Korg wavestate Owner'S Manual Download

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Contents

Gate Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Gate Lane Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Step Seq. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Step Seq Lane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Step Seq Lane Step . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28

Wave Sequence Utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Cut Steps, Copy Steps, Paste Steps, Insert Steps, Add Steps To End . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29
Scale Timing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Vector . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Filter . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36
Multi Filter. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38

What’s a Multi Filter? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38
Manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39

Filter Mod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39
Filter Key Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Keyboard Track . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40
How Key Track works: Keys and Slopes. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41

Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43
Pitch Mod . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Amp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Amp . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46
Amp Key Track. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Using Modulation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

Mod Knobs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51
Modulation Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Envelopes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

LFOs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Filter/Amp/Pitch/Pan LFO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58

Modulation Processors. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

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

Summary of Contents for wavestate

Page 1: ...wavestate WAVE SEQUENCING SYNTHESIZER E 1 Owner s Manual ...

Page 2: ... Zones 9 Program Setup 9 Voice assign 10 Layer Setup 12 Performance Setup 13 Write 14 Saving Sounds 14 Write Metadata 14 Name 15 Editing names 15 Compare 15 Using Compare 15 Delete from Database 16 Using Delete 16 Wave Sequencing 2 0 17 Overview 17 Wave Sequence editing 17 Editing Lanes 17 Editing Steps 18 Step Solo mode 18 Wave Sequence 18 Mode Wave Sequence 19 Mode Single Multisample 20 Master L...

Page 3: ...ulti Filter 38 What s a Multi Filter 38 Manual 39 Filter Mod 39 Filter Key Track 40 Keyboard Track 40 How Key Track works Keys and Slopes 41 Pitch 43 Pitch 43 Pitch Mod 44 Amp 46 Amp 46 Amp Key Track 47 Modulation 49 Using Modulation 49 Modulation Overview 49 Adding Modulation Routings 49 Viewing and Editing Modulations 50 Mod Knobs 51 Modulation Sources 52 Controllers 52 Mod Knobs 53 Generators 5...

Page 4: ...ern Phaser 71 Orange Phase 71 Polysix Ensemble 71 Small Phase 71 Talking Modulator 71 Vintage Chorus 72 Vintage Flanger 72 Vintage Custom Wah 72 Vox Wah 72 Delay 72 L C R Delay 72 Multiband Mod Delay 72 Reverse Delay 72 Stereo Cross Delay 72 Tape Echo 72 Master Reverb 73 Early Reflections 73 Overb 73 Master EQ 73 Randomize 74 Using Randomize 74 Utility 75 System Setup 75 MIDI 75 Controllers 76 MID...

Page 5: ...y other pages without making an edit hold ENTER and turn or press the related knob or button The page will appear with the parameter selected but the value will not be changed and PAGE PAGE These are the basic controls for moving around in the display and cursor through parameters and can also select items in lists Hold SHIFT to use PAGE and PAGE which select pages in the display There are page in...

Page 6: ...oll by a whole page in a list such as when selecting Performances Multisamples or Mod routings Modulation Most front panel knobs and on screen parameters are modulatable Hold MOD and press to create a new modulation routing When viewing and editing modulations hold MOD and press to filter the list See the Mod List Info page for an on screen list of shortcuts Mod Knobs You can use the Mod Knobs in ...

Page 7: ...per voice Vector Envelope a set of modulators a modulation matrix and three effects Pre FX Mod FX and Delay Performance Layer D Layer C Layer B Layer A Arpeggiator Program A Voice Wave Sequence Filter Amp ADSR 1 3 ADSR 3x ADSR ADSR 1 3 ADSR 1 3 ADSR 4x LFO Pre FX Mod FX Delay Reverb Mod Matrix EQ Vector EG per voice Voice Assign Volume MIDI Channel MIDI Rx Filters Key Vel Zones Vector EG parameter...

