KorgメーカーOASYS musical instrumentsの使用説明書/サービス説明書
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Operation Guide Operation Guide Operation Guide Please read this guide first.
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iii IMPOR T ANT SAFETY INSTR UCTIONS • Read these instructions. • Keep these instructions. • Heed all warnings. • Follow all instructions. • Do not use this apparatus near water.
iv Handling of the internal hard disk Do not apply physical shock to this device. In particular , you must never move this device or apply physical shock while the power is turned on. This can cause part or all of the data on disk to be lost, or may damage the hard disk or interior components.
v Data handling Incorrect operation or malfunction may cause the contents of memory to be lost, so we recommend that you save impor- tant data on a CD or other media. Please be aware that Korg will accept no responsibility for any damages which may re- sult from loss of data.
vi About this manual The owner’ s manuals and how to use them The OASYS includes two owner ’s manuals: • Operation Guide • Parameter Guide Both manuals are available as PDFs on Restor e CD 1/4, and are included in the on-boar d Help system. A printed version of the Operation Guide is also included.
vii Contents About this manual . . . . . . . . . . . . . . . . . . . . . . . vi Quick Start . . . . . . . . . . . . . . . . . . . . . . 1 Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Setup. . . . . . . . . . . . . . . . . . . .
viii MIDI-related settings P1: MIDI . . . . . . . . . . . . . . 149 Pedal and other controller settings . . . . . . . . . . . 149 Creating user scales . . . . . . . . . . . . . . . . . . . . . . . . 150 Setting Category Names for Programs, Combinations, and KARMA .
1 Quick Star t Quick Star t The OASYS contains an amazing amount of functionality , but this Quick Start is provided for those who just want to get started trying out the sounds right away .
Quick Start 2 Play the keyboard or strike the pads to hear the sound. 2. The large characters in the upper part of the LCD screen will be highlighted. These are the pr ogram number and program name (“Program Select”). In this state, you can press the / switches to select the next or previously number ed program.
Quick Start Playing Programs and Combinations 3 Combination Bank Contents As shipped from the factory , the contents of the Combination Banks are as follows: Combination bank contents Using controllers to var y the sound 1. Numerous controllers are located in the left side of the OASYS’ front panel.
Quick Start 4 For details on these controllers, see “Performing with KARMA” on page 196. 3. After you’ve edited a program, you can restore the program to the original state in which it was saved. When you press the UTILITY COMP ARE switch (the LED will light), the saved settings for that program will be r ecalled.
Quick Start Listening to the demo songs 5 Listening to the demo songs in Sequencer mode 1. Press the MODE SEQ switch (the LED will light) to enter Sequencer mode. 2. Access the P0: Play/REC– MIDI T rack Prog Select/Mixer page. If this page is not displayed, press the EXIT switch.
Quick Start 6 New features in software version 1.2 OASYS software version 1.2 adds a number of new features, including incr eased polyphony for the AL-1 and STR-1, polyphonic unison, unison stereo spr ead, improved parameter smoothing, and a powerful and easy-to-use chord featur e.
Quick Start New features in software version 1.1 7 Increased polyphony for the AL-1 & STR-1 As part of our continued refinements to the OASYS system, you can now play more voices of the AL-1 and STR-1! The updated AL-1 is capable of playing 96 voices (up from 84), and the STR-1’s max polyphony is now 48 voices (up from 32–a factor of 50%).
Quick Start 8 PC2700 (DDR333 CL2.5) PC3200 (DDR400 CL3) Capacity for the additional DIMM: 512MB or 1GB DRAM DIMM is not a manufacturer option. Please use commercially-available memory sold for computers. If you have any questions regar ding the type of DRAM DIMM modules that can be used, please contact your local Korg distributor .
9 Introduction to OASYS Main Features Open Architecture Synthesis Studio The OASYS features the OA (Open Ar chitecture) synthesis system, which offers all the benefits of a variable software system backed by the har dware integrity that can only come from a fully-integrated instrument design.
Introduction to OASYS 10 pizzicato, and sforzando, as well as four-level velocity switching and crossfading to ensur e a natural range of expression. Reed instruments such as sax and oboe were sampled for extended times to include natural-sounding vibrato produced by the player .
Main Features Open Architecture Synthesis Studio 11 available) to control the oscillator volume, synth parameters, or effect parameters. • Single/double structure: Single=OSC1 only, Double=OSC1 and OSC2 • Oscillator: To each oscillator you can assign a multisample or wave sequence with four-level velocity-switching, crossfading, or layering.
Introduction to OASYS 12 Detailed Specifications: Drumkits • Stereo or mono drum samples • Four-level velocity switches or crossfades KARMA The OASYS’ KARMA (Kay Algorithmic Music Architectur e) function is an enhanced version of the Korg KARMA Music W orkstation.
Main Features Open Architecture Synthesis Studio 13 Detailed Specifications • Open Sampling System, with resampling and In- Track sampling • 16-bit/48 kHz stereo/mono sampling • Up to about 1.
Introduction to OASYS 14 result will be a melodic phrase. If assigned to the filter , the filter will produce modulation in synchr onization with the tempo.
Main Features Open Architecture Synthesis Studio 15 the distance between mics. This gives you total control over the sound field as well as the sound itself, and lets you create the perfect or gan sound for any situation.
Introduction to OASYS 16 A new leap to the ideal workstation – a 16-track MIDI sequencer plus a 16-track hard disk recorder The sequencer of the OASYS provides plenty of capacity , with a maximum of 200 songs and 400,000 MIDI events or 300,000 audio events.
Main Features Open Architecture Synthesis Studio 17 Superb user interface Control surface and a rich variety of other controllers The huge array of functions and parameters are displayed in a 10.
Introduction to OASYS 18 Front and rear panels Front panel 1. VOLUME slider (MAIN/HEADPHONE) This adjusts the volume of the main L/R audio outputs, as well as the volume of the headphone jack. It does not affect any of the other outputs, including S/P DIF , the individual outputs 1-8, or the optional ADA T output.
Front and rear panels Front panel 19 6. KARMA buttons KARMA stands for “Kay Algorithmic Realtime Music Architectur e.” It’s an immensely powerful recording and live performance tool, which can p.
Introduction to OASYS 20 TIMBRE/TRACK TIMBRE/TRACK lets you use the control surface to adjust the volume, pan, EQ, and send levels for OSC 1/2 or EXi 1/2 in Program mode, the curr ent Multisample in Sample mode, and each of the 16 T imbres or T racks in Combi and Sequence modes.
Front and rear panels Front panel 21 V ALUE dial Use this dial to edit the selected parameter ’s value. This control is convenient when you want to scr oll through a very long list of selections. 0-9, –, ., and ENTER buttons These buttons are convenient when you know the exact value that you want to enter .
Introduction to OASYS 22 T o reset a single contr ol, hold down RESET CONTROLS and then move a Control Surface slider or knob, press one of the contr ol surface buttons, or move the V ector Joystick.
Front and rear panels Front panel 23 where you can immediately use the numeric keys or / switches to select a Program, Combination, or Song. When a dialog box is open, this button cancels the settings made in the dialog box and closes the dialog box, just like pressing the Cancel button.
Introduction to OASYS 24 19. SAMPLING buttons REC button In Sampling, Program, Combination, and Sequencer modes, pressing this button enters the initial sampling- ready mode. The button’s LED will light up. T o continue, press the SAMPLING ST ART/ST OP button, as described below .
