully.

The owner’s manuals and how to use them

These manuals apply to all NAUTILUS models. The front panel and rear panel illustrations show the NAUTILUS-61, but they apply identically to the other models.

The NAUTILUS comes with the following manuals.

• Quick Start Guide (printed and PDF)

• Operation Guide (PDF)

• Parameter Guide (PDF)

• Voice Name List (PDF)

A printed copy is included only for the Quick Start Guide.

You can download these PDF manuals from the Korg website (www.korg.com).

Quick Start Guide

Please read this first. It introduces all of the basic features of the NAUTILUS, and is designed to get you up and running quickly.

Operation Guide (this document)

Put simply, the Operation Guide is designed to answer the question, “How do I do this?”

It explains the names and functions of each part of the NAUTILUS, basic operation, an overview of each mode, how to edit sounds, record on the sequencer, sample, and so on. This guide also explains the basics of effects, arpeggiator, Wave Sequences, and Drum Kits.

Finally, it also contains a troubleshooting guide and supplemental information such as specifications.

Parameter Guide

The Parameter Guide is designed to answer the question, “What does this do?”

Organized by mode and page, the Parameter Guide includes information on each and every parameter in the NAUTILUS.

Conventions in this manual

Abbreviations for the manuals: QSG, OG, PG, VNL

In the documentation, references to the manuals are abbreviated as follows.

QSG: Quick Start Guide

OG: Operation Guide

PG: Parameter Guide

VNL: Voice Name List

Symbols , , Note, Tips

These symbols respectively indicate a caution, a MIDIrelated explanation, a supplementary note, or a tip.

Example screen displays

The parameter values shown in the example screens of this manual are only for explanatory purposes, and may not neccessarily match the values that appear in the LCD screen of your instrument.

MIDI-related explanations

CC# is an abbreviation for Control Change Number.

In explanations of MIDI messages, numbers in square brackets [ ] always indicate hexadecimal numbers.

* Linux is a trademark or registered trademark of Linus

Torvalds in the United States and in other countries.

* All product names and company names are the trademarks or

registered trademarks of their respective owners.

Voice Name List

The Voice Name List lists all of the sounds and setups that are in the NAUTILUS when it is shipped from the factory, including Programs, Combinations, Multisamples, Drumsamples, Drum Kits, Arpeggio Pattern, Wave Sequences, Drum Track Patterns, Template Songs, and Effect Presets.

PDF versions

The NAUTILUS PDF manuals are designed for easy navigation and searching. They include extensive PDF contents information, which generally appears on the side of the window in your PDF reader and lets you jump quickly to a specific section. All cross-references are hyper-links, so that clicking on them automatically takes you to the source of the reference.

About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . ii

Introduction to NAUTILUS. . . . . . . . . . . . . 1

Front and rear panels. . . . . . . . . . . . . . . . . . . . . . . . . 1

Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

TouchView user interface . . . . . . . . . . . . . . . . . . . . . . . 7

Basic information . . . . . . . . . . . . . . . . . . . . . . . . . . . 10

About the NAUTILUS’ modes . . . . . . . . . . . . . . . . . . 10

About the NAUTILUS’ PCM memory. . . . . . . . . . . . 13

About polyphony. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Basic operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Turning the power on/off . . . . . . . . . . . . . . . . . . . . . . 18

Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20

Playing and editing Programs . . . . . . . . 25

Playing Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Selecting Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Using Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Easy Program Editing. . . . . . . . . . . . . . . . . . . . . . . . 32

Quick edits using the RT control knobs . . . . . . . . . . . 32

Quick Layer/Split. . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Quick Layer example:

adding strings to a piano sound. . . . . . . . . . . . . . . . . . 36

Quick Split example:

adding left-hand bass to a piano . . . . . . . . . . . . . . . . . 38

Detailed Program Editing. . . . . . . . . . . . . . . . . . . . 40

Editing HD-1 Programs . . . . . . . . . . . . . . . . . . . . . . . 40

Using LFOs and Envelopes (EGs) . . . . . . . . . . . . . . . 43

Using Alternate Modulation (AMS)

and the AMS Mixers . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Controlling Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

Using Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Using the Amp section . . . . . . . . . . . . . . . . . . . . . . . . 48

Using EXi . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Using Vector Synthesis . . . . . . . . . . . . . . . . . . . . . . . . 52

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

Playing and editing Combinations . . . .55

Playing Combinations . . . . . . . . . . . . . . . . . . . . . . . 55

Selecting Combinations . . . . . . . . . . . . . . . . . . . . . . . 55

Easy Combination editing . . . . . . . . . . . . . . . . . . . 58

Changing the Programs within a Combi . . . . . . . . . . . 58

Adjusting the mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Quick Layer/Split . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Quick Layer example:

adding strings to a piano Combination . . . . . . . . . . . . .59

Quick Split example:

adding a lead synth to a Combination . . . . . . . . . . . . .61

Detailed Combination editing . . . . . . . . . . . . . . . . 63

Combination overview . . . . . . . . . . . . . . . . . . . . . . . . .64

Layers, Splits, and Velocity Switches . . . . . . . . . . . . .65

MIDI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Altering Programs to fit within a Combination . . . . . .67

Editing Programs from within a Combination or

Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Saving your edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70

Creating songs (SEQUENCER mode) . . .71

Playing Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

MIDI recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Preparations for recording . . . . . . . . . . . . . . . . . . . . . .76

Recording MIDI in real-time . . . . . . . . . . . . . . . . . . . .79

MIDI step recording . . . . . . . . . . . . . . . . . . . . . . . . . . .83

Recording the sound of a Combination or Program. . . 85 Recording multiple MIDI tracks from

an external sequencer . . . . . . . . . . . . . . . . . . . . . . . . . .86

Recording System Exclusive events. . . . . . . . . . . . . . .87

Recording patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

Other ways to record . . . . . . . . . . . . . . . . . . . . . . . . . .90

Audio recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

Audio recording overview . . . . . . . . . . . . . . . . . . . . . .91

Audio input settings and recording source selection . .93

Recording procedure . . . . . . . . . . . . . . . . . . . . . . . . . .95

Other variations of audio track recording. . . . . . . . . .101

Placing a WAVE file in an audio track . . . . . . . . . . . 102

Song editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

Using RPPR (Realtime Pattern Play/Record) . . 106

Creating RPPR data . . . . . . . . . . . . . . . . . . . . . . . . . .106

RPPR playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107

Recording an RPPR performance. . . . . . . . . . . . . . . .108

Sampling in SEQUENCER mode. . . . . . . . . . . . . . 109

Saving your Song . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Other notes about SEQUENCER mode. . . . . . . . 110

NAUTILUS sequencer file formats . . . . . . . . . . . . . .110

The Compare function . . . . . . . . . . . . . . . . . . . . . . . .111

Memory Protect . . . . . . . . . . . . . . . . . . . . . . . . . . . . .111

About MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112

iii

Set Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Set List Overview . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Selecting and playing sounds . . . . . . . . . . . . . . . 114

Selecting Set Lists. . . . . . . . . . . . . . . . . . . . . . . . . . . 114

Selecting Slots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Using the Comment Pad . . . . . . . . . . . . . . . . . . . . . . 116

Editing Set Lists. . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Selecting and re-arranging sounds . . . . . . . . . . . . . . 117

Detailed Set List editing . . . . . . . . . . . . . . . . . . . . . . 119

Smooth Sound Transitions . . . . . . . . . . . . . . . . . 121

Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

Using Smooth Sound Transitions . . . . . . . . . . . . . . . 121

Sampling (Open Sampling System) . . 123

Sampling overview . . . . . . . . . . . . . . . . . . . . . . . . 123

About sampling on the NAUTILUS. . . . . . . . . . . . . 123

Preparations for sampling . . . . . . . . . . . . . . . . . . 126

Audio Settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Sampling and editing in SAMPLING mode . . . 132

Creating multisample indexes and

sampling–Recording . . . . . . . . . . . . . . . . . . . . . . . . . 132

Basic examples of sampling . . . . . . . . . . . . . . . . . . . 134

Editing loops . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

Using Time Slice . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Sample waveform editing . . . . . . . . . . . . . . . . . . . . . 142

Multisample editing . . . . . . . . . . . . . . . . . . . . . . . . . 143

Saving, converting to Programs, and Comparing. . . 144

Sampling in PROGRAM and COMBINATION

modes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Resampling a Arpeggiator phrase in

PROGRAM mode. . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Mixing a Scene drum phrase with a live guitar input,

and sampling the result . . . . . . . . . . . . . . . . . . . . . . . 146

Sampling a guitar from the audio inputs,

while listening to a Scene drum phrase . . . . . . . . . . 147

Sampling in SEQUENCER mode . . . . . . . . . . . . . 148

In-Track Sampling . . . . . . . . . . . . . . . . . . . . . . . . . . 148

Resampling a song to create a Wave file . . . . . . . . . 149

User Sample Banks. . . . . . . . . . . . . . . . . . . . . . . . . 151

Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151

Saving User Sample Banks . . . . . . . . . . . . . . . . . . . . 152

Loading User Sample Banks. . . . . . . . . . . . . . . . . . . 154

Editing User Sample Banks . . . . . . . . . . . . . . . . . . . 155

User Sample Bank IDs and limitations. . . . . . . . . . . 156

Arpeggiator function . . . . . . . . . . . . . . . 157

Arpeggiator functions and scene settings. . . . 157

Selecting a scene, playing with the arpeggiator and

drum track or step sequencer . . . . . . . . . . . . . . . . . . . 158

Setting the scenes . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Arpeggiator settings in COMBINATION and

SEQUENCER modes . . . . . . . . . . . . . . . . . . . . . . . . .164

Regarding arpeggiator synchronization . . . . . . . . . . . 167

Creating Drum Track patterns. . . . . . . . . . . . . . . 169

Global Settings, Wave Seq., Drum Kits

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

GLOBAL mode overview . . . . . . . . . . . . . . . . . . . . 171

Global Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Basic Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Global audio settings . . . . . . . . . . . . . . . . . . . . . . . . . 174

MIDI settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Pedal and other controller settings . . . . . . . . . . . . . . .175

Configuring the QUICK ACCESS buttons . . . . . . . . 176

Creating user scales . . . . . . . . . . . . . . . . . . . . . . . . . .178

Setting Category Names for Programs, and

Combinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Automatically loading sample data. . . . . . . . . . 179

Using the KSC Auto-Load list to select

which samples to load . . . . . . . . . . . . . . . . . . . . . . . . 179

Creating and saving .KSC files . . . . . . . . . . . . . . . . .180

Connecting to computers

via USB Ethernet and FTP . . . . . . . . . . . . . . . . . . . 182

Using Wave Sequences . . . . . . . . . . . . . . . . . . . . . 183

Wave Sequence Overview . . . . . . . . . . . . . . . . . . . . .183

Programming Basics . . . . . . . . . . . . . . . . . . . . . . . . .184

Adjusting the sound of an individual step . . . . . . . . .186

Using rhythmic Wave Sequences. . . . . . . . . . . . . . . . 188

Creating smooth, evolving timbres . . . . . . . . . . . . . . 190

Modulating Wave Sequences . . . . . . . . . . . . . . . . . . . 190

Saving Wave Sequences. . . . . . . . . . . . . . . . . . . . . . .192

Using Drum Kits. . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Drum Kit Overview . . . . . . . . . . . . . . . . . . . . . . . . . . 193

Before you start editing… . . . . . . . . . . . . . . . . . . . . . 194

Editing Drum Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . 194

Saving Drum Kits. . . . . . . . . . . . . . . . . . . . . . . . . . . . 196

Editing arpeggio patterns . . . . . . . . . . . . . . . . . . 197

Creating a user arpeggio pattern. . . . . . . . . . . . . . . . . 197

Saving the arpeggio pattern . . . . . . . . . . . . . . . . . . . . 201

Loading & saving data . . . . . . . . . . . . . .203

Saving data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

Writing to internal memory. . . . . . . . . . . . . . . . . . . . 205

Saving to internal drive, CDs, and USB media. . . . . 209

Loading data from disk . . . . . . . . . . . . . . . . . . . . . 213

Loading Songs, sounds, and samples together . . . . . 213

Loading individual banks from a .PCG file . . . . . . . 215

Loading data by individual item or bank . . . . . . . . . 216

Loading the samples required by Programs or

Combinations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Using Effects . . . . . . . . . . . . . . . . . . . . . . .219

Effects overview . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Effects basics. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219

Effect I/O. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Effects in each mode . . . . . . . . . . . . . . . . . . . . . . . . . 221

Effects selection and routing. . . . . . . . . . . . . . . . 223

Using effects in Programs . . . . . . . . . . . . . . . . . . . . . 223

Using effects in Combinations and Songs . . . . . . . . 225

Using effects in SAMPLING mode . . . . . . . . . . . . . 227

Using effects with the audio inputs. . . . . . . . . . . . . . 229

Detailed effects editing. . . . . . . . . . . . . . . . . . . . . 230

Dynamic modulation (Dmod) . . . . . . . . . . . . . . . . . . 230

MIDI/Tempo Sync . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Common FX LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

Effect Presets. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232

Error and confirmation messages. . . . . . . . . . . . 242

A (ADC–Are You Sure) . . . . . . . . . . . . . . . . . . . . . . .242

B (Buffer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .242

C (Can’t calibrate–Completed). . . . . . . . . . . . . . . . . .242

D (Destination–Disk) . . . . . . . . . . . . . . . . . . . . . . . . .243

E (Error–Exceeded) . . . . . . . . . . . . . . . . . . . . . . . . . .244

F (File–Front) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .245

H . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .246

I (Illegal–Index) . . . . . . . . . . . . . . . . . . . . . . . . . . . . .246

K . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .247

M (Master–Multisample) . . . . . . . . . . . . . . . . . . . . . .247

N (No data–Not enough song memory) . . . . . . . . . . .248

O (Obey copyright rules–Oscillator) . . . . . . . . . . . . .250

P (Pattern–Program) . . . . . . . . . . . . . . . . . . . . . . . . . .250

Q (Quick Layer/Split function) . . . . . . . . . . . . . . . . .250

R (Rear sample–Root) . . . . . . . . . . . . . . . . . . . . . . . .251

S (Sample–Source) . . . . . . . . . . . . . . . . . . . . . . . . . . .251

T (The clock–/TEMP folder detected) . . . . . . . . . . . .252

U (Unable to create directory–USB Hub) . . . . . . . . .252

W (Wave) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .253

Y (You). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .253

Internal drive and Media information. . . . . . . .254

Types of media supported by the NAUTILUS. . . . . .254

Operations that the NAUTILUS can perform on

media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .254

Restoring the factory settings . . . . . . . . . . . . . . . . . . .255

Specifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .256

MIDI Implementation Chart . . . . . . . . . . . . . . . . . 262

Appendices . . . . . . . . . . . . . . . . . . . . . . . .233

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Power supply. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

LCD screen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

Audio input and output . . . . . . . . . . . . . . . . . . . . . . . 234

Programs and Combinations . . . . . . . . . . . . . . . . . . . 235

Knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Songs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

Set Lists. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

Sampling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

Arpeggiator function . . . . . . . . . . . . . . . . . . . . . . . . . 239

Drum Track/Step Sequence . . . . . . . . . . . . . . . . . . . 239

X-Y control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Drum Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Wave Sequences . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

Internal drive, CDs, and USB Media . . . . . . . . . . . . 240

Other problems . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241

Introduction to NAUTILUS

13. SW 1&2

14. Joystick

1. MASTER VOLUME

3. MODE

4. PAGE

11. OCTAVE

2. VALUE controllers

15. TouchView display

7. RT control knobs, SELECT

12. AUDIO IN

6. SHIFT

9. Arpeggiator, Drum track, Step sequencer

10. Eectors

8. DYNAMICS

5. QUICK ACCESS

Front and rear panels

Front panel

1. MASTER VOLUME slider

This adjusts the volume of the main L/R audio outputs, as well as the volume of the headphone jack.

2. VALUE controllers

When you’ve selected a parameter on the TouchView display, you can edit it using the dial or buttons of the frontpanel:

VALUE dial

Use this dial to edit the selected parameter’s value. This control is convenient when you want to scroll through a very long list of selections.

− and + buttons

These are used to increase or decrease the parameter value by individual steps. They’re convenient for making fine parameter adjustments.

ENTER button

Press the ENTER button to accept the values you input or to execute a variety of shortcut commands.

Special functions of the ENTER button

Press the ENTER button to execute a variety of shortcut commands. For instance, on parameters for inputting note numbers and velocity values, you can input data in the usual way or input data directly using the ENTER button and the keyboard of the NAUTILUS, by following the steps below.

1. Select the parameter for which you will enter a note number or velocity value.

2. Play a key on the keyboard while holding down the ENTER button to directly input the note number or velocity value.

You can use the ENTER button to jump into the editing pages of a Program from within a COMBINATION or SEQUENCER—while still hearing all of the other Timbres or Tracks. To do so, go to the Mixer page, hold down the ENTER button, and touch the Program select field in the display. For more information, see “Editing Programs from within a Combination or Song” on page 68.

EXIT button

Returns to the main page of the current mode. Each time you press the button, you’ll move between pages in the following way.

Returns to the Home page of the current mode. Each time you press the button, you’ll move between pages in the following way.

Last selected (tab) page of the Home page group → first (tab) page of the Home page group → specified parameter (such as “Program Select”) in each mode

When a dialog box is open, pressing this button cancels the dialog box settings and closes the dialog box, just like pressing the Cancel button. If a pop-up menu for the Page menu is open, pressing EXIT closes the menu.

Introduction to NAUTILUS

3. MODE button

The NAUTILUS uses seven modes. To select each mode, press the MODE button and choose using the Mode Select page that is displayed.

To close the menu, press the Close button or the EXIT button.

4. PAGE button

When you press this button, a list of the pages within the selected mode will appear in the display. Press the button of the desired page. (see page 14)

5. QUICK ACCESS: A–F buttons

Select a combination of button functions that corresponds to how you will operate the NAUTILUS. These buttons can be used to jump to the pages you set, and to select the modes. They can also be used as playback, stop, record and other buttons in SEQUENCER mode.

The button function settings can be accessed from the Quick Access page in GLOBAL mode. (see “Configuring the QUICK ACCESS buttons” on page 176)

6. SHIFT button

By using the SHIFT button together with another button or control, you can access alternate functions assigned to that button or control. The main functions that can be set are shown below.

• SHIFT + OCTAVE −/+ button: The range of pitches assigned to the keys can be changed in semitone steps, up or down.

• SHIFT + AUDIO IN button: Displays the Analog Input Setup dialog box, where you can configure the input level and so on.

• SHIFT + MFX or TFX button: Shows the MFX1 or TFX1 page for the current mode.

• SHIFT + ARP button: Shows the ARP DRUM page for the current mode.

7. RT control knobs, SELECT button

When you’re playing a program or combination, you can use these controls to adjust the sound or the effects in real time, or to make simple edits. These controls can also be used to adjust the tempo of the arpeggiator, sequencer and so on.

Tip: Pressing these knobs will set them flush into the panel so that they cannot be touched accidentally. This way, only the knobs you will use will remain sticking out, which makes them easier to operate.

Here’s how to use the RT control knobs to set the tempo.

1. Press the SELECT button a number of times to make the ARP/DRUM LED light.

Note: The selection you make using the SELECT button is saved for each program, combination or song.

2. Turn the RT control knob 6 to adjust the tempo.

Parameters that can be operated using the RT control knobs

The various parameters that can be controlled using the RT control knobs are shown below.

SOUND

1. CUTOFF

Adjusts the cutoff frequency of the filter. Varies the brightness of the sound.

2. RESONANCE

Adjusts the resonance level of the filter. Raising the filter resonance level gives a distinctive character to the sound.

3. EG INT

This adjusts the filter EG intensity (the depth of how the EG affects the filter).

4. EG RELEASE

Adjusts the envelope release times of the filter and amp. This specifies the time from note-off until the sound fades to silence.

5. EFFECT

Adjusts how much the insert effects are applied.

6. REVERB

Adjust the amount of reverb.

ARP/DRUM

1. GATE

Adjusts the note length (gate time) for the arpeggiator or step sequencer.

2. VELOCITY

Adjusts the strength (velocity) of the notes played by the arpeggiator or step sequencer.

Front and rear panels Front panel

3. LENGTH

Adjusts the length of the arpeggiator pattern and the step sequencer’s sequence.

4. SWING

Adjusts the pattern of the arpeggiator or drum track, or the shuffle feel of the sequence played by the step sequencer.

5. DRUM SD

Changes the pattern of the drum track, or the snare drum sound used in the sequence played by the step sequencer.

6. TEMPO

Adjusts the overall tempo. The tempo setting will control the following.

• Arpeggiator

•Drum Track

• Step sequencer

• Songs in SEQUENCER mode

• Tempo sync LFO

• Tempo sync (BPM) delay effects

USER

This lets you control the functions set for each program and combination. (see “Assigning functions to RT control knobs 1–6” on page 33)

8. DYNAMICS

DYNAMICS button and knob

Pressing the button to turn DYNAMICS ON (the button will light) will activate the knob.

This adjusts how the volume and tone will be changed in response to how hard the keys are played (velocity) on this keyboard.

Turning the knob to the left will cause the sound to play softer in response to the strength of the keys played.

This is good for playing highly inflected passages from pianissimo (very soft) to fortissimo (very loud), such as solo piano or in band ensembles.

Turning the knob to the right will cause the sound to play louder in response to the strength of the keys played.

This is good for generally making your sound stand out when playing backing parts in a band ensemble, or when playing a solo.

The sound will not change when the knob is in center position.

For layered and split sounds, the dynamics effect will be applied to both sounds.

Note: The effect controlled may differ, depending on the program. The dynamics will have no effect on programs that do not change in volume or tone with velocity, such as organ sounds or some synth sounds.

Note: The dynamics settings can only be saved in a set list. When in SET LIST mode, the values saved in each slot will be used. When in a mode other than Set List, the front panel settings (these are off when the power is turned on) will be used.

Note: The effect will be applied to the velocity curve (→p.172) that is selected.

9. Arpeggiator (ARP)

LATCH button

When latch is turned on, the arpeggiator will keep generating patterns and phrases, even after you stop playing the keyboard and take your hands off, or after a MIDI note on/off message is received.

ARP button

Switches the arpeggiator function on/off. The button’s LED will light when this is on.

DRUM button

Switches the drum function on/off. The drums operate as either a drum track or as a step sequencer, depending on the current scene selected. When this is on, the button will light and the drum track pattern will start playing. If the button is blinking when the drum function is on, the drum track pattern will enter standby mode. The drum track pattern will start when you play the keyboard or a MIDI note-on is received. (see page 158)

TAP button

This button lets you enter tempos simply by tapping your finger on the button. Two taps are enough to change the tempo; for greater accuracy, you can continue tapping, and the tempo will be averaged over the most recent 16 taps.

You can use the tap feature to change the ARP and other tempo settings in PROGRAM, COMBINATION and SEQUENCER modes. In SEQUENCER mode, you can use this to control the song’s tempo.

Lightly tap the TAP button several times at the desired tempo during playback. The tempo will change in real time to follow your taps. This is a convenient way to adjust the playback tempo to a different speed in real time.

Note: You can also tap tempos using a foot switch. For more information, see “Foot Switch Assignments” on page 917 of the PG.

Note: If “MIDI Clock” (GLOBAL) is set to “External MIDI” or “External USB”, or if it is set to “Auto MIDI” or “Auto USB” and a MIDI clock is currently being received, the TAP button will not have any effect. Press the TAP button while holding down the SHIFT button to hear the click sound.

Note: You cannot use this operation to turn the click on/off when you are in SEQUENCER mode.

Introduction to NAUTILUS

10. Effectors

MFX button TFX button

These buttons turn the master effects and total effects on/off. When the buttons are on (LED lit), the effect settings for the program, combination, or song will be enabled. When the buttons are off (LED unlit), the corresponding effects will be off.

The on/off status of these buttons is remembered even when you switch programs, combinations, or songs.

11. OCTAVE buttons

OCTAVE −/+ buttons

The range of pitches assigned to the keys can be changed in one-octave steps, up or down. Press the OCTAVE − and + buttons together to return to the standard pitch. Hold down the SHIFT button and press the OCTAVE −/+ buttons to change the range of pitches assigned to the keys in semitone steps, up or down.

12. AUDIO IN button

Enables the input from the Audio Input 1, 2 jacks on the rear panel. Press the AUDIO IN button while holding down SHIFT to display the Analog Input Setup dialog box, where you can configure the input level and so on.

For more on input settings, see “2. Analog audio input connections” on page 21.

14. Joystick

The joystick moves in four directions: left, right, forwards (away from yourself), and backwards (towards yourself). Each of the four directions can be used to control different program or effects parameters.

The specific assignments can change depending on the current Program, Combi, or Song. Generally, though, they will do something like the functions shown below:

Standard Joystick functions

Move the

joystick…

Left JS–X Pitch bend down

Right JS+X Pitch bend up

Forw ards (away from yourself)

Backwards (towards yourself)

Controller

Name

JS+Y Vibrato

JS–Y Filter LFO (wah)

Normally controls…

15. TouchView display

The NAUTILUS features our exclusive TouchView graphic interface, based on a touch-panel LCD screen.

By touching objects displayed in the LCD screen, you can select pages, set parameter values, move sliders and knobs, enter text, connect virtual patch cables, and more.

13. SW1 and SW2

These on/off buttons can perform a number of different functions, such as modulating sounds or locking the modulation values of the joystick.

Also, each one may work either as a toggle, or as a momentary switch. In toggle mode, each press alternates between on and off; in momentary mode, the button only changes for as long as you hold it down.

Each button has an LED, which lights up when the button is on.

Each Program, Combination, and Song stores its own settings for what the buttons will do, and whether each button defaults to being on or off.

Rear panel

5. Analog Audio Outputs4. Analog Audio Inputs

8. Pedals7. MIDI

3. USB

6. PHONES

2. (power button)

1. AC Power connector

Front and rear panels Rear panel

1. AC Power connector

Connect the included power cable here.

We recommend that you first connect the power cable to the NAUTILUS, and then connect the other end of the cable to an AC outlet (see “1. Connecting the power cable” on page 18).

2. (power button)

This button turns the power on and off. Before turning NAUTILUS off, make sure that you’ve saved any edits to your Programs, Combis, Songs, or other user data.

After turning the power off, please wait for at least ten seconds before you turn the power on again.

Auto power-off

The NAUTILUS has an auto power-off function that automatically turns off the power when the keyboard or front panel buttons are not used for a certain length of time*.

* This does not include the MASTER VOLUME slider.

Note: Auto power-off will not operate when the display or front panel controls are used, when you play the NAUTILUS, when MIDI is transmitted or received, or when the drive is accessed (including communication via FTP).

When the power turns off, the settings you had been editing will be lost. If you want to keep the edited settings, you must save them first.

You can change the time it takes for the NAUTILUS to turn off automatically, or disable the auto power-off feature entirely.

To do so:

1. Select “Auto Power-Off Setting…” in the page menu commands on the GLOBAL > Basic Setup - Basic page.

2. Set how long it will take for the power to turn off. Set this to “Disabled” if you do not want to use this function.

3. Press “Done” to finish making the settings.

Note: The factory default setting is four hours.

3. USB

USB A port

There is an external, high-speed USB 2.0 port. You can use it to connect storage media such as hard disks, flash media, etc, as well as class-compliant USB MIDI controllers. For more information, see “4. Connecting USB devices” on page 22.

USB B port

This high-speed USB 2.0 port lets you connect to a Mac or Windows PC, for sending and receiving MIDI and audio. For more information, see “6. Connecting to computers via USB” on page 23.

4. Analog Audio Inputs

You can use the audio inputs for recording, sampling, and real-time mixing through the built-in effects.

INPUT 1 & 2

Inputs 1 and 2 provide 1/4" TRS balanced connectors. You can use these for either microphone-level or line-level signals. You can toggle between mic and line level in the GLOBAL settings.

To adjust the input gain (Gain) and other values, use the AUDIO IN page of each mode. (see page 21)

For more information for how to make connections and settings, see “2. Analog audio input connections” on page 21.

Introduction to NAUTILUS

5. Analog Audio Outputs

All of the analog audio outputs use balanced TRS 1/4" phone jacks, referenced to a +4 dBu signal level.

Connect these outputs to the input jacks of your amp or mixer. In addition to the L/MONO and R main stereo audio outputs, the NAUTILUS provides four individual audio outputs.

The sound from each oscillator, drum, timbre/track, or insert effect can be freely routed to any output. Additionally, you can route the metronome sound to an individual output, to separate it from the stereo mix. For more information, see “Effects selection and routing” on page 223.

(Main) L/MONO, R

These are the main stereo outputs; their volume is controlled by the MASTER VOLUME slider. All of the factory Programs and Combis are programmed to play through these outputs.

When editing sounds, or when setting up a Song in SEQUENCER mode, you can access the main outputs by setting Bus Select to L/R.

If no cable is connected to the R output, L/MONO will carry a mono summation of the stereo signal. So, if you are connecting to a device which does not have stereo inputs (such as a simple keyboard amp), use the L/MONO output.

(Individual) 1…4

These 4 additional audio outputs let you isolate sounds, audio inputs, or audio tracks for recording or complex live sound setups.

These can be used as stereo or mono outputs, in any combination. You can also use the Global Audio page LR Bus Indiv. Assign parameter to map the main stereo outputs to any of these output pairs, if you like.

Note that the individual outputs are not affected by the MASTER VOLUME slider.

6. Headphone jack

You can connect headphones to this jack (stereo 1/4"). This jack outputs the same signal as the Audio (OUTPUT) L/MONO and R jacks. Use the MASTER VOLUME slider to control the headphone volume.

7. MIDI

MIDI THRU connector

MIDI data received at the MIDI IN connector is retransmitted without change from the MIDI THRU connector.