Page 8: ...Sequences Multisamples and Lane Presets 1 Cursor to the item that you d like to select For this example we ll use Performances continuing from above 2 Turn the VALUE knob or press ENTER A popup appears showing a list of sounds 3 Turn the VALUE knob or use and to select sounds Hold ENTER and press or to jump by 5 You can play the sounds as you scroll through the list 4 When you find a sound that yo...

Page 9: ...projects A Set List has 64 Slots arranged into four banks A D corresponding to MIDI Program Change messages 0 63 Note that Set Lists don t contain separate copies of their sounds they just point to Performances stored in the database To select sounds in the current Set List 1 Press the SET LIST button so that it is lit 2 To select sounds in the current bank press buttons 1 16 3 To select from a di...

Page 10: ...y selected To change the Slot hold WRITE and press a different Slot button 4 Press WRITE and then ENTER to confirm The Set List will also be saved If the Performance has been edited you ll be prompted to save it too While you re on the Write page you can also select a Slot from a different bank for instance if you re copying a Performance to a different Slot 1 Hold WRITE and SHIFT and press button...

Page 11: ...grams page Wave Sequence Overview This shows the current state of the Layer s oldest sounding voice Note Through modulation and probability each voice in each Lane of each Wave Sequence may be on different steps and may also have different Start End Loop Start Loop End settings Master Lane Progress Bar When enabled the Master Lane restarts all of the other Lanes after either a specified number of ...

Page 12: ... and lowest velocities on which the Layer will sound High Fade A D 0 127 0 The High Vel acts as a hard split with full volume on one side and silence on the other 1 127 This lets you create a velocity crossfade As velocity approaches the High Vel the volume fades out gradually High Fade sets the velocity range over which the fade out occurs working inwards from the High Vel Low Fade A D See High F...

Page 13: ...s the number of semitones over which the fade out occurs working inwards from the High key LFade Low Fade A D 0 127 See HFade High Fade A D above Program Setup Volume Inf 84 9 0 0 dB This controls the overall volume of the Program for volume balancing with other sounds Transpose 60 60 semitones This transposes the Program by up to five octaves in semitones Trigger On Key On Key Off Key On This is ...

Page 14: ...ptions will appear such as Single Trig Poly mode only and Unison Mono mode only Poly The Program will play polyphonically allowing you play chords Mono The Program will play monophonically producing only one note at a time Single Trigger Off On Single Trigger is available when Voice Assign Mode is set to Poly On When you play the same note repeatedly the previous note will be silenced before the n...

Page 15: ...te is being held down Low The lowest note will sound Many vintage monophonic analog synths work this way High The highest note will sound Last The most recently played note will sound Unison Voices 1 16 Unison can be used in both Mono and Poly modes 1 Unison is off and Stereo Spread and Detune do not apply 2 16 The Program uses the specified number of more stacked detuned voices to create a thicke...

Page 16: ...or down Tune 100 100 cents This lets you detune the Layer by up to 100 cents 1 100 of a semitone up or down Use Global MIDI Channel Off On On This is the default The Layer will play from the built in keyboard and receive on the Global Channel Off The Layer will receive on the channel specified below and will not play from the built in keyboard MIDI Channel 1 16 This is shown only if Use Global MID...

Page 17: ...mpo for the Performance To jump to this parameter quickly use ENTER TAP TEMPO Transpose 12 12 This transposes the entire Performance by 12 semitones up or down Perf Scale Off On On The Performance Scale settings below are used unless Global Scale is On in which case Performance scales are ignored Off The Performance Scale settings are ignored Active Scale 1 Scale 1 Key 2 Scale 2 Key For details on...

Page 18: ...pe hold WRITE and press a button such as LAYER A B C D or WAVE SEQUENCE or set the Type manually in the display 3 Optionally cursor to the name and press ENTER This brings up the Text Edit page 4 To edit the name use or to move back and forth and VALUE to change the selected character SHIFT changes character sets Press ENTER when you re done Important changing the name does not automatically make ...