Front and rear panels Rear panel 25 MIDI THRU connector MIDI data received at the MIDI IN connector is r e- transmitted without change from the MIDI THRU connector . Y ou can use this to chain multiple MIDI devices together . MIDI OUT connector This connector transmits MIDI data.
Introduction to OASYS 26 Mic/Line Inputs 1 and 2 Inputs 1 and 2 provide combined XLR and 1/4” TRS balanced connectors. Y ou can use these for either microphone-level or line-level signals. The two inputs have identical sets of controls, as described below .
Front and rear panels Names and functions of objects on the LCD display 27 Names and functions of objects on the LCD display The OASYS uses Korg’s T ouchV iew graphical user interface.
Introduction to OASYS 28 Scroll bar Use this when you wish to see parameter values that extend beyond what can be displayed in the screen at one time. e: Categor y button When you press this button, a tabbed popup menu will appear , allowing you to perform the following selections.
Front and rear panels Names and functions of objects on the LCD display 29 T oggle buttons This type of button will change its function or switch on/off each time it is pr essed.
Introduction to OASYS 30 Basic Information About the OASYS’ modes The OASYS has a large number of featur es that let you play and edit programs and combinations, r ecord and play sequence data, recor d and play back samples, and manage data on disk.
Basic Information About the OASYS’ PCM memory 31 • Select and play Combinations • Use OASYS as a 16-track multitimbral tone generator • Edit Combinations Assign Programs to each of the 16 T imbres, each with separate volume, pan, EQ, and keyboard and velocity zones; make settings for effects, vector synthesis, and KARMA.
Introduction to OASYS 32 T o use these samples when making your own sounds, select Bank ROM (Stereo, Mono) for a pr ogram’s MS Select (Program P2: OSC/Pitch-OSC Basic) or a drum kit’s “ DS Select ” (Global P5: Drum Kit– Sample Setup) fields.
Basic Information About polyphony 33 The Expansion Sample Setup has now been changed. In order for your changes to take ef fect, please turn the power off, and then on again. [OK] ------------- This completes the Expansion Sample Setup operation. The next time you turn on the power , the specified PCM bank will be loaded and available.
Introduction to OASYS 34 Note: As with the meter as a whole, the number shown in FREE FOR VOICES is only an approximation. For example, if FREE FOR VOICES is showing 98, the maximum polyphony for the HD-1 may not be exactly 172 x 0.98 (approximately 168).
Basic Information Basic operations 35 3. Press a tab in the upper line (page tabs) to select a page. As an example here, pr ess the V ector Control tab. The current page indication in the upper left of the LCD screen will stay the same, but the upper right indication will change to “V ector Control.
Introduction to OASYS 36 be recalled. When you pr ess the COMP ARE switch once again, the LED will go dark and you will return to the settings that you were editing.
Setup Connections 37 Setup Connections Connections must be made with the power turned off. Please be awar e that careless operation may damage your speaker system or cause malfunctions. 1. Connecting the power cable 1. T urn off the power of the OASYS.
Introduction to OASYS 38 AUDIO OUTPUT (MAIN) L/MONO and R These are the main outputs, accessed by setting Bus Select to L/R. All of the factory sounds use these outputs, and the Master and T otal Effects ar e always routed her e as well. 1. Connect the AUDIO OUTPUT (MAIN) L/MONO and R outputs to the inputs of your amp or mixer .
Setup Connections 39 Note: Guitars with active pickups can be connected directly to any of the inputs. Guitars with passive pickups (i.e., guitars that do not have an internal preamp) can be used with inputs 1 and 2, but the impedance mismatch will cause both a change in tone and a reduction in volume.
Introduction to OASYS 40 2. Execute the Disk mode Utility menu command “Scan USB Device.” 3. Use the Disk mode Drive Select screen to check the connection. For more information, see “Loading & saving data, and creating CDs” on page 163. Hot-plugging The OASYS supports USB hot-plugging.
Setup Using the CD-R/RW drive 41 3. Raise the OASYS’ s VOLUME slider to an appropriate level, and adjust the volume of your powered monitors or stereo amp. After you’ve turned off the power , you must wait approximately ten seconds befor e turning the power on again.
Introduction to OASYS 42 Insert a pin-like object of less than 1 mm diameter , such as a straightened paper clip, into the manual eject pinhole and push. The disc tray will be forced open. Excessive use of this method may cause the CD- R/R W drive to malfunction.
43 Playing and editing Programs What’ s a Program? Programs ar e the basic sounds of the OASYS. Y ou can play them by themselves, layer them together in Combinations, or play a differ ent Program on each of the 16 MIDI tracks, either from the internal sequencer or from external computer -based sequencers.
Playing and editing Programs 44 Using the front-panel buttons 1. Make sure that the PROGRAM button, under MODE, is lit. This means that you’re in Pr ogram mode, in which you can select and edit Programs. If the button isn’t lit, press it now; it will light up, and the main Pr ogram Play page will appear .
Using Controllers 45 Using a footswitch to select Programs Y ou can assign a footswitch to step through Pr ograms one by one, either going up (0, 1, 2, 3, etc.) or going down (3, 2, 1 etc.). This lets you change Programs without using your hands–great for quick Pr ogram changes in live performance situations.
Playing and editing Programs 46 Joystick Lock The joystick is spring-loaded, so that it automatically returns to the center position when you let go. However , you can use either of the two front-panel switches (SW1 or SW2), or a foot-switch, to “lock” the current position of the joystick.
Using Controllers 47 The sound will remain as it was when you last touched the ribbon. 4. Press the SW2 key once again to release the Lock function. 5.
Playing and editing Programs 48 Keyboard V elocity V elocity is a measure of how hard you play a note on the keyboard. This can be used to modulate many differ ent aspects of the sound, such as volume, brightness, or the character of the attack.
Using Chord mode 49 Assigning notes and chords to pads Y ou can assign single notes and chords to the pads in three dif ferent ways. Play the notes, and then press CHORD ASSIGN 1. Play a single note, or a chord of up to 8 notes. 2. Press the CHORD ASSIGN button.
Playing and editing Programs 50 Chord Switch The Chord Switch (abbr eviated Chord SW ) lets you turn Chord mode on and of f via SW1/2 or the Foot Switch. Important: Programs will only r espond to the Chord SW if their Chord parameter has been set to either Basic or Advanced .
Quick Edits using the Sliders, Knobs and Switches 51 Y ou can achieve the same effect as Basic , above, by setting Chord to Advanced , V oice Assign to Mono , Priority to Last Note , and Legato to Off . Creating and editing chords Chords ar e assigned to the Pads, stored, and edited as described under “Drum & Chord Pads” on page 48.
Playing and editing Programs 52 TONE ADJUST gives you hands-on access to more detailed sound editing, using the sliders, knobs, and switches. Adjusting volume, Pan, EQ, and FX sends In TIMBRE/TRACK mode, the Control Surface puts all of the basic mixing controls under your fingertips.
Quick Edits using the Sliders, Knobs and Switches 53 7. While holding RESET CONTROLS, move fi rst knob 1, and then knob 2. As you move the knobs, their values will be reset to the default, center positions. 8. Release the RESET CONTROLS button. Now , you’re back to the original electric piano sound.
Playing and editing Programs 54 A popup window will appear , with a long list of parameters. Y ou can tell various things about the selections, just from the way they appear in the list: • Parameters which affect only OSC1 or OSC2 are prefixed with [OSC1] and [OSC2], respectively.
Detailed Editing with HD-1 Programs 55 Over view of editing pages P0: Play is where you select and play pr ograms, make quick edits using the Control Surface, and adjust the KARMA settings. The other pages let you modify the sound in more detailed ways.