You can use this to chain multiple MIDI devices together.

MIDI OUT connector

This connector transmits MIDI data. Use this to control external MIDI devices, or to record into an external sequencer.

MIDI IN connector

This connector receives MIDI data. Use this to play the NAUTILUS from another MIDI device, or from an external sequencer.

8. Pedals

DAMPER jack

For the damper–also known as the sustain pedal– you can connect either a standard footswitch, or Korg’s special halfdamper pedal, the optional DS-1H.

The DS-1H half-damper pedal allows a finer degree of control compared to switch-type pedals. Set the pedal polarity so that the half-damper pedal will function correctly.

1. Set the polarity in “Damper Polarity” (GLOBAL > Controllers/Scales–Controller page) as appropriate.

With the KORG DS-1H, use the (–) KORG Standard setting.

2. After setting the polarity, calibrate the pedal using the “Half Damper Calibration” page menu command (GLOBAL > Basic Setup page).

ASSIGNABLE SWITCH jack

This lets you connect a simple on/off footswitch, such as the optional Korg PS-1. The footswitch can perform a wide variety of functions, such as modulating sounds and effects, tap tempo, sequencer start/stop, etc.

The switch’s function is set in GLOBAL > Controllers tab of the Controllers/Scales page, so that it always works the same regardless of the current Program, Combi, or Song. For more information, see “Setting up the Assignable Switch and Pedal” on page 175.

ASSIGNABLE PEDAL jack

This lets you connect a continuous controller pedal, such as the Korg EXP-2 foot controller or Korg XVP-20 EXP/VOL pedal, to use as an assignable modulation source.

Like the ASSIGNABLE SWITCH, the pedal’s function is set in GLOBAL mode. For more information, see “Setting up the Assignable Switch and Pedal” on page 175.

MIDI lets you connect NAUTILUS to computers or other MIDI devices, for sending and receiving notes, controller gestures, sound settings, and so on. For more information on MIDI connections, see “MIDI applications” on page 929 of the PG.

TouchView user interface

h: Page tab

a: Current page

d: Edit cell

b: Category popup button

b: Popup button

e: Knob

f: Slider

i: Page menu buttonCheck-boxMode name Page Group name

a-2

a-1

a-3

b-2

b-1

b-3

Front and rear panels TouchView user interface

The NAUTILUS uses Korg’s TouchView graphical user interface. By touching objects displayed in the LCD screen, you can select pages, set parameter values, move sliders and knobs, enter text, connect virtual patch cables, and more.

a: Current page

This is the current page for the selected mode.

To select a page, press the PAGE button, use the page selector to choose a page group and then select the desired page from the lower row of tabs.

The mode name > page group name is displayed on the top left of the current page.

b: Popup button & menu

Press the desired value or item in the pop-up menu.

PROGRAM, COMBINATION selection pop-up menu

This pop-up menu is used to select program and combination sounds.

a: Bank (List)

The program and combination sounds are listed in banks.

a-1: Bank Select button

This button is used to select banks. This switches between a-3: Sound list.

a-2: PROGRAM Bank Type button

Displays when selecting a PROGRAM sound.

This button switches between KORG format and GM format bank lists.

a-3: Sound list

This is a list of sounds for the selected bank.

When using Program Select (in PROGRAM mode) or Combination Select (in COMBINATION mode), the list displays in a single column; and when using Timbre (Track) Program Select and so on in SEQUENCER mode, this list displays in two columns.

Note: When in bank (list) display mode, the sounds will not switch until you select an item from the list.

b: Bank (10Key)

Introduction to NAUTILUS

Press here and slide to left or right to scroll to the desired location.

Press here to scroll to left or right.

Press here to scroll to the corresponding location.

b-1: Bank Select button ( a-1)

b-2: PROGRAM Bank Type button ( a-2)

b-3: 10 Key

Use these keys to input a sound number for a sound in the selected bank. The sound will switch when you press the update ( ) button.

The sound will be updated and the dialog box will close even if you press the OK button without pressing the update button.

Note: In Bank (10Key) display mode, the sound will change right after you select a bank using Bank Select.

c: Category select

c-1 c-1

c-4 c-3

c-1: Category tabs

These tabs represent the sound categories.

c-2

d: Edit cell

The “edit cell” is shown as a black background in the parameter or parameter value display. Press this to make settings, either by pop-up or by inputting a value.

When this is pressed, the edit cell will be selected as indicated by a green highlight. On some cells you can press the selected edit cell a number of times to display the numeric keypad and input a numerical value.

The parameter value of the edit cell can be modified using the VALUE controllers. (see page 15)

In most cases you can edit the value by touching the edit cell and dragging your finger up or down. (A few parameters don’t support this editing method.) If your hand is obscuring the parameter value on the screen, you can drag your finger to the left or right before editing; as long as you don’t lift your finger from the screen, the parameter will stay selected.

For parameters that accept a note number or a velocity value, you can also hold down the ENTER button and play a note on the keyboard to enter the note number or velocity value.

c-2: Sub Category buttons

Use these buttons to filter down the sound category you selected in c-1 by sub-category.

c-3: Sound list

Note: The categories and sub-categories set in “Global Category” will be displayed (→p.178).

c-4: Scroll bar

When a list is too long for all items to fit on the screen at once, the popup includes scroll bars. You can touch in the empty areas of the scroll bar to move back and forth in the list, or touch and drag the scroll handle.

e & f: On-screen sliders, knobs, and meters

To edit an on-screen slider or knob, simply touch it and then drag to change its value. Knobs can generally be turned by both up-down and right-left gestures.

Alternatively, you can first touch the slider or knob and then use the VALUE controllers to modify the value.

On-screen meters show audio levels for Combination Timbres, Sequencer Tracks, insert, master, and total effects, and the main output.

h: Page tabs

Press tabs to select the page.

i: Page menu button

When this button is pressed, a list of menu commands will appear. The available commands will vary depending on the current page. To select a command, just touch it.

The page menu will close when you press the LCD screen at a location other than the page menu, or when you press the EXIT button.

Even though each page may have its own unique menu commands, the menus are standardized as much as possible. For instance, WRITE is almost always the first menu item in PROGRAM, COMBINATION, SET LIST, and GLOBAL modes.

Front and rear panels TouchView user interface

Cancel button OK button

Radio button

Check box

Dialog box

Many menu commands use dialog boxes to make additional settings. The dialog box that appears will depend on the currently selected menu command.

You can also use the VALUE controller (→p.15) to input a number when selecting a program, combination number or other value in a dialog box.

Pressing the program name may also show the text edit dialog (→p.206). Whatever the case, follow the message shown in the dialog box.

To confirm settings in a dialog box, press the OK button. To exit without making changes, press the Cancel button. After pressing either OK or Cancel, the dialog box will close. The EXIT button corresponds to the Cancel, Done and Exit buttons.

Program Home page Overview/Jump graphics

The PROGRAM > Home page features an interactive overview of the most important parameters, such as oscillators, filters, envelopes, LFOs, and so on. Just touch any of these overview areas, and you’ll jump to the corresponding edit page.

CX-3 Drawbars

You can edit CX-3 drawbars just as you would other slider controls, by touching and dragging the individual drawbars one by one.

There’s also a special feature that allows you to drag shapes across all of the drawbars at once. To use this feature, enable the Drag Across Drawbars check-box in the lower right of the Drawbars page. Then, drag a shape across all of the drawbars horizontally.

Other objects

Patch panel

The MS-20EX and MOD-7 use on-screen patch panels to route audio and control signals.

To make a connection between two patch points:

• Touch one of the two jacks (either input or output), and drag your finger across the screen to the second jack.

A yellow line appears as you drag across the screen, and is replaced by a patch cable once the connection is made.

To delete a connection between two patch points:

• Touch the input jack, and drag off of the jack.

The selected connection will be deleted.

Check box

Each time you press a check box, it alternates between the checked (green) and unchecked states.

The parameter will be active if it is checked, and inactive if it is unchecked.

Radio button

Press a radio button to select one value from two or more choices.

Toggle buttons

This type of button will change its function or button on/off each time it is pressed.

Play/Rec/Mute buttons in SEQUENCER mode:

Solo On/Off buttons in SEQUENCER mode:

Introduction to NAUTILUS

Basic information

About the NAUTILUS’ modes

The NAUTILUS has a large number of features that let you play and edit programs and combinations, record and play sequence data, record and play back samples, and manage data on drive. The largest unit used to organize these features is called a mode.

The NAUTILUS has seven modes.

SET LIST mode

Set Lists make it simple to play and organize any of the sounds loaded into the NAUTILUS, without regard for what bank they’re stored in or whether they’re Programs, Combinations, or even Songs.

Large on-screen buttons make sound selection fast and foolproof, and the Program Up or Down footswitch assignments can be used for hands-free sound changes. Cut, copy, paste, and insert tools make re-ordering a snap.

Smooth Sound Transitions (SST) let the previous sound and its effects ring out naturally, making it easy to change sounds during a live performance. SST is active in all of the NAUTILUS modes, but Set Lists give you greater control over the transitions. You can fine-tune the ring-out time for each sound, so that (for instance) one sound fades out very quickly, while another sound’s delays continue to repeat for ten or twenty seconds.

Set Lists are great for live performance, but they’re also handy for organizing sounds in general. For example, you could create a Set List with all of your favorite String sounds, including both Programs and Combinations.

PROGRAM mode

Programs are the basic sounds of NAUTILUS. In PROGRAM mode, you can:

• Select and play Programs

• Edit Programs

Make detailed settings for oscillators, filters, amps, EGs, LFOs, effects, arpeggiator function (including drum track, step sequence), vector synthesis, etc. The specific parameters will vary depending on the synthesis type: HD-1, AL-1, CX-3, STR-1, MS-20EX, PolysixEX, MOD-7, EP-1, or SGX-2

• Create drum programs using drum kits (as created in GLOBAL mode)

• Use one arpeggiator

• You can play back drum track patterns while you perform with a program. You can also use the step sequencer as an alternative to drum tracks to play back a phrase while you are performing

• The arpeggiator, drum track/step sequencer variations can be managed through four scenes

• Sample and resample

For example, you can sample an external audio source, or you can play a Program and resample your performance.

COMBINATION mode

Combinations are sets of up to 16 Programs that can be played simultaneously, letting you create sounds more complex than a single Program. In COMBINATION mode, you can:

• Select and play Combinations

• Use NAUTILUS as a 16-track multitimbral tone generator

• Edit Combinations

Assign Programs to each of the 16 Timbres, each with separate volume, pan, EQ, and keyboard and velocity zones; make settings for effects, vector synthesis, arpeggiator function (drum track, step sequence)

• Use two arpeggiators

• The arpeggiator, drum track/step sequencer variations can be managed through four scenes

• Sample or resample

For example you can sample an external audio source, or resample a performance you play using a combination.

SEQUENCER mode

SEQUENCER mode lets you record, play back, and edit MIDI tracks and audio tracks. You can:

• Select and play Songs

• Edit Songs

Assign Programs to each of the 16 MIDI Tracks, with separate volume, pan, EQ, and keyboard and velocity zones; make settings for effects, vector synthesis, arpeggiator function (drum track, step sequence)

• Record up to sixteen MIDI tracks simultaneously

• Record up to four of the sixteen audio tracks simultaneously, mix using automation, and import WAVE files

• Use two arpeggiators

• The arpeggiator, drum track/step sequencer variations can be managed through four scenes

• Sample or resample

You can sample an external audio input source while playing a song, and use In-Track Sampling to automatically create a note event that triggers the sample at the same time as it was recorded

• Use NAUTILUS as a 16-track multitimbral tone generator

• Record patterns and assign them to individual keys, using RPPR (Realtime Pattern Play/Recording)

• Create your own Drum Track Patterns

SAMPLING mode

SAMPLING mode lets you record and edit your own Samples and Multisamples. For example, you can:

• Record samples from external audio sources, including sampling through effects

• Edit the recorded samples, or samples loaded from MEDIA mode; set loop points, truncate, time-slice, etc.

• Create and edit Multisamples, which consist of one or more Samples spread out across the keyboard

• Quickly convert Multisamples into Programs

• Create massive sounds using the generous internal RAM: if you like, a single Multisample can use about 6 hours of sampling time

• Load a number of these huge Multisamples at once, via User Sample Banks and Virtual Memory

GLOBAL mode

GLOBAL mode lets you make overall settings for the entire NAUTILUS, and edit wave sequences and drum kits. For instance, you can:

• Make settings that affect the entire NAUTILUS, such as master tune and global MIDI channel

• Set up sample auto-loading at startup

• Manage currently loaded samples

• Create user scales

• Create user Drum Kits and Wave Sequences using samples from ROM, EXs, User Sample Banks or SAMPLING mode

• Create Arpeggio Patterns

• Rename Program, and Combination categories

• Set the function of the assignable pedals and assignable switches

• Transmit MIDI System Exclusive data dumps

Basic information About the NAUTILUS’ modes

MEDIA mode

MEDIA mode lets you save, load, and manage data using the internal disk and external USB 2.0 storage devices. You can:

• Save and load Programs, Combinations, Songs, Samples, and Global setup data

• Format disks and storage media, copy and rename files, etc.

• Load AKAI, SoundFont 2.0, AIFF, and WAVE samples, and export RAM samples in AIFF or WAVE formats

• Export and import sequences to and from SMF (Standard MIDI Files)

• Use the Data Filer function to save or load MIDI System Exclusive data

Introduction to NAUTILUS

MEDIA MODE

OSC 1

PITCH1

FILTER1

AMP1/

DRIVER1

OSC 2

PITCH2

FILTER2

AMP2/

DRIVER2

PROGRAM (HD-1)

TRACK 1

TRACK 8

TRACK 2

TRACK 3

TRACK 4

TRACK 5

TRACK 6

TRACK 7

PROGRAM

SEQUENCER

TRACK 9

TRACK 16

TRACK 10

TRACK 11

TRACK 12

TRACK 13

TRACK 14

TRACK 15

COMBINATION

GLOBAL MODE

Key Assign

WAVE SEQUENCE

DRUM KIT

SAMPLING MODE

Multisample

Sample

Multisample

AUDIO INPUT

USB DRIVE

Resampling

INTERNAL DRIVE

PROGRAM

TIMBRE1

TIMBRE8

TIMBRE2

TIMBRE3

TIMBRE4

TIMBRE5

TIMBRE6

TIMBRE7

PROGRAM

TIMBRE9

TIMBRE16

TIMBRE10

TIMBRE11

TIMBRE12

TIMBRE13

TIMBRE14

TIMBRE15

PROGRAM

MIDI TRACK 1...16

TRACK 1

TRACK 8

TRACK 2

TRACK 3

TRACK 4

TRACK 5

TRACK 6

TRACK 7

REGION

TRACK 9

TRACK 16

TRACK 10

TRACK 11

TRACK 12

TRACK 13

TRACK 14

TRACK 15

REGION

AUDIO TRACK 1...16

MS MS

IFX 1

IFX 12

MFX 1

MFX 2

TFX 1

TFX 2

Insert / Master / Final Eect

WAVE FILES

IFX 1

IFX 12

MFX 1

MFX 2

TFX 1

TFX 2

Insert / Master / Total Eect

EXi 1

EXi 2

PROGRAM (EXi)

IFX 1

IFX 12

MFX 1

MFX 2

TFX 1

TFX 2

Insert / Master / Total Eect

IFX 1

IFX 12

MFX 1

MFX 2

TFX 1

TFX 2

Insert / Master / Total Eect

Audio Recording

Multisample

Drum Kit

Wave Seq.

PCG / SNG

PCG

KSC

Preset Drum Track Pattern

User Drum Track Pattern

DRUM TRACK PATTERN

EP-1

PolysixEX

STR-1AL-1

SGX-2

MOD-7

MS-20EX

CX-3

EP-1

PolysixEX

STR-1AL-1

SGX-2

MOD-7

MS-20EX

CX-3

MS1 (MS/WS)

Drum Kit

MS5 (MS/WS)

MS2 (MS/WS) MS6 (MS/WS)

MS3 (MS/WS) MS7 (MS/WS)

MS4 (MS/WS) MS8 (MS/WS)

MS1 (MS/WS)

Drum Kit

MS5 (MS/WS)

MS2 (MS/WS) MS6 (MS/WS)

MS3 (MS/WS) MS7 (MS/WS)

MS4 (MS/WS) MS8 (MS/WS)

USB AUDIO IN1USB AUDIO IN

SET LIST

Multisample

Slot 127

Slot 001

Slot 000

Set List 000 ... 127

DS1 (DS/Sample)

DS5 (DS/Sample)

DS2 (DS/Sample)

DS6 (DS/Sample)

DS3 (DS/Sample)

DS7 (DS/Sample)

DS4 (DS/Sample)

DS8 (DS/Sample)

Arpeggiator A

Drum Track / Step Sequencer

Drums Program

Scene1...4

Arpeggiator A

Drum Track / Step Sequencer

Drums Program

Scene1...4

Arpeggiator A

Arpeggiator B

Drum Track / Step Sequencer

Scene1...4

IFX 1

IFX 12

MFX 1

MFX 2

TFX 1

TFX 2

Insert / Master / Total Eect

Arpeggiator A

Arpeggiator B

Drum Track / Step Sequencer

Scene1...4

Basic information About the NAUTILUS’ PCM memory

About the NAUTILUS’ PCM memory

“PCM” is another way of saying “samples.” The NAUTILUS has several types of PCM banks, as described below: ROM, EXs, User Sample Banks, and Sampling Mode Data.

For more information on the contents of the included ROM and EXs sample data, see the Voice Name List (VNL).

ROM

The NAUTILUS ROM contains the basic multisamples and samples, and is always loaded and available.

EXs

EXs stands for EXpansion Samples. These can be loaded or not, as you wish. The NAUTILUS comes with a number of EXs libraries, including multiple gigabytes of samples.

User Sample Banks

User Sample Banks may be sounds that you create yourself, or load from imported Akai or SoundFont 2.0 libraries, or WAV or AIFF files.

Sampling Mode Data

SAMPLING mode is used to create and edit samples. When you save Sampling Mode Data, it becomes available as a User Sample Bank.

Using samples in your own sounds

You can use any of these bank types, together or separately, when making your own sounds. Simply set the Bank as desired in the Program or Wave Sequence Step’s

Multisample Select fields, or the Drum Kit Drumsample Select fields. For more information, see:

• Program: “Bank (Multisample),” on page 51 of the PG

• Wave Sequence: “Bank (Multisample),” on page 662 of the PG

• Drum Kit: “Bank,” on page 669 of the PG

Lossless compression

When EXs data is loaded into RAM, the NAUTILUS uses a lossless compression technique. This yields a modest reduction in size; for instance, EXs1 uses 284MB of RAM for 313MB of data.

You’ll notice that this is much milder than the dramatic size reductions of mp3, or the PCM compression sometimes found in other synthesizers. There is a strong advantage over these other methods, however: the NAUTILUS compression is completely lossless, and causes absolutely no degradation in audio quality.

Loading samples at startup

The NAUTILUS can load your favorite samples automatically at startup. For more information, see “Automatically loading sample data” on page 179.

User sampling RAM capacity

The NAUTILUS is equipped with 3 GB of RAM. Approximately 1 GB of this RAM is used by the operating system and ROM sample data. The remainder is shared between the samples in EXs, User Sample Banks, and SAMPLING mode.

This means that the size of the currently loaded EXs and User Sample Banks trades off against the memory available for SAMPLING mode. The more space used by EXs and User Sample Banks, the less is available for SAMPLING mode.

Using Virtual Memory for EXs and User Sample Banks generally lets you load more samples at once, but may still use a substantial amount of RAM.

Note: To check the amount of sample RAM available, see

“0–1f: Free Sample Memory/Locations” on page 579 of the

PG.

For more information, see “Free RAM and approximate sampling times” on page 123.

About polyphony

Most hardware synthesizers offer a single, fixed method of synthesis, a predetermined number of voices, and a fixed amount of effects processing power for a specific number of effects. NAUTILUS is different; it has no fixed synthesis method, its polyphony varies depending on which synth engines are being used, some synth engines provide additional effects (augmenting the 16 normal effects slots), and there are sometimes trade-offs of processing power between voices and effects.

This flexibility means that the system can deliver power where you need it the most. As you play different sounds from different synth engines, the NAUTILUS automatically divides its processing power appropriately.

Unlike most computer-based systems, NAUTILUS also monitors the overall processing power, reducing the overall number of voices if necessary, to make sure that there are never problems with the audio.

Normally, you shouldn’t need to think about this at all; it will just happen automatically. Sometimes, however, it can be convenient to know how the system is allocating its resources. The Performance Meters page shows this information; you can find it on the Perf Meters tab of Home in PROGRAM, COMBINATION, and SEQUENCER modes. For more information, see “0–2: Performance Meter” on page 13 of the PG.

Introduction to NAUTILUS

Page tab

Basic operations

After you’ve turned on the NAUTILUS, here’s how to perform basic operations such as selecting modes and pages.

1. Selecting modes

To enter each mode, press the MODE button and then the respective mode button in the Mode menu on the display. The NAUTILUS features seven operating modes.

SET LIST button

This selects SET LIST mode. Set Lists make it simple to play and organize any of the sounds loaded into the NAUTILUS, without regard for what bank they’re stored in or whether they’re Programs, Combinations, or even Songs.

PROGRAM button

This selects PROGRAM mode, for playing and editing basic sounds.

2. Selecting pages

Each mode has a large number of parameters, which are grouped into pages. These are further subdivided by tabs into up to nine tab pages.

1. Select the desired mode, as described above.

We’ll use PROGRAM mode as an example for our explanation. Press the MODE button to select the PROGRAM mode.

2. Press the PAGE button to go to the Page Select.

As an example here, select the Basic/X-Y/Controllers button.

COMBINATION button

This selects COMBINATION mode, for playing and editing complex splits and layers of Programs.

SEQUENCER button

This selects SEQUENCER mode, for recording, playing, and editing audio and MIDI tracks.

SAMPLING button

This selects SAMPLING mode, for recording and editing audio samples and multisamples.

GLOBAL button

This selects GLOBAL mode, for making overall settings, editing Wave Sequences and Drum Kits, and more.

MEDIA button

This selects MEDIA mode, for saving and loading data to and from the internal disk or external USB storage devices.

3. The current page indication in the upper left of the LCD screen will indicate “PROGRAM > Basic/XY/Controllers,” and the page group will change.

When you press the EXIT button, you will return to Home from any page.

Basic information Basic operations

X-Y Control tab

Menu commands button

4. Press a tab (page tabs) to select a page.

As an example here, press the X-Y Control tab. The current page indication in the upper left of the LCD screen will stay the same.” You’ve selected the X-Y Control page.

Note: In some cases, there may not be any tabs in the upper line.

3. Selecting and changing parameters

1. Press the parameter that you want to edit.

A green line will appear to the left of the parameter (edit cell).

2. The parameter value in the edit cell can be edited using touch-drag or with the VALUE controllers (including the VALUE dial, the −/+ buttons, the ENTER button and so on). For edit cells that can accept numerical input, input the number by selecting the edit cell, and then touching the same edit cell again to display the numeric keypad.

Note: The way that the value will change depends on the type of parameter or object.

For example, the values on a checkbox object can be switched by pressing that object. To input a note and velocity number using the keyboard, play a key while holding down the ENTER button.

Note: You can use the Compare page menu command to compare the sound you’re editing with the original unedited sound.

+/− buttons VALUE dial

Use this when you wish to make large changes in a value.

To make detailed changes to the values, turn the dial while holding down the ENTER button.

How the values change when using the −/+ buttons or the dial when inputting the tempo

120.00 → 121.00 → 122.00 → ...

How the values change when using the −/+ buttons or the dial while holding down the ENTER button

120.00 → 120.01 → 120.02 → ...

Popup buttons and popup menus

You can press a popup button to access a popup menu, and then set parameter values.

Numeric keypad

After you select an edit cell that accepts numeric input, touch the same cell again to display the numeric keypad.

Keyboard input

When entering a note number or a specific velocity as the value of a parameter, you can use the keyboard to input the setting. Hold down the ENTER button and play the note that you wish to enter as a value. The note number or velocity value will be input.

When the GLOBAL > Drum Kit page is displayed, you can hold down the ENTER button and play a note to recall the settings that have been assigned to that note. (If the parameter you’ve selected expects you to enter a velocity value, the velocity you played will be entered.)

In SAMPLING mode, you can hold down the ENTER button and play a note to recall the index that is assigned to that note.

4. Selecting and executing menu commands

VALUE controller

The menu provides commands that are specific to each page, such Write (save) or Copy. The available functions will depend on the current page.

For example, the utility functions in PROGRAM mode let you write (save) the settings, perform convenient editing operations such as copying settings between oscillators or effects, “Sync” EGs so that you can edit two of them at once, and so on.

Introduction to NAUTILUS

1. In the upper right of the display, press the menu button.

A list of menu commands will appear.

2. Select a menu command by pressing it with your finger.

A dialog box for the selected menu command will appear. Check-type commands will not display a dialog box; their status will be switches, and the list will close.

• To close the list without selecting a command, press the display somewhere other than the list, or press the EXIT button.

3. For a parameter in a dialog box, select it by pressing it with your finger, and use the VALUE dial or +/− buttons to enter its value.

4. To execute the command, press the OK or ENTER button. If you decide not to execute the command, press the Cancel button or the EXIT button.

The dialog box will close.

Compare command

Use this when you wish to compare the edits you have made to a program or combination’s sound with the un-edited original (i.e., the sound that is written into memory).

When editing a program or combination, execute the command, and the last-written settings for that program number or combination number will be recalled. When you execute the command once again, you will return to the settings that you were editing.

If compare command will not appear on the page menu command, you cannot return to the settings that you were editing.

In SEQUENCER mode, you can use the command to make “before and after” comparisons immediately after using realtime recording or step recording to record a song, or after performing a track edit operation.

For example, this can be used effectively when realtimerecording a track for a song.

1. Realtime-record a MIDI track. (Take 1)

2. Once again, realtime-record on the same track. (Take 2)

3. Execute the command, and take 1 will be recalled.

4. Execute the command once again, and take 2 will be recalled.

5. If at step 3 you once again realtime-record on the same track (take 3), the object of the Compare function will now be take 1.

If at step 4 you once again realtime-record on the same track (take 3), the object of the Compare function will be take 2.

In this way, the Compare function lets you recall the previous recording or the previous state of event editing.

5. Using the Quick Access buttons

The button function settings can be accessed from the Quick Access page in GLOBAL mode. (See “Configuring the QUICK ACCESS buttons” on page 176.)

When you press a QUICK ACCESS button along with a different button, the buttons serve as a shortcut to the page jump and page menu commands.

MODE button + A...F buttons

This works as a shortcut to switch between modes.

MODE button + A: SET LIST mode MODE button + B: PROGRAM mode MODE button + C: COMBINATION mode MODE button + D: SEQUENCER mode MODE button + E: SAMPLING mode MODE button + F: GLOBAL mode/MEDIA mode

(toggles between modes)

ENTER button + A...F buttons

Six functions (except for “Compare”) from the page menu command that is displayed from up to down are selected, each corresponding to the mode buttons.

PAGE button + A...F buttons

Jumps to a pre-allocated page in the current mode.

EXIT button + A...F buttons

Activates the following functions, but only in SEQUENCER mode.

EXIT button + A button: SEQUENCER PLAY/STOP button EXIT button + B button: SEQUENCER REC/WRITE button EXIT button + C button: SEQUENCER LOCATE button EXIT button + D button: SEQUENCER REW button EXIT button + E button: SEQUENCER FF button EXIT button + F button: SEQUENCER PAUSE button

6. Writing and saving

After you edit, you should write or save your changes as necessary. For example if you’ve edited a program, your changed will be lost if you select another program or turn off the power. The same applies to a combination. Settings you edit in GLOBAL mode will be remembered as long as the power is on, but your changes will be lost when you turn off the power.

For details on the Write operations, see the following pages.

• Programs: see “Saving your edits” on page 34

• Combinations: see “Saving your edits” on page 70

• Effect presets: see “Saving Effect Presets” on page 232

• Global settings: see “Writing Global settings” on page 208

• Arpeggio Pattern: see “Saving the arpeggio pattern” on page 201

• Wave Sequences: see “Saving Wave Sequences” on page 192

• Drum kits: see “Saving Drum Kits” on page 196

• User Drum Track patterns: see “Creating Drum Track patterns” on page 169

Preset/user Drum Track patterns are saved in internal memory even when the power is turned off. Patterns you create in SEQUENCER mode can be converted into user Drum Track patterns and saved in internal memory.

• User template songs: see “Saving your own Template Songs” on page 78

Preset/user template songs are saved in internal memory even when the power is turned off. Track settings and effect settings of a song you create can be saved in internal memory by the menu command Save Template Song.

• Writing to internal memory →p.205

Basic information Basic operations

For more information about saving, refer to the following page.

• Saving to internal drive, CDs, and USB media →p.209

Note: On the NAUTILUS, the action of writing into internal memory is called “Writing,” and the action of saving to an external USB storage device is called “Saving.”

Introduction to NAUTILUS

Setup

Turning the power on/off

1. Connecting the power cable

1. Connect the included power cable to the NAUTILUS’ rear panel AC power inlet.

2. Connect the other end of the power cable to the AC power outlet.

If your power cable uses a separate ground wire, you must connect this ground wire before inserting the plug into the AC outlet. When disconnecting, you must first disconnect the plug before you disconnect the ground wire. If you are unsure of how to make connections, please contact your Korg Distributor.

Make sure that your AC outlet is the correct voltage for your instrument.

2. Turning the power on

1. Press the rear panel (power button) to turn on the power.

2. Turn on your powered monitors or stereo amp.

3. Turn the NAUTILUS’s MASTER VOLUME slider all the way down to an appropriate level, and adjust the volume of your powered monitors or stereo amp.