Page 19: ...ENTER to cancel Compare Select Saved Performance Edited Performance Saved Performance The saved version of the Performance will be heard Edited Performance The edited version of the Performance will be heard If the Performance has not been edited this is not available Using Compare To use compare 1 Hold ENTER and press WRITE The Compare page will appear 2 Hold ENTER and press WRITE again to toggle...

Page 20: ...t the Type as desired 2 Cursor to Select and press ENTER The selection popup appears 3 Select a user created item from the list Optionally use PAGE to change the filters or sort order 4 Press ENTER to confirm the selection and close the popup 5 Hold SHIFT and press WRITE to delete the selected item A confirmation dialog will appear 6 Press ENTER to confirm or SHIFT ENTER to cancel ...

Page 21: ...of its Steps are played and how they loop Changing just the LOOP START or LOOP END for instance may significantly change the character of the sound Just press the button for the desired Lane e g SAMPLE and use the front panel controls see Front Panel Lane Controls on page 21 If you re on the home page press LANE PRESET to show the Lane on the display Some Lanes have special parameters in addition ...

Page 22: ...value knob 4 Edit as desired using the onscreen controls cursor and VALUE knob Step Solo mode Step solo mode makes the Lane temporarily loop on the selected Step for auditioning samples or shapes troubleshooting etc To enter Step Solo mode 1 Hold ENTER and press a Step button Both the Step button and the current Lane s button will blink The Wave Sequence will play as if that Lane was set to loop o...

Page 23: ...s already playing the Wave Sequence lanes for newly played notes will start on the same steps as those of the oldest note See the graphic below There may still be variations due to per note modulation or Probability Additionally for all Layers which have both SYNC NOTES and TEMPO turned On their Wave Sequences will sync together Sync Notes Use Master SHIFT MASTER Off On This enables the Master Lan...

Page 24: ...nlike other Lanes Master has no steps so most of the front panel Lane controls don t apply Use Master SHIFT MASTER Off On See Use Master SHIFT MASTER on page 19 Loop Duration TEMPO Off 0 0013 120 0000 seconds TEMPO On 32nd note triplet 2x breve If Timing Lane Tempo is Off you can set the length of the Master Lane loop in seconds If Timing Lane Tempo is On this sets the basic length of the Master L...

Page 25: ...e shuffled and assigned to new numbers A1 A2 etc If there are any Steps before the Start they are not included in the shuffle instead they stay in place and retain their original values even if they will play due to loop settings Steps after the End Step are ignored For playback purposes the Start End Loop Start and Loop End all work on the newly assigned numbers Unlike changing the Start Step or ...

Page 26: ...modulating this from the SPEED knob or from an envelope When TEMPO is On you can select tempo locked ratios from 1 4 to 4x of the original Speed Xfade Time Tempo Off This determines how all of the Step Xfade parameters will work Time Crossfades times are set in seconds Tempo Crossfades times are set in rhythmic values Off All transitions will be abrupt and none of the Xfade related parameters will...

Page 27: ...ence continues If this is also the End Step the Wave Sequence will stay on the step through note off By setting a single Timing Step to Gate and then modulating the Sample Lane Start Step by velocity you can create a sound with up to 64 velocity switches For instance you can use this to switch between a large number of different attack transients Duration TEMPO Off 0 0000 10 0000 seconds TEMPO On ...

Page 28: ...ear Xfade Time 0 0000 10 0000 seconds Tempo List of rhythmic values If Timing Lane Xfade is set to Time you can set the length of the crossfade in seconds If Timing Lane Xfade is set to Tempo you can set the basic length of the crossfade as a rhythmic value relative to the system tempo The values range from a 32nd note to a double breve four whole notes including dotted notes and triplets x Multip...

Page 29: ...ffecting the sample choice This parameter lets you choose between the two options Only Affects Pitch The Pitch Lane only affects the played pitch it will not change the sample chosen by a given key Affects Sample Map The Pitch Lane will act similar to transposing the keyboard and may select different samples according to the selected Multisample Sample Lane Step Step See Step on page 23 Chan Chann...