Playing and editing Programs 56 • All of the tabs on the Amp page, except for EQ • All of the tabs on the LFO page, except for Common LFO • The AMS Mixer tabs Y ou can use the page menu’s Copy Oscillator command to copy these parameters from one Oscillator to another .
Using LFOs and Envelopes (EGs) 57 Notice that the graphic now shows the two ranges tapering into one another . Between 80 and 100, MS2 will fade out, and MS1 will fade in, creating a gradual velocity transition instead of a hard split. 12.If you like, adjust the Levels for the two Multisamples.
Playing and editing Programs 58 EGs (Envelope Generators) An envelope creates a modulation signal by moving from one level to another over a specified time, and then moving to another level over another period of time, and so on. The HD-1 includes three EGs, for Pitch, Filter , and Amp.
Controlling Pitch 59 AMS Mixer Amt AxB example Smoothing The Smoothing T ype smooths out the AMS input, creating mor e gentle transitions between values. Y ou have separate control of the amount of smoothing during the attack (when the signal is increasing) and decay (when it’s decreasing).
Playing and editing Programs 60 Pitch EG When the Intensity value is set to +12.00 , the pitch EG specified in the Pitch EG page will produce a maximum of ±1 octave of pitch change.
Using Filters 61 frequencies, its ef fect can change dramatically depending on the cutoff setting and the oscillator ’s multisample. W ith low resonance settings, you can use the Band Pass filter to create telephone or vintage phonograph sounds. W ith higher resonance settings, it can cr eate buzzy or nasal timbres.
Playing and editing Programs 62 LFO modulation Y ou can modulate the filter via LFO1, LFO2, and the Common LFO. Among other applications, LFO modulation of the filter can produce the classic “auto- wah” effect.
Using the Amp section 63 Pan Pan The main Pan parameter controls the ster eo position after the signal has passed through the oscillator , filter , and amp. Normally you’ll set this to C064 , so that the sound is centered equally between the left and right speakers.
Playing and editing Programs 64 Drive The Drive circuit adds saturation and over drive to the sound, for everything from subtle fattening to drastic distortion. Unlike an overdrive ef fect, Drive processes each voice individually , so the timbre stays the same regar dless of how many voices are being played.
Effects 65 V ector and MIDI The V ector features interact with MIDI in two differ ent ways: through the V ector Joystick, and through the V ector CC Control. The V ector Joystick sends and receives two MIDI controllers: one for the X axis, and the other for the Y axis.
Playing and editing Programs 66 Automatically impor ting a Program into Sequence mode The Auto Song Setup feature copies the current Program or Combination into a Song, and then puts the OASYS in recor d-ready mode. If inspiration for a phrase or song strikes you while you’re playing, you can use this function to start recor ding immediately .
67 Playing and editing Combinations What’ s a Combination? Combinations, or “Combis” for short, let you split and layer up to 16 Programs at once. A Combi is made up of 16 T imbres. Each T imbre has a Program, along with parameters for key and velocity zones, mixer settings, MIDI channel and controller filtering, and so on.
Playing and editing Combinations 68 Combination structure and corr esponding pages Selecting Combinations There ar e several different ways to select Combinations.
Selecting Combinations 69 Bank/Combination Select menu: In this illustration, bank INT -A is selected. The list on the right shows the Combinations contained in that bank. 2. Press the tabs on the left side of the display to select a bank. 3. Press one of the Combination names in the list to select a Combination.
Playing and editing Combinations 70 Easy Combination editing Changing the Programs within the Combi Changing the Programs assigned to the 16 T imbres is a quick way to dramatically alter the sound of the Combination.
Combination editing 71 • Arpeggiation • Drum and instrument grooves • Complex CC gestures (as if it was automatically moving knobs or joysticks for you) • Musical phrase generation, such as piano flourishes • Any combination of the above • …and much more.
Playing and editing Combinations 72 Resetting individual controls The RESET CONTROLS button lets you revert an individual knob, slider , or switch to its saved setting.
MIDI Settings 73 1. Go to the Prog Select /Mixer page. 2. Select a brass sound for T imbre 1, and a strings sound for T imbre 2. 3. Go to the MIDI tab of the P2: T imbre Parameters page. 4. For T imbres 1 and 2, set Status to INT and MIDI Channel to Gch (the Global Channel).
Playing and editing Combinations 74 For more information, see “For ce OSC Mode,” on page 361 of the Parameter Guide. OSC Select Normally , this should be set to BTH (Both).
Automatically importing a Combination into Sequencer mode 75 T otal Effects The two T otal Effects ar e dedicated to processing the main L/R outputs. They’re ideally suited to overall mix effects, such as compr ession, limiting, and EQ–but as with the other effects sections, you can use any type of effect that you like.
Playing and editing Combinations 76.
77 Creating songs (Sequencer mode) Over view - About the OASYS’ sequencer The OASYS’ sequencer can hold up to 200 songs and 400,000 MIDI events or 300,000 audio events. It consists of a 16-track MIDI sequencer and a 16-track hard disk r ecorder , giving you a total of 32 tracks.
Creating songs (Sequencer mode) 78 Sequencer mode page structure For details on how to access each mode and page, see “Basic operations” on page 34. The MIDI transmit/receive settings for each track ar e made in MIDI Channel (P2: Edit– T rk Param, MIDI Ch page).
Playing Songs Playback 79 Playing Songs Playback In order to play back song data in the sequencer , you must first recor d song data, or load or dump it into the OASYS. Let’s start by loading and playing the demo song data. For more information, see “Listening to the demo songs” on page 4.
Creating songs (Sequencer mode) 80 way , the “mute” function allows you to silence a specified track until the track is un-muted. Press track 2 Play/Rec/Mute . The display will change, and the playback of track 2 will also be muted. T o cancel muting, press Play/Rec/Mute once again.
Playing Songs The control surface in Sequencer mode 81 MIX SELECT : Press these buttons to select the current track. This current track applies to the channel strip (when MIXER KNOBS is set to CHANNEL STRIP), and to T one Adjust.
Creating songs (Sequencer mode) 82 T o change the register ed location, use the “Set Location” page menu command. Alternatively , you can register a location during playback by holding down the ENTER switch and pressing the LOCA TE switch. When you select a song, the “LOCA TE” setting is automatically initialized to 001:01.
MIDI recording Preparations for recording 83 MIDI recording • You can record up to 200,000 events (e.g., notes), up to 200 songs, and up to 999 measures in each song. • The maximum timing resolution is 1/192. • There are sixteen tracks for MIDI performance data, and a master track which controls the time signature and tempo.
Creating songs (Sequencer mode) 84 Use “Program Select” (P0: Play/REC– MIDI T rack Prog Select/Mixer page) to assign a pr ogram to each MIDI track.
MIDI recording Recording MIDI in real-time 85 Saving your song parameter settings The song parameter settings you make here can be saved as a template. If you use these settings frequently , you can simply load one of the templates you’ve saved. For more information, see “Save T emplate Song” on page 525 of the Parameter Guide.
Creating songs (Sequencer mode) 86 measure pr e-count, and then recording will begin. Play the keyboard and move contr ollers such as the joystick to recor d your performance. 5. When you fi nish playing, press the SEQUENCER ST AR T/STOP switch. Recording will end, and the location will r eturn to the point at which you begin recor ding.
MIDI recording Recording MIDI in real-time 87 1. Use “T rack Select” to select the track that you want to record. 2. Set the Recording Setup to Auto Punch In. 3. In “M (Auto Punch In Start Measure), “M (Auto Punch In End Measure)” specify the area that you wish to record.
