(2) Mages SDN Player’s Guide by Dan Phillips Advanced Vector Synthesis Wave Sequencing 2A *V synitesis system KORG @©®IMPORTANT SAFETY INSTRUCTIONS WARNING — When using electric products, basic precautions should always be followed, including the following. 1, Read all the instructions before using the product. 2. Do not use this product near water — for example, near a bathtub, washbowi, kitchen sink, in a wet basement, or near a swimming pool, or the like. 3. This product should be used only with a cart or stand, that is recommended by the manufacturer. 4, This product, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at high volume levels or at a level that is uncomfortable. If you experience any hearing loss or ringingin the ears, you should consult an audiolo- ist. 5, The product should be located so that its location or position does not interfere with its proper ventilation, 6. The product should be located away from heat sources such as radiators, heat registers, or other products that produce heat. 7. The product should be connected to a power supply only of the type described in the operating instruc- tions or as marked on the product. 8. The power-supply cord of the product should be unplugged from the outlet when left unused for along period of time. 9. Care should be taken so that objects do not fall and liquids are not spilled into the enclosure through ‘openings. 10. The product should be serviced by qualified service personnel when: ‘A. The power-supply cord or the plug has been damaged; or B. Objects have fallen, or liquid has been spilled into the product; or C. The product has been exposed to rain; or D. The product does not appear to operate normally or exhibits a marked change in performance; or E. The product has been dropped, or the enclosure damaged 11.Do not attempt to service the product beyond that described in the user-maintenance instructions. All other servicing should be referred to qualified service personnel, SAVE THESE INSTRUCTIONS CAUTION RISK OF ELECTRIC SHOCE 0 NOT OPEN CAUTION: To REDUCE THE RISK OF ELECTRIC SHOCK 00 NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO ‘QUALIFIED SERVICE PERSONNEL.The lightning flash with arrowhead symbol, within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product's enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product, GROUNDING INSTRUCTIONS This product must be grounded. If it should maifunction or breakdown, groundirig provides a path of least resistance for electric current to reduce the risk of electric shock. This product is equipped with cord having an equipment-grounding conductor and a grounding plug. The plug must be plugged intoan appropriate outlet that is properly installed and grounded in accordance with alliocal codes and ordinances. DANGER — Improper connection of the equipment-grounding conductor can resultin a risk of electric shock. Check with a qualified electrician or serviceman if you are in doubt as to whether the product is properly grounded. Do not modify the plug provided with the product —t twill nt fitthe outlet, have proper outlet installed by a qualified electrician ‘THE FCC REGULATION WARNING ‘his equipment gonerates and uses radio frequency energy and if not installed and used propery, that isn trict accordance withthe manufactures instructions, may cause interter ences to racio andtelevision reception. hasbeen type tested and foundto comply withthe mits foraclass 8 computing device in accordance withthe specifications in Subpart J of Part 15 of FCC Rules, which are designed to provide reasonable protection against such intererence ina residential instalation. However, there is ro guarantee that interference will not occur in @ particular installation. It this equipment does cause interference to radio or television reception, ‘which can be determined by turing the equipment off and on, the user is encouraged to ty to correct te interference by one or more o the folowing measures: + Reorient the receiving antenna. + Relocate the equipment with respect to the receiver. + Move tne equipment away from the eeceiver. ‘+ Plug the equipment ino @ different outlet so that equipment and receiver are on diferent branch exeuits, ltnecessary the user should consult the dealer or an experienced radiojelevsion technician for ‘additional suggestions. The user may find the folowing booklet prepared by the Federal Communications Commission helpful: “How to Identify and Resolve Radio-TV Interference Problems”. This booklet is avallabie from the US Government Printing Office, Washington, .c.20402, stock No. 004-000-000345-4, CANADA ‘THIS DIGITAL APPARATUS DOES NOT EXCEED THE “CLASS B” LIMITS FOR RADIO NOISE EMISSIONS FROM DIGITAL APPARATUS SET OUT INTHE RADIO INTERFER: ENCE REGULATION OF THE CANADIAN DEPARTMENT OF COMMUNICATIONS. LE PRESENT APPAREIL NUMERIQUE N'EMET PAS DE BRUITS RADIOELECTRIQUES DEPASSANT LES LIMITES APPLICABLES AUX APPAREILS NUMERIQUES DE LA “CLASSE 8” PRESCRITES DANS LE REGLEMENT SUR LE BROUILLAGE RADIOELECTRIQUE EDICTE PAR LE MINISTERE DES COMMUNICATIONS DU CANADA,KORG Wavestation SR Player's Guide CONTENTS 1 WAVESTATION SR OVERVIEW 1.1 About this Manual. 1.2 Instant Gratification 1.3 Ultra-Brief Instructions 1.4 What is a Bank? .. 1.5 What is a Performance? 1.6 What is a Patch? 1.7 What is a PCM Wave? 1.8 What is a Wave Sequence? 1.9 What is a Multiset? 1.10 What is a Page? 1.11 What is a Level? .. 2 FRONT PANEL .. 2.1 General 2.2 Master Controls .. 2.3 Page Controls 2.4 Data Entry Controls 2.5 Displays 2.6 Card Slots 2.7 Outputs: ‘3 BACK PANEL 3.1 General 3.2 Inputs 3.3 Outputs 4 BASIC OPERATION 4.1 General 4.2 Preparation .. 4.3 Power-On .... 4.4 Simple MIDI Setup 4.5 Adjusting the Basic Chann 4.6 Selecting Performances 4.7 Changing Banks . 4.8 MIDI Bank Select and Program ChangeKORG Wavestation SR Player's Guide 4.9 Playing 4.10 Using Cards 4.11 Master Tune and Transpose 4 25 26 5 USING MULTISETS. 5.1 An Introduction to Multisets 5.2 Setting the Wavestation SR to MULTI mode .. 5.3 Selecting which Channels to Use .. 5.4 Selecting Multisets .. . 5.5 Changing the Performances in a Muliset 5.6 Changing the Volume and Pan of a Chane! .. 5.7 Using Multiset Effects... 5.8 Copying Effects from a Performance 5.9 Using the FX Control Channel ... 5.10 Naming and Saving Multisets .. 5.11 Multiset MIDI Example 6 MIDI & GLOBAL FEATURES... 6.1 General 6.2 MIDI Status Page - 6.3 MIDI Controller 1 and 2 Assignment 6.4 The Performance Select Map 6.5 System Exclusive Parameters .... 6.6 Turing the Effects On and Off 7 PERFORMANCE TOUR. 7.1 Overview of Editing .. 7.2 Overview of Performances 7.3 Assigning Patches to Parts 7.4 Editing Other Part Parameters 7.5 Keyboard and Velocity Zones. 7.6 Initializing a Part 7.7 Writing a Performance ..... 7.8 Copying a Single Performance Between Banks . @ EFFECTS TOU 8.1 Overview of the Effects System 8.2 Effects Buses and Routing 8.3 FX Mix 8.4 FX Modulation Sources ..... 85 Routing Patches and Performances into the Effects 8.6 Selecting Performance or Multiset Effects. 8.7 Effects List 88 Effects Editing 8.9 Parallel Effects, Outputs 3/4, and Multisets 8.10 Using the Vocoders . 9.1 Overview of Patches 9.2 Starting to Edit a Patch 9.3 Assigning PCM Waves 9.4 Selecting Mactos .. 9.5 Tweaking the Amplifier 9.6 Tweaking the FilterKORG Wavestation SR Player's Guide 10 WAVE SEQUENCE TOUR. 11 APPLICATIONS. 12 TROUBLESHOOTING... 13 APPENDIX ,. 9.7 Vector Synthesis: 9.8 Writing a Patch 10.1 Introduction to Wave Sequencing ... 10.2 Editing Wave Sequences .. 10.3 Copying a Wave Sequence 10.4 Changing the PCM Waves .... 10.5 Step Duration and Crossfade 10.6 Wave Sequence Modulation 10.7 Looping a Wave Sequence 10.8 Rhythmic Wave Sequences 10.9 The End...? 11.1 Wind Controllers 11.2 Guitar Controllers : 11.3 Saving Data with MIDI SysEx Recorders 12.1 Wavestation SR Makes No Sound 12.2 Tuning does not seem to be correct .. 12.3 Either odd or even MIDI notes are not played. 12.4 Notes cut off unexpectedly .. 42.5 Only one step of a Wave Sequence is being played 12.6 ROM Wave Sequences cannot be edited 12.7 Rihythmic Wave Sequence does not seem to sync to MIDI . 12.8 Not all Performance Parts are heard in a Multset ... 12.9 Performance Effects seem to have changed .... 12.10 Performance Effects cannot be edited ... 12.11 Wavestation SR Messages soo MIT 18.1 Specifications And Options 18.2 Performance Data Forms .. 18.3 Effects Data Forms 19.4 Patch Data Forms 1.5 Wave Sequence Data Form 18.6 RAM Bank Data Form... 13.7 MIDI implementation Chart viWAVESTATION SR OVERVIEW 1 WAVESTATION SR OVERVIEW 1.1 About this Manual Congratulations on buying the KORG Wavestation SR! This Player's Guide shows you how to set up the instrument, and contains a number of tutorials to take you through all of the basic operations, step by step. Chapters 1 through 6 concentrate on the essential basics of the Wavesta- tion SR, including selecting and playing sounds, using Multisets, and con- necting up to the world of MIDI. The four Tours, chapters 7 through 10, introduce the Wavestation SR's editing controls. They show you where to go to immediately make the most useful changes ~ such as editing filter brightness or amplifier velocity response — or to play with the fun things like Vector Synthesis and Wave Sequencing. After familiarizing yourself with the Wavestation SR using this guide, or if you require more information about any display page, please see the ac- companying Wavestation SR Reference Guide. 1.2 Instant Gratification So, you've just opened up your new Wavestation SR, and now you want to find out what it’s all about. You probably already have some idea of how flexible and versatile an instrument it is, and of the depth that Wave Sequencing and Vector Synthesis can bring to your sounds. New and dif ferent sounds, after all, are the essence of the Wavestation SR - and before ‘we get too far, you'd probably like to hear a few of them. Let’s make some noise. Playing the Demo © Connect the Wavestation SR to your master controller and audio Sequences system. Ifatall possible, use both the 1/Land 2/R outputs for stereo ———___—_- sound. After hooking up the audio, switch everything on. For more complete instructions on setting up, please see the beginning of Chapter 4. When power is first turned on, the Wavestation SR will be on either the PERF or MULTI page. These are where you select different Performances or Malltisets to play - but we'll get into that later. © For now, press the PERF and BANK buttons together to go to the DEMO SEQUENCE page. You'll see this screen:KORG Wavestation SR Player's Guide Page Name ‘Sequence Number DEMO SEQUENCE Play Funkaf Demo Sequence Name The name of the Demo Sequence to be played is shown on the bottom line of the screen; you can select another sequence by using the Up or Down, Cursors. ‘© Press the +1/YES button to hear the Demo. After it finishes the first sequence that you’ ve selected, the rest of them will play back, one af- ter another. Enjoy. = Tostop the Demo Sequence, press any button, 1.3 Ultra-Brief Instructions 1.4 What is a Bank? For those who have some experience with synthesizers, here are the brief- est possible instructions for using the Wavestation SR. "© Select new Performances on the PERFORM page by using the +1/YES and -1/NO buttons or the Up and Down Cursors. ‘© Toswitch memory banks, press the BANK button. ‘© Press the PERF button to play single Performances, and