Page 30: ...few however use Fixed Pitch so that they make the same sound all the way across the keyboard such as for drums or special effects This parameter allows you to enable Fixed Pitch for Multisamples which normally transpose or disable Fixed Pitch for those which normally do not transpose Use this for creative purposes but be aware that Multisamples may behave strangely if this is set to anything other...

Page 31: ...p End Repeats See Front Panel Lane Controls on page 21 Shape Controls Volume Off On Off Shape does not affect the Wave Sequence volume On Shape directly controls the Wave Sequence volume Shape Lane Step Step See Step on page 23 Shape List of shapes There are a large number of shapes to choose from including ones with two three or four pulses Offset 1 00 1 00 This offsets the entire shape up or dow...

Page 32: ...controls the length of time that the step will sound as a percentage of the Timing Lane Step Duration Probability 0 100 See Step Probability on page 21 Step Seq This Lane generates a modulation source to control other synthesis parameters just like envelopes LFOs etc Step Seq Lane Preset Start End Loop Start Loop End Repeats See Front Panel Lane Controls on page 21 Use Shape Off On When this is On...

Page 33: ...quence Utility Cut Steps Copy Steps Paste Steps Insert Steps Add StepsTo End To cut copy paste insert or add Steps to either a single Lane or all Lanes 1 From a Wave Sequence Lane page use PAGE to go to the Lane Utility page 2 Select an Action such as Cut Steps or Add Steps To End 3 Set the Scope as desired to apply the Action to all Lanes or to only the current Lane 4 Set the other parameters Fro...

Page 34: ...ector point has two values one for X and one for Y See the graphic below for an example Vector Point and X and Y axis values In addition to moving the point directly with the Vector Joystick you can also use the Vector Envelope to move its position automatically over time as shown below Vector Envelope moving the Vector Point Vector Joystick and Vector Envelope You can move the Vector point using ...

Page 35: ...C 16 is the X axis and CC 17 is the Y axis Vector Env Volume The Vector Envelope has five points 0 1 2 3 Loop and Release Each point has X and Y positions from which the A B C and D percentages are derived This page shows the A B C D volume values for each point as percentages of full volume For a given point A B C and D will always add up to 100 positions outside the diamond are clipped To change...

Page 36: ...the transition from the position at note off to the release point Time 0 0000 60 0000 sec When Mode is set to Time you can set the segment s duration in seconds Beats and multiply x These parameters are shown when Mode is set to Tempo You can set the segment s duration in beats 1 32 note to 2 breve and a multiplier 1 32 Vector Env Setup Mode Time Tempo This selects whether the Vector Envelope segm...

Page 37: ... the note is released Time Scale 0 01 100 00 This speeds up or slows down the envelope as a whole from 0 01 1 100 of the original speed to 100 00 100 times the original speed Joystick Edit Off On On When the Vector Env Position X Y or Time pages are displayed the VECTOR JOYSTICK edits the position parameters instead of being a modulation source Off The VECTOR JOYSTICK always acts as modulation sou...

Page 38: ...bove 100 The second rhythmic division will be pushed to the third triplet for a full swing feel 100 The second rhythmic division will be pulled to the second triplet for a reverse swing feel Octaves 1 4 This controls the range of the arpeggiated notes Sort Off On Off The Arpeggiator Patterns will be based on the order in which the notes were originally played For instance Up will play the notes in...

Page 39: ...tor 35 Latch SHIFT ARPEGGIATOR Off On Off The Arpeggiator will only play as long as notes are being held on the keyboard or via the damper pedal On The Arpeggiator will continue to play after notes are released ...

Page 40: ...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 cr...

Page 41: ...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 Resonance Bass Full Tight Th...

Page 42: ...ultaneously in any combination along with the dry input signal You can choose from a large number of preset combinations or create your own complex filter modes using the Manual controls This is capable of some cool sounds in and of itself but things really get interesting when you use Crossfade see Crossfade on page 38 Crossfade allows you to mix between two of these filter settings Mode 1 and Mo...

