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
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.