Operation Guide
Please read this guide first
Operation Guide
Please read this guide first
IMPORTANT SAFETY INSTRUCTIONS
???Read these instructions.
???Keep these instructions.
???Heed all warnings.
???Follow all instructions.
???Do not use this apparatus near water.
???Mains powered apparatus shall not be exposed to dripping or splashing and that no objects filled with liquids, such as vases, shall be placed on the apparatus.
???Clean only with dry cloth.
???Do not block any ventilation openings, install in accordance with the manufacturer???s instructions.
???Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.
???Do not defeat the safety purpose of the polarized or grounding- type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. (for U.S.A. and Canada)
???Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.
???Only use attachments/accessories specified by the manufacturer.
???Unplug this apparatus during lightning storms or when unused for long periods of time.
???Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as
???Do not install this equipment far from a power outlet and/or power strip.
???Do not install this equipment in a confined space, such as a moving box or other enclosure.
???Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from
The lightning flash with arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsulated ???dangerous voltage??? within the product???s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.
The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.
CAUTION
Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent type.
THE FCC REGULATION WARNING (for U.S.A.)
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation.This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:
???Reorient or relocate the receiving antenna.
???Increase the separation between the equipment and receiver.
???Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.
???Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modi???cation to this system can void the user???s authority to operate this equipment.
CE mark for European Harmonized Standards
CE mark which is attached to our company???s products of AC mains operated apparatus until December 31, 1996 means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC). And, CE mark which is attached after January 1, 1997 means it conforms to EMC Directive (89/336/EEC), CE mark Directive (93/68/EEC) and Low Voltage Directive (73/23/EEC).
Also, CE mark which is attached to our company???s products of Battery operated apparatus means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).
iii
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.
When this device is moved to a location where the temperature is radically different, water droplets may condense on the hard disk. If the device is used in this condition, it may malfunction, so please allow several hours to pass before operating the device.
Do not turn the power on and off repeatedly. This may damage the OASYS.
This device begins to access the hard disk immediately after the power is turned on. Never turn off the power while the hard disk is
being accessed. Doing so can cause all or part of the data on the hard disk to be lost, or may cause malfunctions such as hard disk damage.
If the hard disk has been damaged due to incorrect operation, power failure, or accidental interruption of the power supply, a fee may be charged for replacement even if this device is still within its warranty period.
Handling of the cooling vents
The openings on the left and right sides of the unit are cooling vents. If the cooling is inadequate, operation may become unstable and the power supply may shut down. Be sure to place the unit so that the sides are at least 10 cm from a wall or similar object. Do not place any object near the cooling vents that might block them.
CAUTION FOR LASER
This product utilizes a laser.
Use of control, adjustment or performance of procedures other than those specified herein may result in hazardous radiation exposure.
Do not open covers and do not repair yourself. Refer servicing to qualified personnel.
Laser diode properties
Location of the required label.
Cautions when using the
???During CD reading and writing operations, keep the unit in a horizontal position.
???Do not use the unit in extremely cold or hot locations.
???Do not use the unit in extremely humid locations.
???Do not use the unit in dusty or smoky locations.
???Do not subject the unit to vibration or strong physical shock. In particular, this unit is vulnerable to shock during CD reading and writing operations.
???Normally, you will be able to open the CD tray by press- ing the eject button. However if this fails, you can forcibly eject the tray by inserting a thin object (such as a straight- ened paper clip) into the emergency eject hole.
???Do not store the unit in hot or humid locations.
???Never touch the focusing lens.
???Do not use commercially available lens cleaners.
???Do not transport the unit with a disc left in the tray.
???Do not leave the unit with the disc tray open.
Please observe the following points when handling discs. Failure to observe these points may cause problems such as data not being written correctly, loss of recorded data, or drive malfunction.
???Do not leave discs in direct sunlight, or in locations of high temperature or high humidity.
???Do not touch the surface of a disc. Hold a disc by its edges.
???Remove dust or dirt from the surface of a disc. To remove dust, use an air duster or cleaner.
???Do not af???x labels to a disc, or write on a disc in locations other than speci???ed.
???Do not use chemicals or detergent to wipe a disc.
???Do not bend or drop a disc.
Responsibility for loss of data
Korg Corporation will accept no responsibility for any dam- ages (direct or indirect, whether sustained by the customer or by a third party) resulting from loss of or damage to data written on a
Regarding the LCD screen
The LCD screen of the OASYS is a precision device created using extremely high technology, and careful attention has been paid to its product quality. Although you may notice some of the issues listed below, please be aware that these are due to the characteristics of LCD screens, and are not mal- functions.
???There may be pixels in the screen that are always dark (unlit) or always bright (lit).
???Depending on the displayed content, the brightness of the screen may appear uneven.
???Depending on the displayed content, horizontal stripes of shading may be visible.
???Depending on the displayed content, ???ickering or moire patterns may be visible.
iv
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.
Also, when digitally recording copyrighted audio material from a DAT or CD etc., you must obtain permission for use. Please be aware that Korg will accept no responsibility for any copyright violations which may occur through your use of this product.
COPYRIGHT WARNING
This professional device is intended only for use with works for which you yourself own the copy- right, for which you have received permission from the copyright holder to publicly perform, record, broadcast, sell, and duplicate, or in connection with activities which constitute ???fair use??? under copy- right law. If you are not the copyright holder, have not received permission from the copyright holder, or have not engaged in fair use of the works, you may be violating copyright law, and may be liable for damages and penalties. If you are unsure about your rights to a work, please consult a copyright attorney. KORG TAKES NO RESPONSIBILITY
FOR ANY INFRINGEMENT COMMITTED
THROUGH USE OF KORG PRODUCTS.
Korg accepts no responsibility for any direct or consequential damages that may occur due to the use of or the inability to use any of the system software including the above software.