Page 43: ...gnals respectively Negative values invert the phase Filter Mod These four parameters control the default modulation routings for Filter Cutoff You can create additional routings as desired for more information see Adding Modulation Routings on page 49 LFO INTENSITY 142 00 142 00 This sets the amount of modulation from the Filter LFO in semitones Envelope ENV INTENSITY 142 00 142 00 This sets the a...

Page 44: ... Slopes to 1 00 and Mid High and High Slopes to 1 00 Filter Key Track 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 e...

Page 45: ...yboard and positive slopes make the output go up The table below shows how the slopes affect the modulation output The final effect of Key Track is a combination of the Key Track shape and the modulation intensity With greater Slope values the Key Track shape can max out fairly quickly Because of this if you want a more intense effect it s best to increase the modulation intensity first rather tha...

Page 46: ...When this key is played the Key Track output is 0 The Mid Key can t be set below the Low Key or above the High Key Mid High Slope Inf 12 00 12 00 Inf This sets the slope between the Mid and High keys For normal key track use positive values 1 00 is the default High Key C 1 G9 This sets the breakpoint note between the two higher slopes the hinge of the upper door The High Key can t be set below the...

Page 47: ...default of 1 0 Positive values cause the pitch to rise as you play higher on the keyboard and negative values cause the pitch to fall as you play higher on the keyboard When Slope is 0 playing different notes on the keyboard won t change the pitch at all it will be as if you re always playing C4 Portamento Off On Portamento lets the pitch glide smoothly between notes instead of changing abruptly O...

Page 48: ...ols the portamento time If Type is set to Constant Rate the units are secs octave seconds per octave If Type is set to Constant Time the units are simply secs seconds Pitch Mod LFO INTENSITY 144 00 144 00 This controls the initial effect of the Pitch LFO on the pitch in semitones Envelope 144 00 144 00 This controls the initial effect of the Pitch Envelope in semitones before any modulation such a...

Page 49: ...Pitch 45 Pitch Bend Down 60 60 This sets the maximum amount of pitch bend in semitones when you move wheel below the center point For normal pitch bend set this to a negative value ...

Page 50: ...raise the level to maximum use the Filter Output Level instead Level LEVEL 0 100 This sets the basic volume of the Program optimized for per voice modulation For adjusting the volumes of Programs within a Performance it s better to use the Layer Volume instead Amp LFO INTENSITY 100 100 This controls the amount of modulation from the Amp LFO Velocity VELOCITY 100 100 With positive values the volume...

Page 51: ...cking Key Track changes the volume as you play up and down the keyboard This may be used to make the volume more consistent or to create special effects The wavestate s Key Track can be fairly complex if desired For instance you can Make the volume increase very quickly over the middle of the keyboard and then increase more slowly or not at all in the higher octaves Create abrupt changes at specif...

Page 52: ...that unlike Filter Key Track Amp Key Track s negative Slopes are steeper than positive Slopes KeyTrack amount Slope Change in level 100 Inf Silent in one half step 12 00 Silent in five semitones 5 00 Silent in one octave 1 00 Silent in five octaves 00 no change 1 00 2x in five octaves 5 00 2x in one octave 12 00 2x in five semitones Inf 2x in one half step ...

Page 53: ...cted from the front panel such as Exponential Velocity or Mod Processors press ENTER and manually select the mod source in the following screen If the message Chan Src Only appears the parameter cannot be modulated from per voice sources such as LFOs envelopes the Step Seq Lane and Key Track The Vector Env can be used since there is a separate Performance level version of this envelope Choose a di...

Page 54: ...ameter and then either move VALUE or press ENTER The Modulation Select popup appears In the Modulation Select popup the modulation sources are organized into five groups Controllers Mod Knobs Generators CC and CC The groups are shown in the left column and the modulation sources are shown in the right column 6 Use and to move between the columns and VALUE to select items in the lists Alternatively...

Page 55: ...ltered list below indicating that there are only a few items in the list To clear the Show setting and show all modulations 1 Press MOD in the Show In Mod List dialog or set Show to All Deleting a modulation routing To delete the currently shown modulation routing 1 Hold SHIFT and press MOD A confirmation message will appear asking if you want to delete the modulation routing 2 Press ENTER to conf...