the MULTI button for 16-channel multitimbral operation. To edit: s+ Select the desired page using the PAGE+ and PAGE~ keys; thename of the current page is always displayed on the top line of the screen, When the EDIT button’s LED is lit, pressing that button will bring you to a new set of Pages (a level) for editing the currently selected item (Multiset, Performance, Patch, Scale, etc.). The last Page of each level allows you to exit back up to the previous level. “© Select the desired parameter by using the LEFT and RIGHT cursors. Set the desired value for the parameter using +1/YES and ~1/NO. ‘© Parameters displayed in the top right comer of the display are changed by using the UP and DOWN cursors (see page 11 for more details). ‘The remaining sections in this chapter explain the organization of this ‘manual and define a few common terms. Most of these terms have to do with the way that the Wavestation SR’s sound resources are organized. ‘The Wavestation SR has 11 internal memory banks: 3 RAM banks, and 8 ROM banks. There is also an optional, plug-in CARD bank. Fora closer look at the contents of the banks, please see Figure 1-1.WAVESTATION SR OVERVIEW Figure 1-1: Wavestation SR Memory Banks Data PCM Wave Wavestation SR INTERNAL rs ROM RAM -3 ROM 4-11 cmRD ano (Each) (Esch) AM or ROM 30 a | = Performances 32 32 vee Wave Wave ‘Sequences ‘Sequences Sequences ‘The 8 ROM banks contain the Wavestation SR’s factory sounds. These sounds are permanent, and can’t be changed. RAMI, 2,and 3 are your work areas for custom sounds and can be changed, although initially they are also set with factory sounds. The RAM banks are backed up with a long-life lithium battery (if the internal battery voltage drops, a warning appears). Banks hold Performances, which are the sounds that you play on the Wavestation SR; banks also hold Patches and Wave Sequences, which are the building blocks of Performances, Each bank contains 50 Performances, 35 Patches, and 32 Wave Sequences. With the 11 internal banks, this gives you a total of 550 Performances, 385 Patches, and 352 Wave Sequences; with a RAM or ROM Card plugged in, you have 600 Performances, 420 Patches, and 384 Wave Sequences. Inaddition, there is a ROM wave memory of 484 PCM Waves, which pro- vide the raw sound material for Patches and Wave Sequences. Cards allow you to build up a library of sounds, and can also be used for quick backup. There are two types of cards for the different types of sound data. PROGRAM DATA RAM or ROM cards store Performances, Patches, and Wave Sequences; PCM ROM cards contain sampled PCM Waves. Let's look briefly at each of these kinds of sound data.KORG Wavestation SR Player's Guide 1.5 What is a Performance? The simplest answer is that Performances are the highest level of sound control in the Wavestation SR. Performances have no sounds in them- selves, but organize and add effects to Patches, which do create sounds. Besides specifying the Patches being played, Performances also control important parameters such as the keyboard mode (single, split, or layered, with or without velocity-controlled mixing) and a pair of effects settings. ‘There are 50 Performances in each bank, so you have a minimum of 550 Performances available - 600 if you're using a Performance Card Figure 1-2: Performance Structure PERFORMANCE 1.6 What is a Patch? Parts Performances consist of eight Parts. Each Part holds a Patch together with some parameters to control how the Patch is played, such as transposition, volume level, and note-on delay (on the EDIT PERF page) and playback ranges for velocity and MIDI note number (on the ZONES page). Because they have up to eight Parts, Performances multiply the sonic rich- ness and detail of a sound. As you play, listen for how the factory Perfor- mances employ their Patches; for example, how the Patches may be layered, assigned to specific ranges of MIDI notes for splits, or switched in with different velocities. Effects Each Performance also memorizes an effects and output routing configu- ration, two effects program selections for the twin effects processors, and all of the parameters contained in those two effects. To learn more about the Effects, please see Chapter 8. Patches are specific setups for the synthesizer voices, which produce roughly the equivalent of a single instrumental sound. Each patch can. have 1, 2, or 4 voices, and each voice contains an oscillator, filter, amplifier, amplifier envelope, general purpose envelope, and two LFOs.Figure 1- A Voice Patch WAVESTATION SR OVERVIEW Each Bank holds 35 Patches, for a total of 385 (420 with a ROM or RAM. Program card inserted). To hear an individual Patch you can: “= Select a Performance which has only one Part. = Soloa single Part For more about Patches, please see Chapter 9 and the Reference Guide. 1.7 What is a PCM Wave? For their raw sonic material, Patches rely on digitally recorded wave- forms, known as PCM Waves (PCM stands for Pulse Code Modulation, which is a common way of storing audio in digital form). Many of these are recordings of acoustic instruments, such as piano, drums, and bass; others are samples of synthesized sounds, or digital timbres created spe- cifically for the Wavestation product line. PCM Waves can be single-cycle or few-cycle waveforms that loop continuously (such as an analog saw- tooth wave), transients followed by loops (such as a piano), or transients which play only once (such as drums). These PCM Waves are played by a Patch’s oscillators, or used within Wave Sequences, and then processed through the Wavestation SR’ filters, amp envelopes, effects, and so on. There are 484 internal waveforms avail- able, and more can be accessed via optional PCM Cards. For more about PCM Waves, please see Chapter 9. 1.8 What is a Wave Sequence? A Wave Sequence is simply a list which allows an oscillator to play specific PCM waves in succession. Each step of thesequence can be givena specific duration - or be controlled by the gate time during which a key is held down, ‘Also, Wave Sequence steps can be crossfaded, and thus smoothed togeth= ex. The Wavestation family of instruments are the first to offer Wave Se- quencing, Each Bank holds 32 Wave Sequences, for a total of 384 when using a Pro- gram CARD. The total Wave Sequence Step memory per bank is 500 steps, fora total of 6000 (with an optional CARD). One Wave Sequence can have up to 255 steps. For more about Wave Sequences, please see Chapter 10.KORG Wavestation SR Player's Guide 1.9 What is a Multiset? 1.10 What is a Page? In MULTI mode, you can use the Wavestation SR to play 16 different Per- formances at once - one from each MIDI channel. You might, for instance, play a drum kit Performance on channel 1, a synth bass on channel 2, a ead sound on channel 3, and so on. This is often called multitimbral oper- ation. Assignments of Performances to MIDI channels are stored in the Wavestation SR’s 32 Multisets, which also contain volume and pan set- tings for each channel, and allow you to turn the channels on and off. Each channel of a Multiset also responds independently to MIDI Program Changes and Volume messages. This means that, in MULTI Mode, the Wavestation SR really functions as up to 16 discrete synthesizers. If you like, you can also select entire Multisets with MIDI System Exclusive com- ‘mands, or (with the help of the MIDI REMAP page) ordinary Program Changes. Normally, each Performance has its own Effects programming. However, in MULTI Mode you can have 16 Performances - but you can’t have 32ef- fects! The Wavestation SR therefore ignores all of its Performance Effects programming, and instead each of the Multisets has its own Effects assign- ments. These effects have exactly the same capabilities as the Performance Effects Selections, Effects Parameters, and Routing. Multimode Setups are stored in internal RAM, and can be dumped to an editor librarian or sequencer via MIDI System Exclusive. ‘The parameters for editing sounds (Performances, Patches, and Wave Se- quences) and other parameters, such as tuning and MIDI settings, are or- ganized into related groups called pages. The title of the page you are on is always shown at the top left of the display. You can go from page to page by using the PAGE+ and PAGE- buttons, or move to the pages of a differ- ent level (see below) with the EDIT button. Pages are shown throughout this guide, as below: PERFORM page Page Namo Performance Bank Performance Number PERFORM RAM2:26 NightengaleSong Performance Name Each page may have from one to many parameters, often more than can be displayed at one time; you can use the Right and Left cursors to scroll through them one by one. On many pages, you can also use the Up and Down cursors for a special function; this is described in Section 2.3, Page Controls. For more about pages, please see Chapter 4, Basic Operation.WAVESTATION SR OVERVIEW. 1.11 What is a Level? Just as similar parameters are organized into pages, related pages are grouped into levels. The four main levels are reached simply by pressing their corresponding front-panel buttons: PERF, MULTI, WRITE /COM- PARE, and MIDI/GLOBAL. The Performance (PERF) and Multiset (MULTI levels each allow you to access several levels “below” them, such as Edit Multiset and Edit Perfor- ‘mance. These lower levelscan only be reached when you're ona particular parameter - kind of like getting around in a several-story house, with many rooms on each floor but only a few stairways. These parameters are always the names/numbers of editable items; specifically, Multisets, Per- formances, Patches, Effects, Scales, and Wave Sequences. When you're over one of these “stairways,” the green LED on the EDIT button will light up, and pressing that button will bring you to the lower level. There are two ways to get back up to the previous level. The last page in each level contains a single command, “Go Back a Level,” pressing +1/ YES takes you back up. Pressing MIDI/GLOBAL and PAGE: together will do the same, on any page. You can also always go to one of the top levels simply by pressing its front-panel button. ‘The next page is a chart showing all of the Wavestation SR’s pages and lev- els.Performance Level ‘uroUGtobal Levet ies Edit Performance Level = Lf zones H] rn seuor |_[reancon |{marcory Heh Wavestation SR Levels ‘The arrows on this chart show the “stairways” to lower levels. When the cursor is on an editable item (a Patch on the EDTPERF page, for instance), the EDIT light will be lit; pressing the EDIT button will take you to the lower level. ‘To go back up to the previous level, press MIDI/GLOBAL and PAGE- together, or go to the EXIT page and press +1/ YES. PAGE+ moves through the pages clockwise; PAGE- moves counter-clockwise. All levels “wrap,” so that pressing PAGE+ on the last page of the level takes you back to the first page, and vice versa. The same is true for cursoring through parameters on a page. ‘S]0N9] US UOHEISOAEAA *p-b eunBis ‘Opin s,10k8id US UONEISEAEM DUOMFRONT PANEL 2 FRONT PANEL 2.1 General The front panel has a number of controls and displays which, in addition to your master controller, are the way that you communicate with the Wavestation SR. There are also two memory Card slots, one for program data and the other for extra PCM Waves, and a headphone output. This chapter gives a brief description of each of these items. There are three main types of controls: Figure 