Creating songs (Sequencer mode) 88 An example of realtime recording In this example, we’ll assign a drum program to MIDI T rack 01 and create the following one-measure dr um phrase. 1. Create a new song, and specify a drum program for MIDI T rack 01.
MIDI recording MIDI step recording 89 Input the first C3 note as . (dotted eighth note). Use the radio button at the left to select . Y ou can choose from the range (whole note)– (32nd note). Input a dotted note by selecting “.” with the radio buttons at right.
Creating songs (Sequencer mode) 90 Recording the sound of a Combination or Program Here’s how you can easily copy the settings of a Combination or Program, and then r ecord using that sound.
MIDI recording Recording multiple MIDI tracks from an external sequencer 91 If you made a mistake or want to re-r ecord, you can use the Compare function (pr ess the COMP ARE switch) to re-r ecord as many times as you want. (The Multi REC check box will be unchecked when you use Compare, so you will need to check it again.
Creating songs (Sequencer mode) 92 12.Press the SEQUENCER ST AR T/STOP switch to play back. Note: If the correct sounds ar e not selected when you start playing back, you may be able to solve the problem by using the page menu command “MIDI Event Edit” (P4: T rack Edit) to re-specify the Program Change data.
MIDI recording Recording patterns 93 Select another effect for IFX1 in the P8: Insert Ef fect– Insert FX page, and edit the effect parameter values, or use the P0: Play/REC– Control Surface page T one Adjust controls to edit the sound in r ealtime.
Creating songs (Sequencer mode) 94 6. Set the number of measures in the pattern to a “Length” of 04 (four measures), and set “Meter” to a time signature of 4/4. Press the OK button. 7. As necessary , set “REC Resolution” to apply realtime quantization.
MIDI recording Other ways to record 95 Using KARMA for pattern recording If the KARMA function is set to operate for the track that is selected for “T rack Select,” and record the performance of the KARMA function into the pattern.
Creating songs (Sequencer mode) 96 Audio recording Over view: About the OASYS’ hard disk recorder • There are sixteen audio tracks. They allow 16-bit linear PCM recording with a maximum time of 80 minutes. • Automation data (volume, pan, EQ, send 1/2) can be recorded for each track.
Audio recording Audio input settings and recording source selection 97 When you save an .SNG file, its related audio files ar e stored in a separate dir ectory . This directory is cr eated automatically , within the same directory as the .SNG file.
Creating songs (Sequencer mode) 98 When sampling via S/P DIF , you must set the Global mode System Clock appropriately . For more information, please see “System Clock” on page 644 of the Parameter Guide. Bus Select (IFX/Indiv .) This specifies the output bus for each audio signal.
Audio recording Audio input settings and recording source selection 99 Level This controls the level of the external audio signal. The default is 127. The analog audio signals from AUDIO INPUTS 1–4 are converted into digital form by an A/D converter .
Creating songs (Sequencer mode) 100 Pan This specifies the pan of audio track. V olume Sets the volume of audio tracks 1–16. Recording procedure Recording Setup These parameters specify how audio tracks will be recor ded. For details on each recor ding method, refer to the examples for MIDI tracks.
Audio recording Recording procedure 101 Audio events cannot be recor ded. This means that if you set “T rack Select” to Audio T rack, and turn “Automation Only” Off, you will be unable to start recor ding. Recording Setup (Audio T rack) Automation Only Normally you will recor d with this unchecked.
Creating songs (Sequencer mode) 102 3. Adjust the level(s) of the input signal(s) so that it is as high as possible without activating the CLIP! or ADC OVERLOAD! messages. If you’re using AUDIO INPUTS 1 and/or 2, adjust the volume using rear -panel MIC/LINE switches and LEVEL knobs.
Audio recording Recording procedure 103 Access the P8: Insert Effect– Audio Routing1 page. In “Audio T rack 1,” specify the output for audio track 1. Bus Select (IFX/Indiv . Out Assign) Bus Select (IFX/Indiv . Out Assign) : L/R “Send1 (MFX1),” “Send2 (MFX2)”: 000 3.
Creating songs (Sequencer mode) 104 (located in the right side of the display) from +0.0 down to an appropriate level. Press the SEQUENCER ST AR T/STOP switch to play back the song, and check the volume balance. If you want to monitor only the guitar sound during playback, check “Source Dir ect Solo.
Audio recording Recording procedure 105 4. In the P0: Play/REC– Audio T rack Mixer page, set REC Source to REC1 so that the signal of the REC bus will be recorded on audio track 1. Audio T rack 1 REC Source : REC1 5. In the P0: Play/REC Preference page, set “T rack Select” to Audio T rack 01.
Creating songs (Sequencer mode) 106 8. In “Recording Setup (Audio T rack),” uncheck the “Rehearsal” option. Record 9. Use “Location” to specify the location at which you want to start recording. Set this several measures earlier than the region you speci fi ed for “M***–M***”.
Audio recording Recording procedure 107 6. In the P0: Play/REC– Audio T rack Mixer page, set REC Source so that L will be recorded on audio track 3. Audio track 3 REC Source : L Note: The settings up to this point are the same as if you used the page menu command Auto HDR/Sampling Setup to execute Bounce Audio T rack with the following settings.
Creating songs (Sequencer mode) 108 The metronome will begin sounding, and you will be in recor d-ready mode. 7. Press the SEQUENCER ST AR T/STOP switch.
Audio recording Song editing 109 When selecting a W A VE file, you can press the Play button to audition the files to help you find the desired one. Y ou can also use the “Name” field located above to assign a name to the region. Edit the “Name” after you’ve selected a file.
Creating songs (Sequencer mode) 110 Resample SEQ Play: Make settings so that you can resample your keyboar d playing in Sequencer mode. In-T rack Sampling: Make settings to sample only an external audio signal using the In-T rack Sampling function.
Audio recording Song editing 111 measures will be moved towar ds the beginning of the sequence. For more information, see “Delete Measur e” on page 543 of the Parameter Guide. Insert Measure: This command inserts the specified number of measures into the specified track.
Creating songs (Sequencer mode) 112 Using RPPR (Realtime Pattern Play/Record) This section explains how to assign a pattern to RPPR, and how to play and recor d. Creating RPPR data 1. Create a new song, and choose a drum program for MIDI track 1. 2. Select the RPPR Setup tab of the P5: Pattern/RPPR page.
Audio recording Using RPPR (Realtime Pattern Play/Record) 113 RPPR playback Let’s use the RPPR you created to perform in the P0: Play/REC– MIDI T rack Prog Select/Mixer page. 1. Select the P0: Play/REC– MIDI T rack Prog Select/ Mixer page (See the diagram below).
Creating songs (Sequencer mode) 114 W ith a setting of SEQ, patterns played by the RPPR function while the sequencer is playing or recor ding will start in synchronization with the measur es of the sequencer . 3. Select the P0: Play/REC– MIDI T rack Prog Select/Mixer page.
Audio recording Saving your song 115 change its timing to transform the original rhythm loop sample into a completely new rhythm loop. • The In-Track Sampling function lets you sample an external audio source that’s playing along with the song playback, and automatically create note data in the track to play this sample at the correct time.
Creating songs (Sequencer mode) 116 Cautions and other functions in Sequencer mode OASYS sequencer file formats The OASYS sequencer supports both the proprietary OASYS Song format, and Standard MIDI Files. If you like, you can convert data between the two formats, simply by loading the data in one format and then saving it in the other .