Page 56: ...1 This is the built in Mod Wheel unipolar MIDI CC 1 VectrJSX CC 16 and VectrJSY CC 17 These are the X and Y axis respectively of the Vector Joystick bipolar MIDI CCs 16 and 17 Damper CC 64 This is the damper or sustain pedal unipolar MIDI CC 64 Pitch Bend This is the Pitch Bend wheel MIDI Pitch Bend Velocity This is the note on velocity representing how hard the note is played on the keyboard Expo...

Page 57: ...tertouch and Poly Aftertouch These receive Aftertouch and Poly Aftertouch via MIDI Note the wavestate keyboard itself does not generate aftertouch Mod Knobs This section of the Modulation Sources list contains the 8 Performance Mod Knobs followed by the 8 Mod Knobs for the current Layer s Program Generators Filter Amp Pitch Envelope These are the three standard ADSR envelopes Vector Envelope A B C...

Page 58: ... use the number of notes played on the keyboard or the number of voices being played by the synth engine as modulation sources The Performance variations count all notes or voices in the Performance while the Program variations only include those in the current Program Poly Legato When you play a legato phrase the first note of that phrase and notes within 30 msec of the first note has a Poly Lega...

Page 59: ...vels R Release Time RELEASE 0 000 ms 90 seconds This sets how long it takes the envelope to fall to 0 after releasing a note Filter Amp Pitch Envelope Curve Often envelopes are pictured as being made out of straight lines In actuality they are more likely to be made out of curves In other words each segment s level will change quickly at first and then slow down as it approaches the next point Thi...

Page 60: ...ll be reset effectively controlling its groove against other rhythmic effects When the threshold is positive or 0 the envelope resets when passing through the threshold moving upwards In other words if the value has been below the Threshold and then changes so that it is equal to or greater than the Threshold the envelope resets When the threshold is negative the envelope resets when passing throu...

Page 61: ...ill only start via the Trigger Source Note The Trigger Source s value at note on can cause the envelope to trigger instantly If the Threshold is positive or 0 this will happen if the value is at or above the Threshold if the Threshold is negative this will happen if the value is at or below the Threshold ...

Page 62: ...e Note FREQUENCY List of rhythmic values If Tempo is On this sets the basic speed of the LFO The values range from a 32nd note to a double breve four whole notes including dotted notes and triplets x Multiply Base Note by 1 32 If Tempo is On this multiplies the length of the Base Note For instance if the Base Note is set to a sixteenth note and Times is set to 3 the LFO will cycle over a dotted ei...

Page 63: ...Start Phase is On this parameter has no effect Rndm Random Start Phase Off On When Random Start Phase is On the LFO will start at a different random phase every time Offset 100 100 By default almost all of the LFO waveforms are centered around 0 and then swing all the way from 100 to 100 Offset lets you shift the LFO up and down so that for instance it s centered on 50 and then swings from 50 to 1...

Page 64: ...or more extreme It can also be useful to emphasize certain value ranges and deemphasize others For example let s say that you are using a triangle LFO to modulate filter cutoff If Curve emphasizes the high value range the filter will spend more time at the higher frequencies If it emphasizes the low range the filter will spend more time at the lower frequencies LFO Curve Note Curve does not affect...

Page 65: ...e default On The LFO starts from the phase determined by the first note in the phrase so that the LFOs for all notes being held are synchronized together Fade applies only to the first note in the phrase Note Even if Sync Notes is On each note s LFO speed may still be different if modulated by note number velocity key scaling or other note specific modulation sources ...

Page 66: ...he threshold For instance you can use Gate to Apply pitch bend or other effects to some notes but not to others using Control at Note On Only Apply modulation only after the source reaches a certain threshold for instance use Velocity to modulate an LFO s frequency but only once Velocity is greater than 90 Use a controller to switch between two different LFOs or any two modulation sources Cntrl Co...