Linux is a trademark or registered trademark of Linus Tor- valds in the United States and in other countries.
*KARMA?? (Kay Algorithmic Realtime Music Architecture) Technology has been licensed from Stephen Kay, and is protected by U.S. Patents 5,486,647, 5,521,327, 6,084,171, 6,087,578, 6,103,964, 6,121,532, 6,121,533, 6,326,538, and 6,639,141. Other patents pending.
*KARMA?? and the KARMA Logo are registered trade- marks, and Generated Effect??? (GE), Melodic Repeat???, Direct Index???, Manual Advance???, SmartScan???, Freeze Randomize???, Random Capture???, Random FF/REW??? and Scene Matrix??? are trademarks of Stephen Kay, Karma Lab LLC. This manual copyright ??
*Screen shots from the KARMA software that appear throughout this guide are ??
*KARMA Technology can be located on the internet at:
*This product was developed under license of physical modeling tone generator patents (http://www.sondius- xg.com) owned by Stanford University USA and Yamaha Corporation.
*Company names, product names, and names of formats etc. are the trademarks or registered trademarks of their respective owners.
Korg OASYS Notice: Use of GPL and
LGPL software
This product uses the Linux kernel and some GNU utilities. This software is licensed by its copyright holder according to the GNU GPL (General Public License).
The Korg OASYS software contained in this product is dy- namically linked with some software libraries subject to the LGPL (Lesser GPL) license.
Copies of the GPL and LGPL licenses, as well as the source code for the software covered under those licenses, are pro- vided on the included
The complete list of software covered under the GPL, LGPL, and other free or
???These ???les are provided in accordance with the spirit of free software, and are not required in order to use this product.
???You cannot access these ???les directly from the OASYS. To read them, you will need to use a separate computer run- ning Windows, MacOS, Linux, or any other operating sys- tem capable of reading standard text ???les and tar, gzip, and bzip2 archives.
The Korg OASYS software is copyright Korg Inc., and is in- dependent of Linux. Its use is covered by the Korg OASYS Software License, described elsewhere in the documentation. The GPL license does not apply to this software, and its source code is not provided.
v
Thank you for purchasing the Korg OASYS Open Architecture Synthesis Studio. To help you get the most out of your new instrument, please read this manual carefully.
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 Restore CD 1/4, and are included in the
The top of the Help page has ???breadcrumb??? links, which show the hierarchy of pages above the current one. Touch any of these links to jump to the corresponding page.
The backwards and forwards buttons function like the similar buttons on a standard web browser. If you use links to jump between pages, you can then use the backwards and forwards buttons to move through the pages you???ve already viewed.
Operation Guide
Please read this ???rst. It explains the names and functions of each part of the OASYS, how to make connections, basic operation, an overview of each mode, how to edit sounds, how to record on the sequencer, and how to sample. This guide also explains the KARMA function, effects, wave sequences, and drum kits.
The Operation Guide also contains troubleshooting information, and supplemental information such as speci???cations.
Parameter Guide
The Parameter Guide contains explanations and other information regarding the operations of the parameters and settings on the OASYS.
The explanations are organized by mode and page. Separate Effects and KARMA sections include explanations of the individual parameters of each effect and each KARMA GE.
Refer to this guide when an unfamiliar parameter appears in the display, or when you need to know more about a particular function.
The Parameter Guide also contains a Voice Name List that lists the multisamples, drum samples, combinations, programs, drum kits, and KARMA settings that are in the OASYS when it is shipped from the factory.
PDF versions
The OASYS PDF manuals are designed for easy navigation and searching. They include extensive PDF contents information, which generally appears on the side of the window in your PDF reader and lets you jump quickly to a speci???c section. All
The Contents page lets you access any part of the Help system, including almost all of the text and graphics in both the Parameter and Operation Guides. The Index contains a shorter list of links to important articles.
Conventions in this manual
References to the OASYS
The OASYS is available as an
Abbreviations for the manuals: OG, PG, VNL
In the documentation, references to the manuals are abbreviated as follows.
OG: Operation Guide
PG: Parameter Guide
VNL: The Voice Name List, included in the Parameter Guide
Procedure steps 1. 2. 3. ???
These indicate the steps of a procedure.
Symbols 
, 
, Note, Tips
These symbols respectively indicate a caution, a MIDI- related explanation, a supplementary note, or a tip.
Example screen displays
The parameter values shown in the example screens of this manual are only for explanatory purposes, and may not necessary match the values that appear in the LCD screen of your instrument.
The HELP button gives you
For information on any
For information on the current LCD page, press and release the HELP button.
While the help page is on the screen, you can touch any of the
vi
CC# is an abbreviation for Control Change Number.
In explanations of MIDI messages, numbers in square brackets [ ] always indicate hexadecimal numbers.