2-1: Front Panel Master controls include the Master Volume knob and the Power switch, Page controls allow you to move among the Wavestation SR’s pages and levels. These include the PERF, MULTI, WRITE /COMPARE, MIDI GLOBAL, EDIT, and PAGE+/~ buttons. Data entry controls allow you to select and edit parameters. You use the Cursors to select between the parameters on the current Page, and the +1/YES and -1/NO buttons to adjust the parameter value. Additionally, the BANK button lets you switch quickly between the Wavesiation’s memory banks. LCD Displey EDIT button (MOI Incicator LED MutT buco | PAGES button Master Votene PERF button *+1/¥ES butzon Power sui { @ OF 838 29 umveeSR OO OE eS ’ | sect | eno Se wmecompare | PAGE tutten PM DATA slot Cursors ‘button Mmoye.oBaL button 2.2 Master Controls MASTER VOLUME knob This control sets the stereo output level of jacks 1/Land 2/R and the head phones. It does not affect the individual outputs, jacks 3 and 4KORG Wavestation SR Player's Guide 2.3 Page Controls POWER switch ‘The power switch is located on the front panel. PAGE+ and PAGE - buttons These buttons select pages of parameters within the Wavestation SR’s cur- rent level (on the Edit Performance level, for instance, only pages which are related to editing Performances are shown). The name of the current page is always shown in the top left-hand comer of the screen. WRITE/COMPARE button This button allows you to quickly save any changes which you make toa ‘Wavestation SR Performance, Patch, Multiset, or Scale. To prevent the ac- cidental loss of desired edits, these edits are always held in their own memory area (called a buffer). When you edit, the LED on the WRITE/ COMPARE button lights up. Pressing this button once brings you to the WRITE page, where you can save the new data. ‘Once you're on the WRITE page, pressing the WRITE /COMPARE button toggles between the edited version and the original, and back again. This comparison may be repeated as many times as you wish. PERF button Pressing the PERF button brings you instantly to the PERF page, the main page for selecting and playing sounds. The LED on the button will also light up. This indicates that the Wavestation SR is in Performance mode, in which you can play a single Performance at a time. MULTI button ‘When you press the MULTI button, the Wavestation SR goes into Multi mode, which allows you to play a different Performance from each of the 16 MIDI channels. This is indicated by the MULTI button’s LED lighting up. Pressing MULTT also brings you to the MULTI page, where you can select between different Multisets - groups of 16 Performances to be played from the 16 MIDI channels. EDIT button This button allows you to go down into the next level of Pages, so that you can make changes to the currently selected item (Multiset, Performance, Patch, Scale, or Wave Sequence). Whenever you can EDIT something, this button’s LED will light up. For more information, please see Section 1.11, “What is a level?” MIDVGLOBAL button Pressing the MIDI/GLOBAL button brings you to the level of the same name. The Pages under MIDI/GLOBAL allow you to make many changes to the global setup of the Wavestation SR, including such things as the ‘MIDI Basic Channel, global transposition, and so on. 10FRONT PANEL EXIT key combination Pressing the MIDI/GLOBAL and PAGE- buttons together brings you back up to the previous level. There are other key combinations for mak- ing data entry easier, as described below in Section 2.4, Data Entry Con- trols. CURSOR Left/Right/Up/Down switches ‘The Wavestation SR’s cursors allow you to work within a two-dimension- al virtual screen-space, much bigger than the actual LCD on the front pan- el. The LCDis a viewing “window” into the complete set of page parameters, and the cursors move this window around. For instance, a complete display of the EDTMULT (Edit Multiset) page might look like this: Up/Down Cursors Performance FX Channel Bonk Performance # | Play | Level | 5... 16 RAMI 35 ON | 10 | 50/50 | (Current viewing 15 ROMS 12 ON | 75 | 20/80 | window shown on Lcd 4 RAM3 29 ON | 127 [66/33 3 ROMIL 7 on | 120 | c+D 2 RAM2 43 on | 65 | 50/50 1 ROM6 38 on | 127 | 80/20 << Left/Right Cursors ‘The Multisets have 16 different Channels, each with the same parameters: Performance Bank and Number, Volume Level, and so on. The Left and Right cursors move between the parameters of the current Channel, and the Up and Down cursors select the different Channels of the Multiset. The cursor line appears below the currently selected parameter, and the num- ber of the current Channel appears in the upper right-hand corner of the screen, as shown below: Edit Multiset page example Current Channel (Up and Down Cursors) EDTMULTI 14 Chris 1249 StatianPlat Performance # (Left and Right Cursors) 1KORG Wavestation SR Player's Guide ‘These basic rules apply to all of the Wavestation SR’s pages. Parameters appear on the bottom line of the display, and you move between them by using the Left and Right cursors. Anywhere that there are a set of objects with the same parameters to be adjusted (such as the Channels of a Multi- set), you move Left and Right between parameters, and Up and Down be- tween objects. A rule of thumb is that anyplace you see a number with a colon (":") in front of it in the upper right-hand corner, you can change it with the Up and Down cursors. This includes the current Performance on the PER- FORM page, the current Multiset on the MULTISET page, the current Channel on the EDTMULT page, the current Part on the EDTPERF and ‘ZONES pages, the current Scale on the SCALE page, the current Wave on all of the pages on the Edit Patch level, and the current Wave Sequence Step on all of the pages on the Edit Wave Sequence level. 2.4 Data Entry Controls +1/YES and -1/NO (On the PERFORM page, these buttons scroll through the Performances in the current Bank. On most other pages, these adjust parameter values (you select the parameter to be changed by using the cursor switches). Values can be numbers, but they are just as often options described by words. +1/YES is also used to carry out commands, which are always phrased as questions such as, “Copy All FX?” Pressing +1/YES will carry out the command; ~1/NO will cancel Key Combination Shortcuts Press these keys together Result PAGE + and +1/YES +10 PAGE — and ~1/NO 10 |" epitandvtves | Maximum Value +1/YES and -1/NO ‘Middle Value MIDVGLOBAL and —1/NO Minimum Value Step through Banks in BANK and —1/NO ee eae PERF and BANK | Goto Demo Sequence page MIDVGLOBAL and PAGE Exit to next higher level Solo current Part on Edit Perfor- MIDV/GLOBAL and EDIT mance level; Mute current Wave on Edit Patch level WRITE/COMPARE and EDIT Instant Compare BANK button Bank allows you to quickly step through the Wavestation’s twelve memo- ry banks (RAM 1-3, ROM 4 - 11, and the optional CARD) when selecting Performances, Patches, or Waves and Wave Sequences. To step through 12FRONT PANEL 2.5 Displays 2.6 Card Slots the Banks in reverse order, press BANK while holding ~1/NO. Liquid Crystal Display (LCD) ‘This 2-Line by 16-character back-lit LCD presents the Wavestation SR's sound and setup information in a clean and consistent manner. Information and programmable parameters are organized into related. groups called pages. The title of the page you are currently on is always shown at the top left of the display. Fach page may have from one tomany parameters (filter cutoff, current Performance, etc.), usually too many to be displayed at one time; you can use the cursors to scroll through them one by one. For more information on the display system, please see Chap- ter 4, Basic Operation. MIDI Indicator LED This LED lights up whenever the Wavestation SR receives any MIDI data which it has been set to recognize. This can be very useful when trouble- shooting your MIDI setup. As shown below, the current Mode of the Wavestation SR determines the way that the MIDI Indicator will function; for more information, please see Section 12, TROUBLESHOOTING. In PERF/OMNI mode, all data is recognized, and so the LED will light whenever any MIDI data is received. In PERF/POLY mode, only data received on the Basic Channel will cause the LED to be lit; all other data is ignored. In MULTI/NORMAL mode, only data received on channels set to ON will cause the LED to be lit. In MULTI/MONO mode, only data received on the specified number of channels will cause the LED to be lit. The two card slots let you expand the sound capability of the Wavestation SR NOTE: Do not insert or remove cards while sound is being produced. Only insert Wavestation-type cards with their labels facing upwards. Pro- gram Cards will not work in the PCM Data slot, and vice versa. PROG DATA slot RAM or ROM cards in this slot hold Performances, Patch data, and Wave Sequences. The Wavestation SR can use any of the Program Cards pro- duced for the Wavestation keyboard or Wavestation A/D. For a RAM card, the KORG model MCR-03 is recommended. PCM DATA slot ROM cards in this slot hold PCM (sampled) waves, which serve as source material for the oscillators NOTE: The Wavestation SR uses the new Korg PCM card format, instead of the old format used by the Wavestation keyboard and A/D. This new format has four times the memory of the old, so that you can get many 13KORG Wavestation SR Player's Guide 2.7 Outputs more waveforms on a single card. When you shop for PCM cards, make sure to look for those marked for the Wavestation SR; the old-style cards will not work (they won't even fit in the slot!) PHONES jack This standard quarter-inch phone jack provides a stereo mix of the Waves tation SR’s output, identical to the back panel's outputs 1/Land 2/R.Itac- commodates stereo headphones of any impedance; KORG model KH- 1000 headphones are recommended. 