Page 67: ... and inverts the phase Offset 200 200 This controls how the Input is shifted up or down 200 shifts an input of 100 all the way to 100 Converting from bipolar to unipolar You can use Offset to convert a bipolar modulation source both negative and positive such as an LFO to a unipolar signal positive only To do so 1 Select the LFO as the source 2 Set the Input Amount to 50 This cuts the overall leve...

Page 68: ...popup MOD and set the Destination to Pitch Tune 2 Press ENTER to close Add New Modulation and bring up the Modulation Source popup since there isn t a front panel control to select for Mod Processors 3 Press the PAN LFO button to jump to the middle of the Generators section and then scroll down to select Mod Processor 1 Press ENTER to confirm 4 Set the Intensity to any exact half step value 5 00 7...

Page 69: ...is controls the gain and polarity of the affect of the Scale Source For example the main input is an LFO and the Scale Source is an Envelope positive settings mean that the Envelope will increase the amount the of LFO Curve Curve can create custom controller curves such as exponential joystick logarithmic velocity and so on It can also alter the shape of programmable modulation sources such as Env...

Page 70: ...nd Generally bipolar modulation sources will work better with the Asymmetric mode but Symmetric may also produce interesting results Unipolar sources only go from 0 to 100 with 50 in the middle Often MIDI controllers are unipolar though you can also select bipolar versions Envelopes are usually programmed to be unipolar even though the Filter and Pitch Envelopes allow negative levels With unipolar...

Page 71: ...of programmable mod sources such as LFOs and envelopes For instance you can turn a blip into a simple envelope shape as shown below Input List of Modulation Sources This selects the input for the Mod Processor Attack 0 000 10 000 sec This controls how long it takes the smoother to reach a new higher value Higher settings mean longer times Decay 0 000 10 000 sec This controls how long it takes the ...

Page 72: ...od Processor Main Input Amount 100 100 This controls the gain and polarity of the Input Sum Source List of Modulation Sources This selects the modulation source to merge into the Input Sum Source Amount 100 100 This controls the gain and polarity of the Sum Source Input LFO Sum Source Env Output ...

Page 73: ... 1 Wet This controls the balance between the original signal Dry and the effected signal Wet Level controls Additional level related parameters may be available on screen depending on the effect Type Input Trim Inf 84 9 0 0 dB This controls the volume level into the effect Use this to alter the response of effects such as the Waveshaper or to compensate for gain increases in effects such as the Ta...

Page 74: ...phic EQ with macro controls Guitar Amp This mono effect models a selection of guitar amps and speaker cabinets for everything from subtle saturation to roaring distortion Modern Compressor This is a stereo compressor with a modern sound Parametric EQ This is a stereo EQ with a single adjustable parametric band Presets may include additional EQ Red Compressor Need to play chordal passages with smoo...

Page 75: ... modified tine piano Harmonic Chorus This stereo effect applies chorus only to higher frequencies particularly useful for bass sounds Some presets use feedback to turn the chorus into a flanger Modern Chorus This stereo effect adds thickness and warmth to the sound by modulating the delay time of the input signal Modern Phaser This is a modern stereo phaser effect Orange Phase This models a mono p...

Page 76: ... VOX wah pedals the V847 and the V848 Clyde McCoy model Delay L C R Delay This mono in stereo out multitap delay has three taps panned to the left right and center respectively Multiband Mod Delay This monster effect divides the input signal into four frequency bands with a modulatable delay for each band It can produce everything from complex frequency specific delays to thick choruses Reverse De...

Page 77: ...uality diffusion based reverb core including randomization for richer and smoother reverb timbres Master EQ Performances include a dedicated parametric EQ To edit the EQ 1 Press REVERB and then PAGE The Master EQ page will appear EQ On Off enables and disables the EQ Use Trim to compensate for EQ boosts The L Low and H High bands can be set to Peak Shlv Shelving or Cut Low cut High cut ...