After you’ve turned off the power, you must wait approximately ten seconds before turning the power on again.

Tip : You can set the Power On Mode (GLOBAL > Basic Setup– Basic page) so that the mode and page that had been selected when you turned the power off will appear when the power is turned on.

For more information, see “Recalling the last-selected mode and page at power-on” on page 173.

Never turn off the power while data is being written into internal memory. The display will show the message “Now writing into internal memory” when this is in progress.

Never turn off the power while media such as the internal drive is being accessed, such as while recording or

playing audio tracks, or sampling to disk for an extended time. Turning off the power while disk access

is occurring may render the media unusable. The DISK LED shows when the internal drive is being accessed.

If you’ve turned off the power and want to turn the power on again, wait for about 10 seconds after turning the NAUTILUS off.

Auto Power-Off

The NAUTILUS can be set to automatically turn off the power when the system has not been active for a certain length of time.

Note: “Activity” includes using the TouchView display and most front panel controls, playing sounds, sending or receiving MIDI, local or ftp drive activity, etc. It does not include usage of the MASTER VOLUME slider, however.

When the power turns off, any un-saved edits or settings will be lost. Make sure that you save important settings before this occurs.

You can control the amount of time before the system turns off, or disable Auto Power-Off entirely. To do so:

1. Go to the GLOBAL > Basic Setup– Basic page.

2. In the menu, select the Auto Power-Off Setting… command.

The dialog box below will appear.

3. Turning the power off

When you turn off the power, the programs and combinations etc. will revert to their unedited state. If you want to keep your edits, you’ll need to Write them. For more information, see “Saving data” on page 203.

Similarly, the user multisample and sample data will be erased when you turn off the power. If you want to use these again, save the data before turning off the power, and then reload the data when you restart the NAUTILUS.

Note: You can set the samples and multisamples to be reloaded automatically when the NAUTILUS is powered up. See “Automatically loading sample data” on page 179.

1. Turn the NAUTILUS’s MASTER VOLUME slider all the way down, minimizing the volume.

2. Turn off the power of your powered monitor or stereo amp.

3. Press the NAUTILUS’s (power button) to turn off the power.

After you press the power button, you can let go once all of the LEDs on the panel buttons have gone dark.

3. Press the Auto Power-off popup button to select the length of idle time after which the power will turn off. If you don’t want the power to turn off automatically, set this to Disabled.

4 hours is the default.

You can also reach this dialog box from the two warning dialogs associated with Auto Power-Off, as described below.

Changing the Auto Power-off setting at startup

If Auto Power-off is enabled, a dialog box indicating the time until automatic power-off will appear immediately after start-up.

The dialog box will close automatically after a few seconds. The clock icon shows the time left before the dialog box closes. Press the clock icon to keep the dialog box open. Press the Change Setting or OK button to close this dialog box.

1. To change the auto power-off setting, press the Change Setting button.

The Auto Power-Off Setting dialog box will appear, just as if you’d selected the Global menu command described above.

Setup Turning the power on/off

Auto power-off warning message

When the specified length of time has elapsed without any user input on the NAUTILUS, a message will appear, warning you that the auto power-off function is about to turn off the power.

If you want to continue using the system, press the keyboard, a button, or some part of the display such as the Extend button. The Auto power-off function will be reset. If the specified length of time again elapses with no user input, the same message will appear again. You can also use the Change Setting button to bring up the Auto Power-Off Setting dialog, as described above.

Introduction to NAUTILUS

Connections

Connections must be made with the power turned off. Please be aware that careless operation may damage your speaker system or cause malfunctions.

6. Connecting to computers via USB

4. Connecting USB devices

CD-R/RW, hard disks, removable disk, etc.

USB MIDI Controller

to an AC outlet

Computer

USB

USB cable

AC power supply

Power cable (Included)

2. Analog audio input connections

Eect unit

Power button

INPUT

MicGuitar

USB A USB B

1. Analog audio output connections

Monitor OUTPUT

AUDIO

INPUT

MixerPowered monitors, etc.

ASSIGNABLE PEDAL

ASSIGNABLE SWITCH

DAMPER

AUDIO OUTPUT

Headphone

PHONES

5. MIDI Connections to equipment & Computers

1. Analog audio output connections

Here’s how to connect the NAUTILUS to your analog amp or mixer.

If you’re using a home stereo system, be aware that playing at high volume may damage your speakers. Be careful not to raise the volume excessively.

Audio Outputs (main) L/MONO and R

These are the main outputs, accessed by setting Bus Select to L/R. All of the factory sounds use these outputs, and the Master and Total Effects are always routed here as well.

All of the NAUTILUS analog outputs use 1/4" balanced TRS jacks. For best results, use balanced connections to your audio system.

1. Connect the Audio Outputs (main) L/MONO and R outputs to the inputs of your amp or mixer.

If you’re using NAUTILUS in stereo, use both the (main) L/MONO and R jacks. If you’re using NAUTILUS in mono, use only the (main) L/MONO jack.

Synthesizer

3. Connecting Foot Pedals and Switches

2. Use the MASTER VOLUME slider to adjust the volume.

The MASTER VOLUME slider affects only the main stereo outputs and the headphones; it does not affect the individual outputs, or the USB output.

Audio Outputs (individual) 1…4

These are 4 additional analog outputs, which can be used as individual mono outputs, stereo pairs, or any combination of the two. Almost any signal source can be routed to these outputs, including:

• Each note in a Drum Kit

• Insert Effect outputs

• Individual Programs in a Combination or Song (or the sum of the Program’s oscillators in PROGRAM mode)

• Audio tracks

• Audio inputs

You can use these to isolate or group together sounds for recording, or for complex live performance setups.

1. Connect the (individual) 1…4 outputs to the your amp or mixer inputs.

Setup Connections

2. Use the Bus Select parameters to send the desired sounds, audio tracks, inputs, or effects to the individual outputs, as either mono (1…4) or stereo (1/2 and 3/4) signals.

If the signal is going through one or more insert effects, the output is set at the last IFX in the chain, via the Bus Select parameter on the IFX– Insert FX page.

If a Program, Timbre, or Track is not going through any insert effects, the output is set using the Bus Select parameters on the Routing page.

To assign audio inputs directly to outputs, use Bus Select parameters in the Sampling page.

In GLOBAL mode, the Basic Setup– Audio page L/R Bus Indiv. Assign setting lets you mirror the MAIN stereo L/R output on any pair of individual outputs. You can use this to create a private monitoring setup in live and studio environments. For more information, see “L/R Bus Indiv. Assign” on page 638 of the PG.

Note: The MASTER VOLUME slider doesn’t affect the volume of the individual outputs.

Headphones

1. If you’re using headphones, connect them to the NAUTILUS’ headphone jack.

2. Use the MASTER VOLUME slider to adjust the volume of the headphones. The NAUTILUS’ headphone jack outputs the same signal as the (main) L/MONO and R jacks.

Tip: To monitor the signals from the individual outputs, use an external mixer.

2. Analog audio input connections

You can bring external analog audio sources into the NAUTILUS for sampling, recording, or processing through the internal effects.

Audio Inputs 1, 2

These two inputs use 1/4" TRS balanced jacks, and include preamps with adjustable gain. To set up the audio inputs:

1. Connect your mics or the output jacks of your external audio sources to the Input 1 and 2 jacks.

2. With the Audio Input param eter o n the PROG RAM > Home– Sampling page, set Bus Select of Input 1 and Input 2 to “L/R”.

3. Press the Audio In button while holding down the SHIFT button to display the Analog Input Setup dialog box. Switch “Input Select” to “Mic” or “Line” according to the device that is connected, and adjust the Analog Input Gain.

Choose the Mic setting only when connecting a mic. Note that some microphones, such as condensers, may require external phantom power, which is not supplied by the NAUTILUS.

Choose the Line setting if you’ve connected a mixer, computer, audio system, signal processor, or another synthesizer.

Note: Guitars with active pickups can be connected directly. Guitars with passive pickups (i.e., guitars that do not have an internal preamp) can be used, but the impedance mismatch will cause both a change in tone and a reduction in volume. For best results, route such guitars through a preamp or effects unit before connecting them.

4. Adjust the output level on any connected external equipment.

5. After turning on the power, use the Audio Input page to set up the volume, pan, bus routing, and send levels for the inputs, as desired.

For more information, see

• “Audio Input settings” on page 93

• “Audio Settings” on page 126

• “0–8: Sampling” on page 22 of the PG

• “0–2: Audio” on page 637 of the PG

3. Connecting Foot Pedals and Switches

Connecting a damper pedal

The damper pedal is also sometimes called the sustain pedal. It acts like the similarly-named pedal on an acoustic piano; when you hold down the pedal, notes will continue to sustain even when you lift your hands off of the keyboard.

1. Connect an optional DS-1H damper pedal to the DAMPER jack. If you’ve connected a DS-1H, you’ll be able to obtain half-damper effects.

After turning the power on:

2. Go to the GLOBAL > Controllers/Scales– Controller page, and use the Damper Polarity parameter to set the damper polarity.

3. Go to the GLOBAL > Basic Setup– Basic page, and use the Half Damper Calibration menu command to adjust the sensitivity if desired.

For more information, see “Damper Pedal (Sustain)” on page 31, and “Damper Polarity” on page 675 of the PG.

Connecting a foot switch

You can use a connected foot switch to perform functions such as controlling sostenuto, soft pedal on/off, ARP on/off, selecting Programs, Combinations, or Set List Slots, starting/stopping the sequencer, and controlling tap tempo.

1. Connect a foot switch such as the optional PS-1 to the ASSIGNABLE SWITCH jack.

2. After turning the power on, use GLOBAL > Controllers/Scales– Controller “Foot Switch Assign” and “Foot Switch Polarity” to assign the function controlled by the foot switch and to specify the polarity.

For more information, see “5–1a: Foot Switch & Pedal/Damper” on page 675 of the PG.

Introduction to NAUTILUS

NAUTILUS

CD-R/RW, hard disk, removable disk, etc.

Type A

Type B

USB cable

USB hub

USB MIDI Controller

USB QWERTY Keyboard

Connecting a foot pedal

You can use a connected foot pedal to control volume, modulation, or other functions.

1. Connect an optional XVP-20 or EXP-2 etc. to the ASSIGNABLE PEDAL jacks.

2. After turning the power on, use GLOBAL > Controllers/Scales– Controller “Foot Pedal Assign” to assign the function controlled by the foot pedal.

For more information, see “Foot Pedal Assign” on page 675 of the PG.

4. Connecting USB devices

The NAUTILUS supports high-speed USB 2.0 for connecting to storage devices, such as hard drives, flash media, and CD-R/RW drives, as well as class-compliant USB MIDI controllers.

USB storage devices

You can save and load samples, sounds, sequences, and other data to and from USB 2.0 storage devices for backup, transferring to computers, etc.

Note that HDR tracks must be played from and recorded onto the internal disk. You can back them up to USB devices, however.

The maximum supported capacity depends upon the format of the USB device. With FAT16 format, the maximum capacity is 4 GB; with FAT32, the maximum is 2 TB (2,000 GB).

1. Use a USB cable to connect your USB storage device to one of the NAUTILUS’s USB A ports.

Standard USB cables have a different connector at each end. Plug the flat, rectangular connector into the NAUTILUS, and plug the square-ish connector into the external USB storage device.

Note: If the device you are using does not support hotplugging, make connections with the device powered-off, and then turn on the power of your device.

2. Wait a few seconds for the device to be recognized.

3. Use the MEDIA mode Drive Select screen to check the connection.

For more information, see “Loading & saving data” on page 203.

USB MIDI controllers

You can connect class-compliant USB MIDI controllers directly to the NAUTILUS, and use them just as you would controllers connected to the 5-pin MIDI jacks. To do so:

1. Use a USB cable to connect your USB MIDI controller to one of the NAUTILUS’s USB A ports.

If the controller is set to a different MIDI channel than the NAUTILUS’s Global MIDI Channel, you can use it to play a different sound than the local keyboard in Combinations or Songs, as controlled by the Timbre or Track MIDI settings.

USB alphanumeric keyboards

Anywhere that you can enter text, you can use a connected USB alphanumeric keyboard as an alternative to the touchscreen keyboard. The standard US “IBM PC” QWERTY keyboard layout is recommended.

Hot-plugging

The NAUTILUS supports USB hot-plugging. This means that you can connect or disconnect the USB cable while the power is on.

Note: In order to use hot-plugging, the USB device you are connecting must also support hot-plugging.

8 USB devices maximum

NAUTILUS has USB 2.0 ports, and can support up to 8 USB devices simultaneously. Note that it doesn’t matter how the devices are connected; even if you use hubs or different ports, the maximum is always 8 devices.

USB Power

Some USB devices get their power from the USB connection. These are called “bus-powered” devices, and they are supported by the NAUTILUS.

Other USB devices may require a separate power source, in addition to the USB connection; in this case, you’ll need to use an appropriate power adaptor for the device.

There is a limitation to the total current supplied to all connected USB devices, as defined by the USB specification. If the total current consumption of the connected devices exceeds this limit, the NAUTILUS may not correctly recognize the connected USB devices. If this happens, the error message “USB Hub Power Exceeded!” will appear.

To avoid this problem, if you connect more than one USB device, please use a self-powered USB hub in self-powered mode. For details on connections and settings for your hub, please refer to its documentation.

For details on the electrical current used by a specific USB device, refer to its owner’s manual.

5. MIDI connections to equipment & computers

Connections to MIDI equipment

The keyboard, controllers, and sequencer etc. of the NAUTILUS can be used to control an external MIDI tone generator. Conversely, another MIDI keyboard or sequencer can control the tone generator of NAUTILUS to produce sound.

• Use MIDI cables to connect the MIDI connectors of

NAUTILUS with the MIDI connectors of your external device.

For more information, see “Connecting MIDI devices & computers” on page 929 of the PG.

Connections to a computer via MIDI

In conjunction with MIDI software on your computer, you can use the NAUTILUS as a MIDI controller, and transmit the NAUTILUS sequencer playback as MIDI data. You can also play the NAUTILUS sounds from the computer. To do so:

• Use a MIDI interface to connect the MIDI connectors of

NAUTILUS to the MIDI connectors of your computer.

For more information, see “Connecting MIDI devices & computers” on page 929 of the PG.

Note: Some USB-MIDI interfaces may not be able to transmit or receive the NAUTILUS’s MIDI System Exclusive messages.

Setup Connections

6. Connecting to computers via USB

The NAUTILUS’s USB B port lets you connect to a USBequipped Mac or Windows PC, for sending and receiving MIDI and audio, and for connecting to the NAUTILUS Editor.

For USB audio, the NAUTILUS uses the standard USB audio driver that comes with Windows or macOS, so you don’t need to install a separate audio driver.

Installing the KORG USB-MIDI driver

The NAUTILUS cannot be used by multiple applications simultaneously when you are using the standard USB-MIDI driver included with the Windows operating system. If you want to use the NAUTILUS with multiple applications simultaneously, you must install the Korg USB-MIDI driver.

Even if the NAUTILUS will not be used with multiple applications, we recommend installing the KORG USBMIDI driver, as it may offer improved operating stability.

Download the “Korg USB-MIDI driver” from the Korg website, and install it as described in the accompanying documentation.

Note: See the Korg website for the latest information on OS support. https://www.korg.com/support/os/

Note: When you first connect the NAUTILUS to your computer, the USB-MIDI driver included with the operating system will be installed automatically.

Introduction to NAUTILUS

Playing and editing Programs

Playing Programs

What’s a Program?

Programs are the basic sounds of the NAUTILUS. You can play them by themselves, layer them together in Combinations, or play a different Program on each of the 16 MIDI tracks, either from the internal sequencer or from external computer-based sequencers.

Selecting Programs

There are several different ways to select Programs. Each one is convenient in a different way:

• Using the VALUE controller, you can select Programs

quickly via physical controls

Selecting by Bank and number (via the touch-screen) lets you browse through all of the Programs in memory, to find the one that you want

Selecting by Program category (via the touch-screen) lets you filter Programs by sound type, such as Pianos or Drums

• Using Find (via the on-screen magnifying-glass icon)

lets you search for Programs by name

• Using a foot-switch lets you change Programs even

while both hands are busy playing on the keyboard – convenient for live applications

• MIDI program change messages let you select Programs

remotely, from either a MIDI sequencer or an external MIDI controller

This section of the manual takes a quick look at playing Programs, including how to select programs and basic editing techniques.

Selecting a program by operating the NAUTILUS

1. Press the MODE button and select PROGRAM on the display to enter PROGRAM mode.

2. The Overview/Mix Balance tab page on the Home page will be displayed.

“PROGRAM > Home” will be displayed on the top row of the display, and the Overview/Mix Balance tab on the bottom row will be selected.

If a different page is shown, press the EXIT button several times.

3. Check that the program name is selected.

If the program name (“Program Select”) is not selected, press the program name on the PROGRAM > Home page to select it.

4. Use the VALUE controller to select the number of the program you want to play.

Set Lists

Programs can also be selected in Set Lists, along with Combinations and Songs. For more information, see “Set Lists” on page 113.

You can use the following methods to select a Program.

•Turn the VA L U E dial.

• Press the + or − buttons.

Overview: Program Banks

NAUTILUS ships from the factory with over 2,000 Programs loaded into memory. All of the factory Programs can be over-written with your own edits, if desired–except for the GM banks.

1,024 of other Program slots are left open for your own programming or additional sound libraries. The exact contents may differ depending on the NAUTILUS model.

Programs are organized into 32 Banks, as described below. You can also store many more Programs on the internal disk(s), or on external USB 2.0 devices. Additional banks of sounds may already be on the internal disk as shipped from the factory.

Bank M is the default location for Programs created by resampling.

Playing and editing Programs

Program Select

Program Select popup button

Favo rite

Program Bank Contents

As shipped from the factory, the contents of the Program Banks are as follows:

Program bank contents

Bank Contents Bank Type

A...E EXi sounds

F. .. O HD-1 sounds

P...R Initialized EXi Programs

S, T Initialized HD-1 Programs

GM GM2 main Programs

g(1)…g(9) GM2 variation Programs

g(d) GM2 drum Programs

Bank type can be set to either HD-1 or EXi

Changing the Program Bank Types

Banks can contain either HD-1 Programs or EXi Programs, but not both. This assignment can be set separately for each bank. To do so:

1. Press the front-panel MODE button to enter GLOBAL mode.

2. Press the PAGE button to select the Basic Setup and go to the Basic Setup page.

3. Press the page menu button, and select Set Program Bank Type.

4. Change the Type for the desired banks. Leave all of the other banks set to “No Change.”

Important: Setting a bank’s type will erase all of the

Program data in the bank - so make sure that you’re not erasing any Programs you want to keep!

5. Press the OK button.

An “Are You Sure ?” dialog appears.

6. If you’re certain of the change, press OK again.

The selected banks will now be initialized to use the new Program types.

Selecting by bank and number

You can select Programs from a list organized by Program bank.

1. Press the Program Select popup button.

The Program Select dialog appears.

Press the Bank(List) button to display the Bank/Program Select menu.

Bank/Program Select menu

In this illustration, bank A is selected. The list on the right shows the Programs contained in that bank.

2. Press one of the Program names in the list to select a Program.

The selected Program will be highlighted, and the keyboard will immediately switch to the new sound.

3. If you like, play a few notes to hear the new Program.

You can play the new Program while the menu is still showing, without needing to press OK.

4. When you are satisfied with the selected Program, press the OK button to close the popup menu.

If you press the Cancel button, the selection you made here will be discarded, and you will return to the program that had been selected before you opened the menu.

Playing Programs Selecting Programs

Selecting by Category

You can select Programs from within a category, such as keyboard, organ, bass, and drums. When shipped from the factory, the Programs are organized into 16 categories, each with several sub-categories. There are also 2 more categories, initially named User 16 and User 17, which you can use and rename as desired.

1. Press the Program Select pop-up button.

The Program Select menu appears.

Press the Category button to display the Category/Program Select menu.

Category/Program Select menu

In the illustration above, the Motion Synth category is selected. The list on the right shows the Programs which belong to that category.

2. Press the tabs on the left and right sides of the display to selecting a different category.

The name of the selected category will be displayed in full in the upper right of the display.

3. Optionally, focus on a more specific group of sounds by selecting a sub-category from the upper row of tabs.

The full name of the sub-category also appears in the upper right of the display.

4. Press one of the names in the center area to select a Program.

The selected Program will be highlighted.

5. When you are satisfied with the selected program, press the OK button to close the popup menu.

If you press the Cancel button, your selection will be discarded, and you will return to the Program that had been selected when you opened the popup menu.

Using the Find feature

At the bottom of the Program Select menu screen, you’ll see a button marked with a magnifying glass. Pressing this button brings up the Find dialog. You can use Find to search for Programs by name. To do so:

1. Press the magnifying glass to open the Find dialog.

2. Enter the text to search for.

For instance, you can enter “Pian” to search for Programs with “piano” in the name. Ignore Case is enabled by default; disable this if you want the find function to distinguish between upper and lower case.

In addition to the on-screen keyboard, you can use a USB alphanumeric keyboard to enter text. For more information, see “Editing names and entering text” on page 206.

3. Press Find to find matches to the entered text.

The names of Programs which match the provided text will appear, displayed one at a time.

4. Use the Next and Previous buttons to step through the Programs. Alternatively, use the front-panel +/− buttons.

You can audition the Programs by playing on the keyboard.

5. To select a found Program, press the OK button. To exit without selecting a new Program, press the Cancel button.

Find is available throughout the system

Find is also available at the bottom right of the selection dialogs for Programs, Combinations, Songs, Set Lists, Samples, Multisamples, Wave Sequences, Drum Kits, Effects, and MOD-7 algorithms.

Using the Favorites check-box

The Bank and Category select pop-ups both include a Favorite check-box at the bottom of the screen. This lets you trim the list to show only Programs you’ve marked as favorites.

If the selected Bank or Category contains no Programs marked as Favorites, the check-box will be grayed out and unavailable. When shipped from the factory, no Programs will be marked (we leave that up to you, since they should be your favorites!).

To mark a Program as a Favorite:

1. Go to the Home page.

Playing and editing Programs

2. Press the  (Favorite) to the left of the Tempo parameter. The  turns green. (this shows that the box is “checked”)

3. Write the Program.

This is an important step. If you don’t write the Program, the change to the Favorites check-box won’t be retained.

For details on how to write Programs, see “Saving your edits” on page 34.

Using a footswitch to select Programs

You can assign a footswitch to step through Programs one by one, either going up (0, 1, 2, 3, etc.) or going down (3, 2, 1 etc.). This lets you change Programs without using your hands–great for quick Program changes in live performance situations.

There are two ways of doing this: by assigning the footswitch to Program Up/Down, or to Value +/−. Program Up/Down is recommended for normal use, while Value +/− is a special-purpose setting, as described below.

Note: These settings apply to Set Lists and Combinations, as well.

Assigning the footswitch to Program Up/Down

Assigning the footswitch to Program Up or Program Down lets you directly control Program changes from the footswitch.

To set this up:

1. Connect a foot switch to the rear-panel ASSIGNABLE SWITCH input.

Use a simple on/off footswitch, such as the optional Korg PS-1.

2. Press the MODE button to select GLOBAL mode.

3. Go to the GLOBAL > Controllers/Scales– Controllers page.

4. Set the Foot Switch Polarity parameter to match the connected switch.

5. At the top of the page, set the Foot Switch Assign parameter to Program Up (or Program Down).

For this setting to persist after power-down, you need to write the Global settings.

6. Open the menu, and select the Write Global Setting command.

The Write Global Setting dialog will appear.

7. Press the MODE button to select PROGRAM mode. The Home page will be displayed, and you can step through the programs one at a time with the foot switch.

Note: This setting applies to selecting Combinations, as well.

Assigning the footswitch to Value +/−

This lets you use the Assignable Foot Switch to duplicate the functions of the front-panel + or − button.

This is a special-case setting, but it may be convenient if you like to keep the Bank or Category select windows open as you play, so that you can see the list of available Programs or Combinations. While the window is open, the Program Up/Down assignments still change sounds as usual, but the window does not update to show the currently selected

sound. However, assigning the Foot Switch to the + or − button lets you step through the items in the list, one by one—just like pressing the front-panel buttons.

To set this up:

1. Follow steps 1-4 under “Assigning the footswitch to Program Up/Down,” above.

2. At the top of the page, set the Foot Switch Assign parameter to Value + (or Value −).

For this setting to persist after power-down, you need to write the Global settings.

3. Open the menu, and select the Write Global Setting command.

The Write Global Setting dialog will appear.

4. Press OK, and then OK again to confirm.

Now, the foot switch will act just like pressing the frontpanel + or − button.

Note: The footswitch will work like this for the entire NAUTILUS–not just when the Program or Combination Select window is open.

Assigning incoming MIDI CCs to Program Up/Down or Value +/−

In addition to using the built-in footswitch input, you can also map incoming MIDI CCs to Program Up/Down or Value +/−. This allows you to assign multiple switches to the different functions—for instance, one for Program Up and a second for Program Down—using an external MIDI or USB MIDI foot controller. For more information, see “5–3: Function Assign” on page 678 of the PG.

Selecting Programs via MIDI

You can select any Program from any bank by using MIDI Program Change messages in conjunction with MIDI Bank Select messages. When you select Programs from the front panel, the appropriate MIDI messages are sent automatically (unless MIDI filters are active; see below).

If you are entering the MIDI messages manually into a sequencer, note that the Bank Select message needs to come before the Program Select message.

In PROGRAM mode, use the Global MIDI Channel

With the exception of the Drum Track, all transmission and reception of MIDI data in PROGRAM mode is performed on the Global MIDI Channel. You can set this on the GLOBAL > MIDI page.

Bank Map

Bank Select messages can work in one of two ways, as controlled by the Bank Map parameter on the GLOBAL > Basic Setup– Basic page. The factory default setting will work for most standard applications, and most people will never need to change it. If you use General MIDI sequences, the alternative GM(2) setting may be helpful. For more information, see “Bank Map” on page 633 of the PG.

MIDI filters

You can use MIDI filters to control whether or not Program Change and Bank Select messages will be transmitted and/or received. The filters are set up on the GLOBAL > MIDIMIDI page. For more information, see “1–1c: MIDI Filter” on page 655 of the PG.

General MIDI Programs

Internal bank G contains a full set of General MIDI 2 Programs, as well as sub-banks g(1)–g(9) (GM2 variation programs), and bank g(d) (drums).

When you select Programs using the Bank/Program Select menu, press the GM button to select GM Bank.

Playing Programs Using Controllers

Using Controllers

The NAUTILUS provides a lot of hands-on ways to control the sound–the mod and pitch-bend joystick, two buttons (SW1 and SW2), and the RT control knobs.

These controls let you modify the tone, pitch, volume, effects, etc. in realtime while you play.

Joystick

The joystick moves in four directions: left, right, forwards (away from yourself), and backwards (towards yourself). Each of the four directions can be used to control a different function, such as modulating Program or effects parameters. These assignments can be different for every Program, but generally, they do the following:

Standard Joystick functions

Move the

joystick…

Left JS–X Pitch bend down

Right JS+X Pitch bend up

Forw ards (away from yourself)

Backwards (towards yourself)

Controller

Name

JS+Y Vibrato

JS–Y Filter LFO (wah)

Normally controls…

Joystick Lock

The joystick is spring-loaded, so that it automatically returns to the center position when you let go.

However, you can use either of the two front-panel buttons (SW1 or SW2), or a foot-switch, to “lock” the current position of the joystick. This leaves your hands free to play on the keyboard, or to use other controllers. For more information, please see “Using the Lock function” on page 30.

SW1 and SW2

You can use SW1 and SW2 to control program parameters via AMS (Alternate Modulation Source), or effect parameters via DMod (Dynamic Modulation).

They can also transpose the keyboard by octaves, turn portamento on/off, or lock the modulation values of the joystick.

Each button may work as either as a toggle or a momentary switch. In Toggle mode, each press alternates between on and off; in Momentary mode, the button only changes for as long as you hold it down.

Each Program, Combination, and Song stores its own settings for what the buttons will do, and whether each button is on or off.

In all modes, you can edit the assignments on the Controllers– Switch page.

Programs (HD-1 and EXi) Basic/X-Y/Controllers

Combinations and Songs EQ/X-Y/Controllers

Playing and editing Programs

An example of settings in a Program

EXi : Controllers Page (PAGE button → Common: Basic/X-Y/Controllers → Controllers tab)

When using SW1/2 for AMS or Dmod, the default settings are SW1 Mod.:CC#80 and SW2 Mod.:CC#81.

For an example, see “Using Dmod to change the feedback level via SW1” on page 230. For a complete list of the possible assignments, see “SW1/2 Assignments” on page 915 of the PG.

Note: If you wish to keep these settings after the power is turned off, you must save the Program, Combination, or Song. Settings for SAMPLING mode cannot be saved.

Using the Lock function

Locking the Joystick

1. Using the factory sounds, select Program F073: Real Suit E.Piano, and play the keyboard.

2. Move the joystick away from yourself (the +Y direction).

The vibrato effect will deepen.

3. While holding the joystick away from yourself, press the SW2 button.

When you press the button, its LED will light up, and the modulation effect at this point will be maintained.

RT control knobs

The RT control has 6 knobs. You can use these for many different tasks:

• Easy Program Editing

• Controlling Arpeggiator

1. Select a function you want to control using SELECT button.

Select “SOUND” to adjust the parameters for the currently selected program, such as CUTOFF, RESONANCE and EG INT.

Select ARP/DRUM to adjust the arpeggiator settings.

Selecting “USER” with the SELECT button will let you operate the functions that are configured in the PROGRAM > Basic/X-Y/Controllers– Controllers page.

You can freely change back and forth between the different functions, without losing any of your edits.