Audio recording Cautions and other functions in Sequencer mode 117 If you wish to use the Sequencer mode of the instrument as a 16-track multi-timbral tone generator , select INT or BTH. For more information, see “Status” on page 466 of the Parameter Guide.
Creating songs (Sequencer mode) 118.
119 Sampling (Open Sampling System) Sampling Over view About sampling on the OASYS The OASYS can sample external audio from the analog or S/P DIF inputs, at 48 kHz 16-bit resolution, in mono or stereo. Y ou can record samples into RAM, or sample directly to disk.
Sampling (Open Sampling System) 120 2) Y ou can sample external audio sources via the OASYS’ input jacks (see “Sampling mode” 1 and 2, above). At this time, you can mix the OASYS’ own performa.
Preparations for sampling 121 Multisamples Multisamples lay out one or more Samples acr oss the keyboard. For instance, a very simple guitar Multisample might have six Samples–one for each string. Each Sample is contained in an Index, which includes parameters for the key range, original Sample pitch, tuning, level, and so on.
Sampling (Open Sampling System) 122 1…8: The external audio input signal will be sent to INDIVIDUAL 1, 2, 3, 4, 5, 6, 7, or 8 in monaural. 1/2…7/8: The external audio input signal will be sent via the Pan setting to INDIVIDUAL 1 and 2, 3 and 4, 5 and 6, or 7 and 8 in stereo.
Preparations for sampling 123 even though this level setting is very low , it is possible that the sound is distorting earlier than the AD converter . Y ou’ll need to adjust the MIC/LINE gain select switch, the LEVEL knob (AUDIO INPUT 1 and 2 only), or the output level of your external audio source.
Sampling (Open Sampling System) 124 channel and REC bus 2 is input to the R channel. If you choose REC3/4, REC bus 3 is input to the L channel and REC bus 4 is input to the R channel. Audio Input 1/2, Audio Input 3/4, S/P DIF L/R: Choose these settings if you want to directly sample the input from AUDIO INPUT 1–4 or S/P DIF jacks.
Preparations for sampling 125 Program mode Save to Specifies the destination to which the data will be written during sampling. RAM: The sample will be written to RAM memory . A sample written into RAM memory can be heard immediately in Sampling mode.
Sampling (Open Sampling System) 126 Using the metronome It is convenient to use the metronome when you want to play a program or combination at a specific tempo and sample your performance. Y ou can make metronome settings in Metronome Setup , in Program or Combination P0: Play– Audio Input/Sampling.
Sampling and editing in Sampling mode 127 Creating multisample indexes and sampling – P0: Recording Here’s how to cr eate indexes in a multisample, and assign a sample to each index. 1. Press the MODE SAMPLING switch to enter Sampling mode. 2. Select the P0: Recording– Recording page.
Sampling (Open Sampling System) 128 5. Select “Index.” Y ou can also select “Index” by holding down the ENTER switch and playing a pad or a note on the keyboard. For this example, select 001. 6. Assign a sample to the “Index.” If RAM memory already contains samples, use “Sample Select” to select the sample and assign it.
Sampling and editing in Sampling mode 129 – Sampling Setup – Source Bus : L/R The sound being sent to the L/R bus will be sampled. T rigger : Threshold W ith this setting, sampling will start when the input exceeds a specific volume.
Sampling (Open Sampling System) 130 10.When you’ve fi nished saying the word(s), press the SAMPLING ST AR T/STOP switch. This completes the sampling operation. The new sample will be automatically assigned to “Sample (Sample Select).” Hear the sampled result 1 1.
Sampling and editing in Sampling mode 131 3. Access the P8: Insert Effect– Insert FX page. Press the IFX tab, and then the Insert FX tab. 4. Select IFX1, use the numeric keys to input 1, 0, 1, and press the ENTER switch to select 101: Reverb Hall. Press IFX1 On/Of f to turn it on.
Sampling (Open Sampling System) 132 When the power is first turned on, the assigned sample will be set to “ Orig.Key C2. 2. Make the following settings. – INPUT1 – Bus Select (IFX/Indiv .) : Off T urn off the input from the INPUT 1–4 and S/P DIF L/R jacks.
Sampling and editing in Sampling mode 133 Press the C2 key , and verify that reverb is applied. Also make sure that the Bus Sel. following IFX1 is set to L/R. 6. Press the SAMPLING REC switch, and then the SAMPLING ST AR T/STOP switch. The sample assigned to C2 will play automatically , and resampling will begin.
Sampling (Open Sampling System) 134 T o play the sample, press the key to which the sample is assigned (the key range that is highlighted in “Keyboard & Pad”). A sample waveform that was sampled with “Sample Mode” set to Stereo will be displayed in two levels.
Sampling and editing in Sampling mode 135 Set “Resolution” as desired, and specify the tempo BPM value. The grid is displayed according to the playback pitch at the base key (the key shown in blue for “Keyboard & Pad”). Y ou can select the base key by holding down the ENTER switch and playing a key .
Sampling (Open Sampling System) 136 adjustments by adjusting “Start” or “End,” and by using Divide to separate or Link to combine. For more information, see “T ime Slice” on page 629 of the Parameter Guide. 5. Press the Save button. The Save Samples & MS dialog box will appear .
Sampling and editing in Sampling mode 137 As an example, set “ (T empo)” to 100. Notice that the pitch does not change when you play back at a differ ent tempo.
Sampling (Open Sampling System) 138 The waveform data of the currently selected sample will be displayed. Sample waveforms that were r ecorded with a “Sampling Mode” of Stereo will be shown in two lines. The upper line is the L channel waveform, and the lower line is the R channel waveform.
Sampling and editing in Sampling mode 139 indicates the zone determined by the “Top Key” setting. • Level adjusts the playback level of the sample.
Sampling (Open Sampling System) 140 begin ripping. If you do not consent to the terms, press the Cancel button to cancel the operation. Saving multisamples and samples If you want to keep the multisample and sample data you create, you must save your data onto either the internal hard drive, or an external USB storage device.
Sampling in Program, Combination, and Sequencer modes 141 Sampling in Program, Combination, and Sequencer modes In addition to using Sample mode, you can also sample both external audio sources and internal sounds in Program, Combination, and Sequencer modes.
Sampling (Open Sampling System) 142 In this example we’ll explain how you can use Auto Sampling Setup to make the settings described above in the preceding section. 1. Carry out steps 1 and 2 described in the preceding section. 2. Press the Audio Input/Sampling tab to access the P0: Play– Audio Input/Sampling page.
Sampling in Program, Combination, and Sequencer modes 143 Mode : Stereo The sound of the internal L/R channels will be sampled in stereo. – Metronome Setup– Bus (Output) Select : L/R Level : as desired The output of the metronome will be sent to the L/R bus.
Sampling (Open Sampling System) 144 4. W e will be modifying the Audio Input settings, so turn the Input “Use Global Setting” off. 5. Choose the Auto HDR/Sampling Setup page menu command. The dialog box will appear . 6. Choose “In-T rack Sampling.
Sampling in Program, Combination, and Sequencer modes 145 Resampling a song to create a W ave file Y ou can recor d a completed Song to a stereo W A VE file, and then burn that W A VE file to an audio CD using the internal CD-R/R W drive. For more information, see “Creating and playing audio CDs” on page 175.
Sampling (Open Sampling System) 146 Use the page menu command “Select Directory” to verify that the W A VE file was created. Select the file and press the SAMPLING ST AR T/STOP switch to listen to the sound that was sampled.