Contents
About this manual. . . . . . . . . . . . . . . . . . . . . . . vi
Quick Start . . . . . . . . . . . . . . . . . . . . . . 1
Quick Start . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1
Introduction to OASYS. . . . . . . . . . . . . . 9
Main Features . . . . . . . . . . . . . . . . . . . . . . . . . . 9
Open Architecture Synthesis Studio . . . . . . . . . . . . 9
Front and rear panels . . . . . . . . . . . . . . . . . . . 18
of objects on the LCD display. . . . . . . . . . . . . . . . . 27
Basic Information . . . . . . . . . . . . . . . . . . . . . . 30
Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37
Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Turning the power on/off . . . . . . . . . . . . . . . . . . . 40 Using the
Playing and editing Programs . . . . . . . 43
Knobs and Switches . . . . . . . . . . . . . . . . . . . . . . . . . 51 Detailed Editing with
into Sequence mode . . . . . . . . . . . . . . . . . . . . . . . . . 66
Creating songs (Sequencer mode) . . . . 77
Overview - About the OASYS??? sequencer. . . . . 77
Sequencer mode structure . . . . . . . . . . . . . . . . . . . 77
Playing Songs. . . . . . . . . . . . . . . . . . . . . . . . . 79
MIDI recording . . . . . . . . . . . . . . . . . . . . . . . . 83
Preparations for recording . . . . . . . . . . . . . . . . . . . 83 Recording MIDI in
of a Combination or Program . . . . . . . . . . . . . . . . 90 Recording multiple MIDI tracks from
Audio recording . . . . . . . . . . . . . . . . . . . . . . . 96
OASYS??? hard disk recorder . . . . . . . . . . . . . . . . . . 96 Audio input settings
in Sequencer mode. . . . . . . . . . . . . . . . . . . . . . . . . 116
Sampling (Open Sampling System) . . 119
and Sequencer modes . . . . . . . . . . . . . . . . . . . . . . 141
(Global mode) . . . . . . . . . . . . . . . . . 147
vii
Using Wave Sequences . . . . . . . . . . . . . . . . .151
Using Drum Kits . . . . . . . . . . . . . . . . . . . . . . .159
and creating CDs . . . . . . . . . . . . . . . 163
Saving data . . . . . . . . . . . . . . . . . . . . . . . . . .163
Loading data from disk . . . . . . . . . . . . . . . . .171
Creating and playing audio CDs . . . . . . . . . . .175
Other disk operations . . . . . . . . . . . . . . . . . .178
Viewing information about media ???
Other functions . . . . . . . . . . . . . . . . . . . . . . .180
and the REALTIME KNOBS. . . . . . . . . . . . . . . . . 180 Adjusting the brightness, contrast,
Using Effects . . . . . . . . . . . . . . . . . . 183
and Common FX LFO . . . . . . . . . . . . . . . . . . . . . . 191
Using KARMA . . . . . . . . . . . . . . . . . 193
Overview - What is KARMA? . . . . . . . . . . . . .193
viii
Appendices . . . . . . . . . . . . . . . . . . . .215
Troubleshooting. . . . . . . . . . . . . . . . . . . . . . . 215
Media that can be used with the OASYS. . . . . 223
Types of media supported by the OASYS . . . . . .223 Operations that the
OASYS can perform on media. . . . . . . . . . . . . . . .223
Quick Start
Quick Start
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.
It explains how to set up the OASYS, how to select programs and control the sound, how to listen to the demo songs, and the new features of the latest software update.
Setup
1.Connect the OASYS to your mix or monitor system.
Connect the OASYS??? AUDIO OUTPUT (MAIN) L/MONO and R jacks to your mixer or ampli???ed monitor speakers.
If you???re monitoring through headphones, connect them to the headphone jack located on the left front of the OASYS. The headphones will output the same sound as the AUDIO OUTPUT (MAIN) L/MONO and R jacks.
2.Connect the power cable.
First connect the included power cable to the OASYS??? power connector.
3.
Press the rear panel POWER switch to turn on the power. Wait until the opening screen has ???nished being displayed.
4.Lower the VOLUME slider, and gradually raise it to an appropriate volume.
Playing Programs and Combinations
With the factory settings, Combination mode will be selected when you turn on the power.
Play the keyboard, and you will hear the sound of bank
A combination consists of up to sixteen programs that are split and/or layered. It also uses up to four KARMA modules simultaneously (a program can use only one KARMA module), letting you produce far more complex sounds than a program.
Although you could simply continue selecting different combinations and playing them, let???s start by selecting and listening to the ???basic??? sounds of the OASYS ??? programs.
Selecting Programs by bank and number
1.Press the MODE PROGRAM switch (the LED will light) to enter Program mode.
The upper left of the LCD screen shows the name of the current page, PROGRAM P0: Play. This is the page in which you will normally play programs.
1
Quick Start
Program Select Category Popup button
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 program number and program name (???Program Select???).
In this state, you can press the 
/
switches to select the next or previously numbered program.
You can turn the VALUE dial to switch programs in larger steps.
Tip: If you???ve pressed the LCD screen to move to another page, pressing the EXIT switch up to four times will return you to the state in which you can select programs.
3.Use the BANK SELECT INT
Selecting Programs by Category
There are other ways to select programs, but here we???ll explain how to select programs by their category, such as keyboard, organ, bass, or drum sounds.
For other ways to select programs, see ???Selecting Programs??? on page 43.
1.In the LCD screen, press the Category popup button.
This is the rectangle located above the program name.
A menu will appear.
2. Use the tabs at the left to select a category.
The space on the right will then show all of the Programs in that category, in all of the internal banks. If you like, you can use
3.After selecting a category, you can then press one of the inner tabs to select a
You won???t be able to select a category or
4. Select a program from the list.
You can either press a program within the list, or use the 
/
switches.
5.If not all the items in the list can be shown in the screen, use the scroll bars to view the rest of the list.
6.When you???ve found a program you like, press the OK button to close the dialog box. Then go ahead and play the selected program!
Program Bank Contents
OASYS ships from the factory with over a thousand Programs loaded into memory. Another 768 Program slots are left open (???initialized???) for your own programming, or additional sound libraries. All of the factory Programs can be
As shipped from the factory, the contents of the Program Banks are as follows:
Program bank contents
*1 The factory Programs in
The factory Combinations in
With the
For details on how to load EXs data, see ???Selecting which EXs PCM data is loaded??? on page 32.
*2 You can press the INT G switch repeatedly to cycle through banks GM, g(1)???g(9), and g(d).
Selecting combinations
1.Press the MODE COMBI switch (the LED will light) to enter Combination mode.