2. Control functions by using RT control knobs.

Keyboard

Velocity

Velocity is a measure of how hard you play a note on the keyboard. This can be used to modulate many different aspects of the sound, such as volume, brightness, or the character of the attack.

Note Number

Sounds can be programmed to change in character based on the note being played. As you play higher or lower on the keyboard, the note number can modulate the timbre–such as becoming brighter as you play higher. Envelopes may also become faster or slower; the volume may change; and so on.

4. Release the joystick, and play the keyboard.

The modulation will stay the same as it was when SW2 was pressed. Moving the joystick away from yourself will not affect the sound.

5. Press the SW2 key once again to release the Lock function.

Playing Programs Using Controllers

Foot Pedals and Switches

Damper Pedal (Sustain)

Footswitch vs. Half-Damper Pedal

You can use either a standard footswitch (such as the Korg PS-1) or a special half-damper pedal (such as the Korg DS-1H) as the Damper.

If you use a footswitch, it will work like a normal synthesizer sustain pedal: notes will sustain forever, as long as the pedal is held down.

A half-damper pedal is a special type of continuous footswitch (normal footswitches won’t work properly for this application). It offers more subtle control of sustain, which can be especially useful for piano sounds.

The off and full-on positions of the half-damper work just like the footswitch, but intermediate positions modulate the release time to increase sustain without making it infinite.

The NAUTILUS will automatically sense when a halfdamper is connected to the rear-panel DAMPER input. For proper operation, you will also need to calibrate the pedal, using the Calibrate Half-Damper command in the GLOBAL page menu.

Assignable Foot Pedal

This lets you use a continuous controller pedal, such as the Korg EXP-2 foot controller or Korg XVP-20 EXP/VOL pedal, as an assignable controller.

Like the Assignable Foot Switch, described above, the Foot Pedal can be used for many different functions, including:

• Master Volume

• Channel Volume, Pan, or Expression

• Assignable sound modulation, as several different AMS or Dmod sources (convenient for CX-3 expression)

• Effects Send level control

• Duplication of many front panel controls, including the modulation joystick, RT control knobs, SW 1/2

The pedal’s function is set globally (on the Controllers tab of the GLOBAL > Controllers/Scales– Controllers page), so that it always works the same regardless of the current Program, Combi, or Song.

For more information, please see “Setting up the Assignable Switch and Pedal” on page 175.

Damper and MIDI

The Damper Pedal is sent and received as MIDI CC #64. In COMBINATION and SEQUENCER modes, you can “filter” CC# 64 so that it only affects some of the sounds in the Combi or Song.

Assignable Foot Switch

This lets you use a simple footswitch, such as the Korg PS-1, as an assignable controller. The footswitch can perform a wide variety of functions, such as:

• An assignable source for modulating sounds and effects

• Portamento on/off

• Una Corda on/off (convenient for the SGX-2)

• Program select up or down

• Sequencer start/stop or punch in/out

•Tap Tempo

• ARP on/off, or ARP Latch on/off

• Drum on/off

• Duplication of many front panel controls, including the modulation joystick, RT control knobs, SW 1/2

The switch’s function is set in GLOBAL mode (on the Controllers tab of the Controllers/Scales– Controllers page), so that it always works the same regardless of the current Program, Combi, or Song.

For more information, please see “Setting up the Assignable Switch and Pedal” on page 175.

Playing and editing Programs

CC Value

Parameter

Value

As Programmed

640 127

Easy Program Editing

Quick edits using the RT control knobs

You can edit any of the Programs shipped with NAUTILUS, or you can start with an initialized Program to create sounds from scratch.

You can do many basic edits directly from the front panel RT control knobs without ever delving deeper into the LCD interface. For instance, you can use the knobs to change CUTOFF and RESONANCE, and so on.

The RT control knobs will do different things, depending of the SELECT setting. For editing Programs, select SOUND.

Editing sounds & effects with the RT control knobs

The RT control knobs are a traditional feature of Korg workstations, combining modulation, quick edits, and handson control.

1. Press the SELECT button to select SOUND.

2. Knobs 1-6 have dedicated functions, All of these correspond to standard MIDI CCs.

RT control knob functions

Knob MIDI CC Normally controls…

1 74 Filter Cutoff Frequency

2 71 Filter Resonance

3 79 Filter EG Intensity

4 72 EG Release Time

5 Often Effect Depth - but can vary per Program

6 Often Reverb Depth - but can vary per Program

When you move a knob, it sends out the corresponding MIDI CC. Also, when the CC is received via MIDI, the knob value changes to match the CC value.

Generally, the knobs “scale” the Program’s internal settings. When the knob is in the center, the settings are as programmed. To move the settings to their maximum value, turn the knob all the way to the right; to move them to their minimum value, turn the knob all the way to the left.

Knob scaling

For example:

1. Select Program F092: Smooth Operators.

This is an electric piano sound; let’s see what we can do to make it sound a bit different.

2. Press the SELECT button to choose SOUND.

3. While playing the sound, turn knob 1 (Filter CutOff Frequency) to the right, slowly, to about 3 o’clock.

Notice how the piano becomes a sort of synth sweep.

4. Next, turn knob 2 (Filter Resonance) to the right, also to about 3 o’clock.

5. With knob 2 in that position, try moving knob 1 back and forth as you play.

With the resonance increased, it now sounds like you’re playing through a wah pedal.

Next, let’s say that you decide that’s not really what you wanted–so, we’ll set the knobs back to their default values. You could move them back to the straight-up, 12 o’clock position.

Knob edits can be saved

The RT control knobs are great for modulating sounds in performance, or for recording. If you like, you can also save the edited version of the sound, using the normal Write Program command (see “Saving your edits” on page 34).

Internally, a single knob usually affects several different parameters. When you write a Program, the edits are saved into the individual parameters, and not to the knob itself. After writing the Program, you’ll notice that the knobs have returned to their center positions–since the old “edited” values are now the new “saved” values.

Easy Program Editing Quick edits using the RT control knobs

Assigning functions to RT control knobs 1–6

Settings for the knob functions are made in each mode for programs, combinations, and songs. These settings are adjusted on the Controller– Knob page in each mode.

Note: You can use the RT control knobs as alternate modulation or effect dynamic modulation sources to control program parameters or effect parameters.

Here’s an example of how to set up knob 5 to control a Program’s filter and amp EG attack time:

1. Press the MODE button to select PROGRAM mode.

2. Press the PAGE button to select Basic/XY/Controllers, and then press the Controllers tab.

3. Press the Knob tab on the left side, and set the “Target” of Knob5 to “RT Control”. Set the “RT Control” to “Knob Mod. 5”.

4. Press the SELECT button to choose USER.

5. Turn knob 5 (USER 5) to control the filter and amp EG attack.

Note: If you wish to keep these settings after the power is turned off, you must save the Program, Combination, or Song.

Slider 13 is assigned to Amp EG Attack; slider 14 is assigned to Amp EG Decay; and slider 16 is assigned to

Amp EG Release.

4. Raise each of the three sliders so that they are about 4/5 of the way to the top.

Using Tone Adjust

You can edit the program parameters in “Tone Adjust” on the PROGRAM > Home page. You can assign a Tone Adjust parameter to each of the 16 switches and the 17 sliders.

The specific parameters available through Tone Adjust will vary depending on the type of Program. For more information, see:

“Common Tone Adjust Parameters” on page 31 of the PG.

“HD-1 Tone Adjust Parameters” on page 32 of the PG.

“AL-1: Tone Adjust” on page 180 of the PG.

“CX-3: Tone Adjust” on page 203 of the PG.

“STR-1: Tone Adjust” on page 251 of the PG.

“MS-20EX: Tone Adjust” on page 279 of the PG.

“PolysixEX: Tone Adjust” on page 294 of the PG.

“MOD-7: Tone Adjust” on page 345 of the PG.

“SGX-2: Tone adjust” on page 356 of the PG.

“EP-1: Tone Adjust” on page 375 of the PG.

Editing HD-1 sounds

1. Select Program F092: Smooth Operators.

2. Go to the PROGRAM > Home - Tone Adjust page.

On this page you can check the parameter assignments and values, and adjust the sound.

3. Press the Sliders 9–17 buttons to look at the assignments for sliders 13, 14 and 16.

The LCD should show their values as between +60 and +70. In other words, you’ve just edited the amp envelope so that the attack, decay, and release are all much longer than they were before.

5. Play a few notes.

Notice that the sound has changed from an electric piano into a soft pad. Now, let’s try adding clarity to the sound.

6. Press the Switches 1–16 button to look at the assignments 9 and 10 buttons.

These are programmed to raise the Filter Cutoff and Filter Resonance, respectively. Buttons are just on/off,

but you can set a specific value for the On position; notice the +10 and +40 in the button’s value boxes.

7. Press the two buttons, one by one.

The sound now has a more interesting character, due to the filters. Since it’s brighter, we’ve also restored some of the electric piano character.

Note: Depending on the parameter, you may sometimes hear glitches in the sound as you edit with Tone Adjust.

Playing and editing Programs

Using Compare command

When you’re in the process of editing a sound, executing the Compare command on Menu command will recall the saved version of the sound, as it was before you started editing.

Executing the Compare command again returns you to the version you are editing.

If you edit after having executed the Compare command, your previous edits will be lost.

Saving your edits

Once you’ve tweaked the sound to perfection, you’ll want to save your work. To save your edits:

1. Select the Write Program command from the page menu, at the upper right-hand corner of the screen.

This brings up a dialog box which allows you to save the Program. Optionally, you can also select a new location, change the Program’s name, and assign it to a sound category (such as keyboard, guitar, etc.).

2. Press the Program’s name to bring up the text edit dialog.

You can give the Program a descriptive name using the on-screen keyboard.

3. After entering the name, press OK.

The text edit window will disappear, returning you to the main Write dialog.

4. To set the category and sub-category, press the “Category” and “Sub Category” pop-up buttons and select the categories/sub-categories from the list.

5. To select the bank and number to save, press the “Program” pop-up button, select the save destination in the list and press the OK button.

You can write to any location in banks A-T. To avoid overwriting the factory sounds, it’s safer to use a slot in one of the Banks P-T.

Important: HD-1 Programs can only be written to HD-1 Banks, and EXi Programs can only be written to EXi Banks. For more information on the default Bank types, and on how to change them, please see “Program Bank Contents” on page 26, and “Changing the Program Bank Types” on page 26.

6. After selecting the location, press OK.

7. Press OK again to start the write process.

8. If you’re sure you want to write to this location, press OK again.

After that, you’re done!

For more information, see “Writing Programs and Combinations” on page 205.

Saving edits to GM Programs

You can edit GM Programs, but you must then save them to other banks; the GM Programs themselves cannot be overwritten.

Saving to media

You can also save and manage Programs on the internal drive and USB storage devices. For more information, see “Saving to internal drive, CDs, and USB media” on page 209.

Quick Layer/Split

[Main Program] Piano

[Layer Program] Strings

[Main Combination] Piano

[Layer Program] Strings

Quick Layer : Layer two programs, or a combination and a program. Example: two programs

Example: a combination and a program

[MainProgram] Piano

[SplitProgram] Strings

Quick Split : Split two programs, or a combination and a program, to left and right.

Example: two programs

[MainCombination ] Piano

[SplitProgram ] LeadSynth

Example: a combination and a program

Quick Layer Quick Split

Quick Layer/Split Quick edits using the RT control knobs

The Quick Layer/Split feature makes it easy to create simple layers and splits. Starting with either a Program or Combination, you can add another Program as a layer, or split the keyboard so that the current sound plays on one side of the keyboard (either upper or lower), and a different Program plays on the other.

All of the Quick Layer/Split controls are non-destructive and reflected immediately when playing on the keyboard. You can experiment with different settings, and fine-tune until you find the perfect sound.

While you can start with either a Program or a Combination, the additional split or layer sound must always be a Program, and the results of Quick Layer/Split are always saved as a new Combination. After saving, you can then edit the new Combination as desired.

Quick Layer

A “layer” is when playing a single note causes two or more sounds to be heard simultaneously. The Quick Layer function lets you layer two Programs, or one Combination and one Program.

For example, you could layer piano with strings, using two Programs:

Main: Piano program

Layer: Strings program

Quick Split

Split lets you play different sounds in different regions of the keyboard. The Quick Split function lets you split two Programs, or one Combination and one Program.

For example, you can do this:

Main: piano Program (right hand)

Split: bass Program (left hand)

or this:

Main: piano Combination (Piano + E.Piano layer) (left hand)

Split: lead synth Program (right hand)

Or, you could add strings to a Combination which is itself a layer:

Main: Piano Combination (Piano + E.Piano layer)

Layer: Strings Program

Limitations of the Quick Layer/Split function

Note: You may not be able to copy the settings due to limitations on the number of timbres and effects, which may create difference in the sounds. Also, the settings of either ARP/DRUM can be copied, but not both.

Quick Layer and Quick Split buttons

To use Quick Layer/Split, press the Quick Layer or Quick Split buttons in the Home page of either PROGRAM or COMBINATION mode. The Quick Layer or Quick Split dialog box will appear, and you can then create the layer or split sound that you want.

Quick Layer and Quick Split buttons

Playing and editing Programs

Program Select (Layer)

Program Select (Main)

Volume Drum Track

Octave (Main)

Tempo

Octave (Layer)

Write Layered Combi

Zone

Solo (Layer)

Solo (Main)

Select ARP/DRUM Layer/Main

Volume (Layer)

Volume (Main)

Quick Layer example: adding strings to a piano sound

Quick Layer dialog

Here, we’ll walk through a typical use of Quick Layer: adding a string layer to a piano sound. To do so:

1. In PROGRAM mode, select a piano sound-for instance, A000: Nautilus Grand Dry/Amb.

For details on how to select a Program, see “Selecting Programs” on page 25.

2. Press the Quick Layer button, to the right of the Perf Meters tab.

Quick Layer and Quick Split buttons

Quick Layer Quick Split

The Quick Layer dialog box opens (see the “Quick Layer dialog,” above).

This dialog box lets you make all of the basic settings for the new layered sound. First, we’ll select a strings Program to layer with the piano.

3. Press the Category Select Popup in the LAYER PROG section.

4. Choose the Strings category, select the Program H048: Small Pop Strings, and press OK.

When you play the keyboard, you’ll now hear a layered sound with piano and strings. The strings will sound close to the way that they do in PROGRAM mode, including their insert effects (IFX), but they will now use the Master and Total Effects (MFX and TFX) of the piano Program.

You can also select Programs by bank and number, or by using Find. For more information, see “Selecting by bank and number” on page 26, “Selecting by Category” on page 27, and “Using the Find feature” on page 27.

If you like, you can also select a different Main Program, using the controls in the MAIN PROG section.

5. Set the Volume and Octave of the two Programs as desired.

You can adjust the relative levels of the piano and strings, and change the octave transposition of one or both sounds. For example, you could reduce the volume of the strings, and set them to play an octave above the piano.

6. Under “Select ARP/DRUM,” choose to use the ARP/DRUM from either the Main or Layer Program, and adjust the volume as desired.

By default, the ARP/DRUM settings of the main program will be copied.

Note: When the ARP button is turned on, the notes that play will be controlled by the ARP function. When the DRUM button is turned on, the notes that play will be controlled by the Drum function. Use the Volume control to adjust the volume of the drum track program.

Either the ARP or DRUM settings will be assigned.

Note that you can’t use both ARP/DRUMs simultaneously.

Quick Layer/Split Quick Layer example: adding strings to a piano sound

Writing the results

1. When you’ve finished editing your layered sound, press the Write Layered Combi button to save it as a combination.

The Write Combination dialog box appears.

2. Press the popup button next to Combination to bring up the save location dialog, and select a location to save the edited Combination.

3. Set the name and category as desired.

The system automatically creates a new name based on the names of the two original sounds. You can edit this name as desired.

4. Press the OK button to write the Combination.

A confirmation message appears. Press the OK button once again to complete the Write operation.You’ll enter COMBINATION mode, with the new Combination selected.

For more information, see “Writing Programs and Combinations” on page 205.

If you press the Cancel button, the save operation is canceled.

Playing and editing Programs

Solo (Lower)

Volume Drum Track

Tempo

Select Split Mode

Octave (Lower)

Write Split Combi

Program Select

(Lower)

Select ARP/DRUM

Lower/Main

Volume (Lower)

Split Point

Octave (Main)

Solo (Main)

Program Select (Main)

Volume (Main)

Quick Layer Quick Split

Quick Split example: adding left-hand bass to a piano

Quick Split dialog

Quick Split makes it easy to create common setups, such as piano for the right hand and bass below for the left, or electric piano for the left hand and a lead synth for the right. Let’s walk through the first example: a bass and piano split.

1. In PROGRAM mode, select a piano sound-for instance, A000: Nautilus Grand Dry/Amb.

For details on how to select a Program, see “Selecting Programs” on page 25.

Note: To save the original main program while you are editing, use “Write Program” to save the main program before using the Quick Layer function.

2. Press the Quick Split button, to the right of the Perf Meters tab.

The Quick Split dialog box appears.

3. Under Select Split Mode, press the Lower | Main button.

This assigns the Split Program to the left-hand (lower) side of the keyboard, and the Main Program—in this case, the piano—to the right-hand (upper) side.

Alternatively, you could press the Main | Upper button to assign the Split Program to the right-hand side of the keyboard—useful for lead sounds. For this example, let’s stick with Lower | Main.

4. Press the Category Select Popup in the LOWER PROG section.

5. Choose the Bass category, select the Program K059: JB Finger Bass 1, and press OK.

When you play the keyboard, the lower region plays a bass sound, and the upper region plays a piano sound. The bass will sound close to the way that it does in PROGRAM mode, including its insert effects (IFX), but it will now use the Master and Total Effects (MFX and TFX) of the piano Program.

If you like, you can also select a different main Program, using the controls in the MAIN PROG section.

6. Press and hold the ENTER button, and play a note on the keyboard to set the split point.

The split point sets the lowest key of the Upper range; the default is C4.

You can also edit the Split Point by holding the ENTER button and then touching the keyboard graphic.

7. Adjust the Volume and Octave of the main and split Programs as desired.

8. Under “Select ARP/DRUM,” choose to use the ARP/DRUM from either the Main or Split Program, and adjust the volume as desired.

The Tempo is initially set to match the selected ARP/DRUM; you can then change it as desired. Note that you can’t use both ARP/DRUMs simultaneously.

9. When you’ve finished editing, press the Write Split Combi button to save the new sound.

For more details, see “Writing the results” on page

and “Writing Programs and Combinations” on page 205.

Quick Layer/Split Quick Split example: adding left-hand bass to a piano

Writing the results

1. When you’ve finished editing your splitted sound, press the Write Split Combi button to save it as a combination.

The Write Combination dialog box appears.

2. Press the popup button next to Combination to bring up the save location dialog, and select a location to save the edited Combination.

3. Set the name and category as desired.

The system automatically creates a new name based on the names of the two original sounds. You can edit this name as desired.

4. Press the OK button to write the Combination.

A confirmation message appears. Press the OK button once again to complete the Write operation.You’ll enter COMBINATION mode, with the new Combination selected.

For more information, see “Writing Programs and Combinations” on page 205.

If you press the Cancel button, the save operation is canceled.

Playing and editing Programs

Detailed Program Editing

Editing HD-1 Programs

Creating your own Programs

You can create your own original HD-1 sounds by editing the factory Programs, or by initializing a Program and starting from scratch. You can save these Programs into any bank other than GM (which contains General MIDI Programs).

You can also create Programs using your own Multisamples, either from SAMPLING mode or User Sample Banks. In addition, you can play a Program and resample your performance, or sample an external audio source while listening to the sound of a Program.

Overview of editing pages

PROGRAM > Home page is where you select and play programs, and adjust the ARP/DRUM settings. The other pages let you modify the sound in more detailed ways.

Page Main features

• Select and play Programs

• Perform easy edits using the RT control knobs, and Tone Adjust

Home

Basic/X-Y/ Controllers

Osc/Pitch

Filter

Amp/EQ

LFO

AMS Mixer/ Common KeyTrack

IFX

MFX/TFX

• Adjust mix parameters including volume, pan, EQ, and send levels

• ARP/DRUM settings

• Quick sampling and re-sampling

• Set the Program to Single, Double, Single Drum, or Double Drum

• Select Mono or Poly voice allocation

• Select a scale (e.g., Equal Temperament)

• Set up controllers

• Set up Vector synthesis

• Select Multisamples, Wave Sequences. or Drum Kits

• Settings related to the pitch, including the pitch EG

• Settings related to the filter (tone), including the filter EG

• Settings related to the amplifier (volume), including amp EG and pan

• Settings for the 3-band EQ

• For each of the two LFOs provided for each oscillator, select the LFO type and speed, etc. (Settings in the pitch, filter, and amp pages determine how much the LFOs affect the sound.)

• Mix and modify AMS sources using the two AMS mixers provided for each oscillator

• Set up how the Common Key Track output changes as you play up and down the keyboard

• Select insert effects and make settings for them. Specify send levels to the Master effects and routing to the outputs

• Select Master send effects and Total effects, and adjust their settings

For details on how to select the different pages, see “Basic operations” on page 14.

You can sample from within PROGRAM mode—including resampling the Program itself. For more information, see “Sampling in PROGRAM and COMBINATION modes” on page 145.

You can also mix in live audio inputs, and process them through effects. For more information, see “Using effects with the audio inputs” on page 229.

Note that the page and parameter structures of EXi Programs are different than those of HD-1 Programs.

Basic HD-1 Structure

Multisamples and Wave Sequences

The sound of the HD-1 starts with one or more Multisamples. These can be recordings of instruments like piano, bass, guitar, strings, organs, analog synths, and so on, or purely digitally-created timbres.

You can play these Multisamples directly, or use them through Wave Sequences, which play a series of different Multisamples over time to create rhythms or complex, evolving timbres.

Oscillator Mode

HD-1 Single Programs have one oscillator, and Double Programs have two oscillators. Each oscillator includes a complete synthesis voice, with velocity-switched Multisamples, dual filters, EGs, LFOs, and so on.

Single and Double Drum modes are similar, but use Drum Kits (as created in GLOBAL mode) instead of Multisamples.

Single and Single Drum Programs use one oscillator, for a maximum of 140-note polyphony.

Double and Double Drum Programs use two oscillators, for a maximum of 70-note polyphony.

A note about polyphony

Polyphony means the number of notes that you can play at a time. This number will vary depending on the particular sound being played, and how that sound is produced. Generally speaking:

• Double Programs use twice as many voices as Single Programs.

• Wave Sequences use twice as many voices as Multisamples.

• Stereo Multisamples use twice as many voices as Mono Multisamples, and Stereo Wave Sequences use twice as many voices as Mono Wave Sequences.

• If the X-Y Envelope is enabled, the number of voices used increases slightly.

Detailed Program Editing Editing HD-1 Programs

Basic/X-Y/Controllers - Program Basic

OSC/Pitch -

LFO - Common LFO

OSC/Pitch - OSC1 Basic

OSC1 Pitch

OSC/Pitch - Pitch EG

Oscillator / Pitch

LFO - OSC1 LFO1

Filter - Filter Key Track

Filter - Filter1 Mod.

Filter1 LFO Mod.

Filter -

Filter - Filter1(A/B)

Filter

LFO - OSC1 LFO2

Amp/EQ - Amp1 Mod

Filter - Filter1 EG

Common KeyTrack

AMS Mixer

Amp/EQ -

Amp1/Driver1

Amp/EQ - Amp1 EG

Amplier

OSC 1

OSC 2

Voice Assign Mode

The Voice Assign Mode selects whether the Program will play polyphonically (Poly) or monophonically (Mono).

When this is set to Poly, you can play both chords and melody lines. When this is set to Mono, only one note will sound even if you play a chord.

Normally you’ll set this to Poly, but Mono is useful when playing sounds such as synth basses, synth leads, and other solo instruments. Try switching between Poly and Mono, and listen to the results.

Using Drum Kits

You can create and edit Drum Kits in GLOBAL mode. For each note on the keyboard, you can select up to eight velocity-crossfaded Drumsamples, make filter and amp settings, and specify routing to the effects and to the individual audio outputs.

For more information, see “Using Drum Kits” on page 193.

In Programs, once you’ve set the Oscillator Mode to Single or Double Drums, you can select between the 152 userprogrammable Drum Kits, plus an additional 9 GM2 kits. For more information on the factory sounds, see the Voice Name List.

Copying settings between OSC1 & OSC2

Many of the Program parameters can be set differently for OSC1 and OSC2. These include all of the parameters on:

• All of the tabs on the OSC/Pitch page, except for the Pitch EG

• All of the tabs on the Filter page

• All of the tabs on the Amp page, except for EQ

• All of the tabs on the LFO page, except for Common LFO

• The AMS Mixer tabs

You can use the page menu’s Copy Oscillator command to copy these parameters from one Oscillator to another. You can even copy parameters from an Oscillator in a different Program.

This command is useful when you want to set both Oscillators to the same settings, or when you want to duplicate settings you’ve used before.

Amp/EQ - EQ

IFX - Routing

OSC1, 2

Insert Eects Master Eects Individual Outputs

REC Bus FX Control Bus

X-Y Control Controllers Tone Adjust

IFX -

IFX1-12

Eects

Arpeggiator

Drum Track/Step Seq

MFX/TFX -

MFX 1, 2

Audio Input

Sampling

MFX/TFX -

TFX 1, 2

Working with Multisamples

As described above, the sound of the HD-1 starts with one or more Multisamples. You can play these Multisamples directly, or use them through Wave Sequences, which play a series of different Multisamples over time to create rhythms or complex, evolving timbres.

In Single and Double modes, each Oscillator can play up to eight Multisamples or Wave Sequences. In Single and Double Drums modes, each Oscillator plays a Drum Kit.

Multisamples, Wave Sequences, and Drum Kits

Multisamples, Drum Kits, and Wave Sequences allow you to play samples in different ways.

• Multisamples lay out one or more samples across the keyboard. For instance, a very simple guitar Multisample might have six samples–one for each string.

• Wave Sequences play back a series of different Multisamples over time. These Multisamples may crossfade to create smooth, evolving timbres, or change abruptly to create rhythms.

• As the name suggests, Drum Kits are optimized for playing Drumsamples.

Velocity splits, crossfades, and layers

As mentioned above, unless you’re in Single or Double Drum mode, each Oscillator has eight velocity zones, named MS1 (the highest velocity) through MS8 (the lowest). This means that the Program can play different Multisamples or Wave Sequences, depending on how hard you play.

Each of these zones has separate settings for Level, Start Offset, and so on. Also, each of the zones can fade into the next, to create smooth velocity transitions. Zones can even be layered together, two at a time.

Selecting Multisamples

Let’s create a simple velocity crossfade between two Multisamples, using just OSC1.

1. Go to the OSC1 Basic tab of the PROGRAM > OSC/Pitch page.

2. Set the MS1 and MS2 Type parameters to Multi (Multisample).

3. Set the Types for MS3…8 to Off.

AUDIO OUTPUT L/MONO, R

AUDIO OUTPUT INDIVIDUAL 1, 2, 3, 4

Playing and editing Programs

Type Bank CurveMultisample

Bottom Velocity

Xfade Range

4. Select ROM Stereo as the Multisample Bank for MS1 and MS2.

There are four main types of Multisample Banks: ROM, SAMPLING mode, EXs, and User Sample Banks. For

each type, you can also choose between looking at mono and stereo Multisamples. Note that stereo Multisamples will require twice as many voices as mono Multisamples.

ROM Multisamples are the built-in “factory” sounds, and are always available. These are organized by category, such as pianos, guitars, bells, etc.

SAMPLING mode (Smp) Multisamples are the ones that you can see and edit in SAMPLING mode. These may include Akai, SoundFont 2.0, AIFF or WAV files loaded from drive, or native NAUTILUS samples (including thirdparty sound libraries and samples that you create yourself). Anything that can be used in SAMPLING mode can also be loaded as a User Sample Bank.

EXs Multisample banks are PCM expansion sets created especially for the NAUTILUS. Each has its own unique number; for instance, the ROM Expansion is EXs1, and the Concert Grand Piano is EXs2. Only the currently loaded EXs banks will appear in this menu.

User Sample Banks bring the benefits of EXs to your own sample libraries. You can load and play gigabytes of your custom or converted samples at once, using Virtual Memory. They are shown as a path to a file on an internal drive, including the file name and the names of all enclosing directories. Only the currently loaded User Sample Banks will appear in this menu. For more information, see “User Sample Banks” on page 151.

5. Press the Multisample popup for MS1.

This brings up a list of Multisamples, organized by category. Use the tabs at the left of the screen to browse through the different categories.

6. Select a Multisample by touching its name in the list.

7. Press the OK button to confirm your selection.

8. Do the same for MS2.

Now that you’ve assigned Multisamples to MS1 and MS2, let’s set up the velocity ranges and crossfades.

9. Set MS2’s Bottom Vel (Velocity) to 001, and its Xfade Range to Off.

10.Set MS1’s Bottom Vel (Velocity) to 80.

Now, MS2 will sound when you play softly, at velocities of 79 or less–and MS1 will sound when you play harder, with velocities of 80 or more.

You can also see this split visually, in the graphic on the right side of the LCD.

11.Next, set MS1’s Xfade Range to 20, and its Curve to Linear.

Notice that the graphic now shows the two ranges tapering into one another. Between 80 and 100, MS2 will fade out, and MS1 will fade in, creating a g

radual

velocity transition instead of a hard split.

12.If you like, adjust the Levels for the two Multisamples.

Rev. (Reverse) check box

Rev. (Reverse) lets you play the selected Multisample backwards, without looping. This can produce interesting results for sound effects or other unusual timbres. Reverse applies only to Multisamples; when the Typ e is set Wave Sequence, this is grayed out.