43.1 General Figure 3-1: Back Panel BACK PANEL 3 BACK PANEL ‘The back panel provides connectors for power, MIDI, and audio output. (MIDI OUT jack AC Power Cord MIDI THRU jack | MIDIIN jack 2/R output —1/L. output 1 aa RG) — eer —] =a ok a———> We, Mix 4 c ; 3 D 4 Input at A/B goes through FX1 and FX2 to outputs 1/2. Inputs C/D are left unprocessed at the outputs 3/4, or can be dynamically mixed (using the Mix 3 and 4 parameters) into FX2 as well Parallel Routing The parallel mode allows separate processing for the A/B and C/D in- puts. You might, for instance, have inputs A/B going through a flanger, while C/D go through an overdrive. Figure 8-3: Parallel Effects Routing FX Bus Outputs ————— A——> x4 +n iba Mix 3 Mix 4 o> ei, 53 Fx2 =) 61KORG Wavestation SR Player's Guide 8.3 FX Mix In Parallel routing, the input at A/B goes through FX1 to output 1/2. In- puts C/D go through FX2 to output 3/4. Also, the outputs of FX2 can be mixed into outputs 1/2 using Mix3 and Mix4, with independent and dy- namic control over each signal's panning. The FX MIX page offers more control over the effects routing, including the Mix 3/4 and mix modulation parameters. To adjust these: ‘© With the FX SELECT page's Routing parameter selected, press EDIT. ‘This takes you to the Edit Effects level, on the FX MIX page. FX MIX page, Edit Effects level RIGHT Notice that the Routing parameter is available on this page, as well. = Cursor right to the Mix3 parameter. Mix 3/4 Both the Series and Parallel routings include the Mix 3/4 parameters, but they function slightly differently. The diagrams above give a graphic rep- resentation of the mix functions. In the Series routing, Buses C and D are always sent to outputs 3 and 4, re- spectively. Using Mix 3/4, you can also send them through FX2, or direct- ly tothe main stereo outputs 1/L and 2/R. Thisis controlled separately for Cand D, with Mix 3 affecting C and Mix 4 affecting D. In the Parallel routing, Buses C and D always go through FX2, and thenon tooutputs 3 and 4. Using Mix3/4, the output of FX2 can also be sent to the ‘main stereo outputs, with independent panning for each channel. Mix3 controls the left channel of FX2, and Mix 4 controls the right. ‘When the Stereo Vocoders are used, the Effects Mix works ina slightly dif- ferent way; for more information, see the description of the Stereo Voco- der-Delay effects in the Reference Guide. “© Cursor right to the Mod3 parameter. FX MIX page, Edit Effects level F MIX Mod3:Pedali+3 Modulation Source ‘Modulation AmountYou can use Mod 3/4 to create a dynamic FX Mix, or for MiDI-controlled panning. EFFECTS TOUR Mod 3/4 ‘The Mod 3/4 parameters allow you to modulate Mix 3/4 in real time. In Series mode, for example, you can easily control reverb or flanging depth from a footpedal; in Parallel mode you can dynamically control the pan of FX2's output. You can choose any modulation source from the effects modulation sources, as described in Section 8.4 below. Mod3 and Mod al- low you to pick a controller for varying the initial levels set by Mix3 and ‘Mid; the controller choices are described below. Modulation Amount 3/4 This is the depth of the effect produced by the modulator selected under ‘Mod3/4. A positive amount moves the mix from left toright or dry to wet. A negative amount moves the mix from right to left or wet to dry. 8.4 FX Modulation Sources The Effects can be modulated by any of the sources available to the Patch ‘Modulation Matrix, plus a few more on the side. Below is a complete list. NONE — When NONEis selected, no modulation is used. WHEEL This is the MIDI Modulation Wheel. AT This is Channel Aftertouch (note that, in the Patch modulation matrix, both Polyphonic and Channel Aftertouch are recog nized - but as the effects are modulated globally, as opposed to on a key-by-Key basis, having Polyphonic Aftertouch here wouldn't make much sense). VEL This modulation source uses the last Note-On velocity. This value will remain even after the note is released. KEY Similar to VEL above, KEY uses the MIDI note number of the highest key currently held down; if none are down, then the last key’s number is used. ENV _Thisis the combined value of all currently playing amplitude envelopes KEYDN The “key down gate” is useful for making reverb or delay ef- fects instantly vanish (or increase, for that matter) when you stop playing, As long as a key is held down, the maximum ‘modulation amount isin effect; when no keys are held down, the modulation stops. FXSW _Thisis the Effects Switch, which may be assigned to any MIDI Controller on the MIDI Remap page (the default is Controller #12). Itis meant to be used with one of your controller's foot- switches. When the footswitch is held down, the modulation isat its maximum amount; when itis released, the modulation stops. FXTOG __Like FXSW above, FXTOG also receives the Effects Switch, and is meant to be used with one of your controller's foots- witches. Unlike FXSW, FXTOG is a toggle switch; pressing down and releasing the switch once sets the modulation to its maximum amount, and doing this again turns the modulation off.KORG Wavestation SR Player's Guide PEDAL This receives the MIDI Mod Pedal (Controller #4). MIDI1 —Thisis MIDIController 1, which may be assigned to any MIDI Controller on the MIDI Remap page. MIDI2 MIDI Controller 2, like MIDI Controller 1, may be assigned to any MIDI Controller on the MIDI Remap page. WH+AT — Thisis the sum of the Mod wheel and Aftertouch. JOYAC _Thisis the horizontal axis of the Joystick controller, which may be assigned to any MIDI Controller on the MIDI Remap page (in case you don’t have a controller with a Joystick); the default is Controller #16, Even when it is used as an FX mod source, JOYAC also adjusts the vector mix, as described in Section 9.7, Vector Synthesis. JOYBD —_The Wavestation Joystick has two axes (that's as in, “the plu- ral of axis,” as opposed to, “that large dangerous thing that Jack Nicholson carried around in The Shining”); this is the vertical one. The MIDI Remap page allows you to assign it to any incoming MIDI Controller; Controller #17 is the default. Even when it is used as an FX mod source, JOYBD also adjusts the vector mix, as described in Section 9.7, Vector Synthesis. 8.5 Routing Patches and Performances into the Effects Each Part of a Performance (or each Performance in a ‘Muitiset) can have its own effects routing. Each Part in a Performance can have a different routing into the effects, which (depending on the Routing setting) can make it go through FX 1, FX2, neither, or both. This also controls the panning of the Part across the stereo outputs 1 and 2. The effects routing and panning can also be separately controlled for each Performance in a Multiset. When this is done, it overrides the settings for the individual Parts. For a description of effects routing and panning in “Maltisets (which is essentially the same as for Parts in a Performance), see Section 5.6, Changing the Volume and Pan of a Channel. ‘The routing for a Performance Part is done on the EDTPERF page. “Press PERF to go to the PERF level. “© Goto the Edit Performance level by pressing EDIT. “= Cursor to the FX Bus parameter. Edit Performance level Performance Bank Performance Number Current Part EDTPERF 1:26 P?2 FR Bus? 89-11 © Select the desired bus assignment. The options and their meanings are described below; you might want to take another glance at the Parallel and Series FX structures in figures 8-2 and 8-3.EFFECTS TOUR BUS-A Bus Aonly. 99/1 - 1/99 Panned between A and B; 99/1 is almost hard left, 50/50 is center, and 1/99 is almost hard right, BUS-B Bus Bonly. BUS-C —BusConly. cD Centered between C and D. BUS-D —_ BusDonly. ALL All four buses. PATCH — Thisuses the FX Bus settings from the Patch’s Bus Assign- ment page. This selection is not available for a Performance in a Muiltiset; instead, you can select PERF, which uses the Per- formance’s FX Bus settings. 8.6 Selecting Performance or Multiset Effects Having learned about the effects system, you can now choose the desired routing configuration, and try out the different effects. The effects pro- ‘grams themselves may be chosen on the FX SELECT page, on the Edit Per- formance or Edit Multiset levels. For Performances: ‘© From the PERF page, press EDIT to go to the Edit Performance level. "© Goto the FX SELECT page by using PAGE+. For Multisets: ‘= From the MULTISET page, press EDIT to go to the Edit Multiset level. ‘© Goto the FX SELECT page by using PAGE. Performance Bank Performance Number FR SELECT 1:26 FRitXover Chorus Not all effects sound good with all sounds, and both may benefit from careful editing, For example, to discourage muddiness as you increase the reverb depth, you may want to shorten some envelope times in the Patch. ‘Choose the desired effect program for FX1. “= Cursor to the right, and select another effect program for FX2. ‘A descriptive list of the effects choices follows.KORG Wavestation SR Player's Guide 8.7 Effects List No Effect This setting passes the signal on directly, without processing. If you want dry outputs, you can also use the GLOBAL page Effects On/Off parame- ter for more information, see Section 6.6, Turning the Effects On and Off. REVERB - EQ ‘Small Hall - Small hall reverb - EQ The tight, well-defined reverberation patterns of a light, spacious hall. Medium Hall - Medium hall reverb - EQ Short and emphasized early reflections characteristic of a warm, spacious hall. Large Hall - Large hail reverb - EQ The natural, spacious and dense ambience characteristic of a concert hall. ‘Small Room - Small room reverb - EQ A light, tight room good for thickening, Large Room - Large room reverb - EQ ‘Awarm, tight room. Live Stage - Live stage - EQ A dense, tight room. Wet Plate - Wet plate reverb - EQ A dense, open plate. Dry Plate - Dry plate reverb - EQ Allight, open plate. Spring Revib - Spring reverb - EQ Resonant springs. EARLY REFLECTIONS Reverberation is created out of both the reverberant “wash” and more dis- crete, initial echoes called early reflections. The hall, room, plate, and spring reverbs listed above contain both of these elements, but the three effects below create only the early reflections, allowing you to adjust these parameters with greater precision. Adjustment of the Decay Time permits a wide range of effects, such as adding density to the sound ot achieving a “live” room sound. Following an Early Reflections program with reverb (in series Routing), gives espe- cially high-quality reverberation. EarlyRetlect - Early reflections - EQ 1 This program creates dense early reflection patterns, with a normal fade- out. EarlyRetlec2 - Early reflections - EQ 2 The early reflection levels in this effect are controlled by an envelope which first fades out, and then fades in again. EarlyReflecd - Early reflections - EQ 3 This effect uses a reverse envelope on the early reflections. The reverse ef- fect (similar to a tape recorder being played backwards) can be applied toEFFECTS TOUR sounds which have strong attack characteristics, such as cymbals, or to produce “new age” drones. GATED REVERB - EQ Gated Reverb - Forward gated reverb Reverse Gate - Reverse gated reverb Inthese effects, an early reflections reverb is gated by a modulation source. The gate hold time is adjustable. ‘STEREO DELAY Stereo Delay A stereo delay effect having two delay systems, where the delay times are synchronized to fixed ratios of each other. For swell-in /out delay effects, you can modulate the input level. PING-PONG DELAY PingPong Diy - Ping-pong delay A stereo delay in which the feedback signal of each delay crosses over to the other so that the delayed sound alternates left-right. DUAL MONO DELAY Dual mono delay ‘Two separate, parallel delays. MULTI-TAP DELAY - EQ 1 Multi-Tap 1 - Multitap delay - EQ 1 ‘Two multi-repeat, parallel delays with input modulation. MULTI-TAP DELAY -EQ2 Multi-Tap 2 - Mult-tap delay - EQ 2 ‘Two multi-repeat, parallel delays with cross panning and input modula- tion. MULTI-TAP DELAY - EQ3 Multi-Tap 3 - Multi-tap delay - EQ 3 ‘Two multi-repeat, parallel delays with crossover feedback and input mod- ulation. STEREO CHORUS - EQ StereoChorus - Stereo chorus - EQ A stereo effect that combines two parallel chorus circuits using phase-in- verted LFOs. Quad Chorus - Quadrature chorus - EQ Two parallel chorus circuits using quadrature-phased LFOs. o7KORG Wavestation SR Player's Guide (CROSSOVER CHORUS - EQ Over Chorus - Crossover chorus - EQ ‘Two parallel chorus circuits using quadrature-phased LFOsand crossover output mixture. HARMONIC CHORUS HarmonieChor - Harmonic chorus ‘This stereo chorus features quadrature-phased LROs and a special fre- quency splitter. The splitter routes high frequencies to the chorus. Low fre- quencies are routed around the effect, and thus excluded from processing. ‘STEREO FLANGER - EQ Flanger 1- Stereo flanger - EQ 1 A stereo effect combining two flanger circuits, with phase-synchronous LFOs. Flanger 2 - Stereo flanger - EQ 2 A stereo effect combining