Once you???re in Combi mode, you can select and play Combinations in the same way as you did Programs. For more details, see ???Selecting Programs by bank and number??? on page 1 and ???Selecting Programs by Category??? on page 2.
2
Quick Start Playing Programs and Combinations
page by pressing the Control Surface tab located in the lower right of the LCD screen.
Combination Bank Contents
As shipped from the factory, the contents of the Combination Banks are as follows:
Combination bank contents
Using controllers to vary the sound
1.Numerous controllers are located in the left side of the OASYS??? front panel.
While you play the keyboard, operate the group of controllers located at the far left ??? the joystick, vector joystick, ribbon controller, and SW1/SW2 switches ??? to vary the sound.
The result will differ for each program or combination, so try them all out to see what each controller does for the particular program or combination you???ve selected. For details on these controllers, see ???Using Controllers??? on page 45.
2.Next, notice the
This is called the ???control surface.??? You???ll use it in a variety of ways, such as editing sounds, controlling the KARMA function, or sending MIDI messages to an external device.
Here we???ll explain the R.TIME KNOBS/KARMA functionality of the control surface. Press the
CONTROL ASSIGN R.TIME KNOBS/KARMA switch (the LED will light). Now you can use the knobs to modify the sounds and effects, or use the sliders and switches to control the KARMA function.
You can perform these control operations by operating the knobs, switches, and sliders themselves. However, the LCD screen can also show a screen containing the same controller functions and values. Access the Control Surface
When you operate a controller, the corresponding object in the LCD screen will move in the same way.
When you turn the eight knobs located at the top of the control surface, the assigned function will occur, and the sound will change accordingly.
Using controllers to vary a KARMA phrase
1.If R.TIME KNOBS/KARMA is selected by the CONTROL ASSIGN buttons, the sliders and switches will control the KARMA function.
If the KARMA function is turned off, press the KARMA ON/OFF switch to make the LED light.
When you play the keyboard or pads, the KARMA function will begin generating a phrase.
2.The control surface???s KARMA CONTROLS
You can press the KARMA SCENE
The KARMA GE page gives you a more detailed picture of the settings. Press the KARMA GE tab to access this page. This page shows the GE (Generated Effect) that???s selected for the KARMA module, the time signature for the pattern that???s being generated, and the KARMA CONTROLS assignments.
3
Quick Start
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 COMPARE switch (the LED will light), the saved settings for that program will be recalled. Press the COMPARE switch once again to return to the edited settings (the LED will go dark).
You can also hold down the UTILITY RESET CONTROLS switch and operate the vector joystick, a control surface slider or knob, or CONTROL ASSIGN switch to recall the saved settings. You can also do the same for KARMA. For more information, see ???Resetting controls to their saved values??? on page 47.
We hope you enjoyed your quick introduction to the OASYS. There are so many programs and combinations that you probably didn???t actually ???nish playing them all, so why not take a break from playing, and take some time to listen to the OASYS??? demo songs.
Listening to the demo songs
Loading the demo song data in Disk mode
1.Press the MODE DISK switch (the LED will light) to enter Disk mode.
2.Access the Disk??? Load page. Press the File tab and then the Load tab.
3.Use ???Drive Select??? to select HDD.
The contents of the hard disk will appear.
4.Choose the Preload.SNG ???le.
This ???le contains demo song data.
PRELOAD.SNG is located in the following directory.
FACTORY ??? PRELOAD.SNG
Press the Open button to move to a lower directory, and press the Up button to move to the directory above the
Load tab
5. Press the Load button to open the dialog box.
6.Select the ???Load PRELOAD.PCG too??? and ???Load PRELOAD.KSC too??? check boxes so that the .PCG ???le and .KSC ???le will be loaded along with the
.SNG ???le.
PRELOAD.PCG contains preloaded data for programs, combinations, drum kits, and wave sequences.
PRELOAD.KSC contains sample data for the programs used by the demonstration songs.
Set the ???Select .SNG Allocation??? and ???Select .KSC Allocation??? option buttons to Clear. With the Clear setting, all currently loaded RAM multisamples and samples will be erased, and the song data will be loaded in the same con???guration as when it was saved. (In contrast, the Append setting will preserve any existing data, and load the songs following the existing data.)
If you???ve edited any of the above data already, or created new data, executing this Load operation will overwrite and erase this data. If there???s any data you need to keep, save it on the internal hard disk or a USB storage media before you proceed.
7. Press the OK button to execute the Load operation.
4
Quick Start Listening to the demo songs
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 Track Prog Select/Mixer page.
If this page is not displayed, press the EXIT switch. Although the exact number will depend on the page you???re in, pressing the EXIT switch no more than three times will take you to the top page of P0.
Popup Song Select
3.Let???s start by listening to song S000.
Verify that song S000 is selected. If another song is selected, press the song name display area (???Song Select???) to highlight it. Then press the numeric key 0, and then the ENTER switch.
4.Press the SEQUENCER START/STOP switch.
The LED will blink, and the song will begin playing back.
5.If you want to stop playback
6.Let???s listen to the next song.
Press the song name display area (???Song Select???). Press numeric key 1, and then press the ENTER switch. (Song ???S001??? will be selected.)
Alternatively, you can press the round button (Song Select popup) located at the left of the song name, and a list of song names will appear. Select a song, and press the OK button.
7.Press the SEQUENCER START/STOP switch to begin playback. To stop playback, press the same switch once again.
This completes our quick start.
Of the OASYS??? wide range of functionality, this operation guide explains how to use some of the most typical operations. We highly recommend that you take the time to read it completely.
When you???ve ???nished working with the OASYS, press the rear panel POWER switch to turn off the power.
When you turn off the power, the programs and combinations etc. will revert to the state in which they were before you edited them. If you want to keep your edited settings, you???ll need to Write them. For more information, see ???Saving your edits??? on page 54.