Note: This does not apply to samples from EXs or User Sample Banks whose Load Method is set to Virtual Memory.

Detailed Program Editing Using LFOs and Envelopes (EGs)

Level

Time

Attack Time

Decay Time

Slope Time

Release Time

Attack Level

Start Level

Sustain Level

Break Level

note-on note-o

Release Level

Using LFOs and Envelopes (EGs)

Using LFOs

Each Oscillator has two LFOs: LFO1 and LFO2. There is also a single Common LFO, shared by both Oscillators. While LFO1 and LFO2 are separate for each voice, the Common LFO is shared by all voices in the Program. This makes it useful when you want all of the voices to have an identical LFO effect.

You can use these LFOs to modulate different Program parameters, including:

• Pitch (for vibrato)

• Filters (for wah effects)

• Volume (for tremolo)

• Pan (for auto-panning)

The LFOs can modulate many other parameters, in addition to those listed above.

Basic LFO programming

The NAUTILUS LFOs are very powerful, and offer lots of control for the power user. It’s simple to get started with them, though–and the graphics on the LCD show how the parameters affect the sound. Let’s take a brief tour.

1. Go to the OSC1 LFO1 tab of the PROGRAM > LFO page.

2. Select the Waveform parameter.

3. Use the [+] or [−] buttons to scroll through the different waveforms, and look at their shapes in the graphic display.

5. Select the Shape parameter, and change settings, from

-99 to +99.

Notice how the shape of the waveform becomes more curved, and how -99 emphasizes the lower part of the shape, and +99 emphasizes the upper part.

6. Select the Start Phase parameter to sweep through its range of values.

Notice how the waveform shifts from side to side. Among other things, this lets you offset the LFOs from one another in time, which can create interesting organic effects.

7. Use the Frequency parameter to set the speed of the LFO.

8. Use the Fade and Delay settings to control the way the LFO sounds at the beginning of the note.

For more information on LFOs, see “PROGRAM > LFO” on page 83 of the PG.

All of these parameters control the way that the LFO itself works. In order for the LFO to actually affect the sound, you can use the dedicated LFO routings on the Filter, Pitch, and Amp pages, or use the LFOs as AMS sources for a wide variety of parameters.

Frequency Modulation

AMS can be used to vary the LFO speed. This lets you change the LFO speed by operating a controller, or by the EG or Keyboard Track settings.

MIDI/Tempo Sync.

If MIDI/Tempo Sync is checked, the Frequency setting will be ignored, and the LFO will synchronize to the system tempo or external MIDI clocks.

This lets you produce vibrato, wah, auto-pan, or tremolo effects that lock to the Drum Track, ARP, Wave Sequences, the internal sequencer, or external MIDI sequencers.

There are a number of waveforms to choose from. Each are suited to different applications:

• Triangle and Sine are the classic LFO shapes for vibrato, tremolo, panning, and filter wah effects.

• Square is useful for gated filter and amp effects, and creates a police siren effect when modulating pitch.

• The Guitar waveform is designed especially for guitar vibrato, since it bends only upwards from the base value.

• Saw and Exponential Saw Down are good for rhythmic filter and amp effects.

effect, which is great for modulating a resonant filter.

4. After looking at the different waveforms, select

• Random 1 (S/H) creates the classic sample-and-hold

Triangle.

EGs (Envelope Generators)

An envelope creates a modulation signal by moving from one level to another over a specified time, and then moving to another level over another period of time, and so on.

The HD-1 includes three EGs, for Pitch, Filter, and Amp. These produce time-varying changes in pitch, tone, and volume respectively. They can also be used to modulate a number of other Program parameters via AMS.

Playing and editing Programs

AMS A: LFO

AMS B: EG

A+B Output

Using Alternate Modulation (AMS) and the AMS Mixers

AMS (Alternate Modulation Source) refers to any of the assignable modulation sources in NAUTILUS, including:

• Built-in physical controllers, such as the Joystick, and RT control knobs

• Incoming MIDI controllers, or MIDI controllers generated by the X-Y Envelope

• Modulators such as the Filter, Pitch, and Amp EGs, the LFOs, or the AMS Mixers

Intensity is a parameter that sets the degree (speed, depth, amount etc.) to which AMS will control the modulation.

A number of frequently-used modulation routings, such as using the joystick to vary the pitch, are provided as additional, dedicated routings, separate from AMS.

Note that not all AMS sources may be available for some modulation destinations.

For details on alternate modulation and AMS, see “Alternate Modulation Sources (AMS),” on page 901 of the PG.

Using the AMS Mixers

The AMS Mixers combine two AMS sources into one, or process an AMS source to make it into something new.

For instance, they can add two AMS sources together, or use one AMS source to scale the amount of another. You can also use them to change the shapes of LFOs and EGs in various ways, modify the response of realtime controllers, and more.

The AMS Mixer outputs appear in the list of AMS sources, just like the LFOs and EGs.

This also means that the original, unmodified inputs to the AMS Mixers are still available as well. For instance, if you use LFO 1 as an input to a AMS Mixer, you can use the processed version of the LFO to control one AMS destination, and the original version to control another.

Finally, you can cascade the two AMS Mixers together, by using AMS Mixer 1 as an input to AMS Mixer 2.

Adding two AMS sources together

AMS mixers will do different things depending on their Typ e setting. The A+B setting merges two AMS sources into one. This can be handy when you need to add one more modulation source to a parameter, but you’ve already used up all of the available AMS slots.

For instance, let’s say that you’re using an LFO to modulate Filter Resonance, and then you decide that it would be interesting to scale that parameter with an EG as well. Resonance has only a single AMS input, but you can easily merge the LFO and the EG together using the A+B AMS Mixer:

1. Assign the LFO to AMS A.

2. Assign the EG to AMS B.

3. Assign the AMS Mixer as the Filter Resonance AMS source.

AMS Mixer A+B example

Scaling one AMS source with another

When the Typ e is set to Amt A x B, the mixer uses the AMS B input to scale the amount of AMS A. For instance, you can control the amount LFO1 with the Filter EG, or control the amount of the Pitch EG with the foot pedal.

AMS Mixer Amt AxB example

AMS A: LFO

AMS B: EG

Amt A×B Output

Smoothing

The Smoothing Typ e smooths out the AMS input, creating more gentle transitions between values. You have separate control of the amount of smoothing during the attack (when the signal is increasing) and decay (when it’s decreasing).

Low settings provide subtle controller smoothing, creating more gradual joystick, for instance. Higher settings create auto-fade effects, transforming a quick gesture into a longer fade-in and/or fade-out event.

Smoothing can also be used to alter the shape of programmable mod sources, such as LFOs and EGs. For instance, you can turn a “blip” into a simple envelope shape, as shown below.

Detailed Program Editing Controlling Pitch

AMS Mixer Smoothing examples

Original AMS A:

Smoothing with Short Attack & Long Release:

Smoothing with Long Attack

and Short Release:

More AMS Mixer features

There are more mixer Types, including Offset, Shape, and Quantize, which offer even more possibilities for creative

programming. For more details, see these sections in the Parameter Guide:

• “6–1: OSC 1 AMS Mix” on page 89

• “Using SW 1/2 to turn an AMS source on and off” on page 90

• “Muting individual Wave Sequence steps with SW1” on page 91

• “Converting from bipolar to unipolar” on page 91

• “Converting from unipolar to bipolar” on page 91

• “Selective pitch-bend, using only the joystick” on page 94

• “Generating a static value” on page 94

Suggestions on using AMS

When making settings for alternate modulation, think of the effect that you wish to produce, what type of modulation will be necessary to produce that effect, and what parameter of the oscillator, filter, or amplifier needs to be controlled.

Next, select a source (AMS) and set the Intensity. If you proceed logically in this way, you will achieve the desired effect.

For example, if you want to control a guitar sound so that it approaches feedback when you move the joystick, you might set up the joystick to modulate the filter frequency and resonance.

Controller Setup page

For each program, PROGRAM > Basic/X-Y/Controllers– Controllers page lets you make settings for the SW1 and SW2 key, and for RT control knobs 1–6. For more information, see “SW1 and SW2” on page 29, and “1–8: Controllers,” on page 48 of the PG.

Controlling Pitch

Parameters for controlling pitch are located on the OSC/Pitch page, as shown below.

Pitch bend

The JS (+X) and JS(–X) settings specify the amount of pitch change (in semitones) that will occur when MIDI pitch bend messages are received or when the joystick is moved to left or right. A setting of +12 allows the pitch to be controlled a maximum of one octave upward; a setting of –12 allows the pitch to be controlled a maximum of one octave downward.

Creating Vibrato

You can use an LFO to create vibrato.

LFO 1/2 Intensity sets the depth to which the selected LFO will affect the pitch. With a setting of +12.00, vibrato will produce a maximum of ±1 octave of pitch change.

JS+Y Int specifies the amount of vibrato that the LFO will produce when the joystick is pushed away from yourself.

Intensity (AMS Intensity) specifies the depth of vibrato that will be applied by the LFO when modulated by the selected AMS (Alternate Modulation Source). For example, if LFO1 AMS is set to After Touch and you set an appropriate value for Intensity, vibrato will be applied when MIDI aftertouch messages are received.

As another example, if SW1 is set to SW1 Mod. (CC#80) on the Set Up Controllers page, LFO1 AMS is set to SW1Mod. (CC#80), and the AMS Intensity is set to an appropriate value, vibrato is applied when you turn on SW1 or when MIDI CC#80 is received.

Pitch EG

When the Intensity value is set to +12.00, the pitch EG specified in the Pitch EG page will produce a maximum of ±1 octave of pitch change.

To realistically simulate the slight change in pitch that occurs when a string is plucked or at the attack of a brass or vocal sound, you can use the EG to create a subtle change in pitch at the attack.

Portamento

Portamento makes the pitch change smoothly when you play the next note before releasing the previous note.

The Time parameter controls how long it take the pitch to change. As this value is increased, the pitch will change over a longer time. With a value of 000, there will be no portamento.

You can turn Portamento on and off via SW1 or SW2, by assigning them to Porta.SW CC#65.

Playing and editing Programs

Using Filters

The filters allows you to diminish or emphasize specified frequency areas of the sound.

The tone of the sound will depend significantly on the filter settings.

The basic filter settings, including the routing, type, cutoff frequency, and resonance, are set on the Filter page.

Filter Routing

Each oscillator has two filters, Filter A and Filter B. The Routing parameter controls whether one or both of the filters are used, and if both are used, it controls how they are connected to each other.

The Single routing uses only Filter A as a single 2-pole, 12dB/octave filter (6dB for Band Pass and Band Reject).

The Serial routing uses both Filter A and Filter B. The oscillator first goes through Filter A, and then the output of Filter A is processed through Filter B.

Parallel also uses both Filter A and Filter B. The oscillator feeds both filters directly, and the outputs of the two filters are then summed together.

The 24dB/4-pole routing merges both filters to create a single 4-pole, 24dB/octave filter (12dB for Band Pass and Band Reject). In comparison to Single, this option produces a sharper roll-off beyond the cutoff frequency, as well as a slightly more delicate resonance. Many classic analog synths used this general type of filter.

Serial and Parallel Routing

Filter A (Low Pass)Oscillator Filter B (High Pass)

Filter Types

This selects the parts of the sound which will be affected by the filter, as described below. With the Serial and Parallel routings, you can independently set the types for Filter A and Filter B.

The filters will produce very different results depending on the selected filter type. The selections will change slightly according to the selected Filter Routing, to show the correct cutoff slope in dB per octave.

Low Pass. This cuts out the parts of the sound which are higher than the cutoff frequency. Low Pass is the most

common type of filter, and is used to make bright timbres sound darker.

High Pass. This 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.

Band Pass. This cuts out all parts of the sound, both highs and lows, except for the region around the cutoff frequency. Since this filter cuts out both high and low frequencies, its effect can change dramatically depending on the cutoff setting and the oscillator’s multisample.

With low resonance settings, you can use the Band Pass filter to create telephone or vintage phonograph sounds. With higher resonance settings, it can create buzzy or nasal timbres.

Band Reject. This filter type–also called a notch filter–cuts only the parts of the sound directly around the cutoff frequency. Try modulating the cutoff with an LFO to create phaser-like effects.

Filter Types and Cutoff Frequency

Oscillator

Filter A (Low Pass)

Filter B (High Pass)

Low Pass

High Pass

Band Pass

Band Reject

Cuto Frequency

Detailed Program Editing Using Filters

Low resonance

High resonance

Resonance

Resonance emphasizes the frequencies around the cutoff frequency, as shown in the diagram below.

When this is set to 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly.

At medium settings, the resonance will alter the timbre of the filter, making it sound more nasal, or more extreme. At very high settings, the resonance can be heard as a separate, whistling pitch.

To make the resonance track the keyboard pitch, see “Key Follow,” on page 67 of the PG.

Modulating the filters

Filter EG

The Filter EG is a multi-stage envelope, which you can use to modulate the filter (naturally!) as well as other Program parameters. The EG itself is set up on the Filter EG tab; the way that it affects the filters is controlled by the parameters described below, on the Filter Mod tab:

The Intensity to A and Intensity to B settings control the basic amount of EG modulation for filter frequencies A and B, respectively, before other modulation.

The Velo ci ty to A and Vel o ci ty to B settings let you use velocity to scale the amount of EG modulation.

The AMS setting selects a AMS modulation source to scale the amount of the Filter EG applied to Filters A and B. The two filters share a single AMS source, with separate intensity settings.

LFO modulation

You can modulate the filter via LFO1, LFO2, and the Common LFO. Among other applications, LFO modulation of the filter can produce the classic “auto-wah” effect.

The Filter LFO Mod tab lets you set up the following parameters separately for each LFO:

Intensity to A and Intensity to B specify how much the LFO changes the tone.

JS-Y Intensity to A and JS-Y Intensity to B specify the depth of the wah effect produced by the LFO when the joystick is moved toward yourself, or when CC#2 is received.

The AMS setting selects a AMS modulation source to scale the amount of the LFO applied to Filters A and B. The two filters share a single AMS source, with separate intensity settings.

For example, if “AMS” is set to “After Touch”, aftertouch will be received via MIDI and an auto-wah effect will be applied.

As another example, if SW1 is set to SW1 Mod. (CC#80) on the Set Up Controllers page, and AMS is set to SW1Mod. (CC#80), and the AMS Intensity is set to an appropriate value, an auto-wah effect is applied when you turn on SW1.

You can modulate the filter cutoff frequency using the Filter EG, the LFOs, keyboard tracking, and other built-in and MIDI controllers. This is a great way to add a rich variety of tonal change to the sound.

Keyboard Track

Most acoustic instruments get brighter as you play higher pitches. At its most basic, keyboard tracking re-creates this effect by increasing the cutoff frequency of a lowpass filter as you play higher on the keyboard. Usually, some amount of key tracking is necessary in order to make the timbre consistent across the entire range.

The NAUTILUS keyboard tracking can also be much more complex, since it allows you to create different rates of change over up to four different parts of the keyboard. For instance, you can:

• Make the filter cutoff increase very quickly over the middle of the keyboard, and then open more slowly–or not at all–in the higher octaves.

• Make the cutoff increase as you play lower on the keyboard.

• Create abrupt changes at certain keys, for split-like effects.

Playing and editing Programs

Low Break Key Center Key High Break Key

Intensity = +99 (Original Shape)

Intensity = –99 (Inverted)

Intensity = +50 (Less Eect)

Intensity = 0 (No Eect)

How Key Track works: Keys and Ramps

The keyboard tracking works by creating four ramps, or slopes, between five keys on the keyboard. The bottom and top keys are fixed at the bottom and top of the MIDI range, respectively. You can set the other three keys–named Low Break, Center, and High Break–to be anywhere in between.

The four Ramp values control the rate of change between each pair of keys. For instance, if the Low-Center Ramp is set to 0, the value will stay the same between the Low Break key and the Center key.

You can think of the resulting shape as being like two folding doors attached to a hinge in the center. At the Center key (the main hinge), the keyboard tracking has no effect. The two folding doors swing out from this center point to create changes in the higher and lower ranges of the keyboard.

Intensity to A and Intensity to B adjust the effect that keyboard tracking will have on filters A and B. For more information, see “3–2a: Keyboard Track,” on page 65 of the PG.

AMS Modulation

In addition to the EG, LFOs, and Key Track, you can use two AMS sources to modulate the filters.

Keyboard Track Shape and Intensity

Using the Amp section

The Amp section includes controls for volume, pan, and the driver circuit. You can control the volume using the Amp EG, LFO 1/2, Key Track, and velocity, along with other AMS sources.

Each Oscillator has its own Amp section: Amp1 for OSC1, and Amp2 for OSC2.

Background: what does “Amp” mean?

Different sounds have characteristic shapes to their volume levels.

For example, the volume of a piano note begins at a high volume the instant you play the note, and then decreases gradually.

The volume of an organ note, on the other hand, remains constant as long as you continue pressing the key.

The volume of a note on a violin or wind instrument can be varied during the note by the musician (i.e., by regulating the amount of pressure on the bow or the force of the breath).

Volume

Piano

Volume decays gradually

Time

Volume

Organ

Volume remains constant until note is released

Time

Pan

The main Pan parameter controls the stereo position after the signal has passed through the oscillator, filter, and amp. Normally you’ll set this to C064, so that the sound is centered equally between the left and right speakers.

To create a stereo effect when Oscillator Mode is set to Double, set the Amp1/Driver 1 page Pan to L001, and the Amp2/Driver2 page Pan R127. This will make OSC1 go to the left speaker, and OSC2 go to the right speaker.

With a setting of Random, the pan will change randomly each time you play a note on NAUTILUS, producing an interesting effect.

Detailed Program Editing Using the Amp section

Pan AMS and Intensity

Intensity specifies the depth of the pan modulation from the selected AMS source.

If you set AMS to Note Number, the pan will change according to the keyboard position of each note played. With a setting of LFO1 or 2, the sound will sweep from side to side, creating an auto-pan effect. Other settings allow you to move the oscillator pan by using a RT controller, an envelope, or other modulation sources.

Pan - Use DKit Setting

Use DKit Setting applies when Oscillator Mode is set to Drums. If this is checked, the Program can use a different

pan position for each drum sound, as specified by the Drum Kit. If this is unchecked, all drum sounds will use the Program’s pan position. The factory presets and GM drum kits use individual pan positions for the different drums, so normally it’s best to leave this checked.

Amp modulation

The basic volume level is set by the Amp Level parameter. You can then alter this using the modulation sources below:

Keyboard Track

This lets you vary the volume relative to the note you play. For more information, see “Keyboard Track” on page 47.

Amp Modulation

Velocity Intensity is used by most programs to decrease the volume of softly played notes and increase the volume of strongly played notes, and the Amp Modulation parameter adjusts the depth of this control. Normally you will set Amp Modulation to positive (+) values. As this setting is increased, there will be greater volume difference between softly played and strongly played notes.

Amp EG

The Amp EG lets you control how the volume changes over the course of a note.

Every instrument has its own characteristic volume envelope. This is part of what gives each instrument its identifiable character.

Conversely, by changing the volume contour—for instance, applying a string-like Amp EG curve to an organ multisample—you can produce interesting and unusual sounds.

Piano

Organ

Strings

Drive

The Drive circuit adds saturation and overdrive to the sound, for everything from subtle fattening to drastic distortion. Unlike an overdrive effect, Drive processes each voice individually, so the timbre stays the same regardless of how many voices are being played.

The two main parameters, Drive and Low Boost, work together to create the overall effect.

Drive controls the amount of edge and bite in the timbre. Low settings will produce mild saturation, and higher settings create more obvious distortion.

Often, it’s useful to increase the Low Boost along with the Drive.

Note: Even when the Drive amount is set to 0, the Drive circuit still affects the timbre. If your goal is a completely pristine sound, use the Bypass control instead.

Low Boost is a special low-frequency EQ which controls the body character of the sound. The specific EQ frequencies affected will change with the Drive setting.

Higher amounts increase the bass boost, and will also intensify the effect of the Drive parameter.

LFO1/2

Specifies how the LFOs will produce cyclic changes in volume (tremolo effect).

The volume will be affected by the LFO(s) for which you set an LFO1 Intensity, LFO2 Intensity value.

Intensity (AMS Intensity) adjusts the depth by which the tremolo effect produced by the LFO will be affected when you assign an AMS (LFO1 AMS, LFO2 AMS).

For example if you set AMS to JS-Y (CC #02), tremolo will be applied when you move the joystick of NAUTILUS toward yourself, or when CC#02 is received.

Playing and editing Programs

Using EXi

In EXi Programs, you can select one or two EXi to be split or layered together. Each EXi has its own sonic character and different pages of parameters.

To select different EXi:

1. Select an EXi Program.

Note: EXi Programs are stored in EXi Banks, separate from HD-1 Programs. Depending on settings, any bank except for INT-G may be an EXi bank.

2. Press the PAGE button, and then press the PAGE SELECT Common button.

3. Press the Basic/X-Y/Controllers button.

4. Press the Program Basic tab.

The Program Basic page appears.

5. Under EXi 1 Instrument Type, at the top left of the display, select any of the EXi.

You can also select a second EXi under EXi 2 Instrument Type, but for now let’s concentrate on EXi 1.

6. Press the PAGE button, and then press the EXi 1 button, such as the PAGE SELECT SGX-2.

SGX-2 Premium Piano

Redefining the workstation piano

You’ve never heard a piano like this on a workstation. Every note is sampled in stereo at up to 12 velocity levels with no loops, for smooth response and natural decays—plus multiple velocity layers of true damper resonance, along with modeled string resonance. Additionally, some sounds include dedicated Una Corda samples.

The SGX-2 also provides the exceptionally high polyphony that real acoustic piano sounds require—up to 100 dualstereo notes, the equivalent of 400 mono voices.

String Resonance

When a note is played on a piano, any other un-damped strings will resonate slightly, with an intensity corresponding to their harmonic relationship to the played note. An extreme example of this is heard when the damper pedal is down, at which point all of the strings resonate together. However, it also happens whenever a note is played while one or more other harmonically related notes are held—even when the damper pedal is off. For instance, if you hold C2 and then sharply play and release C3, you’ll hear a faint echo of the C3 ringing from the C2 string.

The SGX-2’s modeled string resonance can be turned on and off for each individual Program. To turn it on, go to the PROGRAM > SGX-2: String Resonance/Una Corda page, enable the String Resonance check-box, and set the Depth as desired. For more information, see “5–1a: String Resonance” on page 354 of the PG.

The pages for the selected EXi appear.

Detailed Program Editing Using EXi

EP-1 MDS Electric Piano

New technology, classic sounds

The EP-1 provides incredible recreations of six classic tine and reed electric pianos, along with modeled vintage effects. Based on Korg’s Multi-Dimensional Synthesis (MDS), the EP-1 delivers natural real-time expression without the limitations of ordinary sample playback. For instance, you’ll appreciate the natural decay and astonishingly smooth gradation of dynamics from pp to ff, without tell-tale split points - just like the real instruments.

RT control over noise elements, including mechanical keyoff noises controlled by release velocity, gives your performances even greater realism and detail.

CX-3 Tonewheel Organ

Modeled organ with drawbar control

Based on Korg’s ground-breaking CX-3 keyboard (with additional refinements), the CX-3 is a detailed tone-wheel organ model with live drawbar control,

Perfect tone-wheel phase coherency means solid, powerful sounding chords just like the real thing. A choice of tone wheel types, adjustable overtones, leakage, noise, and keyclick modeling provide unparalleled realism.

Amp modeling, Vibrato/Chorus, and Rotary Speaker effects are built in. EX mode lets you introduce additional drawbar and percussion harmonics, for new timbres unavailable on traditional organs.

AL-1 Analog Modeling Synthesizer

PolysixEX

Rich-sounding, versatile, and easy-to-use synth

With its self-oscillating four-pole filter, smooth analog oscillator and sub-oscillator, and rich, built-in chorus and ensemble effects, the PolysixEX proves you don’t have to be fancy in order to be great.

Based on the classic Korg Polysix analog synth, its timbre is distinctly different from the AL-1 and the MS-20EX, but we didn’t stop there; we added modulation of every control on the front panel, for a world of sounds impossible on the original.

It’s also very well-suited to hands-on control with Tone Adjust for almost all of the original Polysix controls. As a bonus, it’s also capable of extremely high polyphony—up to 180 voices!

STR-1 Plucked String

Physical modeling, from the real to the fantastic

Physics has brought us lasers, cell phones, electric cars—and now the STR-1. What would it sound like to play harmonics on a metal bar “plucked” by a piano, or to sing into a guitar string? Play with the STR-1 and discover.

In addition to unique, experimental timbres, the STR-1 is great for traditional instruments from guitars, basses, harps, and world/ethnic sounds to clavinets, harpsichords, bells, and electric pianos.

You can also process samples and live audio input through the physical model—including audio feedback from any of the NAUTILUS effects.

Modern virtual analog synth

The AL-1 is our feature-packed, modern virtual analog synth. Its patented ultra-low-aliasing oscillators (using completely different technology than the HD-1) recreate all the power and glory of true analog synthesis—without the artifacts that can plague lesser instruments.

Morphing waveforms allow you to change the oscillator shapes in real-time. Resonance modeling lets you choose between classic filter sounds, and the extraordinarily flexible MultiFilter lets you create your own hybrid filter shapes. Hard sync, analog-style FM, drive, low-boost, and ring modulation offer plenty of tone-twisting power.

MS-20EX

Patch-panel synth with unique, aggressive tone

A dramatic expansion of Korg’s classic MS-20 analog synth, the MS-20EX puts modular patch cables under your fingertips. Modulate filters with audio-rate oscillators; turn audio inputs into control signals; control all of the original knobs with mod sources including additional envelopes, LFOs, and RT controllers.

It’s a tweaker’s dream, but even without the patch panel, the MS-20EX would make waves with its unique, aggressive tone—due in large part to its unusual filters, which are completely different from those in either the AL-1 or the PolysixEX.

MOD-7 Waveshaping VPM Synthesizer

Patch-panel VPM/waveshaping/PCM processor

Combine Variable Phase Modulation (VPM), waveshaping, ring modulation, samples, and subtractive synthesis with a modular patch-panel system, and you have the MOD-7. Exceptionally versatile, it offers everything from classic FM keyboards, bells and basses (including the ability to import sounds from vintage DX synths) to rhythmic soundscapes and sparkling, epic pads.

Vast sample-mangling capabilities, with incredible flexibility and power, let you create incredibly rich processing environments: combine multiple stages of filtering, waveshaping, and ring modulation, even use samples as FM modulators, all patched together however you like.

Playing and editing Programs

X-Y CC Control

X-Y CC MIDI Output

Vector Synthesis System

X-Y Volume Control

X-Y Envelope

X-Y control

MIDI In

X-Y X and Y modes

Program switch:

Enable CC control

Program switch:

Enable Volume control

Global switch (GLOBAL > MIDI):

X-Y MIDI Out

X-Y control

X-Y CC Control

scale

X+/– and Y+/–

CC Assignments

X-Y CC Modulation of

Program and FX Parameters

X-Y Modulation of Oscillator Volume

Osc 1/2 Center Volume

and Equal Power settings

X-Y CC MIDI Output

Global Controllers

MIDI CC Assignments

Defaults: X=118, Y=119

+127

+127–127

Y-Axis

X-Axis

Using Vector Synthesis

Vector Synthesis lets you control Program and Effects parameters by using the programmable X-Y Envelope set by X-Y pad on the display.

What does Vector mean?

Modulation generally works by moving a single control. like a slider, in a straight line. At one end of the control, the modulation is at its minimum; at the other end, it’s at its maximum.

Vector Synthesis is a little different. It works by moving around a point on a two-dimensional plane, both left-right and up-down.

You can think of this point as being positioned on two different lines at once: a left-right line (the X axis), and an up-down line (the Y axis).

In other words, instead of just having one value (like a slider), each X-Y point has two values: one for X, and one for Y. See the graphic below for an example.

X-Y Point and X and Y axis values

X-Y Point

+127

Y value: +50

Y-Axis

X value: –90

X-Axis

+127–127

You can also use the X-Y Envelope to move its position automatically over time, as shown below.

X-Y Envelope moving the X-Y Point

X-Y control Volume Control and CC Control

The X-Y control does two main things: it can control the relative volume of the two Oscillators in PROGRAM mode (or of up to 16 Programs at once in COMBINATION mode), and it can generate CCs for controlling Program and Effects parameters.

X-Y control and MIDI

The X-Y control features interact with MIDI through the XY CC Control.

The X-Y CC Control is generated by the X-Y position. Normally, this will only affect internal sounds and effects. If you like, however, you can also enable a Global parameter to send these generated CCs to external MIDI devices.

For more information on Vector Synthesis, see “1–5: X-Y Control” on page 41 of the PG.

Effects

Effects are covered in their own section of the manuals, so we won’t go into too much detail here. See the crossreferences below for more information.

Detailed Program Editing Effects

Insert Effects

Insert Effects let you send either individual Oscillators or the entire Program through up to 12 effects, in series. You can use any type of effects, from distortions and compressors to choruses and reverbs. The Insert Effects can be routed to the main outputs, or to any of the individual outputs.

For more information, see “Insert effects” on page 223.

Master Effects

There are two Master Effects, which are accessed through Sends 1 and 2. These are best-suited to effects such as reverbs and delays, but you can use them with any type of effect.

For more information, see “Master effects” on page 224.

Tota l Ef fec ts

The two Total Effects are dedicated to processing the main L/R outputs. They’re ideally suited to overall mix effects, such as compression, limiting, and EQ–but as with the other effects sections, you can use any type of effect that you like.

For more information, see “PROGRAM > MFX/TFX” on page 107 of the PG.

Playing and editing Programs

Playing and editing Combinations

Playing Combinations

What’s a Combination?

Combinations, or “Combis” for short, let you split and layer up to 16 Programs at once.