two flanger circuits, with phase-inverted LFOs. CROSSOVER FLANGER - EQ Over Flange - Crossover flanger - EQ A flanger effect in which the feedback signal of each flanger circuit crosses over and is routed to the other flanger. (Crossover flanger uses phase-synchronous LFOs. ENHANCER - EXCITER - EQ Enhance/Xcit - Enhancer - Exciter - EQ A stereo exciter with spatial delays. DISTORTION - FILTER - EQ Distortion - Distortion - Filter - EQ This effect has a “dirty” sound and “wah” effect. It is effective for solos. ‘Overdrive - Overdrive - Filter - EQ This is an effect that simulates the overdrive generally used by guitars. ‘STEREO PHASER Phaser 1 - Stereo phaser 1 Phaser 1 uses phase-synchronous LFOs. Phaser 2 - Stereo phaser 2 Phaser 2 uses phase-inverted LFOs. ROTARY SPEAKER Rotary Spkr - Rotary speaker This effect simulates a rotating speaker, and is most commonly used with organ sounds. The “speaker” is modulated by a free running LFO; youcan ‘use a mod source to switch between the programmable slow and fast ro- tation speeds. The acceleration amount controls how long it takes the ro- tors to reach their new speed.EFFECTS TOUR The footswitch can be set to turn the effect on or off, or it can be used to control the mode of the fast/slow rotor speed select (by selecting the foot- switch as the rotor speed mod source’. STEREO MOD - PAN- EQ ‘These effects dynamically pan the inputs in the stereo output mix. The ef- fect output is the mix between the panned outputs and the equalized effect inputs. Stereo Mod Pan - Stereo mod - pan - EQ ‘Two parallel dynamic pan effects with phase-inverted LFOs (180°). The two inputs alternate in the stereo mix. ‘Quad Mod Pan - Quadrature mod - pan - EQ ‘Two parallel dynamic pan effects with quadrature-phased LFOs. EQUALIZATION Parametric EQ - Stereo parametric EQ This isa three-band parametric equalizer. For “wah” type effects, you can modulate the midrange frequency. COMBINATION CHORUS/DELAY Chorus>Delay - Chorus - Stereo delay - EQ This is a mono input, stereo output chorus fed into a stereo delay. The de- lay includes a sample /hold feature for capturing and recirculating the de- lay line contents. COMBINATION FLANGER/DELAY Flange>Delay - Flanger -Stereo delay - EQ This isa mono input, stereo output flanger fed into a stereo delay. The de- lay includes a sample /hold feature for capturing and recirculating the de- lay line contents. DUAL MONO DELAY - REVERB Delay/Hal A monophonic delay in parallel with a monophonic hall reverb. Delay/Room A monophonic delay in parallel with a monophonic room reverb DUAL DELAY/CHORUS Delay/Chorus A monophonic delay in parallel with a monophonic chorus. DUAL DELAY/FLANGER Delay/Flange - Delay/Flanger ‘A monophonic delay in parallel with a monophonic flanger.KORG Wavestation SR Player's Guide DUAL MONO DELAY - OVERDRIVE - DISTORTION Delay/Distor - Delay/Distortion-fiter ‘A monophonic delay in parallel with a distorted “wah” effect. Delay/ODrive - Delay/Overdrive-fiter ‘A monophonic delay in parallel with an overdrive “wah” effect. DUAL MONO DELAY - PHASER Delay/Phaser A monophonic delay in parallel with a monophonic phaser. DUAL MONO DELAY - ROTARY Delay/Rotary - Delay/Rotary speaker A monophonic delay in parallel with a monophonic rotary speaker simis- lator. ‘STEREO PITCH SHIFTER Pitch Shift - Stereo pitch shitter stereo pitch shifter with the left channel shifted up and the right channel shifted down. This effect makes an excellent stereo chorus when used with small amounts of shift, MODULATABLE PITCH SHIFTER ModPitchShtt - Modulatable Pitch Shitter-Dly This stereo pitch shifter allows the amount of shift to be modulated. The input may be shifted either up or down, and the shifted signal may also be delayed with respect to the original signal, with an adjustable feedback amount, STEREO COMPRESSOR-LIMITER/GATE Comp-Lim/Gat - Stereo Compressor-Limiter/Gate The compressor provides an automatically controlled volume envelope, which can be used to smooth out the level of a signal (often done with gui- tar sounds), or used to give a sound more “punch” (often used for drums) SMALL VOCODER The Vocoder effects superimpose the timbre of one signal (the Modulator) onto that of a second signal (the Carrier). The first stand-alone vocoders ‘were intended mostly for speech effects, but this is only part of the effect’s capabilities. The vocoder effects can modulate one or more Wavestation Patches or Waves to achieve new, dynamic timbres. You can even combine Vector and/or Wave Sequence sounds in this cross-timbral modulation synthe- sis, and then store them as a new Performance (for more information on this subject, please see Section 8.10, Using the Vocoders) The Vocoder may be used with any combination of sounds. Since the des- ignation of Carrier and Modulator is based on the FX Bus, you must make sure that any applicable settings on the Patch FX Bus Assignment page and Performance and Multiset FX Bus parameters are configured appro-EFFECTS TOUR 8.8 Effects Editing priately. For more information on the vocoders, please see the Reference Guide, under FX1 @). SmI Vocodert - Smatl vocoder 1 This vocoder uses low to mid-high frequency bands. It has a wider band covering the bass range, for enhanced low-end response. ‘SmI Vocoder2 - Small vocoder 2 This vocoder uses mid-low to high frequency bands. It has a wider band covering the treble range, for enhanced high-end response. ‘Sml Vocoder3 - Smail vocoder 3 This vocoder uses a number of low to width. ‘SmI Vocoder4 - Small vocoder 4 This vocoder uses a number of mid-low to high frequency bands of even width. igh frequency bands of even ‘STEREO VOCODER-DELAY The two Stereo Vocoder - Delay effects are extremely powerful algorithms, and use both effects slots. When you select one of the Stereo Vocoders for Effect 1 or 2, the other Effect changes to display Stereo Vocoder as well. This means that the FX MIX page and routing parameters work in a special way; for more information, see the description of the Stereo Vocoders in the Reference Guide, under FX 1/2 For more information on vocoders, see the description of the Small Vocod- ers, above. SterVocodert - Stereo vocoder - Delay 1 This vocoder uses wide frequency bands on the treble and bass ranges, and a number of narrower bands in the mid-range. SterVocoder2 - Stereo vocoder - Delay 2 This Vocoder uses a number of bands of even width, across the frequency range. ‘The Wavestation SR’s effects are as sophisticated as those of a stand-alone effects processor, and each has up to 14 different programmable parame- ters, so that you can adjust them to your taste. To edit an effects program: Choose an effect on the FX SELECT page. Press EDIT to go to the Edit Effects level. FX 1 page, Edit Effects level Effects Siot Effect Type Delay Left: SaGms nKORG Wavestation SR Player's Guide If you were on FX! on the FX SELECT page, you'll arrive at the FX1 page; if you were on FX2, you'll go to the FX2 page (if you were on the Routing parameter, you'd go to the FX MIX page). The above example just shows a single parameter from Crossover Chorus, one of the Wavestation SR’s 55 effects. Some parameters can even be mod- ulated in real time, using any of a number of modulation sources, includ- ing LFOs, envelopes, MIDI controllers, note numbers, or note-on velocity, as detailed under FX MIX above. = After adjusting the effect to your taste, you can move on to the other effect, and the effects mix, by using PAGE, For details on specific effects parameters, please refer to the Reference Guide. 8.9 Parallel Effects, Outputs 3/4, and Multisets With the parallel effects routing, you can process Performances in a Multiset through up to four discrete effects. ‘The Wavestation SR has four audio outputs. These are normally config- ured as two stereo pairs, but either or both of the pairs can be split into 2 discrete mono channels. This can come in handy in MULTI Mode, allow- ing you to send up to 4 Performances separately to a mixer, where they can be individually processed, EQ’d, and so on. In conjunction with the Parallel effects routing, The Wavestation SR can also give each of the outputs its own effect. Depending on the effects that you choose, you can have 2 independent stereo effects, 1 stereo and 2 mono effects, or 4 discrete mono effects. NOTE: Outputs 3/4 are not affected by the Master Volume knob; this only. controls the level of the stereo 1/2 outputs. ‘The tutorials below assume that you're familiar with Multisets. If you like, youcan take a glance at Chapter 5, USING MULTISETS, before going on. Asa first step: Connect all four of the Wavestation SR’s outputs to the inputs of your mixer. Basic Parallel Effects Let's start off by simply taking two Performances in a Multiset and pro- cessing them separately with stereo effects. For now, use your mixer to mute the SR’s 3/4 outputs; we'll bring them up again later. ‘© Press MULTI to put the SR into MULTI Mode. “Select a Multiset to use for this tutorial, and press EDIT to go to the EDTMULTI page. “© Press PAGE+ to go to the FX SELECT page. “© Use the +1/YES and -1/NO buttons to select Multi-Tap 1 for FX. ‘© Cursor right to FX2, and select Distortion. You can use other effects if you like - but these will make the results par- ticularly obvious. ‘Cursor right again, and select the PARALLEL routing. "© Press EDIT to go to the FX MIX page. Cursor right to Mix3 and set it to LEFT; cursor on to Mixé and set it to RIGHT. 72EFFECTS TOUR ‘This will mix the signal from outputs 3/4 into outputs 1/2. If you don't need to process the signals independently, you can use this trick to save mixer channels, You can modulate the Mix parameters with MIDI controllers - but for now, we don’t need to. Keep cursoring right to Mod3, and set it to NONE; cursor on to Modé and do the same. Now the effects are set up; let's go back and set up the Multiset proper. “Press MIDI/GLOBAL and PAGE- together to exit to the FX SELECT Page. Press PAGE- to go to the EDTMULTI page. Use the Up and Down cursors to scroll to your Basic Channel. Select Performance ROMS, #14, StarBellPiano. Cursor right until you see the FX Bus parameter. Set this to 50/50 (shortcut: just press the +1/ YES and -1/NO buttons together). ‘This will send the Performance through FX1, panned to the center. eons “© Cursor back to the Performance name, and use the Up cursor to se~ lect the next channel. ‘© Forthesecond channel, select Performance ROM7, #4, Cutting Lead. Cursor to this channel's FX Bus parameter, and set it to C+D (short cut: press +1/YES and EDIT together for the max value, and then press -1/NO twice) ‘This will send the synth lead Performance through FX2. Now, use your controller to play first the Basic Channel, and then the oth~ er. The bells should be processed through a multi-tap delay, and the synth lead should be distorted. Both sounds should come out of the stereo out- puts 1/2, Of course, you can process more than one sound through each effect. For instance, you may have several sounds that use a chorus effect, or a reverb, and then one that uses a special effect such as distortion or rotary speaker. In that case, just give the sounds the same FX Bus settings, and they will go through the same effects Parallel Effects and Outputs 3/4 Now, let’s change the effects mix so that the bells go to the stereo outputs 1/2, and the synth lead goes to 3/4. © _ Bring up the levels for the SR’s 3/4 outputs on your mixer. = Now, try playing the synth lead sound. Notice that the lead sound is coming out of all four of the SR’s outputs. This is because sounds assigned to FX Bus C and Dahoays appear at the 3/ 4 outputs - the question is whether or not they are mixed with the stereo 1/2 outputs as well. (You might want to look at Figure 8-3, which shows the Parallel effects signal flow graphically.) In the last section, you adjusted the Effects Mix parameters so that C and D were mixed into the stereo outputs. Let’s go back and change that. ‘© From the EDTMULTI page, press PAGE+ to go to FX SELECT. 