147 Settings for the entire OASYS (Global mode) How Global mode is str uctured In Global mode you can make overall settings that apply to the entire OASYS, such as master tune, key transpose, effect global switch, global MIDI channel, and system clock.
Settings for the entire OASYS (Global mode) 148 Linking KARMA to programs and combinations Y ou can specify whether the KARMA settings written to a program or combination will also be selected when you select that program or combination, or whether the KARMA settings will not change when you switch the program or combination.
MIDI-related settings P1: MIDI 149 MIDI-related settings P1: MIDI MIDI Setup, MIDI Filter , External Here you can make MIDI settings for the entir e OASYS.
Settings for the entire OASYS (Global mode) 150 KARMA, Pad, V ector Y ou can assign control change messages to the KARMA switches and sliders, pads 1–8, and vector joystick X-axis and Y -axis. Y ou can assign control change messages or note numbers to pads 1–8.
Using Wave Sequences Wave Sequence Overview 151 Using W ave Sequences W ave Sequence Over view What’ s a W ave Sequence? W ave Sequences play back a series of differ ent Multisamples over time. Y ou can use this to create a variety of unique timbral and rhythmic ef fects, as described below .
Settings for the entire OASYS (Global mode) 152 Wave Sequence graphic What’ s in a step? W ave Sequences have 64 steps (although you don’t have to use all of them–see “Setting the length of the sequence” on page 152).
Using Wave Sequences Adjusting the sound of an individual step 153 the entire W ave Sequence becomes “stereo,” and uses twice as many voices - it’s the price that you pay for power! 4.
Settings for the entire OASYS (Global mode) 154 5. For AMS A, select W ave Seq AMS Out 1. 6. Set the AMS A Amount to 00. 7. For AMS B, select SW 1 Mod (CC#80). 8. Set the AMS B Amount to +99. 9. Go to the Amp 1 Mod tab of the Amp/EQ page. 10.Under Amp Modulation, set the AMS source to AMS Mixer 1.
Using Wave Sequences Using rhythmic Wave Sequences 155 External MIDI syncs to incoming MIDI clocks, and ignores the TEMPO knob. Auto is a combination of the above. When clocks are received via MIDI, it syncs to the incoming clocks; when no clocks are being r eceived, it defaults to the stored tempo settings.
Settings for the entire OASYS (Global mode) 156 • In Program and Combi modes, if KARMA is off, note-ons are synchronized with the sounding Tempo-mode Wave Sequence, if any. • In Program and Combi modes, if KARMA is on, note-ons are synchronized with KARMA.
Using Wave Sequences Modulating Wave Sequences 157 2. In the dialog box, set the Expand/Compress % parameter as desired. 100% means the current duration and cr ossfade times. V alues 99 and below make the times shorter , and values 101 and above make them longer .
Settings for the entire OASYS (Global mode) 158 6th note: 2, 3, 4, 5, 6 7th note: 3, 4, 5, 6 8th note: 4, 5, 6 9th note: 5, 6 10th note: 6 1 1th note: 2, 3, 4, 5, 6 etc… If Repeat T imes is 1 , Note.
Using Drum Kits Drum Kit Overview 159 Using Dr um Kits Dr um Kit Over view What’ s a Drum Kit? Drum Kits, as the name implies, are optimized for creating drum sounds.
Settings for the entire OASYS (Global mode) 160 Drum Kits may be used by more than one Program When you edit a Drum Kit, all Programs that use that Drum Kit will be affected. T o avoid changing the factory voicing, you may wish to copy Drum Kits to empty locations in the USER banks before editing.
Using Drum Kits Saving Drum Kits 161 This can be very useful in creating a smooth velocity split or crossfade. 2. Set the tuning and EG parameters as desired. For each Drum Sample, you can control of fsets to the Program’s settings for transposition, tuning, and EG attack and decay times.
Settings for the entire OASYS (Global mode) 162 Y ou can give the Drum Kit a descriptive name using the on-screen keyboar d. 3. After entering the name, press OK. The text edit window will disappear , returning you to the main Save dialog. 4. Press the popup button next to Drum Kit to bring up the save location dialog.
163 Loading & saving data, and creating CDs Saving data T ypes of data that can be saved There ar e three ways to save data; you can write it into internal memory , save it to media (internal hard disk, internal CD-R/R W , or a USB-connected hard disk, CD- R/R W , or removable disk), or transmit it as a MIDI data dump.
Loading & saving data, and creating CDs 164 • Wave sequence banks INT: 000–149 • Demo songs Preset data is data that cannot be r ewritten by the W rite operation.
Saving data Writing to internal memory 165 Combination P0: Play– Prog Select/Mixer “Category” (Category/Program Select) Sequencer P0: Play/REC– MIDI T rack Prog Select/ Mixer “Category” (Category/Program Select) 6. Use “T o” to specify the bank and number of the writing destination program/combination.
Loading & saving data, and creating CDs 166 If you wish to save this modified data into internal memory , you must perform the W rite operation. When you perform the W rite operation, the data in the edit buffer is written to the specified pr ogram, combination, wave sequence, or drum kit number of the specified bank.
Saving data Writing to internal memory 167 Press the Shift button once again to switch to lower case characters, and press the characters r , o, g, r , a, m, 0, 1. 3. Press the OK button to close the dialog box. If you don’t need to make any corrections, pr ess the OK button to close W rite Program.
Loading & saving data, and creating CDs 168 Saving to disks, CDs, and USB media For details on the data that can be saved on storage media. (See “T ypes of data that can be saved” on page 163.) Song data and region data in the OASYS’s Sequencer mode, as well as multisamples and samples cannot be written into internal memory .
Saving data Saving to disks, CDs, and USB media 169 4. Press the MODE DISK switch to enter Disk mode. 5. Press the Media Info tab, and then execute the page menu command “Scan device.” 6. Use Drive Select to select your media. If you are using a r emovable disk, insert the media.
Loading & saving data, and creating CDs 170 The amount of time requir ed will depend on the amount of data being saved. If a file with the same name already exists on the media, you will be asked whether you want to overwrite. If you wish to overwrite, press the OK button.
Loading data from disk Loading .PCG, .SNG, and .KSC files 171 Loading data from disk The types of data that can be loaded from media ar e shown in the diagram “Supported file types” on page 172.
Loading & saving data, and creating CDs 172 Supported file types DOS directory Undefined DOS file DOS file DOS file .PCG file .SNG file .KFX file All programs All combinations All drum kits (User) All wave sequences 1 program bank I-A...F, U-A...
Loading data from disk Loading individual banks from a .PCG file 173 Loading individual banks from a .PCG file 1. Select the .PCG fi le containing the data you want to load, and choose the page menu command “Load Selected.” Refer to steps 1–4 of “Loading .
Loading & saving data, and creating CDs 174 Note: When you press the keyboar d of the OASYS, the selected combination will sound. However , the internal programs will be used as the pr ogram of each timbre. 2. Press the page menu button and select the “Load Selected” page menu command.
Creating and playing audio CDs Creating audio CDs 175 Creating and playing audio CDs W A VE files you create by r esampling to the internal hard disk or to an external USB har d disk in Sequencer mode etc. can be arranged in a desired or der and used to create an audio CD.
Loading & saving data, and creating CDs 176 If you select a W A VE file in this page whose sampling frequency is 48 kHz, you can also use the Play button to play the sample. T o add other W A VE files to the track list, press the Insert button once again.