Similarly, the songs and demo songs, as well as the user multisamples and samples used by these songs, will disappear when you turn off the power. If you want to use these songs, user multisamples, and samples the next time you turn on the power, you???ll need to load them again.
5
Quick Start
New features in software version 1.2
OASYS software version 1.2 adds a number of new features, including increased polyphony for the
Finally, we added AMS modulation for all original MS- 20 controls, plus four additional EGs, four additional LFOs, and four AMS mixers. Of course, the
For more information, see ???EXi:
New EXi option: Legacy Analog
The Legacy Analog collection for OASYS features enhanced versions of two classic Korg analog synths, using Korg???s proprietary CMT (Component Modeling Technology): the
Much more than simple
Demo mode and authorization
A demo version of the Legacy Analog collection is installed with OASYS software version 1.2, and new Programs using the
In demo mode, you can play, edit, and save Programs, Combis, and Songs which use the new
To purchase an authorization code, and to download additional, free banks of Legacy Analog sounds, go to www.korguser.net. Once purchased, you can enter the authorization code on the new
For more information, see ???Global P6:
The
To this core, we added all of the features ???rst introduced in the Korg Legacy
Then, we made signi???cant,
The Patch Panel itself is also more ???exible, with two new mixers for merging and scaling signals, and unlimited ???mults,??? so that each output can be connected to multiple inputs. Like the original
PolysixEX
The PolysixEX is a
When designing the PolysixEX, we started with a faithful reproduction of the features and sonic character of the classic Korg Polysix. These include a VCO and
Next, as with the
Finally, we added AMS modulation for all original Polysix knobs and switches, plus two additional EGs, two additional LFOs, and four AMS mixers.
Of course, the PolysixEX has access to all standard EXi Program features, including dual key tracking generators, the Common LFO and Common Step Sequencer, Vector, KARMA, EQ, and effects.
These additional features open up expressive and timbral possibilities far beyond the original
For more information, see ???EXi: PolysixEX??? on page 307 of the Parameter Guide.
What is CMT?
Korg???s CMT (Component Modeling Technology) creates virtual instruments that are indistinguishable from the original. CMT takes an organic approach to modeling, reproducing not only the sound but also the character and response curve of each parameter, so that the results are completely faithful to the original model.
CMT???s cloning of the entire instrument, based on an intimate knowledge of the original analog circuits, ensures that every nuance is
6
Quick Start New features in software version 1.1
Increased polyphony for the
As part of our continued re???nements to the OASYS system, you can now play more voices of the
The updated
Unison enhancements
Unison has been improved in several ways, for both
For more information, see ???Unison??? on page 34 of the Parameter Guide.
Max # of Notes
The new Max # of Notes parameter lets you model the
For more information, see ???Max # of Notes??? on page 33 of the Parameter Guide.
Improved parameter smoothing
Since its initial release, OASYS has used several different smoothing processes to minimize ???steppiness??? on knobs, sliders, and controls. These processes have been further improved, via a new adaptive smoothing algorithm.
Tone Adjust is now smoothed as well, so that you can use this Control Surface mode for performance as well as editing. Many parameters are also now smoothed even when edited from the LCD.
Chord mode
The original Polysix had a fun, cool Chord function, which let you store a chord and then transpose it by playing single notes on the keyboard. We thought this was such a good idea that we integrated it throughout the OASYS system. You can now enable Chord mode for any
Chord mode is integrated with the Drum/Chord Pads. Just as before, you can store up to
A new Chord SW function lets you enable and disable Chord mode from SW1, SW2, or the Assignable Foot Switch.
Chord mode can duplicate the way that the Polysix chords worked, but it can also use all of the Voice Assign options to create different
For more information, see ???Using Chord mode??? on page 49, and ???Chord??? on page 34 of the Parameter Guide.
New features in software version 1.1
OASYS software version 1.1 added a number of new features, including the
New EXi:
As the ???rst EXi update for OASYS, the
For more information, see ???EXi:
Support for up to 2 GB of RAM
OASYS now supports up to 2 gigabytes of RAM, which can be used for RAM and EXs samples. Among other things, this means that you may now load both EXs1 and EXs2 at the same time, if desired.
For more information, see ???Installing memory??? on page 1038 of the Parameter Guide, ???Expansion Sample Setup??? on page 684, and ???Sampling and RAM??? on page 563 of the Parameter Guide.
Supported DRAM DIMM modules
The OASYS has two DIMM sockets. One slot is occupied by
Some
Speci???cations:
7
Quick Start
PC2700 (DDR333 CL2.5)
PC3200 (DDR400 CL3)
Capacity for the additional DIMM: 512MB or 1GB
DRAM DIMM is not a manufacturer option. Please use
If you have any questions regarding the type of DRAM DIMM modules that can be used, please contact your local Korg distributor.
EXi audio input
OASYS now includes standard parameters for routing audio into EXi instruments. You can use this for processing live or recorded inputs through EXi synthesis engines, or for creating feedback loops.
Initially, these features are supported by the new STR- 1. For more information, see
For information on using audio input with the
New AMS Mixer type: Gate
This new Mixer Type lets you set up two different AMS sources (or ???xed AMS amounts), and then switch between the two using a third AMS source.
It???s similar to an audio gate with a
Among other things, you can use this to apply pitch bend to some notes, but not to others, based on the state of a controller at
For more information, see ???Gate??? on page 93 of the Parameter Guide.
In the previous OASYS software,
For more information, see
Footswitch can control Inc/Dec
You can now assign the 
or Dec 
buttons. This can be convenient in certain live performance situations. For more information, see ???Using a footswitch to select Programs??? on page 45, and ???Foot Switch Assignments??? on page 981 of the Parameter Guide.
