Kross operation Guide

Detailed Editing with Programs
Creating time-varying changes (LFO and EG)
33
Creating time-varying changes 
(LFO and EG)
Using LFOs
You can use the cyclic change produced by the LFO (Low 
Frequency Oscillator) to modulate numerous aspects of the 
sound.
Each Program has two LFOs: LFO1 and LFO2. There is also 
a single Common LFO, shared by both Oscillators. While 
LFO1 and LFO2 are separate for each voice, the Common 
LFO is shared by all voices in the Program. This makes it 
useful when you want all of the voices to have an identical 
LFO effect.
You can use these LFOs to modulate many different 
Program parameters, including:
• Pitch (for vibrato)
• Filters (for wah effects)
• Volume (for tremolo)
• Pan (for auto-panning)
The LFOs can modulate many other parameters, in addition 
to those listed above.
Using the basic LFO
1. Access the P-OSC LFO> 1. WAV page.
2. Select the oscillator (OSC) that you want to edit. (see 
page 30)
3. Select a Waveform.
Step through the various waveforms, and notice their 
shapes shown in the display.
There are a number of waveforms to choose from. Each 
are suited to different applications:
Triangle and Sine are the classic LFO shapes for vibrato, 
tremolo, panning, and filter wah effects.
Square is useful for gated on and off filter and amp 
effects, and can create trills when modulating pitch.
The Guitar waveform is designed especially for guitar 
vibrato; it bends only upwards from the base value.
Saw and Exp. (Exponential) Saw Down are good for 
rhythmic filter and amp effects.
Random 1 (S/H) creates the classic sample-and-hold 
effect, which is great for modulating a resonant filter.
4. After looking at the different waveforms, select 
Triangle.
5. Select the Shape parameter, and use the VALUE dial 
to move through its different settings, from –99 to +99.
Notice how the shape of the waveform becomes more 
curved, and how –99 emphasizes the lower part of the 
shape, and +99 emphasizes the upper part.
6. Select the Phase parameter, and use the VALUE dial 
to sweep through its range of values.
Notice how the waveform shifts from side to side. 
Among other things, this lets you offset the LFOs from 
one another in time, which can create interesting organic 
effects.
7. Use the Fade and Delay settings to control the way the 
LFO sounds at the beginning of the note.
8. Access the P-OSC LFO> 1. FRQ page.
9. Use the FREQUENCY parameter to set the speed of 
the LFO.
For more information on LFOs, please see page 39 of the 
Parameter Guide.
All of these parameters control the way that the LFO 
works. In order for the LFO to actually affect the sound, 
you can use the dedicated LFO routings on the Filter, 
Pitch, and Amp pages, or use the LFOs as AMS sources 
for a wide variety of parameters.
Using 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 Program includes three EGs, for Pitch, Filter, and Amp. 
These produce time-varying changes in pitch, tone, and 
volume respectively. They can also be used to modulate a 
number of other program parameters via AMS.
Note: The parameters that can be modulated by an EG and 
the range of values will differ depending on the EGs 
provided for each section.
Waveform
OSC
Level
Time
note-on
note-off
Start Level
Attack Time
Decay Time
Slope Time
Attack Level
Break Level
Release 
Level
Sustain Level
Release Time

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Playing and editing Programs
34
Diverse modulation settings 
(AMS and AMS mixer)
Using AMS
AMS (Alternate Modulation Source) lets you modulate 
program parameters using controllers, EG, or LFO as the 
modulation source. Extremely creative types of modulation 
are possible; for example, you can use a single controller to 
simultaneously modulate multiple parameters, or you can 
use an EG to modulate an LFO’s frequency and then use that 
LFO to modulate a filter.
AMS (Alternate Modulation Source) refers to any of the 
assignable modulation sources in KROSS, including:
• Controllers of the KROSS itself, such as the modulation 
wheel, the pitch bend wheel, and SW 1/2
• Incoming MIDI controllers
• Modulators such as the Filter, Pitch, and Amp EGs, the 
LFOs, or the AMS Mixers
Intensity is a parameter that sets the degree (speed, depth, 
amount etc.) of how AMS will control the modulation.
A number of frequently-used modulation routings, such as 
using the modulation wheel or the pitch bend wheel to vary 
the pitch, are provided as additional, dedicated routings, 
separate from AMS.
Note that not all AMS sources may be available for some 
modulation destinations. 
For details on alternate modulation and AMS, please see 
below.
• “Alternate Modulation Sources (AMS)” on page 281 of 
the Parameter Guide
• “Creating Vibrato” on page 35
• “Pitch EG” on page 35
• “Filter EG” on page 37
• “LFO modulation” on page 37
• “AMS (Pan)” on page 32 of the Parameter Guide
• “LFO1/2” on page 38
Using the AMS Mixers
The AMS Mixers combine two AMS sources into one, or 
process an AMS source to make it into something new.
For example, this lets you use an LFO to modulate a filter’s 
resonance while also modulating it by an EG. Although 
resonance has only one AMS input, using the AMS mixer 
makes this possible. You could also do things such as using 
the filter EG to control the amount of LFO1. The wide 
variety of other possibilities include using the modulation 
wheel to control the amount of pitch EG, allowing the pitch 
bend wheel to apply bend only to notes played while you 
hold down the foot switch.
The AMS Mixer outputs appear in the list of AMS sources, 
just like the LFOs and EGs. An AMS mixer’s output signal 
can be used to modulate a variety of parameters.
This also means that the original, unmodified inputs to the 
AMS Mixers are still available as well. For instance, if you 
use LFO 1 as an input to an AMS Mixer, you can use the 
processed version of the LFO to control one AMS 
destination, and the original version to control another.
Finally, you can cascade the two AMS Mixers together, by 
using AMS Mixer 1 as an input to AMS Mixer 2.
For details, please see “12: P–AMS MIXER” on page 45 of 
the Parameter Guide.
Tips for using AMS
When adjusting settings for alternate modulation, think of 
the effect that you wish to produce, what type of modulation 
will be necessary to produce that effect, and what parameter 
of the oscillator, filter, or amplifier needs to be controlled. 
Next, select a source AMS and set the Intensity. If you 
proceed logically in this way, you will achieve the desired 
effect.
For example in a guitar sound program where you want to 
use the modulation wheel to control the feedback, you would 
select assignments where the modulation wheel controls the 
filter frequency and resonance.
Controller Setup page
For each program, the function of the SW1 and SW2 buttons 
can be assigned in the P-INPUT/CTRL> CONTROLLERS 
page.
For details, please see “Setting the functions of SW1 and 
SW2” on page 39.

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