Page 78: ...tensities randomizes the standard LFO and Envelope intensities for Filter Amp Pitch and Pan Randomize Fx Enables controls the On Off settings for the Effects with probability weighted towards On Speed randomizes Wave Sequence Speed 2 Press again to randomize everything in all layers and then ENTER to confirm To randomize a specific section of the synth 1 Press and hold 2 While holding press the bu...

Page 79: ...ote Transpose is affected by the Convert Position setting see Convert Position on page 77 Tune 50 427 47Hz 50 452 89Hz This adjusts the overall tuning of the entire wavestate in one cent units over a range of 50 cents A cent is 1 100 of a semitone At the default of 0 A4 440 Hz The value shown for A4 s frequency assumes that the scale is set to Equal Temperament If a different scale is selected the...

Page 80: ...his when playing the wavestate by itself or when you want the wavestate to control the tempo of external MIDI devices such as a sequencer or drum machine External The wavestate tempo will synchronize to incoming MIDI Clock messages from either 5 pin MIDI or USB If MIDI clocks are not being received tempo related features will not function Auto This combines the functionality of Internal and Extern...

Page 81: ...Regardless of the Convert Position Transpose and Velocity Curve always apply when playing internal sounds directly from the wavestate keyboard Pre MIDI This is the default Transpose and Velocity Curve affect MIDI output Convert Position Pre MIDI Post MIDI Transpose and Velocity Curve affect MIDI input Use this to adjust response to an external MIDI controller Post MIDI also shifts Global and Perfo...

Page 82: ...es to match the position of the knob Knob Mode set to Scale MIDI CC Assign You can control Scale Select and each Mod Knob directly from MIDI CCs These CCs edit the assigned parameters just like moving the front panel knobs To modulate a parameter with variable intensity and without causing edits to the sound use modulation instead Some dedicated CCs cannot be assigned CCs 1 7 etc Use ENTER cursor ...

Page 83: ...2 for either the Global or Performance scale depending on which is in use SHIFT OCTAVE then performs octave up down functionality Layer Transpose Transposes Scale Within Scale This parameter determines how the Layer Transpose parameters interact with the Scale and Key Within Scale means that transposition uses intervals within the current scale This option works well if you are using non equal tem...

Page 84: ...hat you save important settings before this occurs Display Brightness 0 100 This controls the brightness of the OLED display SST Hold Time 0 ms 60 sec This controls the duration of Smooth Sound Transitions It sets how long reverbs delays and note releases continue to ring out after a new sound has been selected The timer starts after all notes from the previous sound are no longer being held down ...

Page 85: ...y sounding there won t be enough free power to play a new voice When this happens the system stops older or lower priority voices so that the CPU can be used for the new voice instead This is called voice stealing This shows the amount of voice stealing in real time About This page shows the software version number and abbreviated credits The wavestate is the result of a team effort built through ...

Page 86: ...ith the wavestate Librarian MIDI The wavestate is a class compliant USB MIDI device and requires no driver for MIDI functionality Librarian The wavestate Librarian supports macOS and Windows and is available as a download from www korg com For more information please see the documentation included with the Librarian ...

Page 87: ...IDI CCs MIDI CCs Destinations Most parameters can be modulated including parameters of individual Wave Sequence Steps Depending on Wave Sequence length there can be more than 1 000 potential modulation targets per Program Effects Pre FX Decimator Graphic EQ Guitar Amp Modern Compressor Parametric EQ Red Compressor Ring Modulator Tremolo Wave Shaper Mod FX Black Chorus Flanger Black Phase CX 3 Vibr...

Page 88: ...X X O 123 127 O X O 2 0 63 System Real Time Clock Commands Aux Messages Local On Off All Notes Off Active Sense System Reset Notes Mode 1 Omni On Poly Mode 3 Omni Off Poly Mode 2 Omni On Mono Mode 4 Omni Off Mono O Yes X No Consult your local Korg distributor for more information on the MIDI implementation Modulation Volume Pan Expression Vector JSX Y Damper Sostenuto Soft Assignable for controlle...

Page 89: ...Published 01 2020 2020 KORG INC www korg com ...

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