8
Introduction to OASYS
Main Features
Open Architecture Synthesis Studio
The OASYS features the OA (Open Architecture) synthesis system, which offers all the bene???ts of a variable software system backed by the hardware integrity that can only come from a
Currently, the OASYS includes sophisticated PCM sample playback including Wave Sequencing and Vector Synthesis (the
The optional
The OASYS ???s Open Architecture is designed to enable future options to further expand the instrument???s capabilities, including additional EXi expansion instruments, EXs expansion samples, and EXf expansion effects.
The OA (Open Architecture) synthesis system together with KARMA, a sixteen track MIDI sequencer and sixteen track hard disk recorder, a sampler, control surface, and a keyboard with great response are all tied together by a
Detailed Speci???cations
???Synthesis methods:
???Maximum polyphony *1 *2:
PolysixEX: 172 voices
???PCM sampling method:
???Preset PCM: 314 MB (1,505 multisamples, 1,338 drum samples)
???EXs1 ROM Expansion: 313 MB (229 multisamples, 1,483 drum samples)
???EXs2 Concert Grand Piano: 503 MB (10 multisamples)
???PCM RAM: Up to about 1.5GB, depending upon the installed RAM and currently loaded EXs samples; see ???Sampling and RAM??? on page 119 for more information.
???Wave sequences: 374 user memories, 150 preloaded
*1) The actual maximum polyphony depends on the oscillator settings for stereo multisamples, velocity crossfading, wave sequence crossfading, and double mode.
*2) If multiple synthesis methods are being used simultaneously, the required number of voices of polyphony will automatically be allocated by the system as necessary.
PCM synthesis engine ???
The
The PCM waveforms are
Each voice has oscillators (two oscillators allowing
Each voice (oscillator, ???lter, amp, etc.) provides a generous array of modulation functions and parameters, letting you construct intricate and rich sounds.
The EXs2 Concert Grand Piano extended PCM library consists of a lavish 503 MB of long stereo samples, captured for each key at four levels of dynamics. In addition, the
Staple ensemble sounds such as strings and brass use stereo sampling to capture their natural spaciousness, with a rich variety of articulations such as tremolo,
9
Introduction to OASYS
pizzicato, and sforzando, as well as
Reed instruments such as sax and oboe were sampled for extended times to include
The drums that are so important for the overall character of a track also use stereo sampling, with long samples that capture the natural decay and
Wave sequencing ??? generating textured tones or rhythmic sounds
In addition to simply playing back the PCM waveform, the
Wave sequencing successively switches through PCM waveforms, crossfading between different sounds to create textured tones or rhythmic sound designs. Made famous on Korg???s WAVESTATION, wave sequencing has been redesigned to be even easier and more creative than ever.
You don???t have to stop with simply playing back PCM waveforms in succession ??? you can freely specify the timing, length, and pitch of each waveform. The timing at which waveforms are switched can even be synchronized to the tempo. You can also use AMS (Alternate Modulation Sources) to obtain sound design possibilities that are completely unthinkable for a conventional PCM synthesizer; for example, you can use the output of an envelope generator to control the timing at which waveforms are switched.
Advanced Vector Synthesis ??? create not only sounds, but also sound ???elds
The OASYS includes Advanced Vector Synthesis, which lets you synthesize spatial
In Combination mode, you can assign each timbre to one of the four directions (up, down, left, or right), and use the
In Program mode, you can use this for realtime control over the balance between oscillators 1 and 2 or for controlling effects, giving you a powerful tool to create sounds with dynamic movement.
In addition to controlling the Vector position manually in realtime, you can use the
Ultra
Because of its power and conceptual ease of understanding, subtractive synthesis (the technique of creating sound by selectively removing portions from
an
The ???lter section of the
The amazing power of the OA (Open Architecture) synthesis system produces natural and beautiful ???ltering that does not weaken the sound, delivering smooth ???lter sweeps and resonance.
The amp of the OASYS contains driver circuitry that covers a wide range of distortion, from the mild and warm overdrive characteristic of classic analog synthesizers, to the sharp distortion produced by audio signal feedback.
In addition, the key tracking generator allows the ???ltering to vary according to the keyboard range; you can apply subtle ???ltering for convincing simulation sounds, or aggressive ???ltering that produces drastic changes in ???ltering as you play up or down the keyboard.
Dive into an ocean of creative potential ??? ???exible modulation routing, EG, LFO, and AMS
OASYS takes advantage of its lavish amount of available processing power to produce
EGs allow you to specify how the sound develops over time, from its onset to its end. The
The
Korg???s AMS (Alternate Modulation Sources) give you a rich array of modulation possibilities, with 52 different modulation sources you can use to control the sound in complex ways. The OASYS takes this classic Korg feature even further, via the AMS Mixers. These let you create even more detailed modulation designs, such as mixing two modulation sources together, multiplying one modulation source by another, or modifying the shape of the modulation source in various ways.
Detailed Speci???cations
???Advanced Vector Synthesis: Use the vector joystick and vector envelope (tempo synchronization
10
Main Features Open Architecture Synthesis Studio
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
???Filter: Two
???Driver: One
???EQ:
???Modulation: For each voice, two envelope generators (Filter and Amp), two LFOs, two key tracking generators (Filter and Amp), and two AMS mixers
???Other: Pitch EG, common LFO, two common key tracking generators
An effects section with up to sixteen effects available simultaneously
The OASYS provides twelve insert effects, two master effects, and two total effects, all available simultaneously, and all providing stereo input and output. There???s also a Common LFO that can be shared by these effects, for example to synchronize the modulation of separate types of effect such as phaser and chorus.
The
Eight types of chorus (including
These effects can be con???gured easily and ef???ciently using the OASYS??? powerful mixer that gives you complete routing ???exibility.