Creating and playing audio CDs Playing audio CDs 177 Playing audio CDs Y ou can play audio CDs–including CDs you’ve created–dir ectly on the OASYS. T o do so: 1. Press the Play Audio CD tab to go to the Play Audio CD page. 2. In Drive Select, select your CD-R/R W drive.
Loading & saving data, and creating CDs 178 Other disk operations Viewing information about media – Disk Media Info This displays information about the media selected in “Drive Select.” Mounting USB storage devices Use the Disk Media Info page menu command Scan device to mount a device connected via USB 2.
Other disk operations Restoring the factory settings 179 Restoring program, combination, drum kit, wave sequence, and global settings to their factor y-set condition This section explains how to restor e these settings to their factory-set condition. This is done by loading the PRELOAD.
Loading & saving data, and creating CDs 180 Other functions Assigning functions to SW1/2 and the REAL TIME KNOBS Setting the functions of SW1 and SW2 SW1 and SW2 are the two switches above the joystick and ribbon.
Other functions Using tap tempo 181 3. From the page menu located in the upper right of the LCD, choose “LCD Setup” to open the dialog box. 4. Set the various parameters. Pressing the RESET button will reset the parameters to their default values.
Loading & saving data, and creating CDs 182 Note: Resetting the REAL TIME KNOBS of MODE R.TIME KNOBS/KARMA will set them to the center position. Note: MODE TONE ADJUST will be reset as follows, depending on the parameter that is assigned.
183 Using Ef fects For effects pr ocessing, the OASYS provides 12 insert effects, two master ef fects, and two total effects, together with a mixer section that controls the r outing of these effects.
Using Effects 184 Note: The Parameter Guide includes block diagrams for each individual effect, which include the ef fect’s input/output structure. Effects in each mode Program mode For programs of .
Routing effect settings 185 Uncheck this if you want programs and combinations to use their own settings. For example when writing the program as a vocoder ef fect program.
Using Effects 186 Each time you press the button, the insert ef fect will be switched on/off. When Of f, the result will be the same as when 000: No Effect is selected. The input sound will be output without change. 9. Make Chain settings. If the Chain check box is checked, the insert effect will be connected in series.
Routing effect settings 187 14.In MFX1 and MFX2, select the type of each master effect. The procedur e is the same as when selecting an insertion effect (see step 7). 15.Press the On/Off button to turn on the master effect. Each time you press the button, the master ef fect will be switched on/off.
Using Effects 188 can set the Sampling Setup Source Bus to a REC bus, and sample the signal that is sent to the REC bus. Use this if you want to sample only the sound of a specific timbre. Note: Sequencer mode has settings for MIDI Routing 1/2 and Audio Routing 1/2.
Routing effect settings 189 2. Use Bus Select (IFX/Indiv .) to specify the bus to which each audio input will be sent. For example if you want the signal from a device connected to AUDIO INPUT 1 to be input to insert effect 1, set the INPUT 1 Bus Select (IFX/Indiv .
Using Effects 190 For more details, see step 1 1 under “Program Effects settings,” beginning on page 185. Master effects and T otal ef fects These settings can be made in the same way as in “Program Ef fects settings” (p.186). For details on applying an effect to an external audio input and sampling the result, r efer to p.
Dynamic modulation, MIDI/Tempo Sync, and Common FX LFO 191 If you want to save the edited settings in the OASYS, you must write them. Use the Global mode page menu command W rite Global Setting to do this. 9. If you want to use the Global mode Input settings in the other modes, check the “Use Global Setting” option.
Using Effects 192 3. For L, C, and R, set the Delay Base Note and T imes as desired. For this example, set Delay Base Note to and T imes to x1 so that the effect will be easily understandable. The delay time will repeat at an interval of a 8th note.
193 Using KARMA Over view - What is KARMA? KARMA stands for Kay Algorithmic Realtime Music Architectur e, named after its inventor , Stephen Kay . The KARMA function generates MIDI data, using many differ ent algorithms seamlessly integrated to provide a powerful “music generation engine.
Using KARMA 194 Y ou can control the phrase or pattern by editing these parameters, or by assigning them to the KARMA CONTROLS sliders or KARMA SWITCH buttons and operating these during your performance. RTC Model All of the preset GEs have an internally-specified R TC Model.
Overview - What is KARMA? 195 you’re switching thr ough various GEs that have the same R TC Model, you will be able to control them in a uniform manner and make valid comparisons between them, since their default state will be the same. Of course, you are fr ee to edit the GE realtime parameters.
Using KARMA 196 KARMA CONTROLS sliders 1–8 KARMA SWITCHES 1–8 KARMA SCENES 1–8 When CONTROL ASSIGN is set to R.TIME KNOBS/ KARMA, these control the KARMA module(s) selected by MODULE CONTROL.
Overview - What is KARMA? Performing with KARMA 197 As an alternative to using the TEMPO knob or the T AP TEMPO switch, you can choose “ =” in the display , use numeric keys 0–9 to enter the tempo, and then press the ENTER switch. Y ou can also use the V ALUE controller to set the tempo.
Using KARMA 198 The note or chord you played in step 1 will be assigned to the pad, and the CHORD ASSIGN switch LED will go dark. 4. Press the pad to which you assigned a note or chord. The KARMA function will start playing according to the note or chord you assigned.
Overview - What is KARMA? Performing with KARMA 199 1. Operate the sliders and switches to edit the values saved in the program. 2. Hold down the RESET CONTROLS switch, and operate the slider or switch that you want to restore. The selected slider or switch will return to its stor ed setting.
Using KARMA 200 As you step through the combinations, you will notice that the KARMA ON/OFF switch LED is lit for some combinations. W ith these combinations, the KARMA function will begin playing when you play the keyboard or pads 1–8. Even for other combinations, you can press the KARMA ON/OFF switch (LED lit) to turn on the KARMA function.
Overview - What is KARMA? Performing with KARMA 201 The sliders and switches will control the pattern or phrase generated by the KARMA module selected by the MODULE CONTROL switch. If you’ve selected MASTER, you’ll be able to control the module on/off status and vary the patterns and phrases generated by all of the KARMA modules.
Using KARMA 202 GE (Generated Effect) selection Just as for a program, you can use the “GE Select” field to select the GE used by each module. (See “KARMA function settings in Combination mode.
Overview - What is KARMA? KARMA function settings 203 2. Specify the copy-source mode, bank, and number . If you want to copy the GE realtime parameter settings and scene settings from the copy-sour ce program, choose the “GE R TP Contr ol Settings & Scenes” option (checked).
Using KARMA 204 control ef fects, for example by turning on a delay effect in conjunction with a generated phrase. Use “CC Number” to specify the MIDI control change number . Choose one of the CC numbers in the 70’s which control the sound, or an AMS or Dmod source (see “7–2c: CC Of fset” on page 102 of the Parameter Guide).
Overview - What is KARMA? KARMA function settings 205 a certain degree of standar dization to the over 200 internal parameters of the GE. By default, GEs that have the same R TC Model will be preset with the same GE realtime parameters.
Using KARMA 206 Linking KARMA settings to Program changes KARMA settings can be saved individually for each Program. Normally , when you select a new Program, its KARMA settings will be loaded as well. In some cases, however , you may wish to try out different Programs while keeping the KARMA settings the same.
Overview - What is KARMA? KARMA function settings 207 how the KARMA modules play the timbres. These ar e the most important settings when using multiple KARMA modules in a combination. 1. Access the Combination P7: KARMA– GE Setup/Key Zones page. 2.