73KORG Wavestation SR Player's Guide ‘= Cursor to the Routing parameter, and press EDIT to go to FX MIX. Cursor right to Mix3, and set it to OFF. Cursor to Mixd, and set it to OFF as well. Cursor to the right again, and make sure that Mod3 and Mod4 are still set to NONE. Now, play the lead sound again; it will only come out of outputs 3/4.Sim- ilarly, the bells will only come out of 1/2. Dual Mono Effects and Outputs 3/4 The dual mono effects are a special set of effects optimized for use with MULTI Mode and the additional outputs. They process the left and right signals separately, so that one might go through a delay and the other a distortion. These effects include Dual Mono Delay, Delay/Reverb, Delay/ Chorus, Delay//Flanger, Delay /Overdrive, Delay /Distortion, Delay/ Phaser, and Delay /Rotary Speaker. Figure 8-4: Dual Mono Effects with Parallel Routing FX 4 (Left) B———>| FX1 (Right) tHe o——| Fx2(Lef) p———>| Fx2 (night) | ______1l +4 wos | arose ZF Let’s add two more Performances to the Multiset from the above tutorial, and then route them through the dual mono effects. “Press MIDI/GLOBAL and PAGE+ together to exit to FX SELECT. “© Goback to the EDTMULTI page by pressing PAGE+. © Select the next channel after the one containing Cutting Lead. ‘Change that third channel’s Performance to ROM9, #7, Resonant Waves. © Select the next channel after that, and change its Performance to ROMS, #13, Phasey Clav. You should have a Multiset with four Performances - StarBellPiano, Cut- ting Lead, Resonant Waves, and Phasey Clav. Next, let’s call up some of the dual mono effects. “© Goto FX SELECT by pressing PAGE+. “= Callup Delay /Distortion for FX1. 14EFFECTS TOUR This will provide delay for the bells, and distortion for the lead sound. “© Choose Delay /Flange for FX2 ‘The flanger is for the clav, and the second delay for the resonant synth, Now, the final step - assigning the Multiset channels to the proper FX Buses. “= Goback to the EDTMULTI page by pressing PAGE+. “= Select the Basic Channel by using the Up and Down cursors. This should be playing StarBellPiano. ‘Cursor right to the FX Bus parameter. Set this to BUS-A, so that it goes through the left side of FX1, the delay. (Use the shortcut for minimum value - MIDI/GLOBAL and -1/NO.) ‘Cursor Up to the next channel, the one playing Cutting Lead. Set its FX Bus to BUS-B; this will make it go through the right side of FX1, the distortion. (Shortcut: press EDIT and +1/YES together for the maximum value, and then press -1/NOa few times to get to BUS-B.) = Cursor Up again to the third channel, the one playing Resonant Waves. Set its FX Bus to BUS-C (use the same shortcut as above). It will then go through the left side of FX2, the second delay. © Cursor Up one last time to the fourth channel, the one playing Pha- sey Clav. Change its FX Bus to BUS-D. It will then go through the right side of FX2, the flanger. Now, try playing the sounds from your controller, one by one. The bells will be delayed, the lead sound distorted, the resonant synth delayed, and the clav flanged. Each sound should be sent from its own output, so that you can use your mixer to add more processing, panning, EQ, etc. to each sound individually. ‘The dual mono effects can be used in combination with each other or with any of the stereo effects (except for the Stereo Vocoders, which use up both effects slots). You might, for instance, use a stereo chorus on several sounds, and then a dual mono effect for special processing of two others. NOTE: Panning is also affected by the settings on the Patch A-B PAN page, which allows modulation of pan by velocity and key position. If pan position is being modulated, sounds hard-assigned to Buses A or B will move into the other channel - exactly what pan modulation is meant todo, ‘but not good for use with the dual mono effects. For best results with the dual mono effects, you should turn any Patch pan modulation off. Dual Mono Effects and the Stereo Outputs You don't have to use outputs 3/4 to take advantage of the dual mono ef- fects - they can still be used with the stereo outputs 1/2. You even get an added feature with the stereo outputs: control of panning for the output of FX2, The Mix3 and Mix4 parameters mix the signal for outputs 3/4 into the ste- reo outputs 1/2. In the Parallel effects routing, they also control the pan- ning of those signals - so the sounds don’t have to be just hard left or hard right. The Mix parameters can even be modulated by MIDI controllers, for dynamic panning. For more information, see the Reference Guide, under FX MIX. 75KORG Wavestation SR Player's Guide 8.10 Using the Vocoders You can use the Vocoders to create new and different timbres. Cross-Timbral Modulation Synthesis using the Vocoders Inthissimple example, we'll use the Vocoders to combine two Patches into a hybrid sound. “© Initialize a Performance. “Goto the EDT PERF page. Select two Patches which you would like to use in your cross-timbral modulation, and place them in the first ‘two Parts of the Performance. It's best to use sounds with a wide fre- quency range, such as sawtooth-like waves or vocal “ahhs.” Onthesame page, set the FX Bus for the first Part to “A,” and the FX Bus for the second to B. “Goto the FX SELECT page, and select SterVocoderl or 2 (Stereo Vo- coder - Delay 1 or2) as Effect 1 for the Performance. These effects are so powerful that they require both effects slots, so you'll notice that Effect 2 changes to Stereo Vocoder - Delay as well. ‘You can use the small vocoders as well, but the stereo vocoders are more impressive. © Press the EDIT button, so that you can set up the Vocoder. ‘© Onthe Vocoder edit page, set the Modulator Bus to “A” (which you assigned Part 1 to, above) and the Carrier Bus to “B" (Part 2). This ‘means that Part 1 is the Modulator, and Part 2 is the Carrier, so that Part I's sound will be superimposed on Part 2's. = Try playing the sound! If you want to get more complex, you can use more than just a single Patch each as the Carrier and Modulator. For instance, a combination of three Patches could modulate a combination of two other Patches. To create these combinations for the Vocoder, simply set the Patches to the same FX Bus. In addition to using several sounds to modulate each other, you can try us- ing a single sound to modulate itself. To do this, you can either place the same sound on two Parts (similar to the example above), or simply set the Vocoder’s Carrier and Modulator to use the same FX Bus. Another interesting application is to use a rhythmic, percussive Wave Se- quence as the modulator, and a bright pad as the carrier. The pad will be “triggered” by the Wave Sequence's percussion; you can hear this effectin ROMS Performance 20, Vocodadrum. This is especially effective when us- ing a sequencer and synching Wave Sequences to MIDI Clocks, so that the Vocoder timbre creates a cool, percolating rhythm track. 76PATCH TOUR 9 PATCH TOUR 9.1 Overview of Patches The Wavestation SR’s sound generation system contains 32 completely digital voices, each of which contains an oscillator, filter, amplifier, two en- velope generators, and two LFOs. This is similar to the classic analog syn- thesis model, but the Wavestation SR also makes major improvements in several key areas. Let's touch on these briefly, while referring to Figures 9- 1 through 9-3, Figure 9-1: Four-Wave Patch Signal Flow Oscillator Structure ‘A Patch can use one, two, or four oscillators, each of which is actually a complete voice (called a Wave), with its own filter, amplifier, 2 envelopes, 2 LFOs, and so on. This structure choice determines the basic capabilities 7KORG Wavestation SR Player's Guide of the sound. More oscillators can produce richer, more detailed sounds, but using fewer oscillators allows you to play mote keys (voices) simulta- neously, Each oscillator’s basic pitch is programmable to the cent (1/ 100th semi- tone) over several octaves, enabling you to create effects ranging from del- icate detunings to doubled octaves. Although the keyboard (or other controller) normally changes pitch using standard tuning, in which one keyboard octave equals one pitch octave, the keyboard slope is separately adjustable for each oscillator. This lets you implement “stretch,” “shrink,” and even (using negative slope values) inverse tunings. Vector Synthesis ‘When the Patch structure is four oscillators, you can use Vector Synthesis to mix between them for elegant, dynamic timbre modulation (as shown in Figure 9-1). There's a quick tutorial on Vector Synthesis in Section 9.7. When the structure is two oscillators, one-dimensional dynamic mixing is still available. For example, you can still easily fade a transient into an i teresting continuous wave, or use Wave Sequences for the two oscillators (as shown in Figure 9-2). Figure 9-2: Two-Wave Patch Signal Flow PCM Waves Each oscillator in the Patch can play any internal PCM waveforms, plus those available from PCM cards. In general, PCM waves can either be waveforms that loop continuously, or transients which play once. Waves can also be Wave Sequences. Wave Sequencing You can arrange for the oscillators to play from elaborate lists of PCM wave selections, called Wave Sequences, These are treated just like normal waves, and can be processed in the same ways, including Vector Synthesis and multi-voice Patch processing. We'll look at Wave Sequencing more closely in the next chapter. 