You can also apply effects while sampling or during hard disk recording.
What is REMs 
* ?
(Resonant structure and Electronic circuit Modeling System) is Korg???s proprietary technology for digitally recreating the numerous factors that produce and in???uence a sound, ranging from the sound- production mechanisms of acoustic instruments and electric/electronic musical instruments, to the resonances of an instrument body or speaker cabinet, the sound ???eld in which the instrument is played, the
propagation route of the sound, the electrical and acoustic response of mics and speakers, and the changes produced by vacuum tubes and transistors.
Detailed Speci???cations
???Insert effects: 12 processors, stereo in/out
???Master effects: 2 processors, stereo in/out
???Total effects: 2 processors, stereo in/out
???Timbre EQ:
???Effect types: 185 (every effect type is available for Insert, Master, or Total effect processors)
???Modulation: Dynamic Modulation, Common LFO
???Effect control bus: Stereo side chain (compressor, gate, vocoder, etc.)
???Rec bus: two stereo buses (routing settings for recording and sampling)
Programs, combinations and drumkits
The carefully constructed programs and combinations take full advantage of the OASYS??? synthesis engine, KARMA function, control surface, vector joystick, and other controllers.
The drum programs utilize long stereo samples to ensure natural decays, especially for cymbals. Velocity crossfading allows seamless changes in playing dynamics, giving you a full range of expression from delicate to dynamic. Drum kits are used by assigning them as the oscillator for a program.
Programs/combinations/drumkits:
???1,664 user memory programs (904: 640
???1,792 user memory combinations (384 preloaded)
???152 user memory drumkits (40 preloaded)
???256 GM2 preset programs + 9 GM2 drum preset programs
Detailed Speci???cations: Programs
See:
??????PCM synthesis engine ???
???
???
???
???
Detailed Speci???cations: Combinations
???Timbres: 16 timbres, with keyboard and velocity splits, layers, and crossfades
???Master keyboard functionality: control external MIDI devices
???Tone Adjust: adjust the sound of each timbre???s Program
???Advanced Vector Synthesis: Use the vector joystick or vector envelope (tempo synchronization available) to control each oscillator???s volume, synth parameters, and effect parameters
11
Introduction to OASYS
Detailed Speci???cations: Drumkits
???Stereo or mono drum samples
???
KARMA SWITCHES
Open Sampling System
KARMA
The OASYS??? KARMA (Kay Algorithmic Music Architecture) function is an enhanced version of the Korg KARMA Music Workstation. Based on the notes and chords you play, KARMA instantly generates phrases and patterns of MIDI data, and you can create highly sophisticated musical changes simply by operating the KARMA realtime controls.
KARMA is an algorithmic MIDI data generation technology that does not simply generate MIDI data in a
The heart of KARMA consists of GEs (Generated Effects) and KARMA modules. A GE is an algorithm that takes the notes and chords you play, and generates phrases, patterns, and tonal changes in response. The OASYS provides a generous assortment of 2,048 preset GEs. The vast number of GEs are organized into 12 categories according to their purpose, for quick and easy selection.
In Program mode you can use one KARMA module, and in Combination and Sequencer modes you can use up to four KARMA modules. You can store up to eight ???scenes??? ??? sets of parameter settings that determine how the KARMA modules generate performance data
??? and switch between them as desired. Additionally, you can use the control surface of the panel to control the KARMA function in realtime. Virtually in???nite performance possibilities are at your ???ngertips.
Module Control functionality lets you control each KARMA module separately or together. The new RTC model automatically
Note Map Tables let you obtain a rich palette of variations from even a single GE. The Scene Matrix function gives you centralized management of the eight scenes maintained by each KARMA module. The new KARMA Wave Sequence functionality uses KARMA to switch between multisamples of a PCM oscillator.
The KARMA function on the OASYS has been reborn to a completely new level of power, functioning as a supplementary musical brain that will assist you in everything from production to performance.
Detailed Speci???cations
???KARMA modules: 1 module in Program mode, 4 modules in Combination and Sequencer modes
???GEs (Generated Effects): 2,048 presets
???Controllers: ON/OFF, LATCH, CHORD ASSIGN,
MODULE CONTROL, KARMA REALTIME CONTROL SLIDERS
Mono/stereo sampling
The OASYS provides
The amount of RAM available for sampling depends upon the currently loaded EXs samples, as described under ???Sampling and RAM??? on page 119. When there is 500MB of RAM available, for instance, you can sample up to approximately 91 minutes (monaural) or 45 minutes 30 seconds (stereo).
When sampling to the internal hard disk, a single sample ???le can be up to 80 minutes long for either monaural or stereo. Samples recorded to the hard disk can be loaded into RAM memory and used as tone generator waveforms.
You can load sample ???les in AIFF, WAVE, AKAI S1000/ 3000, or Korg formats; all will be handled as Korg format data once they are loaded. You can also export sample data as AIFF or WAVE ???les. You can use the internal
Open Sampling System ??? take advantage of each mode???s functionality while sampling
The OASYS lets you sample or resample not just in Sampling mode, but also in Program, Combination, and Sequencer modes. In Sequencer mode, the In- Track Sampling function lets you sample an external audio input source while the song plays, and will automatically create a note event at the appropriate point in the track to play back this sample at the right time. In Program or Combination modes, you can resample complex sounds and performances utilizing functions such as wave sequencing, advanced vector synthesis, and the KARMA function. In Sequencer mode, you can resample the playback of the song itself, and use this capability to create portions of a song that you can layer into complex compositions or use as tone generator waveforms.
