Korg MS-10 Bedienungsanleitung Seite 10

@HoId Time: Extends the trigger signal by a variable amount of time.
In effect, it ' 'remembers" the trigger for a specified time period.
@Attack Time: Sets the time the voltage takes to rise to a peak.
@Decay Time: Sets the time the voltage takes to fall from the peak to
the Sustain Level.
@Sustain Level: Sets the voltage level which will be sustained for the
duration of the trigger signal (plus time set by Hold control).
(LtReIeas Time: Sets the time the voltage takes to fall to zero after
the trigger signal ends.
The EG output is internally patched to the VCA so that changes in
volume over time will occur to sounds according to the EG control
sett ings.
In addition, another EG output is sent to the Filter
controls (EG/EXT) so as to modulate the VCF's cut-off
In this mode, the filter's ' 'steady state" is the Sustain Level. The
filter's cut-off frequency will start below
above the Sustain level during the Attack
Sustain level, and then will fall below to the initial
following trigger release.
ATTACK DECAY
TIME
TIME
ENVELOPE
ON
HOLD T1ME—e,
OF?
ENVELOPE
@Modulation Generator (MG):
This device generates a variable speed low frequency
signal, and is also known as a Low Frequency Oscillator (LFO). It
main purpose is to provide vibrato, trills. repetitive
other cyclical (ie, repeating) types of modulations. The MS-10
features two different simultaneous waveforms—Triangje
Rectangle—both of whose shapes are continuously
means of the Waveform Control (see diagram). The MG frequency
selected by the Frequency Control and is displayed via a flashing red
LED for easy visual confirmation. Both waveforms
patch panel connections.
In addition, the MG's Triangle Wave is internally
VCO and VCF via their respective MG Modulation
controls. The MS- 10 features either continuous
modulation which is switched by a momentary
to the left of the keyboard in front of the Control
addition of the vibrato effect while playing. A slide switch on the
patch panel selects the modulat ion mode desired.
6
Triangle
Output
Rectangle
Output
Modulation
Wavef rm
Confro?
frequency.
this level, initially will rise
cycle, will fall to the
(E External Signal Level:
level again
The MS-10 provides an external Signal In jack on the patch panel,
allowing external sound sources to be processed through the
RELEASE
MS-IO's
TIME
external
the VCO may be eliminted by selecting the Rectangle waveform
(
clockwise
@Programmable Control Wheel:
SUSTAIN
This control produces a voltage from —5 to +5 volts, depending on
LEVEL
the wheel position. Its output appearson the patch panel, and may
be connected
effects as Pitch Bend, Pulse Width Modulation Filter "Sweeps", etc.
ov
DPatching Panel:
OFF
The flow
MS-IO and the way the internal patch is connected. Think of this
ov
chart as the starting point for discovering the multitude of hidden
possiblities
avco Control
Instead of using the keyboard,
modulation
an external source (another synthesizer or sequencer) to operate the
VCO through
attack, and
@TRIG IN:
The MG output ( IJI) or trigger signal from an external source can
and
be connected
variable by
operation.
is
OKBD CV OUT:
This output
are available via
from the keyboard
of another
patched to the
@KBD TRIG OUT;
Intensity
Whenever
modulation or
generated. Ordinarily,
pushbutton located
the KBD CV OUT to operate another
Wheel, for easy
VCF and VCA sections. This control varies the level Of the
source, which may be combined' With the VCO sound, or
) and turning the PW/PWM control to the extreme
position.
to various control input jacks as desired. for such
chart on the patching panel shows the structure
of the synthesizer.
Voltage In (VCO CV IN):
you can use the control
this input jack.
to this input to control beginning and end of EG
allows you to use the control voltage (control
to. control the V CO or VCF cut-off
synthesizer.
you play a key on the keyboard a trigger signal
this trigger signal output is used along with
synthesizer.
@INITIAL GAIN:
Although the VCA and EG are connected by the internal patch,
this input permits you to use an external input along with the EG
to control the VCA. However, when the sum of the input control
voltages goes above 5V no further change in volume will occur.
D Envelope Generator Reverse Out (EG REV OUT):
While the normal envelope (A)
to the VCO, VCF, and VCA, the reverse of this envelope (W) is
available at the REV OUT jack. Patching this into one of the inputs
gives many new possiblilities for creating sounds.
ONoiæ Generator:
Noise is also available as one Of the VCO waveforms
outputs give you both pink noise and white noise which may be
used as modulating signals.
Pink noise is white noise with reduced high frequency
6) About Patching
Setting up a patch is one way to use the MS-IO more effectively.
Patching involves using such outputs as the control wheel in a
creative way to control various synthesizer functions. This greatly
increases the sounds and effects
of the To get the effect you want, follow
(I) Where (VCA, VCF, VCO, etc.) do you want the effect and
what kind of effect do you want?
(2) What kind of control
(3) Which section of the synthesizer will generate that kind of
control signal?
voltage from
If you don't put your thoughts into this order before you start
connecting patch cords from one jack to another,
to get the kind of sound you are•looking for.
Even if you just use the internal
these same rules apply. When you want a certain sound, break it
down into its elements of pitch. tone color (timbre),
envelope (volume change over time). Then put these elements
together by using the various sections of the synthesizer.
signal)
Remember that the keyboard
frequency
a trigger signal every time you play a key. In other words it acts as a
control knob and a switch.
Make maximum use of this and other less obvious possibilities
is
sound creation. The more techniques
you can make music.
is ordinarily connected internally
but these
components.
that are possible.
these steps:
signal do you need for the effect?
it is not possible
patch without external patch cords,
volume, and
generates both a control voltage and
for
you know, the more freely