A Combi is made up of 16 Timbres. Each Timbre has a Program, along with parameters for key and velocity zones, mixer settings, MIDI channel and controller filtering, and so on.

Selecting Combinations

Overview: Combination Banks

NAUTILUS ships from the factory with 256 of factoryprogrammed Combinations. You can create your own original combinations by editing these factory-set combinations, or by initializing a combination and starting “from scratch.”

You can use 1792 combinations to store sounds that you’ve created, or to add optional sound libraries.

These Combinations are organized into 14 Banks of 128 Combinations each, as described below. You can also store many more Combinations on the internal drive, or on external USB 2.0 devices.

For more details on the factory Combinations, please refer to the Voice Name List.

Combination bank contents

Bank No. Description

A, B 000…127 Factory Combinations

C...N 000…127 User Combinations

As with Programs, each Combi has 12 Insert Effects, 2 Master Effects, and 2 Total Effects, for shaping and transforming the sounds of the individual Timbres. Finally, combis can use two arpeggiators and drum tracks or step sequences.

Selecting Combination with the frontpanel and LCD

1. Press the MODE button and select COMBINATION on the display to enter COMBINATION mode.

2. Go to the COMBINATION > Home– Mixer page.

“PROGRAM > Home” will be displayed on the top row of the display, and the Overview/Mix Balance tab on the bottom row will be selected.

If a different page is shown, press the EXIT button several times.

The Mixer page shows the selected Program, status, pan, and volume for timbres 1–16.

3. Make sure that the Combination name is selected.

If it is not selected, touch the COMBINATION > Home page and touch the Combination’s name, so that it’s selected.

4. Use the VALUE controllers to select the Combination number that you wish to play.

There are several different ways to select Combinations. Each one is convenient in a different way:

• Using the VALUE controllers, you can select Combinations quickly via physical controls

• Selecting by Bank and number (via the touch-screen) lets you browse through all of the Combinations in memory, to find the one that you want

• Selecting by Combination category (via the touchscreen) lets you filter Combinations by sound type, such as Pianos or Drums

• Using Find (via the on-screen magnifying-glass icon) lets you search for Combinations by name

• Using a foot-switch lets you change Combinations even while both hands are busy playing on the keyboard convenient for live applications

• MIDI program change messages let you select Combinations remotely, from either -a MIDI sequencer or an external MIDI controller

Set Lists

Combinations can also be selected in Set Lists, along with Programs and Songs. For more information, see “Set Lists” on page 113.

You can use the following methods to select a Combination.

•Turn the VA L U E dial.

• Press the + or − buttons.

Playing and editing Combinations

Combination Select popup button

Combination Select

Pan

Volume

Program Select

Timbre 01

Favo rite

Selecting by Bank and number

You can select Combinations from a list organized by Combination bank.

1. Press the Combination Select popup button.

Press the Bank(List) button at the bottom of the screen.

The Bank/Combination Select dialog appears.

Bank/Combination Select menu:

In this illustration, bank A is selected. The list on the right shows the Combinations contained in that bank.

2. Press the buttons on the left side of the display to select a bank.

3. Press one of the names in the list to select a Combination.

The selected Combination will be highlighted, and the keyboard will immediately switch to the new sound.

Press the “Bank (10key)” button to switch the list to a numeric keypad, where you can input the number to select.

4. If you like, play a few notes to hear the new Combination.

You can play the new Combination while the menu is still showing, without needing to press OK.

5. When you are satisfied with the selected Combination, press the OK button to close the popup menu.

If you press the Cancel button, the selection you made here will be discarded, and you will return to the Combination that had been selected before you opened the menu.

Playing Combinations Selecting Combinations

Selecting by Category

You can select Combinations from within a category, such as keyboard, organ, bass, and drums. When shipped from the factory, the Combinations are organized into 16 categories, each with several sub-categories. There are also 2 more categories, initially named User 16 and User 17, which you can use and rename as desired.

1. Press the Combination Select popup button.

Press the Category button at the bottom of the screen.

The Category/Combination Select dialog appears.

Category/Combination Select menu

In the illustration above, the Keyboard category is selected. The combinations included in that category will be shown.

2. Press the tabs located to the left and right sides of the display to select a different category.

The name of the selected category will be displayed in full in the upper right of the display.

3. Optionally, focus on a more specific group of sounds by selecting a sub-category from the upper part of the display.

The full name of the sub-category also appears in the upper right of the display.

4. Press one of the Combination names in the center area to select a Combination.

The selected Combination will be highlighted.

5. Play the keyboard to hear the combination you selected.

While the menu is displayed, you can switch combinations without pressing the OK button to check out different sounds.

6. Select the menu to show all combinations for which the favorites function has been turned on.

The check box will be disabled if there are no combinations in the selected category that have their favorite settings turned on.

7. When you are satisfied with the selected Combination, press the OK button to close the popup menu.

If you press the Cancel button, your selection will be discarded, and you will return to the Combination that had been selected when you opened the popup menu.

(Favorite) check box at the top of the



Using the Find feature

On the Bank/Combination Select menu, and Category/Combination Select menu, you’ll see a button marked with a magnifying glass. Pressing this button brings up the Find dialog. You can use Find to search for Combinations by name.

Using the Favorites check-box

The Bank and Category select pop-ups both include a Favorite check-box at the bottom of the screen. This lets you trim the list to show only Combinations you’ve marked as favorites. For more information, see “Using the Favorites check-box” on page 27.

Using a footswitch to select Combinations

You can assign a footswitch to step through Combinations one by one, either going up (0, 1, 2, 3, etc.) or going down (3, 2, 1 etc.). This lets you change Combinations without using your hands–great for quick Program changes in live performance situations.

For more information, see “Using a footswitch to select Programs” on page 28.

Selecting Combinations via MIDI

You can send MIDI Program Change messages to NAUTILUS from external MIDI devices, such as computer sequencers or other MIDI controllers. In conjunction with MIDI Bank Select, you can use these to select any Combination from all 14 Banks.

For more information, see “Selecting combinations,” on page 932 of the PG.

Playing and editing Combinations

Easy Combination editing

Changing the Programs within a Combi

Changing the Programs assigned to the 16 Timbres is a quick way to dramatically alter the sound of the Combination.

Selecting Programs for Combi Tracks

To change the Program assigned to a Timbre:

1. Go to the COMBINATION > Home– Mixer page.

This page shows all 16 Timbres at once, including their Program assignments, volume, pan, play/mute, solo, and more.

2. Press Program Select of Timbre 1.

3. Select program using +, − buttons or VALUE dial.

Note that the new Program is now selected for Timbre 1.

4. Press Program Select of Timbre 1 again.

It brings up a window which lets you select Programs by Category or, Bank–again, just like the similar window in PROGRAM mode.

5. Select a different Program, and press OK.

The Program in the Timbre is now changed to the one you just selected.

Adding a timbre

You can add timbres when selecting an InitCombi to make a new combination, or when the combination is not using all 16 timbres.

1. Press an unused timbre (a timbre on which the “+” button is displayed).

2. Change the program and each setting of the timbre you added.

For timbres that have been added, the “Status” will be set to “INT”, and “MIDI” will be set to “Gch”.

Note: To disable a timbre, turn its “Status” to “Off” on the COMBINATION > Home– Mixer– Status Play/Mute page. (See “Status” on page 379 of the PG.)

Adjusting the mix

You can set the volume, pan, and EQ settings for each Timbre.

Setting the volume and pan for each Timbre

1. Go to the VOLUME tab on the COMBINATION > Home– Mixer page.

This page shows the volume, pan, play/mute, solo, and Program assignments for all 16 Timbres.

2. Select the on-screen Volume slider for Timbre 1.

3. Use the VALUE dial, or the numeric keypad displayed by pressing the same number to set the volume as desired.

4. Select the on-screen Pan knob for Timbre 1, and edit its value as desired.

Timbre pan interacts with the pan stored in the Program. A setting of C064 reproduces the Program’s oscillator pan settings. Adjusting the Timbre Pan will move the sound to left or right while preserving the pan relationship between the oscillators. A setting of L001 is far left, and R127 is far right.

Quick Layer/Split

Quick Layer Quick Split

Quick Layer/Split Quick Layer example: adding strings to a piano Combination

All of the Quick Layer/Split controls are non-destructive and

For more basic details on Quick Layer/Split, see “Quick

Layer/Split” on page 35. reflected immediately when playing on the keyboard. You can experiment with different settings, and fine-tune until you find the perfect sound.

Quick Layer example: adding strings to a piano Combination

Quick Layer dialog

Program Select (Layer)

Octave (Layer)

Solo (Layer)

Volume (Layer)

Zone

Combination Select

(Main)

Octave (Main)

Select ARP/DRUM

Layer/Main

Tempo

Volume Drum Track

Here, we’ll walk through a typical use of Quick Layer: adding a string layer to a piano sound. Many of the steps are identical to the Quick Layer functionality in PROGRAM mode, but there are a few differences unique to COMBINATION mode. Let’s start with the piano:

1. In COMBINATION mode, select a piano sound-for

instance, A000: Piano & Constant Voices.

For details on how to select a Combination, see “Selecting Combinations” on page 55.

Quick Layer and Quick Split buttons

Volume (Main)

Solo (Main)

Write Layered Combi

2. Press the Quick Layer button.

The Quick Layer dialog box opens (see the “Quick Layer dialog,” above).

This dialog box lets you make all of the basic settings for the new layered sound. First, we’ll select a strings Program to layer with the piano.

3. Press the Program Select P opup in the LAYER PROG section, and choose the Strings category. Select the Program H048: Small Pop Strings, and press OK.

If you like, you can also select a different Main Combination, using the controls in the MAIN COMBI section.

Playing and editing Combinations

4. Set the Volume and Octave of the Main Combination and the Layer Program as desired.

The Main Combination Volume adjusts the overall volume while maintaining the balance between individual Timbres. Internally, it does so by controlling the Timbre Volume sliders. In order to maintain the original balance, the editing range when increasing volume is automatically restricted; once any of the Timbres reaches its maximum volume setting, the overall volume will not rise any further.

Since this is a relative adjustment, the parameter will always start at the default of +000 (no change).

+001...-127 lowers the volume, and +001...+127 raises the volume.

5. Under “Select ARP/DRUM,” choose to use the ARP/DRUM from either the Main Combination or Layer Program.

Note: When the ARP button is turned on, playing with the arpeggiator will be enabled. The notes that play will follow the selected ARP/DRUM settings. When the DRUM button is turned on, the notes that play will be controlled by the Drum function.

The Tempo is initially set to match the selected Drum; you can then change it as desired. Note that you can’t use both ARP/DRUMs simultaneously.

6. Adjust the Drum Volume as desired.

If the Drum Track plays only one Timbre, that Timbre’s volume is adjusted directly. If the Drum Track plays multiple Timbres, the overall volume is adjusted while maintaining the balance between the Timbres, just like the Main Combination Volume as described above.

Writing the results

1. When you’ve finished editing your layered sound, press the Write Layered Combi to save it as a combination.

The Write Combination dialog box appears.

2. Press the popup button next to Combination to bring up the save location dialog, and select a location to save the edited Combination.

3. Set the name and category as desired.

The system automatically creates a new name based on the names of the two original sounds. You can edit this name as desired.

4. Press the OK button to write the Combination.

A confirmation message appears. Press the OK button once again to complete the Write operation.You’ll return to COMBINATION mode, with the new Combination selected.

For more information, see “Writing Programs and Combinations” on page 205.

If you press the Cancel button, the save operation is canceled.

Quick Layer/Split Quick Split example: adding a lead synth to a Combination

Solo (Lower)

Volume Drum Track

Tempo

Select Split Mode

Octave (Lower)

Write Split Combi

Program Select

(Lower)

Select ARP/DRUM

Lower/Main

Volume (Lower)

Split Point

Octave (Main)

Solo (Main)

Combination Select (Main)

Volume (Main)

Quick Split example: adding a lead synth to a Combination

Quick Split dialog

Quick Split makes it easy to create common setups, such as piano for the right hand and bass below for the left, or piano for the left hand and a lead synth for the right. Let’s walk through the second example: a piano and lead split.

1. In COMBINATION mode, select a piano sound-for instance, A024: WS Layer Keys.

For details on how to select a Combination, see “Selecting Combinations” on page 55.

2. Press the Quick Split button, to the right of the Perf Meters tab.

The Quick Split dialog box appears.

3. Under Select Split Mode, press the Main / Upper button.

This assigns the Split Program to the right-hand (upper) side of the keyboard, and the Main Combination—in this case, the piano—to the left-hand (lower) side.

Alternatively, you could press the Lower / Main button to assign the Split Program to the left-hand (lower) side of the keyboard—useful for bass sounds. For this example, let’s stick with Main /Upper.

4. Press the Category Select Popup in the UPPER PROG section.

5. Choose the Lead Synth category, select the Program D022: Thin Ana Lead, and press OK.

When you play the keyboard, the lower region plays the original piano sound, and the upper region plays a synth lead. The lead will sound close to the way that it does in PROGRAM mode, including its insert effects (IFX), but it will now use the Master and Total Effects (MFX and TFX) of the piano Combination. For more information, see “Limitations of Quick Layer/Split” on page 62.

If you like, you can also select a different main Combination, using the controls in the MAIN COMBI section.

6. Press and hold the ENTER button, and play a note on the keyboard to set the split point.

The split point sets the lowest key of the Upper range; the default is C4.

You can also edit the Split Point by holding the ENTER button and then touching the keyboard graphic.

7. Adjust the Volume and Octave of the Main Combination and Split Program as desired.

8. Select the ARP/DRUM settings you want to use with “Select ARP/DRUM”.

Select which ARP/DRUM settings to use for the main combination or the split program.

the Volume control to adjust the volume of the drum

Use track program.

Note: Both ARP/DRUM settings cannot be used simultaneously.

Playing and editing Combinations

Writing the results

1. When you’ve finished editing your splitted sound, press the Write Split Combi button to save it as a combination.

The Write Combination dialog box appears.

2. Press the popup button next to Combination to bring up the save location dialog, and select a location to save the edited Combination.

3. Set the name and category as desired.

The system automatically creates a new name based on the names of the two original sounds. You can edit this name as desired.

4. Press the OK button to write the Combination.

A confirmation message appears. Press the OK button once again to complete the Write operation.You’ll return to COMBINATION mode, with the new Combination selected.

For more information, see “Writing Programs and Combinations” on page 205.

If you press the Cancel button, the save operation is canceled.

Limitations of Quick Layer/Split

For combinations that are created using the Quick Layer/Split function in PROGRAM mode, three timbres (Main, Layer/Split and DRUM) are always used. In this way, you will never run out of timbres.

In contrast, when you are using the Quick Layer/Split function in COMBINATION mode, you may run into a situation where the main combination is already using all of the timbres and none are available.

In this case, the layer/split program will automatically be overwritten by certain parts of the timbre in use. For this reason, the main combination will not sound exactly the same.

When the split points of the main combination and split program fall within the range of the main combination’s keyboard zone slope, the “Top Slope” and “Bottom Slope” values will be automatically adjusted when possible to their optimum values. The main combination may not sound the same in this case.

Also, the value of “Timbre Zone Bypass” for the arpeggiator will be automatically adjusted if possible; and again, the main combination might not sound the same.

Detailed Combination editing Quick Split example: adding a lead synth to a Combination

Detailed Combination editing

You can edit any of the Combinations shipped with NAUTILUS, or you can start with an initialized Combination to create sounds from scratch.

Naturally, you can use the factory Programs to create new Combis, or use your own custom Programs. If you’re in the process of editing a Program in PROGRAM mode, and you use the Program in a Combi, you’ll hear the edited version in COMBINATION mode as well.

As with Programs, y ou can do many basic edits directly from the RT control knobs, without ever delving deeper into the LCD interface. For instance, you can use the RT control knobs to change release time, make sounds brighter or darker, alter effects depths, add Arpeggiator phrase, and so on. For details on how these work in PROGRAM mode, see “Quick edits using the RT control knobs” on page 32.

A suggested approach for editing

First, select a Program for each Timbre, on the Mixer tab of the Home page. (Note that you don’t have to use all 16 Timbres!)

Next, create any desired keyboard or velocity splits, layers, or crossfades between the different Timbres. You can do this on the Keyboard Zones and Velocity Zones tabs of the MIDI Filter/Zones page.

After this, adjust the volumes of the Timbres (back on the Prog Select/Mixer tab), and set up any other Timbre parameters as desired.

To add finishing touches to the sound, set up the Insert, Master, and Total Effects as desired (on the IFX and MFX/TFX pages, respectively.) These effects can be different from those of the individual Programs in PROGRAM mode, if desired.

In addition, you can make Scene settings (on the Home– ARP DRUM page) and controller settings (on the EQ/XY/Controllers– Controllers page) to create the finished Combination.

Using Compare

When you’re in the process of editing a sound, executing

Compare page menu command will recall the saved version of the sound, as it was before you started editing.

While editing a combination, you can execute the Compare command (menu command) to recall the settings that were last saved. Use the “Compare” command once more to return the settings to how they were before.

If you edit the settings that you recalled with the Compare command, (i.e., the settings that were saved), you will not be able to return to the settings used before the command was executed.

Playing and editing Combinations

Parameters

Timbre2

Timbre3

Timbre16

Timbre4

Timbre1

Parameters

Program

AUDIO OUTPUT INDIVIDUAL 1, 2, 3, 4

AUDIO OUTPUT L/MONO, R

Master Eects 1, 2

Total Eects 1, 2

Insert Eects 1…12

Controllers

X-Y Control

Audio Input ARP/DRUM

Timbre

Insert Eects Master Eects Individual Outputs

REC Bus FX Control Bus

Routing

Tone Adjust

3Band EQ

Combination overview

Combination page structure

The COMBINATION > Home page offers access to the most important aspects of Combis, including:

• Selecting and playing Combinations

• Selecting individual Programs

• Making settings for Arpeggiator function

• Quick sampling and resampling

The detailed editing pages, Home through MFX/TFX, give you more in-depth access to the Combi’s powerful key and velocity zones, MIDI filtering, Vector Synthesis, and Effects.

Page Main features

• Select and play Combinations

• Perform easy edits using the RT control knobs, and Tone Adjust

Home

EQ/X-Y/Controllers

• Adjust mix parameters including volume, pan, EQ, and send levels

•Set up ARP/DRUM

• Select a Program for each timbre

• Quick sampling and re-sampling

• Adjust EQ settings for each Timbre

• Assign functions to SW1/2 and RT control knobs 1-6

• Set up Vector synthesis

Page Main features

Timbre Parameter

MIDI Filter/Zone

IFX

MFX/TFX

• Set various parameters for each timbre, such as MIDI channel, OSC select, Pitch etc.

• Set up MIDI transmission/reception filters for each Timbre.

• Set up keyboard and velocity zones for each Timbre.

• Select insert effects and make settings for them. Specify send levels to the Master effects and routing to the outputs.

• Select Master send effects and Total effects, and adjust their settings.

For details on how to access each mode and page, please see “Basic operations” on page 14.

You can sample from within COMBINATION mode— including resampling the Combination itself. For more information, see “Sampling in PROGRAM and COMBINATION modes” on page 145.

You can also mix in live audio inputs, and process them through effects. For more information, see “Using effects with the audio inputs” on page 229.

Combination structure and corresponding pages

Detailed Combination editing Layers, Splits, and Velocity Switches

Program B

Program A

Layer: Two or more programs sound simultaneously.

Program B

Program A

Split: Dierent programs will sound in dierent areas of the keyboard.

Program A

Program B

Keyboard playing dynamics

Strong Soft

Velocity Switch: Keyboard playing dynamics (velocity) switches between dierent programs.

Program C

Program D

Program B

Program A

Keyboard playing dynamics

Strong Soft

Example: B and C/D are split. In the lower keyboard range, A and B are layered. In the higher keyboard range, C and D are switched by velocity and layered with A.

Program A

Program B

Keyboard X-Fade (keyboard crossfade): As you play from low notes to high notes, the volume of A will fade out, and the volume of B will fade in.

Layers, Splits, and Velocity Switches

Within a Combination, you can use note number and velocity to determine which Timbres will sound.

The Programs assigned to each Timbre can sound in three ways: as part of a layer, a split, or a velocity switch. A Combination can be set to use any one of these methods, or to use two or more of these methods simultaneously.

Layer

Layers cause two or more Programs to sound simultaneously when a note is played.

Split

Splits cause different Programs to sound on different areas of the keyboard.

Velocity Switch

Velocity Switches cause different Programs to sound depending on the velocity (how hard you play the notes).

Creating Key Splits and Layers

Let’s create a Combi which combines both splits and layers, like the diagram below:

imbre 1

imbre 2

imbre 3

Brass

Strings

C2C-1… C4 C7 …G9B3

1. Go to the COMBINATION > Home– Mixer page.

2. Select a piano sound for Timbre 1, a brass sound for Timbre 2, and a strings sound for Timbre 3.

3. Go to the MIDI tab of the Timbre Parameters page.

4. For Timbres 1-3, set Status to INT and MIDI Channel to Gch (the Global Channel).

5. Go to the Keyboard Zones tab of the MIDI Filter/Zones page.

6. Set Timbre 1’s Top Key to G9, and its Bottom Key to C4.

7. Set Timbres 2 and 3 to a Top Key of B3, and a Bottom Key of C-1.

You can also enter these values by selecting the parameter, and then holding down the ENTER key and playing a note on the keyboard.

Piano

On NAUTILUS, you can use a different Program for each of up to sixteen Timbres, and combine two or more of the above methods to create even more complex setups.

As an additional possibility, you can set the slope for a key zone or velocity zone so that the volume diminishes gradually. This lets you change a split into a keyboard crossfade, or a velocity switch into a velocity crossfade.

Key Zone Slope

In addition to “hard” splits, in which the sound changes abruptly, you can use the Slope parameters to gradually fade a sound in or out over a range of keys.

In the example above, you could set the Bottom Key of timbre 1 to G3, and set the Top Key of timbre 2 to G4, so that these two timbres overlap.

Next, if you set the Bottom Slope of timbre 1 to 12, and set the Top Slope of timbre 2 to 12, the sound will change gradually instead of changing suddenly.

Creating Velocity Switches

Next, let’s create a simple velocity switched Combination, like the diagram below:

Timbre 1

Timbre 2

Brass

Strings

1. Go to the COMBINATION > Home– Mixer page.

2. Select a brass sound for Timbre 1, and a strings sound for Timbre 2.

3. Go to the MIDI tab of the Timbre Parameters page.

4. For Timbres 1 and 2, set Status to INT and MIDI Channel to Gch (the Global Channel).

5. Go to the MIDI Filter/Zones– Velocity Zones page.

6. Set Timbre 1’s Top Velocity to 127, and its Bottom Velocity to 64.

7. Set Timbre 2 to a Top Velocity of 63, and a Bottom Ve lo ci t y o f 1.

127

64 63

Velocity switch

Playing and editing Combinations

Velocity Zone Slope

Similar to Key Zone Slopes, as described above, these let you fade in and fade out sounds gradually over a velocity range, instead of a simple hard switch.

In the case of the above example, you could set the velocity zones of the two Timbres so that they partially overlap. Then, set the Top Slope and Bottom Slope so that the sound changes gradually, instead of changing suddenly between velocity values of 63 and 64.

MIDI Settings

Timbre Parameters MIDI page

Status

This controls the status of MIDI and the internal tone generator for each Timbre. Normally, if you’re playing an internal Program, this should be set to INT.

If the status is set to Off, EXT, or EX2, that internal sounds will not be played. Off simply disables the Timbre entirely. The EXT and EX2 settings allow the Timbre to control an external MIDI device. For more information, see “Status” on page 405 of the PG.

Bank Select (when status=EX2)

When the Status is set to EX2, these parameters allow you to transmit MIDI Bank Select messages for changing banks on external MIDI devices.

MIDI Channel

Timbres that you wish to play from NAUTILUS’s keyboard must be set to the global MIDI channel. Your playing on the keyboard is transmitted on the global MIDI channel, and will sound any timbre that matches this channel. Normally you will set this to Gch. When this is set to Gch, the MIDI channel of the timbre will always match the global MIDI channel, even if you change the global MIDI channel.

MIDI filter settings

For each MIDI Filter item, you can specify whether or not the corresponding MIDI message will be transmitted and received. The checked items will be transmitted and received.

The MIDI filters don’t turn the functions themselves on or off. Instead, the filter just controls whether or not that MIDI message will be transmitted and received.

For example, if portamento is on, portamento will be applied to the internal NAUTILUS sound even if Portamento SW CC#65 is unchecked.

As another example, let’s say that you’ve selected a bass Program for Timbre 1, and a piano Program for Timbre 2, with the goal of creating a bass/piano split. You could make the following settings so that pressing the damper pedal affects only Timbre 2’s piano sound:

1. Go to the MIDI Filter/Zones– MIDI Filter 1 page.

2. Un-check the Enable Damper box for Timbre 1.

3. Check the Enable Damper box for Timbre 2.

Detailed Combination editing Altering Programs to fit within a Combination

Altering Programs to fit within a Combination

You can make various changes to Programs within the context of a particular Combination, to make them fit better with other Programs, or to create particular sonic effects. These changes do not affect the original Programs, or how those Programs sound in other Combinations.

Timbre Parameters: OSC

Force OSC Mode

Normally this should be set to PRG, so that the sound will play as set by the original Program.

If you wish to force a polyphonic program to sound monophonically, set this either to Mono or Legato. Conversely, set this to Poly if you wish to force a monophonic program to play polyphonically.

For more information, see “Force OSC Mode,” on page 406 of the PG.

OSC Select

Normally, this should be set to Both.

If the timbre is using a program whose Oscillator Mode is Double or Double Drums, and you want only OSC1 or OSC2 (not both) to sound, set this to OSC1 (only OSC1 will sound) or OSC2 (only OSC2 will sound).

Portamento

Normally, this should be set to PRG.

If the Program uses portamento, but you’d like to disable this for the current Combination, set this parameter to Off.

Conversely, if you want to force the portamento to be on, or just to change the portamento time, set this to a value of 001–127. The portamento will change to use the newly specified time.

Timbre Parameters: Pitch

Transpose, Detune (BPM Adjust)

These parameters adjust the pitch of the timbre.

• In a layer-type combination, you can set two or more timbres to the same program, and create a richer sound by using Transpose to shift their pitch apart by an octave or by using Detune to create a slight difference in pitch between the two.

• In split-type combinations, you can use Transpose to shift the pitch (in semitone units) of the programs specified for each key zone.

• If you wish to change the playback pitch of a drum program, use Detune. If you change the Transpose setting, the relationship between notes and drum sounds will change.

Adjusting the BPM of multisamples or samples created in SAMPLING mode

If a timbre’s program uses multisamples or samples that you created in SAMPLING mode (or loaded in MEDIA mode) at a specific BPM value, you can use the page menu command Detune BPM Adjust to call up a new BPM value. This changes the BPM by adjusting the playback pitch.

For more information, see “Detune BPM Adjust,” on page 437 of the PG.

Use Program’s Scale, Scale

This specifies the scale for each timbre. If you check Use Program’s Scale, the scale specified by the program will be used. Timbres for which this is not checked will use the Scale setting.

Delay

You can set some Timbres so that they don’t sound immediately at note-on. This can create cool effects, and more dramatic layers.

You can specify the delay for each Timbre either in milliseconds (ms), or in rhythmic values which sync to the system tempo.

If you set the Delay to Key Off, the Timbre will sound when the note is released.

Playing and editing Combinations

Editing Programs from within a Combination or Song

If you want to dive in deeper than Tone Adjust allows, you can also go directly into the editing pages of a Program from within a Combination or Song—while still hearing all of the other Timbres or Tracks.

Tone Adjust lets you change the way the Program sounds in a specific Combination or Song without affecting the original Program. In contrast, the method described below changes the original Program, and will affect any Combinations or Songs which use that Program.

To edit a Program within a Combination or Song:

1. Go to the Home– Mixer page.

2. Select any parameter in the column of the Timbre or Track which contains the Program you’d like to edit, and then select the Edit Program command from the Page Menu Command.

The system will then display the Home page for the selected Program.

3. Edit as desired.

Eventually, if you want to keep your changes, you’ll need to Write the Program. However, while you’re working, you can go back and forth between the edited Program and the Combination or Song.

You’ll notice that some Program pages and tabs will be grayed out; for more information, see “Parameters unavailable while editing in context,” below.

To return to the COMBINATION or SEQUENCER mode:

4. Press the MODE buttons.

The normal rules of editing apply: if you select another Program, all edits to the previous Program will be lost. So, make sure to save your work:

5. While on the Program edit pages, use the Write menu command to save your edits.

Note that you must be on the Program edit pages in order to Write the Program edits. Writing the Combination or Song will not affect the Program.

If you Write the Program to different bank/number, the Combination Timbre or Song Track selected in step 2, above, will be updated to reference the new location. In this case, if other Timbres or Tracks use the Program, they will not be updated automatically (since you may want them to continue to play the original Program); you can change them manually if desired.

Parameters unavailable while editing in context

When editing a Program in context, you’ll hear the Combination or Song’s effects, EQ, and ARP/DRUM. Because of this, related pages, tabs, parameters, and functions within the Program will be grayed out and unavailable, including:

• Home: EQ, or ARP/DRUM

• Audio Input/Sampling

• Controllers

• Program EQ (HD-1: EQ or EXi: EQ)

• EXi Program: Program Basic: EXi1 and 2 Instrument Type

•IFX

•MFX/TFX

•Tempo

Playing the Program during editing, from the keyboard and MIDI

While editing a Program in context, input from the keyboard and MIDI continues to play the Combination or Song exactly as it did before. For instance, MIDI Channels, Key and Velocity Zones, Solo and Mute, etc. continue to apply. This is important, since it lets you hear the Program exactly as it will play in the finished Combination or Song.