738PATCH TOUR Figure 9-3: Single-Wave Patch Signal Flow an can be controlled in ‘many diferent ways. OSCILLATOR A i Filter The filter controls the brightness of the sound and, in conjunction with modulators such as Envelope 1, functions as a dynamic tone control. This traditional synthesis feature has been enhanced with an “exciter,” which can clarify and add presence to the sound. Pan Voices can be positioned anywhere in the stereo field, or dynamically panned by modulators, in a number of different ways. Pan may be modulated by keyboard position or velocity using the PAN page. ‘The BUS ASN (Patch Bus Assignment) page may be used to assign oscilla- tors to any of the four outputs, allowing the joystick to control stereo oF even quadraphonic panning. ‘The FX Bus parameter on the EDT PERF page makes it easy to set the ini- tial pan position of each individual part. (On the FX MIX page, the Mix3/4 parameters of Parallel routing allow con- tinuous control of pan via the modulation matrix. Finally, the Stereo Mod- Pan effects offer complex, LFO-driven panning, Modulation An extensive modulation system underlies each Patch, allowing real-time performance control over a great many parameters. Most modulation des- tinations can be assigned two discrete sources, such as using both Enve- lope I and MIDI Aftertouch to control the filter cutoff. Several destinations have additional, fixed modulation paths, such as velocity to envelope at- tack time and keyboard position to filter cutoff. Figure 9-4 shows a typical way in which the general-purpose modulation sources and destinations could be patched. There are many more possible destinations than can be shown here. Remember that effects and Wave Sequence parameters can also be modu- lated, in addition to the Patch parameters!KORG Wavestation SR Player's Guide Figure 9-4: Patch Modulation Matrix (example) Patch Modulation Matrix Sources Destinations (examples) Linear Keyboard Amplifier Level Centered Keyboard Linear Velocity Filter Cutoff Exponential Velocity Aftertouch Vector Mix AC Mod Whee! LFo1 Vector Mix BD LFO2 Envelope 1 LFO 1 Depth Aftertouch + Mod Wheel Mod Pedal LFO 2 Rate MIDI Mipi2 Oscillator Pitch Finally, Figure 9-5 shows the all of the pages on the Edit Patch level. As al- ways, you can move quickly from page to page by using the PAGE+ and PAGE- buttons, and from parameter to parameter within a page by using the cursors. Figure 9-5: Edit Patch level pages roc} vee | woes} won| [= | wo! Hef mr | fro 1 Parag wxenv wxnoo us AN oa on oy |AMP woo FILTER YEPATCH TOUR 9.2 Starting to Edit a Patch First, you should select a Patch to edit. ‘= Listen through the Performances until you find one you'd like to modify. ‘© Press EDIT to go to the EDT PERF page. Many Performances use more than one Patch; to find the one that you wish to edit, it can be convenient to solo the Parts and listen to them one by one. This will also let you edit a Patch without being distracted by the Patches in other Parts. ‘© Cursor left to the Solo Part command, = Press +1/YES to Solo the current Part. The letter “S” will flash on and off in the upper right-hand corner. “Cursor right back to the Patch parameter. Use the Up and Down cursors to select the different Parts, until you find the one containing the Patch that you wish to modify. “= Press EDIT to go to the PATCH page, on the Edit Patch level Patch page, Edit Patch level PATCH 1:26 Gu Patch Bank Patch Number Patch Name ‘The Patch selected here is the one assigned to the current Performance Part. Changing the Patch selected on this screen also changes the Patch in the Part. There are 35 Patches per Bank. This is the first page on the Patch level; try cursoring around to the other parameters. Normally you'll proceed from there by going to the WAVES ‘or MACROS pages — with MACROS suggested first if you are new to the instrument. Structure The Structure sets the number of oscillators used in the patch; this can be 1,2, or 4 oscillators. You can change the Structure at any time. When you change toa larger structure, the data for oscillator A is copied into the new oscillators. When you change to a smaller structure, data for unused oscil~ lators is erased. Hard Syne When Hard Sync is ON, oscillators B, C, and D are synced to oscillator A. This means that regardless of the length of their waveforms, they will al- ways restart at the same time oscillator A does. This allows you to vary timbre by modulating the pitch of oscillators B, C, and D- see the PATCH page section of the Reference Guide. If the Structure is one oscillator, this parameter is not available. atKORG Wavestation SR Player's Guide Initializing a Patch There are two basic ways to go about programming a new Patch: you can either start with a pre-existing Patch that’s something close to what you ‘want to program, or you can start from a blank slate. To create that blank slate, you can initialize the current Patch, replacing all its customized pa- rameters with default values. This won’t erase the Patch from memory; as, with all edits (except for Wave Sequences), the new Patch is put into an edit buffer, and no changes are permanent until Write is used, To initialize a Patch: ‘= Onthe PATCH page, cursor to the Init Patch command. Press +1/YES. ‘The instrument will ask you, “Are you sure?” = Press +1/YES again. Now, the Patch is initialized, and you can start from scratch, 9.3 Assigning PCM Waves Each patch can play up to four different PCM Waves or Wave Sequences ata time. For their raw sonic material, Patches rely on digitally recorded wave- forms, known as PCM Waves (PCM stands for Pulse Code Modulation, which is a common way of storing audio in digital form). Many of these are recordings of acoustic instruments, such as piano, drums, and bass; others are samples of synthesized sounds, or digital timbres created spe- cifically for the Wavestation product line. PCM Waves can be single-cycle or few-cycle waveforms that loop continuously, transients followed by loops, or transients which play only once. Patches can also use Wave Se- ‘quences (described in the next chapter) as if they were PCM Waves. PCM Waves are assigned to the Patch on the aptly-named WAVES page. “From the Edit Patch page, press PAGE+ once to go to the WAVES Page. WAVES page, Edit Patch level Patch Bank Patch Number Wave WAVES RSS Ww MuteGtri PCM Wave Bank PCM Wave Number and Name “© Notice the Wave parameter (labeled “W”) in the upper right-hand corner of the screen. ‘This shows the Wave (A, B, C, or D) that you are currently editing. Each Wave may have completely different settings for all its parameters. You can change the current Wave at any time by using the Up and Down cur- sors. ‘There are 484 PCM Waves in the Wavestation SR’s internal ROM, and you can access more by inserting an optional PCM Card. In addition, all of the Banks - RAM 1 through 3, ROM 4 through 11, and ROM or RAM ProgramPATCH TOUR 9.4 Selecting Macros Using Macros, it’s easy to make quick, broad changes toa Patch. Cards - have 32 Wave Sequences, accessed as waves #0-31. These are iden- tified by an asterisk (*) before their names. ‘© Cursor to the PCM Wave number, and try using the +1/YES and -1/ NO buttons to select different PCM Waves for the Patch. Each oscillator’s initial pitch can be coarsely or finely tuned; a little detun- ing of one oscillator against another can enrich the sound. Also, instead of the pitch of the oscillators always tracking with the standard, 12-tones- er-octave keyboard intonation, each can have an individual tuning slope. For more information, see the WAVES page in the Reference Guide. Macros allow you to quickly make broad changes to the main sections of a Patch, without having to adjust all the individual parameters, For exam- ple, amplifier Macros are available for all of the traditional instrumental envelopes. To get a basic contour, instead of dealing with all of the times and levels individually, you simply select “Piano,” “Clav,” “Strings,” and soon. There are Macros for Amp, Filter, Envelope 1, Pitch, and Pan. To try out different Macros: “= From the WAVES page, press PAGE+ to go to MACROS. MACROS page, Edit Patch level Patch Bank Patch Number Wave MACROS 1:26 W Amr? ORGANRELEAS ‘There is a new possibility for the Wave parameter, which was not avail- able on the WAVES page: All. When Allis selected, any edits that you make will be applied to all of the Patch’s Waves at once. ‘Cursor to the different modules (Amp, Filter, etc), select different ‘Macros, and listen to the changes in the Patch’s sound. “= Foreach module (Pitch, Filter, etc.) try selecting different Macros. When the need arises, you still have quick access to the individual Macro parameters by going to the page of the same name (PITCH, FILTER, etc.) ‘When you begin to edit the individual parameters, the Macro’ title chang- esto USER. After editing the individual parameters, you can still select an- other factory Macro. Amp ‘The Amp Macro is generally the first place to turn when editing a Patch. You can quickly hear what any preset sounds like with the loudness (am- plitude) contours of different instruments. Amp Macros are: DEFAULT, PIANO, ORGAN, ORGAN RELEAS(e), BRASS, STRING, CLAV, DRUM, RAMP, ON, and OFF (which can serve as a programmable mute). Remember that this Macro can only do its work if the original PCM WaveKORG Wavestation SR Player's Guide contains enough sound material in the first place. For example, if the sound has a slow attack, the percussive amplifier Macros won't be very ef- fective. Filter The Filter Macro sets a basic tone and may include modulation. You can select from BYPASS, LOWPASS, LOWPAS/LFO, and AT SWEEP. Envelope 1 Envelope 1 can be used as a modulator all over the Wavestation SR, and its Macros give you a number of ready-made contours. The Envi Macros include DEFAULT, PIANO, ORGAN, ORGAN RELEAS, BRASS, STRING, CLAV, DRUM, RAMP, ON, and OFF. Pitch The Pitch Macros call up various useful setups for pitch modulation. Choices include DEFAULT, ENV 1 BEND, DESCENDING, ASCENDING, AT BEND (Aftertouch Bend), MIDI-BEND, and AT + MIDI-BEND. A-B Pan ‘The Pan Macros control the modulation of the initial Pan position, as set with the EDT PERF page's FXBus parameter. Pan Macros include: KEYBOARD, VELOCITY, KEY&VELOCITY, and OFF. 9.5 Tweaking the Amplifier Suppose that the Amp Macro you have selected is close, but not quite right for the Patch you want; perhaps you need to speed up the envelope so that its response is quicker, for playing faster parts. You can do this on the AMP ENV(Amplitude Envelope) page. “= From the MACROS page, press PAGE+ once to get to AMP ENV. ‘AMP ENV page, Edit Patch level Patch Bank PatchNumber Wave AMP ENV 1226 WEB Time1 Time2 Time3— Time 4 The Amp Envelope has four segments, with breakpoints labeled 0, 1, 2,3, and 4. Points 0-3 have levels, while the value of point 4 is always 0. Points 1-4 have times: Time 1 is the duration from point 0 to point 1, and so on. Point 3 is the sustain point. Only when the key is released does the enve- lope proceed from point 3 to point 4. Please see figure 9-6 for a graphical display of the envelope parameters.PATCH TOUR Figure 9-6: Amplitude Envelope The four Time values are shown on the first screen. Notice that the Wave parameter is still in the upper right; each Wave has its own Amplitude En- velope. To change the envelope for all of the Patch’s Waves, use the Up and Down cursors to select “All.” © Cursor to the first Time value (the attack time) and change it. “= Try changing some of the other Times. © Cursor right from the last Time value; you'll go to the next screen of parameters, the envelope Levels. Levels screen, Amp Env page Patch Bank Patch Number Wave ANP ENU Levis2 Level Levelt Level2 Level 3 Here, you can adjust the levels of each envelope point. ‘Amplifier Modulation ‘You can use MIDI to modulate amplitude in real time, along with the Am- plitude Envelope. Typically, for instance, note velocity affects the loud- ness of the sound. On the Wavestation SR, velocity can also change the attack time, so that a string sound could change from a slow fade-in at low velocities to a quickly articulated part at high velocities. There are other routings available, as well. These are set up on the AMP MOD page. To get there: “From the AMP ENV page, press PAGE+ once.KORG Wavestation SR Player's Guide You can modulate the Amp Envelope's attack time with velocity, and its decay/ release time with Keyboard position. AMP MOD page, Edit Patch level Patch Bank Patch Number Wave ANP MOD AttakVelrk 26 dit AttakVelMod (Attack Velocity Modulation) controls the influence of ve- locity on Time 1, the attack time, of the Amplitude Envelope. With positive values, playing harder speeds up the envelope attack time, and playing more softly makes it slower (down to the original value of Time 1). Nege- tive values mean the opposite. VelEnvAmt (Velocity Envelope Amount) sets the velocity sensitivity of the Patch amplitude. It does this by modulating the overall level of the Amplitude Envelope. The greater the VelEnvAmt, the more sensitive the Patch. EnvKbdMod (Envelope Keyboard Modulation) allows you to modulate Times 2 and 4 of the Amplitude Envelope with keyboard position. At pos- itive modulation amounts, higher notes have faster envelopes than lower ones - just like on acoustic instruments such as the piano. Negative values produce the opposite, so that higher notes have slower envelopes. 