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5) Features and functions
VoltageControlledOscillator(VCO)
The VCO is the source of all sound for the MS-20 synthesizer. It is
here that all pitch and basic tonal color elementsare determined. The
MS-20 is equipped with two wide-rangeVCOs.
@Scale:
This control is an Octave selector. With each halving Of the number
displayed, the pitch goesup one octave. For example the 4' (foot)
scale indication is one octave higher than 8'; similarly, 16' is one
octave lower than 8'. VCO-I is variable from 32' to 4'; VCO•2 is
variable
from
16' to 2'.
@Waveform :
This selects the various waveforms that determine the basic tone
color (timbre). VCO-I has four
2hasthreewaveforms:xn—
plusaRingModulator s etting.
Each waveform has its own unique characteristic sound.
(Triangle Wave): A very basic waveform having few harmonics, and
possessing a soft, round tone color. Excellent for flute, vibes and
other such effects. The Triangle Wave may be changed into a Sine
Wave (having no harmonics) by using the Low Pass Filter.
(Sawtooth): A waveform rich in all harmonics, and one of the most
useful to the synthesist. used for string. brass. voice and other
harmonically
rich sounds. The Voltage Controlled
highly effective on Sawtooth Waveforms.
FL-n-
(RectangleWave): A variable waveform havingdifferent timbres
depending on the width Of the top (called Pulse Width). When the
top and bottom widths are equal, the waveform is called a Square
Wave, a nd possesses the "hollow" qualitiesOf the reedfamily (i.e.,
the clarinet). As the pulse width proportionately decreases. a
strong shift in tone color occurs; the sound becomes ' 'nasal" in
quality.
This waveform
is called a Pulse Wave. Pulse Width
on the MS-20 using the PW control (see below}.
(White Noise): An unpitched sound consisting of equal amounts of
all frequencies. Usedfor wind, surf, gunshot, percussioninstrument
and Other such effects. The use Of filters will emphasize certain
frequenciesover Others,creating many different sound effects.
(Square Wave): A variation Of the Rectangle Wave with equal top
and bottom widths. A "hollow"
sounding waveform with only odd
numbered
harmonics
present.
Used to simulate
and other closed pipe sounds.
(Pulse Wave): This Rectangle Waveform has a relatively narrow top
width, and is characterized by a *'nasal" tone quality, with strong
presenceof upper harmonics. Used to simulate double reed instru-
ments(eg,the oboe)andcertain pluckedstringsounds(eg.harpsi-
chord
and clavinet).
(RING) Ring Modulator: This setting combines the sounds of both
VCO•s in such a way as to create sums and differences of all har-
monics present. The result is a clangorous, "metallic"
is useful for gong, chime and other such effects. The two Scale
controls aswell as the Pitch and PWcontrols all affect the resulting
sound, and should be used judiciously
@Pitch:
This control varies VCO-2's pitch over a range of ± one octave You
: VCO•
can either
match
interval (eg, third, fifth, etc.). Once set, pitch levels remain ex-
tremely stable troughout
nology.
This control varies the pulse width (PW) Of VCO•I •s Rectangle
Wave. At
the waveform is symmetrical
Rotating the control clockwise proportionately
width. Near the full clockwise position, the pulse width becomes
so narrow as to virtually
Filter (VCF) is
@Portamento:
Varies the rate of "glide"
note to note. The ability to effect smooth transitions between notes
is unique to the monophonic synthesizer, and adds to the creative
effects
available.
OMaster Tune:
is varied
This control varies the pitch of both VCO'S over a range of ± 2 semi-
tones. so that you can match the synthesizer's pitch with that Of
other
instruments.
Frequency Modulation
These controlsallow other parts of the synthesizer t o affect the VCO's
pitch, for such effects as vibrato. trills, pitch bends. "sweeps", etc.
OMG/T. EXT.
Varies the intensity of Vibrato from the Modulation
Triangle Wave output, or whatever signal is patched into the TOTAL
jack.
@EGI/EXT:
reed instruments
With no patch in the patch panel's FREQ jack, this control varies the
effect of Envelope Generator 1 on the VCO's.
and play a note on the kéyboard. Note that the pitch of the note
risesand falls corresponding to the Envelopecurve (seeEnvelope
Generator 1). With any external controller patched in leg, Control
Wheel, Reverse Envelope, etc.), the control now variß the intensity
Of this effect.
sound which
to create the desired effect.
VCO-2's
pitch
to VCO-I , or set it at any relative
the playing range, thanks to Korg tech-
(i.e., Square Wave).
decreases the pulse
disappear, and no sound will be heard.
the time it takes the MS-20 to go from
controls:
Generator (MG)
Advace the control
@VCO Mixer:
Independent output level controls for VCO-I and VCO-2 allow the
user to freely adjust volume balance of the two oscillators, or
eliminate both VCO•s when processing external sound sources.
Voltage Controlled
High-Pag Filter (VCHPF)
This removes portions Of the harmonic elements present in the
waveform chosen with the VCO section. The cut-off frequency is
variable from the low range on up. Use the Cut-Off Frequency knob
or an external control voltage to determine the cut•off freq.lency.
@CutOff Frequency:
The scale on this knob goes from O
but in the "O" position, the filter is completely open and the basic
color Of the waveform is left ur-changed. As you turn up the
knob,the tonecolor becomes brighter.Playa note on the keyboard,
turn the knob, and note the effect.
@Peak:
This knob determines the amount Of emphasis applied to
the area right before the low range cut-off frequency chosen with
the knob above. When turned
up to around
the filter itself begins to oscillate. becoming in effect another sound
source. This self-oscillation capability
is another big feature found
in the MS.20.
Controlhd
Low-Pas
FilWr (VCLPF)
This removes upper
harmonic
elements
of the waveforms
with
the VCO section. The cut-off
high range down and is adjusted by means of the Cut-Off
knob or an external
control
voltage.
@Cut-Off Frequency:
Thescale on the knobgoesfrom O 10
in the "10" position, the filter is completely open and has.no
effect on tone color.
As
turn the knob cwnterclockwise
sound will gradually become more rounded. At the lowest setting
it becomes barely recognizable as a sound. Turn the knob while
playing a key and note the effect.
@Peak:
This emphasizes the point right before the cut-off
frequency. Near its highest position,
the filter itself begins to
oscillate.
This self-oscillation
effect may be used as a separate
sound
source.
Cut-off Frequency Modulation Controls:
These controls allow other parts of the synthesizer to vary each
filter's
cut-off
frequency,
in a manner
similar
modulation.
@MGtT. EXT:
TheModulationGenerator's TriangleWaveoutput modulates the
filter frequency. for filter vibrato, automatic ••wa-wa", etc.
@EG.2/EXT:
This control varies the modulation
intensity from Envelope
Generator 2 (when no patch is in the respective filter CUT OFF
FREQ. jack). This highly useful effect is called "filter
andallowsyou to obtain charw in tonal quality overtime. Learrf
to use this function,
and to experiment with different
Envelope Generator 2 controls.
When an external device (e.g
Control Wheel, Pedal, Reverse Envelope
etc.) is patched into the
filter CUT OFF FREQ jæk on
the patch panel, this control varies the intensity of the external
modulation
effect.
10
its maximum
position,
chosen
is variable
from
the
Frequency
the
to VCO frequency
contouring",
settings of
s
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