Note that this means that if the local keyboard does not play the selected Program in COMBINATION or SEQUENCER modes (for instance, if you’re in a Combi and the Timbre is not on the Global MIDI Channel), then the keyboard will still not play the Program during editing. If the sound is being played by other means—for example, from the NAUTILUS sequencer, ARP, or an external DAW or MIDI controller—then this may not matter. If necessary, you can use various means to route the keyboard to the Program, such as:

• Use MIDI Thru on an external DAW

• In SEQUENCER mode, set the Keyboard Track to play the desired Track

• In COMBINATION mode, temporarily change the Timbre/Track’s MIDI channel, and/or adjust Key or Velocity zones

Of course, if you want to edit the Program by itself, unaffected by the context of the Combination or Song, simply go to PROGRAM mode and edit the sound there!

Effects

Effects are covered in their own section of the manuals, so we won’t go into too much detail here.

Insert Effects

For more information, see “Insert effects” on page 223.

Master Effects

There are two Master Effects, which are accessed through Sends 1 and 2. These are best-suited to effects such as reverbs and delays, but you can use them with any type of effect.

For more information, see “Master effects” on page 224.

Detailed Combination editing Effects

Tota l Ef fec ts

Playing and editing Combinations

Saving your edits

Once you’ve tweaked the sound to perfection, you’ll want to save your work. To save your edits:

1. Select the Write Combination command from the page menu, at the upper right-hand corner of the screen.

This brings up a dialog box which allows you to save the Combination. Optionally, you can also select a new location, or change the Combination’s name.

2. Press the Combination’s name to bring up the text edit dialog.

You can give the Combination a descriptive name using the on-screen keyboard.

After entering the name, press OK.

The text edit window will disappear, returning you to the main Save dialog.

3. To set the category and sub-category, press the “Category” and “Sub Category” pop-up buttons and select the categories/sub-categories from the list.

4. Under “To” at the bottom of the dialog, press the popup button next to Combination to bring up the save location dialog.

Select a location to save the edited Combination.

You can write to any location in banks A–N. To avoid overwriting the factory sounds, it’s safer to use a slot in one of the empty User banks.

After selecting the location, press OK.

5. Press OK again to start the write process.

6. If you’re sure you want to write to this location, press OK again.

After that, you’re done!

For more information, see “Writing Programs and Combinations” on page 205.

Saving to media

You can also save and manage Combinations on the internal drive and USB storage devices. For more information, see “Saving to internal drive, CDs, and USB media” on page 209.

Creating songs (SEQUENCER mode)

Sequencer overview

About the NAUTILUS’ sequencer

The NAUTILUS’ sequencer can hold up to 200 songs and 400,000 MIDI events or 300,000 audio events. It consists of a 16-track MIDI sequencer and a 16-track audio recorder, giving you a total of 32 tracks.

Via MIDI, you can record from and play through external MIDI devices, as well as the NAUTILUS keyboard, physical controllers, and internal sounds.

The 24-bit, 48kHz audio recorder supports 16 tracks of playback and four simultaneous channels of recording. Audio tracks can record external audio sources such as guitars and vocals as well as the NAUTILUS’ internal sounds. You can even record mix automation for volume and pan.

With its broad range of capabilities such as In-track Sampling, Time Stretch/Slice, Arpeggiator, high-quality effects, and physical controllers, the NAUTILUS is the ideal environment for music production or live performance.

Sequencer edits must be saved to disk

When you turn off the power, the SEQUENCER mode settings, the recorded songs and other data will automatically be saved. The data that was saved will automatically be reloaded next time you turn on the power, and the SEQUENCER mode settings will be restored.

You can also edit audio tracks in a variety of ways including Event Editing operations that let you insert or delete audio events, and Region Editing operations. Region Editing allows you to select WAVE files and to edit the start/end addresses of a WAVE file in single-sample units.

Patterns

There are two types of patterns: preset patterns and user patterns.

• Preset patterns: Patterns suitable for drum tracks are preset in internal memory, and can be selected for any song.

• User patterns: Each song can have up to 100 patterns. When using a pattern in a different song, use the Utility menu commands Copy Pattern or Copy From Song etc. to copy the pattern. You can set the pattern length to one or more measures, as desired.

Patterns always contain only a single track of musical data. If you want to use patterns on multiple tracks, you’ll need to use a separate pattern for each track.

To use patterns in a Song, either place them in a MIDI track using the Put to MIDI Track menu command, or copy them using the Copy to MIDI Track menu command.

You can also use patterns with the RPPR. For more information, see “Using RPPR (Realtime Pattern Play/Record)” on page 106.

SEQUENCER mode structure

Songs

A song consists of MIDI tracks 1–16, a master track, audio tracks 1–16, song parameters such as the song name, Vector, Arpeggiator, Drum, effects, and RPPR settings, and 100 user patterns.

A maximum of 200 songs can be loaded into the NAUTILUS memory at once. Thousands can be stored on the internal disk, or on USB storage media.

MIDI tracks 1–16 and audio tracks 1–16 each consist of setup parameters located at the start location, and musical data within the track. The master track consists of tempo and time signature data.

For more information, see “Setup parameters & Musical data” on page 441 of the PG.

Song recording and editing

Song recording is performed on tracks. You can record MIDI tracks in either of two ways; real-time recording or step recording. For real-time recording you can choose one of six recording modes.

Audio tracks can be recorded in real-time, or created by adding WAVE files.

You can edit MIDI tracks by using Event Edit operations to modify the recorded data or insert new data, and by using Track Edit operations such as Create Control Data, which inserts pitch bend, aftertouch, or control change data.

Sequencer patterns and Drum Track patterns

Preset patterns are directly available for use as Drum Track patterns.

User patterns can also be used with the Drum Track, but they must first be converted into user Drum Track patterns (via the Convert to Drum Track Pattern menu command on Pattern/RPPR).

When you convert a user pattern, it will be stored in internal memory, and will not disappear even when you turn off the power.

Creating songs (SEQUENCER mode)

AUDIO OUTPUT L/MONO, R

AUDIO OUTPUT INDIVIDUAL 1, 2, 3, 4

Insert Eect 1...12

Master Eect 1, 2

Total Eect 1, 2

X-Y Control

Arpeggiator

Drum Track/Step Seq

Audio Input

Sampling

Tone Adjust

Controllers

Master Track

Resampling (L/R 2ch Mix)

Tempo and time signature data

Song

Audio recording function

This is a conceptual diagram of SEQUENCER mode including the hard disk recording function.

(Routing) MIDI Routing 1,2 Audio Routing 1,2

Track

Insert Eects Master Eects Individual Outputs

(FX Ctrl BUS) (REC BUS)

Audio Track 01..16

Setting parameters

Performance data

Setting parameters

Performance data

Setting parameters

Performance data

Setting parameters

Performance data

Setting parameters

Performance data

Automation events

Audio events

Region

Audio events

Region

Region Region

Region

MIDI Track 01..16

Setting parameters

Performance data

Setting parameters

Performance data

Setting parameters

Performance data

Setting parameters

Performance data

Setting parameters

Performance data

Internal disk

Sampling memory

(RAM)

WAVE (Stereo)

WAVE (Mono)

Sample

SEQUENCER mode page structure

Page Explanation

• Song playback/recording

• Easy editing using the RT control knobs, and Tone Adjust

• Edit mix parameters such as volume, pan, Play/Mute, and Solo On/Off

Mixer

EQ/X-Y/Controller

Track Parameters

MIDI Filter/Zone

Track Edit • Track editing

•Set up ARP/DRUM

• Select programs for MIDI tracks

• Choose the recording mode

• Make settings for sampling, resampling, and audio

• EQ adjustments for each track

• Function assignments for the SW1 and SW2 buttons and RT control knobs 1–6

• Vector Synthesis settings

• Parameter settings for each track (MIDI channel, OSC selection, pitch settings, etc.)

• MIDI receive/transmit filter settings for each track

• Keyboard zone and velocity zone settings for each track

Page Explanation

• Pattern recording and editing

Pattern/RPPR

• RPPR settings

• Convert User patterns to User Drum Track patterns

IFX

MFX/TFX

• Insert effect selection, settings, send level to master effects, output routing

• Master effect and total effect selection and settings

For details on how to access each mode and page, see “Basic operations” on page 14.

You can sample from within SEQUENCER mode— including resampling the Song itself. For more information, see “Sampling in PROGRAM and COMBINATION modes” on page 145.

You can also mix in live audio inputs, and process them through effects. For more information, see “Using effects with the audio inputs” on page 229.

Set Lists

Songs can also be selected in Set Lists, along with Programs and Combinations. For more information, see “Set Lists” on page 113.

Playing Songs

Solo

Mute/Rec

Status

MIDI Channel

Program Select

Playback

Playing Songs Playback

In order to play back a Song in the sequencer, you must first either load the Song from disk, send the Song to the NAUTILUS via MIDI SysEx, or record a new Song.

Let’s start by loading and playing the demo song data.

1. Follow the instructions for loading and playing the demo songs under “Playing the demo songs” on page 11 of the QSG.

Now, let’s experiment with the different controls.

2. Press the SEQUENCER START/STOP button.

Pressing this once starts playback; pressing it again stops playback. Pressing it a third time resumes playback from where it stopped.

3. Press the LOCATE button to return to the start of the Song.

The locate point defaults to the start of the Song. You can change this as desired; see “LOCATE settings” on page 74.

4. Press the SEQUENCER REW or FF button to rewind or fast-forward.

You can use the SEQUENCER REW and FF buttons during playback or while paused. They are disabled during recording, and while the Song is stopped.

If you like, you can adjust the rewind and fast-forward speeds using the FF/REW Speed page menu command.

5. To set the tempo, press the TAP button at the desired interval.

Creating songs (SEQUENCER mode)

Operations that use the QUICK ACCESS button

Press the QUICK ACCESS button while holding down the EXIT button to start and stop the sequencer, put the sequencer in REC mode and so on.

EXIT button + A button: SEQUENCER/STOP button

EXIT button + B button: SEQUENCER REC button EXIT button + C button: SEQUENCER LOCATE button EXIT button + D button: SEQUENCER REW button EXIT button + E button: SEQUENCER FF button EXIT button + F button: SEQUENCER PAUSE button

Mute and Solo

Mute lets you silence any of the MIDI tracks 1–16, audio tracks 1–16, or any of the audio inputs (analog 1, 2, USB 1,

2). Solo lets you hear any of these tracks or inputs by itself. These functions can be used in various ways. For example, you can listen only to the rhythm section of the previouslyrecorded tracks while you record new tracks. Let’s try out the Mute and Solo functions.

1. Use “Song Select” to select the song that you want to play back.

2. Press the SEQUENCER START/STOP button.

3. Press track 1 Mute/Rec button.

The Mute/Rec button will turn on, and the playback of track 1 will no longer be heard. In this way, the “mute” function allows you to silence a specified track until the track is un-muted.

To cancel muting, press Mute/Rec button once again to turn off.

Exclusive Solo

Normally, Solo works in “Exclusive Solo off” mode, in which you can solo more than one track at a time (as in the example above). In contrast, “Exclusive Solo on” mode allows only one track to be soloed at a time, making it easy to switch between soloed tracks.

Use the “Exclusive Solo” page menu command to specify how the Solo function will operate.

Exclusive Solo off: You will be able to solo more than one track at a time. The status of a track will change each time you press its Solo button.

Exclusive Solo on: When you press a Solo button, only that track will be soloed.

The SOLO setting is not stored when you save the song.

LOCATE settings

You can press the LOCATE button to move to the registered location. Initially, this will move to 001:01.000.

To change the registered location, use the Set Location page menu command.

When you select a song, the “LOCATE” setting is automatically initialized to 001:01.000.

For more information, see “Set Location (for Locate Key)” on page 523 of the PG.

4. Press track 1 Solo button.

The Solo button will turn on, and this time, only track 1 will be heard. This is known as “soloing” the track.

If both Mute and Solo are used, the Solo function will be given priority.

Press track 2 Solo button. You will hear the playback of tracks 1 and 2.

Note: Solo (on) applies to all tracks, including MIDI tracks 1–16, audio tracks 1-16, and all audio inputs (analog and USB). If, as in this example, you’ve turned Solo on for only MIDI tracks 1 and 2, you will not hear MIDI tracks 3–16, audio tracks 1–16, or any of the audio inputs.

5. To switch Solo off, press the Solo button once again. Press the Solo buttons for both MIDI tracks 1 and 2.

The display will change, and the playback of track 1 will be muted.

Loop playback

Loop Start

Measure

Track Play

Loop

Play Intro

Loop End

Measure

When recording or playing back a song, you can individually loop the MIDI tracks that are playing.

In the Home– MIDI Track Loop page, check Track Play

Loop for the MIDI tracks you want to loop, and use Loop Start Measure and Loop End Measure to specify the

starting and ending measure of the region that will play back as a loop.

If Play Intro is checked (enabled), the measures preceding the loop will be played back as an introduction before the loop begins.

If you play back from the first measure with the settings shown in the screenshot below, the specified region of measures will repeat as follows. Note that Play Intro is enabled for Track 1, but disabled for Track 2.

Measure12345678910111213

Track 1 1 2 3 4 5 6 7 8 5 6 7 8 5

Track 2 9109109109109109109

Playing Songs Playback

If Play Intro is disabled (un-checked) for Track 1, the specified region of measures will repeat as follows.

Measure12345678910111213

Track 1 5 6 7 8 5 6 7 8 5 6 7 8 5

Track 2 9 10 9 10 9 10 9 10 9 10 9 10 9

Creating songs (SEQUENCER mode)

MIDI recording

• You can record up to 400,000 events (e.g., notes), up to 200 songs, and up to 999 measures in each song.

• The maximum timing resolution is 1/480 parts per quarter-note.

• There are sixteen tracks for MIDI performance data, and a master track which controls the time signature and tempo.

Preparations for recording

Before you begin recording, make sure that the GLOBAL mode memory protect setting is turned off. For more information, see “Memory protect” on page 208.

Selecting a Song

Before we can begin this example, we need to select an empty song where we can record.

1. Press the MODE button to select SEQUENCER mode.

2. Go to the Home– Mixer page, etc.

3. Press the Song Select Popup button.

The Song selection popup will appear.

4. Choose a new, empty Song from the list, and press the OK button.

• You can perform and record using ARP and the Drum Track.

• You can perform and record using RPPR (Realtime Pattern Play/Recording).

• There are 718 built-in preset patterns ideal for drum tracks, and in addition you can create up to 100 user patterns for each song. These patterns can be used as performance data for a song, or with the RPPR function.

Tip: Set Song Length

By default, new songs are 64 measures long. If you’d like to record more than 64 measures, go to the Track Edit page, and use the Set Song Length command in the page menu. For more information, see “Set Song Length” on page 538 of the PG.

Track settings

Since we’re going to record a new song in this example, we will start by explaining how to assign a program to each MIDI track, and make basic settings such as volume.

For details on audio tracks, refer to “Audio recording” on page 91.

1. Assign a program to each MIDI track.

Use “Program Select” (Home– Mixer page) to assign a program to each MIDI track.

You can copy various settings from Programs or Combinations, including effects, Arpeggiator settings, Tone Adjust, and so on.

When assigning a program, you can use “Track Select” to select the track for which you are making assignments, and try playing the sound.

2. Set the pan and volume of each MIDI track.

Pan sets the pan of each track, and Vol u me sets the

volume of each track.

3. Specify the tone generator that will be played by each MIDI track.

Mixer: Use the Track Status button on the Mixer:Status

Play/MuteSet page to set whether the sounds that play on each track will be played by the NAUTILUS or by an external device.

Normally when using the NAUTILUS as a 16-timbre sound module, you will select INT or Both.

Statu s INT: During playback, the NAUTILUS’ internal tone generator will play the MIDI data recorded on that track. When you operate the NAUTILUS’ keyboard or controllers, you will be playing and controlling the track selected by “Track Select.” MIDI data will not be transmitted to an external device.

Statu s EXT, EX2, Both: During playback, the MIDI data recorded on that track will be transmitted from MIDI OUT to play an external sound module. When you operate the NAUTILUS’ keyboard or controllers, MIDI data will be transmitted to play and control the external sound module selected by “Track Select.” (The MIDI channel of the external tone generator must be set to match the MIDI Channel of NAUTILUS tracks that are set to EXT, EX2 or Both.)

If Status is set to Both, both the external tone generator and internal tone generator will be sounded and controlled.

4. Specify the MIDI channel for each track.

In the Track Parameters– MIDI page Status. MIDI Channel specifies the MIDI channel for each track.

MIDI recording Preparations for recording



 

      

In general, you should set MIDI Channel to different channels 1–16 for each track. Tracks that are sent to the same MIDI channel will sound simultaneously when either is recorded or played.

5. Adjust the effect settings.

Make settings for each effect in IFX and MFX/TFX pages.

For more information, see “Using effects in Combinations and Songs” on page 225, “SEQUENCER > IFX” on page 507 of the PG, and “SEQUENCER > MFX/TFX” on page 518 of the PG.

6. Set the tempo and time signature.

To set the tempo, you can press the TAP button at the desired interval. Alternatively, you can select “ (Tempo)” in the Home– Mixer page (or similar page), and use the VALUE controllers to set the tempo. Set “Tempo Mode” to Manual.

Next you will set the time signature. In this example, we’ll explain how to set the time signature using the “Meter” field. Normally, you specify the time signature before recording the first track, and then begin recording.

a) Press the SEQUENCER REC button, and set “Meter” to **/**.

b) Press **/** to highlight it, and use the VALUE controllers to set the time signature.

c) Press the SEQUENCER START/STOP button to begin recording. When the pre-count has ended and Locate reaches 001:01:000, press the SEQUENCER START/STOP button to stop recording. The time signature you specified has been recorded on the Master track.

If you press the SEQUENCER START/STOP button during the pre-count, the time signature won’t be recorded.

7. Set the REC Resolution as desired.

When you record MIDI in real-time, this parameter controls timing correction, also known as “quantization.” This also applies when recording audio automation data.

This only affects newly recorded MIDI; it does not change any previously recorded tracks.

For example, let’s suppose that you recorded some eighth notes but your timing was not quite perfect, as shown in part 1 of the illustration below. If “REC Resolution” were set to  when you recorded, the timing would automatically be corrected as shown in part 2 of the illustration. If “REC Resolution” is set to Hi, the notes will be recorded with the timing at which you play them.

Saving your song parameter settings

All of the above settings can be saved as a Template Song. If you frequently use the same settings, this can be a real timesaver. For more information, see “Template Songs,” below.

8. Make other settings as necessary.

Make settings for Arpeggiator (ARP), MIDI filtering (MIDI Filter/Zone), etc.

When you are finished making these settings, the basic setup is complete. You can now record as described under “Recording procedure” on page 95

Creating songs (SEQUENCER mode)

Template Songs

The preset data consisting of 18 template songs on the NAUTILUS (P00–P17) is designed to let you quickly get started creating your songs, featuring sets of sounds and effects that match each style of music. Aside from the presets, you can also create original template songs that contain the settings and sounds you frequently use.

Further, when you load a template song, you can copy one or more drum patterns into the tracks.

Note: Each template song includes data on programs, track parameter settings like volume and pan, and settings such as effects, ARP, drum tracks and tempo. Template songs do not include MIDI note data, patterns or audio data.

Template Songs store pretty much everything in the Song except for the MIDI and audio data itself. This includes Program selections, track parameters, effects and Scene settings, and the Song’s name and tempo.

The factory preset Template Songs let you get up and running quickly with matched sets of sounds and effects for various styles of music. You can also create your own Template Songs with your favorite sounds and setups.

Note that Template Songs do not include the MIDI data for song tracks and patterns, audio data, or settings that govern how the musical data is played back, including Meter, Metronome, PLAY/MUTE, and Track Play Loop (including Start/End measure).

While loading a Template Song, you can also optionally load one or more Drum Track patterns.

1. In the SEQUENCER > Home– Mixer page, press the page menu button and select the Load Template Song command.

A dialog box will appear.

If Copy Pattern to MIDI Track too? was checked in step 3, the Copy Pattern To MIDI Track dialog box will appear.

This is the same dialog box as the one that appears for the

Copy To MIDI Track menu command.

n the Pattern field, select a pattern to copy.

6. In the To MIDI Track field, select the track to use for the Drum Track pattern.

7. In the Measure field, set the measure on which you’d like the pattern to start.

Note: In each of the eighteen preset Template Songs, track 1 is always assigned to a Drum Program. (In some cases, other tracks may also have Drum Programs.)

Following the names for each of the 1,271 preset patterns, the musical style and the name of the most suitable Drum Programs are partially displayed. (Refer to the VNL for a complete list of Drum Programs.)

By loading a drum track and the corresponding preset pattern, you can instantly set up a Drum Track to match the Template Song.

8. To load the Drum pattern, press the OK button.

After the pattern is loaded, the Measure will count up automatically. You can then copy another pattern if desired. For instance, you can use different patterns one after the other to build up a song, with different patterns for verse, chorus, and bridge.

After you’ve finished adding patterns, press the EXIT button, and you’re done!

2. In the From field, choose the Template Song you want to load.

3. Check the “Copy Pattern to MIDI Track too?” checkbox.

When this box is checked, a dialog box for copying a pattern will automatically appear after Load Template Song is complete.

If this is not checked, only the selected Template Song will be loaded.

4. Press the OK button to load the template song, or press the Cancel button to exit without making changes.

When you press OK, the Template Song’s settings will be copied into the current Song.

Saving your own Template Songs

You can also save your own Template Songs:

1. Set up a Song to your taste, including Programs, effects, Arpeggiator settings, the Song name, and so on.

2. In the SEQUENCER > Home– Mixer page, press the page menu button and select the Save Template Song command.

3. In the To field, select one of the 16 user Template Song locations,U00…15.

4. Press OK to save the Template Song.

For more information, see “Save Template Song” on page 523 of the PG

Recording MIDI in real-time

Location

Track Select

MIDI recording Recording MIDI in real-time

When you’ve finished with “Preparations for recording,” as described above, you can start recording!

Real-time recording lets you record your performance on the NAUTILUS, including the notes that you play, joystick and knob movements, and so on. This is in contrast to step recording, which is described in a later section.

The default is to record onto a single track at a time. As an alternative, multitrack recording allows you to simultaneously record multiple channels of data onto multiple tracks. This is handy for use when recording RPPR, ARP, or the Drum Track, or for recording the output of an external sequencer in a single pass.

Recording setup

In Home– Recording Setup page, select the realtime recording method you want to use.

Overwrite

With this method, the musical data previously recorded on a track is overwritten by the newly recorded data. When you perform overwrite recording on a previously-recorded track, its musical data will be deleted and replaced by the newly recorded data.

Normally you will use this method to record, and then modify the results by using other types of realtime recording or MIDI event editing.

1. Use “Track Select” to select the track that you want to record.

2. Set the Recording Setup to Overwrite.

3. In “Location,” specify the location at which you wish to begin recording.

4. Press the SEQUENCER REC button, and then press the SEQUENCER START/STOP button.

If the Metronome Setup is still set to the default settings, the metronome will sound for a two-measure pre-count, and then recording will begin. Play the keyboard and move controllers such as the joystick to record your performance.

5. When you finish playing, press the SEQUENCER START/STOP button.

Recording will end, and the location will return to the point at which you begin recording.

Creating songs (SEQUENCER mode)

Overdub

With this method, the newly recorded musical data is added to the existing data.

When you perform overdub recording on a previouslyrecorded track, the newly recorded data will be added to the previously-recorded data.

It is best to select this mode if you will be recording additional control data, recording a drum pattern, or recording the tempo in the master track. With this mode, data can be added without erasing the existing performance data.

1. Use “Track Select” to select the track that you want to record.

2. Set the Recording Setup to Overdub.

6. When you finish recording, press the SEQUENCER START/STOP button.

Recording will end (playback will continue).

Note: Instead of pressing the SEQUENCER REC button in steps 5 and 6, you can use a foot switch connected to the ASSIGNABLE SWITCH jack.

Set the GLOBAL > Controllers/Scales page “Foot Switch Assign” to Song Punch In/Out. For more information, see “Setting up the Assignable Switch and Pedal” on page 175.

7. Press the SEQUENCER START/STOP button.

Playback will stop, and you will return to the location that you specified in step 3.

Auto punch-in

First you must specify the area that will be re-recorded. Then recording will occur automatically at the specified area. With this method, the musical data previously on the track is overwritten by the newly recorded data.

1. Use “Track Select” to select the track that you want to record.

2. Set the Recording Setup to Auto Punch In.

3. For the rest of the procedure, refer to steps 3–5 of “Overwrite.”

Manual punch-in

While the song is playing, you can press the SEQUENCER REC button or a connected pedal switch at the desired location to start or stop recording. With this method, the musical data previously on the track is overwritten by the newly recorded data.

1. Use “Track Select” to select the track that you want to record.

2. Set the Recording Setup to Manual Punch In.

3. In “Location,” specify a location several measures earlier than the point at which you wish to begin recording.

4. Press the SEQUENCER START/STOP button.

Playback will begin.

5. At the point at which you wish to begin recording, press the SEQUENCER START/STOP button.

Recording will begin. Play the keyboard and operate controllers such as the joystick to record your performance.

3. In “M (Auto Punch In Start Measure), “M (Auto Punch In End Measure)” specify the area that you wish to record.

For example if you specify M005–M008, recording will occur only from measure 5 to measure 8.

4. In “Location,” specify a location several measures earlier than the point at which you wish to begin recording.

5. Press the SEQUENCER REC button, and then press the SEQUENCER START/STOP button.

Playback will begin.

When you reach the starting location you specified in step 3, recording will begin. Play the keyboard and operate controllers such as the joystick to record your performance. When you reach the ending location you specified in step 3, recording will end. (Playback will continue.)

6. Press the SEQUENCER START/STOP button.

Playback will stop, and you will return to the location you specified in step 4.

MIDI recording Recording MIDI in real-time

Loop All Tracks

This method lets you continue recording as you add musical data.

The specified region can be recorded repeatedly. This is ideal when recording drum phrases, etc.

1. Use “Track Select” to select the track that you want to record.

2. Set the Recording Setup to Loop All Tracks.

If Multi REC is checked, it will not be possible to select Loop All Tracks.

3. In “M (Loop Start Measure), “M (Loop End Measure)” specify the area that you wish to record.

For example if you specify M004–M008, recording will occur repeatedly (as a loop) from measure 4 to measure 8.

4. In “Location,” specify a location several measures earlier than the point at which you wish to begin recording.

5. Press the SEQUENCER REC button, and then press the SEQUENCER START/STOP button.

Playback will begin. When you reach the starting location you specified in step 3, recording will begin. Play the keyboard and operate controllers such as the joystick to record your performance.

When you reach the ending location you specified in step 3, you will return to the starting location, and continue recording.

The musical data that is loop-recorded will be added to the previously-recorded data.

6. You can also erase specific data even while you continue loop recording.

If you press the SEQUENCER REC button during loop recording, all musical will be removed from the currently selected track as long as you continue pressing the button.

By checking the “Remove Data” check box you can erase only the specified data. During loop recording, press the note that you wish to delete, and only the data of that note number will be deleted from the keyboard as long as you continue pressing that note.

Similarly, bender data will be deleted as long as you tilt the joystick in the X (horizontal) direction.

When you are once again ready to record musical data, uncheck the “Remove Data” check box.

7. Press the SEQUENCER START/STOP button.

Playback will end, and you will return to the recording start location that you specified in step 4.

If Loop All Tracks is selected, normal playback will be looped as well.

Multi (multitrack recording)

Multitrack recording allows you to simultaneously record onto multiple tracks, each with a different channel.

1. In the upper right of the LCD screen, check “Multi REC.”

2. Make the desired Recording Setup settings.

You can record using Overwrite, Overdub, Manual Punch In, or Auto Punch In.

3. Use “Location” to specify the measure at which recording will begin.

4. For the track you want to record, press Mute/REC to make it indicate Rec.

5. Press the SEQUENCER REC button, and then press the SEQUENCER START/STOP button.

With the default settings for Metronome Setup, the metronome will sound for a two-measure pre-count, and then recording will begin. Now you can perform on the keyboard and controllers, and use the ARP or RPPR functions if desired.

6. Press the SEQUENCER START/STOP button.

Playback will stop, and you will return to the location specified in step 4.

Creating songs (SEQUENCER mode)

Bass drum: C3

Snare: E3

Hi hat: F#3

An example of realtime recording

In this example, we’ll assign a drum program to MIDI Track 01 and create the following one-measure drum phrase.

1. Create a new song, and specify a drum program for MIDI Track 01. Use “Track Select” to select MIDI Track 01, and verify that you hear a drum program.

2. Go to the Home– Recording Setup page. In Recording Setup, specify “Loop All Tracks” and set it to M001M001.

For more information, see “Loop All Tracks” on page 81.

With this setting, measure 1 will be recorded repeatedly. The newly recorded data will be added at each pass.

3. Set “REC Resolution” to .

4. Press the SEQUENCER REC button, and then the SEQUENCER START/STOP button.

The metronome will sound a two-measure count-down, and then recording will begin.

5. As shown in the musical example printed above, start by playing the C3 note of the keyboard to record the bass drum for one measure.

6. Next, play the E3 note of the keyboard to record the snare for one measure, and then the F#3 note to record the hi-hat.

7. Press the SEQUENCER START/STOP button to stop recording.

8. Play back the result, and listen to the drum performance you recorded.

Press the SEQUENCER START/STOP button. When you’ve finished listening, press the SEQUENCER START/STOP button once again to stop playback.

9. If you’re not satisfied with the result, execute the Compare command to return to the state prior to recording, and then re-record from step 4.

Note: When you’re finished recording, change the Recording Setup back to the normally-used Overwrite (Home– Recording Setup page).