Using KARMA 208 KARMA module B: “Input Ch” = G ch, “Out Ch”= 03 The timbres played by the KARMA modules are shown in red, as specified by the timbr e’s MIDI channel setting and the KARMA module’s Out Channel setting. 3. For KARMA modules A and B, turn “Run” on (checked), and set “GE Select” to GE.
Overview - What is KARMA? KARMA function settings 209 W ith the appropriate “ASSIGN” settings, a GE realtime parameter of (for example) module A can controlled independently by Master and Module A.
Using KARMA 210 Auto Assign KARMA R TC Name (See “Auto Assign KARMA R TC Name” on page 139 of the Parameter Guide) Specifying the random seeds For each GE realtime parameter gr oup, you can specify whether the random seed (used to generate random values) will be shared between the four KARMA modules.
Overview - What is KARMA? KARMA function settings 211 command with IFXs , MFXs , and TFXs checked, and Multi REC Standby checked. For more information, see “Copy from Combination” on page 526 of the Parameter Guide.
Using KARMA 212 The trigger timing will be synchronized to sixteenth-note intervals of the sequencer beat. (See “Synchronizing the KARMA function” on page 213) 5.
Overview - What is KARMA? Synchronizing the KARMA function 213 Synchronizing the KARMA function Synchronization with a wave sequence If you want a KARMA module to synchronize with a currently-playing wave sequence (“Mode”= T empo), turn “Quantize T rigger” on (checked) so that it will synchronize to sixteenth-note intervals of the timing.
Using KARMA 214 Synchronization with MIDI realtime commands In Sequence mode, Song Start, Continue, and Stop messages that the OASYS receives will contr ol song playback and recor ding just as when you operate the front panel ST AR T/STOP switch.
215 Appendices T roubleshooting If you experience problems, r efer to the relevant item and take the appropriate measur es. Power supply Power does not turn on • Is the power cable connected to an outlet? For more information, see “Connections” on page 37.
Appendices 216 Audio input and output No sound Are connections made corr ectly to your amp, mixer , or headphones? For more information, see “Connections” on page 37 Is the connected amp or mixer powered-on, and is its volume raised? Is Local Control turned on? • In Global P1: MIDI, check the Local Control On check box.
Troubleshooting Programs and Combinations 217 • When you change the sampling frequency in S/P DIF Sample Rate (e.g., from 48 kHz to 96 kHz), two or three seconds will be required in order to lock to the new sampling frequency. Please wait until the sound is heard.
Appendices 218 Are the bank/numbers of the pr ograms used by the combination the same as when the combination was created? • If you have switched program banks, you can use the Change all bank references menu command to change the program bank for each timbre of a combination.
Troubleshooting Sampling 219 Are Assign , Pattern Select , and T rack set correctly? See “Using RPPR (Realtime Pattern Play/Record)” on page 1 12. If the MIDI Clock (Global P1: MIDI) parameter set to Internal or Auto? See “MIDI Clock (MIDI Clock Source)” on page 652 of the Parameter Guide.
Appendices 220 • If this is checked, RAM will be optimized automatically when sampling ends, meaning that the sound will stop when sampling ends. If a song is being played in Sequencer mode or if a CD is being played back, the playback will stop.
Troubleshooting Effects 221 Ef fects Effects are not applied Have you selected effect pr ogram 000? • Select an effect other than 000: No Effect for “IFX1– 12,” “MFX 1, 2” or “TFX 1, 2.
Appendices 222 • If you install a UDF version 1.5 compatible UDF reader or packet writing software on your computer, it will be possible to recognize the disc.
Media that can be used with the OASYS Types of media supported by the OASYS 223 Media that can be used with the OASYS T ypes of media suppor ted by the OASYS (as of April 2005) Internal hard disk Naturally , you can read and write data using the built- in hard disk.
Appendices 224 Note: If you have any questions regar ding the media that can be used, please contact your local Korg distributor . Y ou may also check the Korg website (http://www .
Specifications and options Operations that the OASYS can perform on media 225 Specifications and options Operating temperature +5 – +35 °C System OA (Open Architecture) Synthesis System Keyboard O.
Appendices 226 AL-1 Oscillators Ultra-low-aliasing oscillators, using a new design. OSC1, OSC2, Sub OSC, Noise Generator , Ring Mod, modulatable oscillator mix. Audio input Run real-time audio through the synthesis engine, including ring mod, filters, drive circuit, amp, and EQ.
Specifications and options Operations that the OASYS can perform on media 227 PolysixEX (Optional) CMT Modeling Uses Korg’ s CMT modeling, reproducing not only the sound but also the character and response cur ve of each parameter in a way that is completely faithful to the original model.
Appendices 228 Load/Save/Disk Utility/Audio CD Load, Save, Utility , Make Audio CD, Play Audio CD Data Filer functionality (Save and Load MIDI System Exclusive Data) CD-R/RW (UDF Format read/write), Record & Play audio CDs (CD-DA), ISO9660 Level 1 Controllers Joystick, V ector Joystick, Ribbon Controller , SW1/SW2.
Specifications and options Operations that the OASYS can perform on media 229 Audio Outputs Analog Main outputs: L/Mono, R Individual outputs: 1–8 1/4” TS (Mono), unbalanced, Master V olume slider controls only L/Mono and R Output Impedance 1.1k Ω stereo; 550 Ω mono (L/Mono only) Nominal Level +4.
Appendices 230 Options * Appearance and specifications of this product are subject to change without notice. (April/’05) Hardware EXB-DI Digital Inter face Board ADA T output: 24-bit, 8 channels, 4.
MIDI Implementation Chart Operations that the OASYS can perform on media 231 MIDI Implementation Char t MIDI Implementation Chart Date : 2004. 12. 4 OASYS *C *E, *5 *1 *1 *1 *1 *P Memorized [Open Arch.
Appendices 232.
K ORG INC. 4015-2 Yanokuchi, Inagi-city, Tokyo 206-0812 Japan © 2005 KORG INC. IMPORTANT NOTICE TO CONSUMERS This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used.
デバイスKorg OASYS musical instrumentsの購入後に（又は購入する前であっても）重要なポイントは、説明書をよく読むことです。その単純な理由はいくつかあります：
Korg OASYS musical instrumentsをまだ購入していないなら、この製品の基本情報を理解する良い機会です。まずは上にある説明書の最初のページをご覧ください。そこにはKorg OASYS musical instrumentsの技術情報の概要が記載されているはずです。デバイスがあなたのニーズを満たすかどうかは、ここで確認しましょう。Korg OASYS musical instrumentsの取扱説明書の次のページをよく読むことにより、製品の全機能やその取り扱いに関する情報を知ることができます。Korg OASYS musical instrumentsで得られた情報は、きっとあなたの購入の決断を手助けしてくれることでしょう。
Korg OASYS musical instrumentsを既にお持ちだが、まだ読んでいない場合は、上記の理由によりそれを行うべきです。そうすることにより機能を適切に使用しているか、又はKorg OASYS musical instrumentsの不適切な取り扱いによりその寿命を短くする危険を犯していないかどうかを知ることができます。
ですが、ユーザガイドが果たす重要な役割の一つは、Korg OASYS musical instrumentsに関する問題の解決を支援することです。そこにはほとんどの場合、トラブルシューティング、すなわちKorg OASYS musical instrumentsデバイスで最もよく起こりうる故障・不良とそれらの対処法についてのアドバイスを見つけることができるはずです。たとえ問題を解決できなかった場合でも、説明書にはカスタマー・サービスセンター又は最寄りのサービスセンターへの問い合わせ先等、次の対処法についての指示があるはずです。