9.6 Tweaking the Filter ‘The FILTER page determines the overall tone color, or brightness, of the sound. “= Toget to the FILTER from the AMP MOD page, press PAGE+ once. Filter page, Edit Patch level Patch Bank Patch Number Wave FILTER Cutoff ‘The Cutoff parameter sets the basic brightness, which can then be modu- lated by various sources. “= Try changing the Cutoff amount. Notice how the sound changes. ‘The Keyboard Tracking parameter controls the consistency of the bright- ness across the keyboard range. It can make sounds grow brighter or more subdued as you play up and down the keyboard, to create more natural timbres, Envelope 1 is usually used to modulate the filter; you can also use another source, such as an LFO or the Mod Wheel. In practice, you often need to balance the initial Cutoff with the modula- tion amounts to produce the desired tone.PATCH TOUR 9.7 Vector Synthesis The Mix Envelope creates dynamic timbres by controlling the relative volumes of the four Waves, ‘= From the FILTER page, press PAGE+ once to get to ENV 1. Env 1 page, Edit Patch level Patch Bank Patch Number Wave Timet Time2 Time3.— Timea Its parameters are similar to those of the Amplifier envelope, except that Envelope 1 has an adjustable release level (Level 4).You can also apply modulation on the ENVIMOD page, which is similar to the AMPMOD page described above. ‘As mentioned above, there are up to four Waves in a Patch. The Mix En- velope allows you to set a different mix of these Waves for each of 5 points in time, along with the time that each of these points takes to fade into the next. In this way, the sound evolves over time as a note is held down. Note also that each Wave retains its own Filter and Amp Envelope, which occur before the Mix Envelope. ‘You can also modulate the mix in real time from your master controller, using a joystick, mod wheel, pedals, etc. This entire mixing process, called Vector Synthesis, is one of the special features of the Wavestation SR. Let's look at an example of a Vector Synthesis Patch. “= Press PERF to go to the Performance level. “= Select ROMS Performance 1, Leaving the Pod. This is a split Performance which uses two Vector Patches - we'll be look- ing at the one on the top half of the keyboard. If you play this sound and hold down a chord, you can clearly hear the Vector Mix evolve. ‘= Press EDIT to go to the Edit Performance level. Use the Up or Down cursor to select Part 2, Heaven's Gate. Press EDIT again, to go to the Edit Patch level. Go to the WAVES page with PAGE+. Use the Up and Down cursors to browse through the Waves. Notice that this is a four-oscillator Patch which uses two Wave Sequences - Heaven! on Wave A and Heaven? on Wave C. ‘+ Goto the MIX ENV page by pressing PAGE- several times. goog 87KORG Wavestation SR Player's Guide MIX ENV page, Edit Patch level Patch Bank Patch Number Current Point This page is organized differently than the other envelope pages, because each point has two parameters - a horizontal (AC) and a vertical (BD) po- sition. Each position has a range of +127 to -127. The current point is dis- played in the upper right-hand corner; you can change this by using the Upand Down cursors. ‘When working with a 2-oscillator structure, only the AC parameter ap- pears. In this case, -127 produces all Wave A, +127 all Wave C, and 0 an ‘equal mix between the two. If there is only a single Wave in the Patch, the Mix Envelope functions are not available. Ina four-oscillator structure, both AC and BD appear. These move the cur- rent point around within the 2-dimensional Vector Mix, and so the two pa- rameters interact to create the sound (for more technical information on this, see the MIX ENV section in the Reference Guide). ‘The next screen gives you a different view of the Vector Mix, which you can use in conjunction with the first screen. “Cursor to the right, beyond BD, to get to the Mix Percentages display. Wave Mix Percentages screen, MixEnv page WaveA% WaveB% WaveC% WaveD% This screen shows you the relative volumes of each Wave at the current point, as set by the AC and BD parameters on the previous screen (you can’t program directly on this screen). The total mix always equals 100%. You can use the Up and Down cursors to browse through the points, and see the evolution of the Vector Mix over the duration of the envelope. For example, in this Performance, the note starts with oscillator C predom- inant, changes to a mix of all 4 Waves at point 1, moves to a mix of just A and C (with C predominant) at point 2, and then toa roughly equal mix of Band C at point 3. The mixture stays at point 3 as long as the note is held, and then releases to point 4, which is an equal combination of all four Waves. The result of this vector-defined mixing is a complex, dynamic timbre. To look at the Mix Envelope in yet another way, see figure 9-7 below.PATCH TOUR Figure 9- : The Vector Mix Note On Note Off (sustain) As with the other envelopes, you can adjust the time for each of the four MIX ENV segments. + Cursor to the right, until you see the Mix Envelope Times screen: Times screen, MixEnv page Patch Bank Patch Number Time Time2 Times Time 4 ‘These values adjust the time the Mix Envelope takes to evolve from point to point. This particular Patch’s envelope is even and slow; they can be much faster, if you like. Editing the Mix Envelope Now that you’ ve seen the original settings of this Vector Patch, try adjust- ing them yourself. For instance, try setting each of the points to play only a single Wave. “Cursor back to the first screen, with the AC and BD parameters. “© Using the Up and Down cursors, select point zero. © Change AC to-127, and BD to0 (use the key shortcuts for minimum and middle values to make this faster). This means that only Wave A will sound at point zero.KORG Wavestation SR Player's Guide The Mix Envelope can loop between two points, for a continuously changing tim- bre. 9.8 Writing a Patch = Select point one, and change the mix there to AC 0, BD +127. Now, only Wave B will be heard at point one. © Set the mix to AC +127, BD 0 at point two, and to AC 0, BD-127 at point three. The mix will go to Waves C and D, respectively. + Finally, for point four, take the mix back to A, by setting it to AC-127, BDO. Now, you can listen to the edited mix, as it moves quite clearly through the vocal PCM Waves and the two Wave Sequences - the melodic, blippy Heaven2 and the string-like crossfading Heavenl. It's still kind of slow, though - so let’s change that. "© Cursor back to the Times screen, and set the times to an accelerating envelope - Time 1 to 10, 2 to 20, 3 to 30, and 4 to 40. Asyou hold down a note now, you'll hear that the mix seems to be moving back and forth between the points. What you're noticing is the envelope loop feature. “= Cursor to the right, until you see the Loop parameter. (On this Patch, the Mix Envelope Loop is set to 1<->3, which means that the envelope progresses normally to point three, then tus around and makes its way back to point one, then back to point three again, and soon (notice that point 0, which currently features the blippy Wave Sequence, is not in the loop). There are several Looping options, including OFF - try them out and see how they work. By now, you've gotten a pretty good introduction to the basics of Vector Synthesis. There are other facets to the mix; for example, the MIX MOD age allows you to route two additional modulation sources to each axis, of the mix (A-C and B-D), for even further dynamic control of the vector timbre. If you're interested in finding out more, you can look up the Ref- ‘erence Guide entries under MIX ENV and MIX MOD. As always, experi- mentation is the key. ‘Once you've come up with something you like, you should write it to memory. Patches are written in the same way as Performances and Multi- sets; for a more complete description of the Write page, see Section 7.7, Writing a Performance. ‘© Press the WRITE button to go to the Write level. WRITE PATCH page, Write level WRITE PATCH 2:31 WriteTotHumb lePATCH TOUR To save the changes to the current Patch: "© Press +1/YES. The changes will be written, and the screen will re- turn to the PATCH page. If you want to write the Patch to a new location: "© Cursor right to the Destination parameter. WRITE PATCH page, Destination parameter WRITE PATCH Bb 2 1 Humble Destination Number Destination Bank ‘© Use +1/YES and ~1/NO to select the Bank and Number of the Patch to write over. “= After selecting the destination, cursor left back to the WriteTo...? command. Note that the bottom line displays the name of the Patch which will be overwritten, as opposed to that of the current Patch; that way, you know what you're erasing, and can write to a different number if necessary. “© Press+1/YES. The Patch will be written to the new location, and the screen will return to the PATCH page. Comparing Edited and Saved versions ‘Once you're on the WRITE page, pressing the WRITE/COMPARE button again toggles between the edited and saved versions of the Performance. The first press will display the message, “Playing Saved,” and you will hear the unedited version; pressing again will display, “Playing Edited,” and the edits will return. You can do this comparison as many times as you like, aKORG Wavestation SR Player's Guide 1 0 WAVE SEQUENCE TOUR 10.1 Introduction to Wave Sequencing ‘Wave Sequencing is the Wavestation family's principal innovation; itis the root of many of the SR’s sounds, from flowing, delicate pads to feed- back guitars. I's a very powerful and different approach to synthesis, but it's really pretty easy to understand, Imagine a MIDI setup of several different synthesizers and samplers, each with their own characteristic sounds, Now suppose that you have created a multi-timbral sequence which changes programs on the instruments so quickly that holding down a single note could play a series of, say, 50 dif- ferent sounds. It seems that such a system, if you could pull it off, would bbe capable of some astonishing sounds. Well, this kind of power is exactly what the Wavestation SR’s Wave Se- quencing provides, although instead of requiring a MIDI setup full of syn- thesizers and samplers, all the selection and mixing occurs seamlessly, digitally, within one highly-integrated instrument. In the same way that most drum machines have songs which are just lists of patterns played consecutively, a wave sequence is like a song made of ‘waves. The result is one continuously evolving waveshape that yields very sophisticated textures. For example, this diagram shows a seven-step wave sequence, with each step having a different sound (wave), level, and crossfade time. Figure 10-1: A Wave Sequence with Seven Steps =X" Mea Kat

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