In addition, access the Home– MIDI Track Loop page, check “Track Play Loop” for MIDI Track 01, and set the “Loop Start Measure” and “Loop End Measure” to 001. When you play back, MIDI track 01 will repeatedly play the first measure.

MIDI step recording

MIDI recording MIDI step recording

Step recording is the recording method in which you specify the duration and strength of each note, and use the keyboard to specify the pitch of each MIDI note. You can use the Rest button and Tie button of the dialog box to input rests and ties.

Step recording is useful when you want to create mechanically precise beats, or when you need to record a phrase that would be difficult to play by hand “in realtime,” or when you find it difficult to play extremely complicated or rapid passages.

An example of step recording

In this example, we’ll assign a bass program to MIDI Track 02 and step-record the following two-measure bass phrase.

1. Specify a bass program for MIDI Track 02. Use “Track Select” to select MIDI Track 02, and verify that you hear a bass program.

2. Go to the Track Edit– Track Edit page.

3. Set “From Measure” to 001.

With this setting, step recording will begin from measure

4. Press the page menu button, and press page menu command “MIDI Step Recording.”

A dialog box will appear.

5. In “Step Time,” use “Select” to specify the basic timing value at which you will input notes and rests.

Input the first C3 note as  (a dotted eighth note). Use the radio button at the left to select . You can choose from the range of  (a whole note)–  (a

32nd note).

Input a dotted note by selecting “.” with the radio buttons at right.

You can specify “3” to enter a triplet. If you want to use the unmodified length of the note that’s selected at the left, choose “-”.

“Note Duration” indicates the length that the note itself will sound. Smaller values will produce a staccato note, and larger values will produce a legato note. For this example, leave this setting unchanged.

“Note Velocity” is the velocity (playing strength), and larger values will produce a louder volume. Set this to Key.

If you select Key for this parameter, the velocity with which you actually play the keyboard will be input.

6. On the keyboard, press and then release the first C3 note that you want to input.

The data you input will appear in the LCD screen as numerical values. In the upper right, Measure 001 Beat Tick 01.000 will change to Measure 001 Beat Tick

01.360. The next note you input will be placed at this location.

7. Input the remaining notes as described in steps 5 and

6. (You’ve already input the first C3 note.)

In addition to the methods described in steps 5 and 6, you can also use the following input methods.

• To input a rest, press the Rest button. This will input a rest of the “Step Time” value.

• To modify the length of a note, you can modify the “Step time” value before you input the note. However if you want to extend the length (tie) of the note, press the Tie button. At this time, the previously-input note will be extended by the “Step time” length.

• To delete a note or rest that you input, press the Step Back button. The previously-input note will be deleted.

pre

• To input a chord, simultaneously desired chord. Even if you do not press them simultaneously, notes that are pressed before you fully remove your hand from all keys on the keyboard will be input at the same location.

Step

Note

C3 . C3 key 001 / 01.000

G3 - G3 key 001 / 01.360

C4 - C4 key 001 / 02.240

C4 - C4 key 001 / 03.120

D3 - D3 key 001 / 03.240

Eb3 - Eb3 key 001 / 04.000

E3 - E3 key 001 / 04.240

F3 - F3 key 002 / 01.000

C3 - C3 key 002 / 01.360

Time:

Select

Step

Time:

. 3 -

- Rest button 001 / 02.000

- Rest button 001 / 03.000

- Rest button 002 / 01.120

ss the notes of the

Key,

Button

Measure/ Beat Tick

Creating songs (SEQUENCER mode)

Step

Note

Time:

Select

F2 - F2 key 002 / 02.240

Tie - Tie button 002 / 03.000

F2 - F2 key 002 / 03.240

A2 - A2 key 002 / 04.000

A3 - A3 key 002 / 04.240

Step

Time:

. 3 -

- Rest button 002 / 02.000

- Rest button 002 / 03.360

- Rest button 002 / 04.360

Key,

Button

Measure/

Beat Tick

8. When you are finished recording, press the Done button.

Press the SEQUENCER START/STOP button to play back.

Go to the Home– MIDI Track Loop page, check Track Play Loop for MIDI Track 02, set Loop Start Measure to 001, and Loop End Measure to 002. MIDI track 02 will play measures 1–2 repeatedly.

9. If you’re not satisfie d with the result, use the Compare command in the page menu commands to return to the state prior to recording, and then re-record from step 4.

When you begin step recording, all data in the MIDI track that follows the measure where you began recording will be erased. You need to be aware of this if you begin step recording from a measure mid-way through the song.

If you want to copy data into a measure that already contains data, perform step recording in an empty MIDI track, and use the Move Measure or Copy Measure menu commands. For more information, see “Copy Measure” on page 543 of the PG, and “Move Measure” on page 544 of the PG.

If you want to edit or add to the recorded data, you can use the MIDI Event Edit function. For more information, see “Event Edit” on page 551 of the PG.

MIDI recording Recording the sound of a Combination or Program

Recording the sound of a Combination or Program

Here’s how you can easily copy the settings of a Combination or Program, and then record using that sound.

Setup in SEQUENCER mode (Copy From Combination and Copy From Program)

In SEQUENCER mode, you can use the “Copy From Combi” and “Copy From Program” page menu commands to set up a Song based on a Combination or Program. In this example, we’ll explain how to set up a song based on a combination.

Note: Make sure that the global MIDI channel (GLOBAL > MIDI– MIDI page, MIDI Channel) is set to 01.

1. Select a new, empty song.

2. Select the page menu command “Copy From Combi.”

A dialog box will appear.

Select the program or combination that you want to copy (i.e., the copy source).

We will copy the effect settings of the combination as well, so check the IFXs-All, MFXs and TFXs check boxes.

Check Multi REC Standby. The Stat us will be automatically set to REC for the MIDI tracks needed to record that combination.

Press the OK button to execute the copy.

Notice that when you execute this command, the Play/Rec/Mute setting of each track will be set automatically. The Multi REC check box will be checked.

3. Begin recording.

Press the LOCATE button to set the location to 001:01.000.

Press the SEQUENCER REC button, and then press the SEQUENCER START/STOP button.

Note: If you play the keyboard during the pre-count before recording, ARP and the Drum Track will start playing the moment recording begins.

4. Record your performance.

5. When you are finished performing, press the SEQUENCER START/STOP button.

If you made a mistake or want to re-record, you can use the Compare function to re-record as many times as you want.

Creating songs (SEQUENCER mode)

Recording multiple MIDI tracks from an external sequencer

1. Make sure that the MIDI OUT of your external sequencer is connected to the MIDI IN of the NAUTILUS.

If it is not connected, turn off the power, make the connection, and then turn the power on.

For more information, see “MIDI applications” on page 929 of the PG.

2. In the GLOBAL > MIDI– MIDI page, set MIDI Clock to External MIDI. With this setting, the NAUTILUS will synchronize to MIDI clock messages from your external sequencer.

Make sure that Receive Ext. Realtime Commands is checked.

3. Create a new song in SEQUENCER mode, and in the SEQUENCER > Home– Recording Setup page, check the Multi REC check box. Set Recording Setup to Overwrite.

5. In the SEQUENCER > Track Parameters– MIDI page, use MIDI Channel to specify the MIDI channel of each track.

Set the MIDI channel of each NAUTILUS track to match the MIDI channel of each external sequencer track. Data of the matching channel will be recorded on each NAUTILUS track.

Make sure that Status is set to INT or Both.

6. Press the LOCATE button to set the location to 001:01.000.

7. Press the SEQUENCER REC button to enter recordstandby mode.

8. Start your external sequencer.

The NAUTILUS’ sequencer will automatically begin recording when it receives the MIDI Start message transmitted by your external sequencer.

9. When playback has ended, stop your external sequencer.

The NAUTILUS’ sequencer will automatically stop recording when it receives the MIDI Stop message transmitted by the external sequencer. You can also stop recording by pressing the SEQUENCER START/STOP button of the NAUTILUS.

After this, you can play back the newly recorded sequence:

10.In the GLOBAL > MIDI page, set MIDI Clock to Internal.

11.Set “Tempo Mode” to Auto.

12.Press the SEQUENCER START/STOP button to play back.

Note: If the correct sounds are not selected when you start playing back, you may be able to solve the problem by using the page menu command “MIDI Event Edit” (Track Edit) to re-specify the Program Change data.

4. Press Mute/Rec button on the SEQUENCER > Home– Mixer page to select “REC” for the tracks you want to record.

For the tracks you don’t want to record, turn Mute On or Off (Play mode).

Recording System Exclusive events

Exclusive messages received from an external MIDI device or the parameter changes produced when you edit a MIDI track parameter, audio track parameter or effect parameter can be realtime-recorded on any MIDI track.

During playback, the exclusive messages you recorded will control the track parameters and effect parameters of the song, and can be sent to external MIDI devices.

Note: You can use the page menu command “Put Effect Setting to Track” to insert an exclusive event containing the parameter settings for an insert effect, master effect or total effect into the desired location of a track, so that these settings will automatically switch during playback.

GM, XG, and GS exclusive messages can be recorded on a track, but the NAUTILUS’s tone generator will not respond to these messages.

Recording internal parameter changes

You can use SysEx for automation of internal NAUTILUS effects and Program parameters.

As an example, let’s record a short phrase on track 1, add an insert effect, and then record parameter changes for that effect on an unused track.

Note: In order to record system exclusive messages, make sure that the GLOBAL > MIDI– MIDI setting “Enable Exclusive” is checked.

MIDI recording Recording System Exclusive events

• Select MIDI Track 09 in “Track Select.” Then press the SEQUENCER REC button and then the SEQUENCER START/STOP button, and begin recording.

• At the appropriate time while recording, adjust the parameter(s) that you want to realtime-record.

Select another effect for IFX1 in the IFX– Insert FX page, and edit the effect parameter values, or use the Home– Tone Adjust page Tone Adjust controls to edit the sound in realtime.

Note: For details on the effects parameters that you can record in real-time, please see “System Exclusive events supported in Sequencer mode” on page 557 of the PG.

3. Stop recording.

Note: Exclusive messages are always recorded on the current track selected by “Track Select.” In this example, they are recorded on MIDI track 9.

Note: In the MIDI event edit screen you can view the recorded exclusive events and their location. Exclusive events are displayed as “EXCL”.

To view these events, go to the Track Edit– Track Edit page, and select the page menu command “MIDI Event Edit.” Then in the Set Event Filters dialog box, check Exclusive and press the OK button.

Event displayLocation

1. Select the desired program for MIDI track 1, and route it to IFX1. Then record a phrase of about sixteen measures.

• In the Home– Mixer page, use “Program Select” to select the desired program for MIDI Track 01.

• In the IFX– MIDI Routing1 page, route the MIDI Track 01 Bus Select (IFX/Indiv. Out Assign) to IFX1. Then in the IFX– Insert FX page, select the desired effect for IFX1.

• Select MIDI Track 01 in “Track Select.” Then press the SEQUENCER REC button and then the SEQUENCER START/STOP button, and record a phrase of about sixteen measures.

2. Select MIDI Track 09 in “Track Select,” and record parameter changes as desired.

Note: For this example, select an empty track. If you want to record onto a MIDI track that already contains data, set the Home– Recording Setup page Recording Setup to “Overdub,” as described on page 80.

Exclusive events cannot be changed to a different type of event. Nor can other events be changed into exclusive events.

4. If you go to the page (e.g., Insert Effect) that shows the parameters you adjusted in realtime, you can watch the recorded changes be reproduced while the song plays back.

Creating songs (SEQUENCER mode)

Exclusive messages that can be recorded in realtime

The following exclusive messages can be recorded in realtime:

• Exclusive messages received from an external MIDI device

• Parameter changes in SEQUENCER mode (see “System Exclusive events supported in Sequencer mode” on page 557 of the PG)

• Master Volume universal exclusive messages assigned to the foot pedal or a knob

Recording patterns

Pattern Select

MIDI recording Recording patterns

Recording and editing patterns

You can record patterns in either of two ways; realtime recording or step recording. However, pattern realtime recording differs from song realtime recording in that you can use only Loop type recording.

You can edit patterns by using Event Edit operations to modify the recorded data or insert new data. You can also use the Get From MIDI Track page menu command to convert a desired region of performance data from a MIDI track into a pattern. Conversely, you can use the Put to MIDI Track or Copy to MIDI Track page menu commands to place or copy the performance data from a pattern into a MIDI track.

You can also use your patterns with the Drum Track, via the Convert to Drum Track Pattern menu command on Pattern/RPPR.

Recording patterns in real-time

Here’s how you can use realtime recording to create a pattern. User patterns can be accessed by the RPPR function in the same way as preset patterns, and can be copied to or placed in a song. Playback data from a track can also be copied to a pattern.

When realtime-recording a pattern, a pattern of the specified number of measures will playback repeatedly, allowing you to continue adding musical data to it.

1. Create a new song, and as described in “Preparations for recording” on page 76, set the track to the program that will be used by the pattern.

2. Go to the Pattern/RPPR– Pattern Edit page (See the diagram below).

5. Select the page menu command “Pattern Parameter”.

A dialog box will appear.

6. Set the number of measures in the pattern to a “Length” of 04 (four measures), and set “Meter” to a time signature of 4/4. Press the OK button.

7. As necessary, set “REC Resolution” to apply realtime quantization.

8. Begin realtime recording.

You can record in the same way as you did when recording tracks with Loop All Tracks. (See “Loop All Tracks” on page 81.)

Press the SEQUENCER REC button, and then press the SEQUENCER START/STOP button.

After the pre-count, pattern recording will begin. Play the keyboard and operate the joystick and other controllers to record your performance.

When you reach the end of the pattern, the sequencer will return to the beginning of the pattern and continue recording. If you continue recording, the newly recorded data will be added to the previously-recorded data.

9. If you want to delete specific data while you continue pattern recording, you can press the SEQUENCER REC button or check the “Remove Data” check box.

For details refer to step 6 of “Loop All Tracks” on page 81.

10.Press the SEQUENCER START/STOP button to stop recording.

If you made a mistake or decide to re-record, press the SEQUENCER START/STOP button to stop recording, and press the “Compare” command in the page menu to execute.

3. Use “Track Select” to select the track that you will use to record the pattern.

The pattern will sound with the program and other settings of the selected track.

4. Set “Pattern (Pattern Bank)” to User, and set “Pattern Select” to U00.

User patterns U00–U99 can be created for each song.

Creating songs (SEQUENCER mode)

Control data in pattern recording

To record control data in a pattern, you should restore the control data to its normal value within the pattern. If you fail to restore the normal value, unnecessary control data may remain in a “stuck” position when you place the pattern in a song or use the RPPR function to play the pattern. However, the following control data will be automatically reset to the following values when the song or RPPR function finishes playing the pattern, or when playback is halted.

Controller Reset value

Modulation 1 (CC#01) 00 (zero)

Modulation 2 (CC#02) 00 (zero)

Expression (CC#11) 127 (max)

Damper switch (CC#64) 00 (zero)

Sostenuto switch (CC#66) 00 (zero)

Soft switch (CC#67) 00 (zero)

EG sustain level (CC#70) 64 (center)

Resonance level (CC#71) 64 (center)

EG release time (CC#72) 64 (center)

EG attack time (CC#73) 64 (center)

Low pass filter cutoff (CC#74) 64 (center)

EG decay time (CC#75) 64 (center)

LFO1 speed (CC#76) 64 (center)

LFO1 depth (pitch) (CC#77) 64 (center)

LFO1 delay (CC#78) 64 (center)

Filter EG intensity (CC#79) 64 (center)

SW1 modulation (CC#80) 00 (zero)

SW2 modulation (CC#81) 00 (zero)

Pitch bender 00 (zero)

Using ARP for pattern recording

If ARP is set to operate for the track that is selected for “Track Select,” and record the performance of ARP into the pattern.

Other ways to record

Multi-track recording with ARP and the Drum Track

You can record multi-track performances generated by ARP and/or the Drum Track. For more information, see “Arpeggiator settings in SEQUENCER mode” on page 166

Multi-track recording with RPPR

You can record multi-track performances generated by RPPR. For more information, see “Using RPPR (Realtime Pattern Play/Record)” on page 106.

Audio recording

Audio Track 01

SONG00

Setting parameters

Region

Automation Events Volume, Pan, Send, EQ

Audio events Start, Volume, Region No.

Region00 Region01

0000: Guitar1

0001: Guitar2

0002: Voice1

Song No.: Song00 Track No.: Track01 Allow Tempo: On Tempo: 120 Start: 000 End: 95999 Anchor Point: 0 Wave Name: GUITAR1.WAV

Setting parameters

Performance data

Automation Events Volume, Pan, Send, EQ

Audio events Start, Volume, Region No.

NEWFILE.SNG NEW SONG Tracks

PATTERN 00

Regions TRK01_00

TRK01_01

TRK02_00

NEWFILE_A SONG000 ATRACK01

GUITAR1.WAV

VOICE1.WAV

GUITAR2.WAV

Region02

Audio Track 02

ATRACK02

Audio recording overview

Audio recording Audio recording overview

• There are sixteen audio tracks. They allow 16- or 24-bit linear PCM recording with a maximum time of 80 minutes.

• Automation data (volume, pan, EQ, send 1/2) can be recorded for each track.

• Up to sixteen tracks can be played back simultaneously, and up to four tracks can be recorded simultaneously.

• The Stereo Pair function lets you assign two tracks as a pair for recording, control, and editing.

• You can choose from a broad range of internal buses as the recording source; Audio Input 1–2, USB 1–2, REC Bus 1–4, the main L/R outputs, or individual outputs 1–4 (yes, you can directly record from the outputs, all in the digital domain). You can also route the signal very flexibly, for example by inserting effects into external audio sources and recording the result.

• When you record, an audio event and region data are created and assigned to the track. The region data contains a link to the WAVE file (audio data) that’s recorded on the internal drive. You can edit in a variety of ways, for example by changing the location of the audio event, or by editing/replacing the region data or WAVE file.

• Auto or manual punch-in/out are provided.

• The Rehearsal function lets you practice a punch-in/out without actually recording.

• You can use the mixer to adjust the pan and volume etc. of the audio tracks, and record these operations as automation events so that the pan and volume changes will be reproduced during playback.

When recording audio tracks, the MIDI Clock must be set to Internal. For more information, see “MIDI Clock (MIDI Clock Source)” on page 653 of the PG.

Audio events and regions in an audio track

When you record on an audio track, the actual audio data is recorded directly on the internal drive as a WAVE file. At this time, a “region” is also created; this contains information specifying what portion of that WAVE file is to be actually played back. In addition, an “audio event” which assigns that region is created; this specifies the location in the song at which the audio will play.

When playback reaches a point in the song where an audio event is located, the WAVE file on the internal drive will be played as specified by the audio event and the region. In other words, the audio will not play if either the audio event, the region, or the WAVE file are missing.

Please note that audio events and regions can be deleted by audio event editing or region editing, and can also be easily lost if you turn off the power before saving to the internal drive. If only the WAVE file is left on the internal drive, this will occupy internal drive capacity for no purpose; we recommend that you execute “Delete Unused WAV Files” to free up any such wasted space.

Creating songs (SEQUENCER mode)

How audio data is stored on the internal drive

When you save Songs to internal drive, they’re stored in an .SNG file. This .SNG file contains all of the data from SEQUENCER mode, including all of the Songs in memory, except for the related audio files.

When you save an .SNG file, its related audio files are stored in a separate directory. This directory is created automatically, within the same directory as the .SNG file. (It’s also created if you load a pre-existing .SNG file which doesn’t have a matching audio directory.) The directory’s name consists of the .SNG file name followed by “_A” (for “Audio”).

For instance, if the .SNG file is named WAMOZART.SNG, its audio directory will be named WAMOZART_A.

This main directory contains sub-directories for each song, named SONG000, SONG001, etc. These in turn contain subdirectories for each audio track, named ATRACK01, ATRACK02, and so on. Within each of the track subdirectories, each individual audio take is stored as a WAVE file.

Move or re-name audio and .SNG files together

If you move or re-name an existing .SNG file, make sure to move or re-name its corresponding audio directory as well. The main audio directory must be in the same folder as the .SNG file, and must be named as described above.

Temporary audio files

If you’re recording a new song, and haven’t yet saved it as an .SNG file, the audio files are stored in a temporary location on disk. The directory structure is the same as described above, except that the main audio directory is named TEMP.

Once you save the song(s) to an .SNG file, these directories and audio files will be copied to the new “_A” folder automatically. On the other hand, if for some reason you don’t or can’t save before turning off the power, you’ll be given the chance to restore these audio files the next time that you start up the instrument, as described below.

Recovering temporary audio files

If there are temporary audio files from the previous session, you’ll see the following dialog the next time you start up the NAUTILUS:

/TEMP folder detected.

This folder may contain unsaved WAVE files.

Do you want to restore the /TEMP folder, or delete it from the disk?

[Restore] [Delete]

If you don’t intend to use the WAVE files, we recommend that you delete them so they don’t waste space on the internal drive. To delete them, press the Delete button.

If you want to save these files, press the Restore button to keep them.

Note that while the audio files can be recovered this way, the rest of the sequencer data cannot be restored.

Audio recording Audio input settings and recording source selection

Audio input settings and recording source selection

On the Audio Input tab page of the Home-Sample page, you can select the audio source to record, and operate the play/mute, solo, pan and volume controls when recording.

Use Global Setting

You can configure the audio inputs separately for each Song, if desired. Alternatively, you can use the Global setting, as made on the GLOBAL > Basic Setup– Audio page.

If this is left unchecked, the Audio Input (Input 1, 2 and USB 1, 2) settings that are configured on the SEQUENCER > Home– Sampling:Audio Input page will be enabled.

Audio Input settings

Just as in PROGRAM and COMBINATION modes, SEQUENCER mode includes a mixer for the audio inputs, including analog, and USB. You can use this to mix and process the inputs prior to recording, if you like. For instance, you can mix several inputs together and send them to the same REC bus, or process an input through effects and then record the result.

As an alternative, you can ignore the mixer settings and just record directly from the inputs.

Input 1 & 2 are the analog audio inputs from the INPUT 1 & 2 jacks. Turn the Audio In button on to enable the INPUT 1/2 jacks. Press the Setup button of Audio In to display the Analog Input Setup dialog box. Switch “Input Select” to “Mic” or “Line” according to the device that is connected, and adjust the Analog Input Gain. For more information, see “Analog Audio Inputs” on page 5.

USB 1 & 2 are the left and right channels of the USB audio input. For more information, see “USB” on page 5.

Bus Select

This specifies the output bus for each audio signal.

Off: The external audio input signal will not be sent to any bus. However, you can still record the external audio signal directly by using the Home– Mixer page Audio Track REC Source setting to choose an external input (Audio Input 1/2, USB 1/2) for recording.

L/R: The external audio input signal will be sent to the L/R bus. Choose this when you want other signals such the NAUTILUS’ internal tone generator to be recorded along with an external audio source. Set REC Source to L/R.

IFX1…12: The external audio input signal will be sent to the IFX1–12 bus. Choose this when you want to apply an insert effect while recording. Set REC Source to match the post-IFX Bus Select setting.

1…4: The external audio input signal will be sent in mono to the selected individual output.

1/2 and 3/4: The external audio input signal will be sent via Pan in stereo to Individual 1/2 or 3 /4. Set REC Source to

the corresponding INDIV. setting.

Be aware that if you change Bus Select from Off to L/R or IFX, the volume level from AUDIO OUT L/MONO and R jacks or from the headphone jack may increase abruptly. Please use caution.

FX Ctrl Bus

This sends the external audio input signal to the FX Control bus (stereo two-channel (FX Ctrl1, 2)). For more information, see “FX Control Buses” on page 735 of the PG.

REC Bus

This sends the external audio input signal to the REC buses (four mono channels: 1, 2, 3, 4).

The REC buses are dedicated internal recording buses that you can use for recording or sampling audio tracks.

Recording becomes possible if you choose a REC bus as the “Source Bus.” For example, you can use the REC buses if you want to record only an audio input source that is being played along with the song being output from the L/R bus (i.e., record the input source, but not the song playback). You can also mix several audio inputs to the REC buses, or mix the direct signal from audio inputs to REC buses along with post-IFX sound and record the result.

Off: The signal will not be output to the REC buses. Normally you will leave this Off.

1, 2, 3, 4: The external audio input signal will be sent to the specified REC bus. The Pan setting is ignored, and the signal is sent in monaural.

1/2, 3/4: The external audio signal will be output to the REC buses in stereo. According to the Pan setting, it will be sent in stereo to buses 1 and 2, or 3 and 4.

Send1, Send2

These specify the level at which the external audio input signal will be sent to the master effects.

Send1 sends the signal to master effect 1.

Send2 sends the signal to master effect 2.

If Bus Select is set to IFX1–12, the send levels to the master effects are specified by the Send1 and Send2 settings that follow IFX1–12.

Mute On/Off

Mutes the external audio signal that is being inputted.

Solo On/Off

Solos the external audio signal that is being inputted.

Sound will be output only from channels whose Solo is On. Other channels will be muted. Solo operation includes both MIDI tracks and audio tracks.

Creating songs (SEQUENCER mode)

Track: REC (Mono) Track: REC (Mono)

Stereo

Level Pan

Insert Eects

CLIP !

L/MONORAUDIO OUTPUT

HEADPHONES

Insert Eects

L/R

BUS

REC

1/2

REC

3/4

Indiv.

1/2

Sequencer Playback Keyboard

Level Pan

Insert Eects

Audio Input 1

Audio Input 2

REC Source = Audio Input 1, 2, 1/2

[x] Source Direct Solo

Total Eects

Master Eects

Recording

Monitor

BUS = L/R or IFX1-12

3/4

See the signal flowchart on the page 449 of the PG for other REC sources.

Pan

This specifies the panning of each external audio input signal. If you are inputting a stereo audio source, you will normally pan the inputs to L000 and R127 respectively.

Level

This controls the level of the external audio signal. The default is 127.

Note: The analog audio signals from Audio Inputs 1 & 2 are converted into digital form by an A/D converter. The meter to the left of the Level fader shows the signal level immediately after conversion, and before the Level control. Level sets the volume of the signal immediately after the meter.

If the sound is distorted even though the Level setting is very low, see “Tips for eliminating distortion when using the analog inputs” on page 97.

Avoiding extraneous noise

If cables are connected to any of the audio inputs (analog or USB), any noise carried by the cables will enter into the NAUTILUS mixer structure. This may include hiss, hum, and other audio noise.

To avoid noise from unused audio inputs, either:

• Set the input’s Level to 0

• Set all of the bus assignments to Off, including Bus

Select (IFX/Indiv. Out Assign), REC Bus, and FX Control Bus

If no audio cables are connected to the analog audio inputs, the input signals are forced to zero, preventing any additional noise.

Audio Track Mixer

You can specify the audio source to record from, and change the Play/Mute status, Solo status, pan, and volume for playback.

REC Source

This selects the so urce that will be recorded on the track. The signal of the bus line you specify here will be recorded.

If you set the Track S elect field to Audio Track, you will be able to monitor the REC Source of that track.

The options will differ slightly depending on whether or not

Stereo Pair is enabled.

Audio Input 1, 2, 1/2, or USB 1, 2, 1/2: Choose these to

directly record the audio input from the analog, or USB inputs. The inputs will be recorded directly without passing through the L/R bus, REC buses, or Individual buses. None of the Audio Input settings will affect the recorded signal; this includes Bus (IFX/Indiv), Pan, Level, Solo, and Play/Mute. See the diagram “REC Source = Audio Input 1, 2, 1/2.”

If Stereo Pair is on and Audio Input 1/2 is selected, Audio Input 1 will be input to the odd-numbered track, and Audio Input 2 will be input to the even-numbered track. Similarly, USB 1/2 will be input to the odd-numbered and evennumbered tracks respectively.

L, R, L/R: The L/R bus after passing through TFX 1 and 2 will be recorded. Choose this if you want to record an external audio signal being sent to the L/R bus, or the sound being produced by the NAUTILUS (and sent to the L/R bus) in response to sequencer playback, keyboard playing, or MIDI input.

If Stereo Pair is on, L is sent to odd-numbered tracks, and R is sent to even-numbered tracks.

Korg Nautilus Operation guide

Specifications and Main Features

Frequently Asked Questions

User Manual

About this manual

Contents

Introduction to NAUTILUS

Front and rear panels

Front panel

Rear panel

TouchView user interface

Basic information

About the NAUTILUS’ modes

About the NAUTILUS’ PCM memory

About polyphony

Basic operations

Setup

Turning the power on/off

Connections

Playing and editing Programs

Playing Programs

Selecting Programs

Using Controllers

Easy Program Editing

Quick edits using the RT control knobs

Quick Layer/Split

Quick Layer example: adding strings to a piano sound

Quick Split example: adding left-hand bass to a piano

Detailed Program Editing

Editing HD-1 Programs

Using LFOs and Envelopes (EGs)

Using Alternate Modulation (AMS) and the AMS Mixers

Controlling Pitch

Using Filters

Using the Amp section

Using EXi

Using Vector Synthesis

Effects

Playing and editing Combinations

Playing Combinations

Selecting Combinations

Easy Combination editing

Changing the Programs within a Combi

Adjusting the mix

Quick Layer/Split

Quick Layer example: adding strings to a piano Combination

Quick Split example: adding a lead synth to a Combination

Detailed Combination editing

Combination overview

Layers, Splits, and Velocity Switches

MIDI Settings

Altering Programs to fit within a Combination

Editing Programs from within a Combination or Song

Effects

Saving your edits

Creating songs (SEQUENCER mode)

Playing Songs

Playback

MIDI recording

Preparations for recording

Recording MIDI in real-time

MIDI step recording

Recording the sound of a Combination or Program

Recording multiple MIDI tracks from an external sequencer

Recording System Exclusive events

Recording patterns

Other ways to record

Audio recording

Audio recording overview

Audio input settings and recording source selection