Sample editing functionality that rivals dedicated units
The full range of sample editing operations include Truncate, Normalize, Cut, Copy, and Reverse, and even advanced functionality such as Time Slice and Time Stretch. The grid display and waveform zoom functions are a great convenience when you need to make precise edits to a waveform. The OASYS provides not only a great set of editing operations, but also features that make sample editing easy and ef???cient, such as a Use Zero function to automatically detect
12
Main Features Open Architecture Synthesis Studio
Detailed Speci???cations
???Open Sampling System, with resampling and In- Track sampling
???
???Up to about 1.5GB of PCM RAM, depending upon the installed RAM and currently loaded EXs samples; see ???Sampling and RAM??? on page 119 for more information
???Maximum of 4,000 samples/1,000 multisamples (up to 128 indexes per multisample)
???Direct sampling from CD
???Load AKAI S1000/S3000 data, as well as Korg, AIFF, and WAVE formats
EXi expansion instruments
EXi expansion instruments allow you to expand the synthesis capabilities of the OASYS. Some are enabled from the factory, including the
EXi Programs let you use any two EXi together, and provide a number of common features, as detailed below.
Detailed Speci???cations
In addition to individual EXi features, all EXi Programs include:
???Advanced Vector Synthesis: Use the vector joystick and the vector envelope (tempo synchronization available) to control each oscillator???s volume, synth parameters, and effect parameters
???Modulation: Common step sequencer, AMS (Alternate Modulation Source), common LFO, two key tracking generators
???
The ???rst OASYS EXi Expansion Instrument is a state-
This responsive synth features our distinctive ultra- low aliasing oscillators that recreate all the power and glory of true analog synthesis ??? without the artifacts that can often plague lesser modeled oscillators. But that???s just the beginning.
The
An adjustable drive parameter provides a distinctive character to the vintage oscillator modeling; while sync, FM,
Dual
Each voice can use either one or two of Korg???s incredibly versatile multimode (Low Pass, Band Pass, Band Reject [notch], and High Pass) resonant ???lters. For maximum ???exibility, the ???lters can be connected in series or parallel, to generate 12 dB or 24 dB per octave slopes.
Korg???s new MultiFilter lets you crossfade in real time between any two of 21 different ???lter types ??? including your own custom mixes of LP, HP, BP, BR and dry input.
Powerful, solid sounds from the Drive and Low Boost circuits
Classic vintage analog synthesizers derived some of their character from distortion that occurred in each stage of their components. The
The
You can choose from eighteen types of LFO waveform, and also adjust the phase of the waveform, the curve, and the center value of the amplitude to create a wide variety of distinctive modulation. Since the waveform itself is generated with extremely high precision, you can create perfectly smooth sweeps. You???ll appreciate the LFO???s tightness and accuracy not just at high speeds, but also for
It goes without saying that you can also apply key sync so that the same modulation occurs each time a note is played, or synchronize the modulation speed to the tempo to create rhythmical tonal changes.
The
Step Sequencer
The step sequencer built into the
13
Introduction to OASYS
result will be a melodic phrase. If assigned to the ???lter, the ???lter will produce modulation in synchronization with the tempo.
The step sequencer also provides a ???Smoothing??? parameter that interpolates between the values of each step, letting you create not just
AMS ??? a powerful modulation system with AMS Mixers and Keyboard Tracking Generators
The
There are also two Key Tracking generators that let you create natural changes ??? or dramatic transformations ??? in parameter values as you play different ranges of the keyboard.
In addition, the newly developed AMS Mixers not only lets you mix multiple modulation sources and assign them to a single modulation destination, but also let you modify the source itself so that a single modulation source can be adapted to multiple uses.
Detailed Speci???cations
???Oscillators: OSC1, OSC2, Sub OSC, noise generator, ring modulator, FM
???Audio input: External audio sources can be processed by ring modulation, filtering, driver, amp, or EQ
???Filter: Two
???
???Driver:
???Modulation: Five envelope generators, four LFOs, two key tracking generators, two AMS mixers, one step sequencer??? in addition to the Common LFO, Common Step Sequencer, Common Key Tracking generators, and Vector EG of the EXi Program
A perfect simulation of a tonewheel organ system
Tonewheel organs generate sound by rotating toothed metal disks (the tonewheels) past a pickup to generate sine waves. Korg???s
* The maximum polyphony will vary depending on how the insert effects are being used. (The polyphony is 172 voices if no insert effects are used.)
Drawbars ??? the heart of a tonewheel organ
A drawbar organ allows the player to create the desired sound by pulling out drawbars that are assigned to various pitches relative to the fundamental, and this capability is provided on the
EX mode for new
In addition to modeling a standard
Realistic simulation of rotary speaker effects
The
14
Main Features Open Architecture Synthesis Studio
the distance between mics. This gives you total control over the sound ???eld as well as the sound itself, and lets you create the perfect organ sound for any situation.
Since an effect that is completely compatible with this rotary speaker effect is also provided in the effect section of the OASYS itself, you can enjoy a powerful rotary speaker sound even when you???ve created a combination using several instances of the
Detailed Speci???cations
???Tonewheel Organ Model, with Clean/Vintage mode, percussion, key click, wheel brake
???EX mode: Four drawbars with adjustable frequency ratio, and four percussion drawbars
???Internal effects: Rotary speaker, vibrato/chorus, amp modeling,
???Drawbar control: The nine
???Split: different drawbar settings for virtual upper and lower manuals. Split is available even in EX mode.
???Modulation: Two AMS mixers
Multifaceted physical modeling
The
Building on over a decade of Korg???s research, the STR- 1 advances the state of the art with a number of new innovations exclusive to OASYS.
Detailed Speci???cations
???Physically modeled string, including damping, decay, dispersion, nonlinearity, and harmonics
???String excitation via a selection of ???pluck??? types, a noise generator with saturation and dedicated filter, and any ROM, EXs, or RAM samples (using Korg???s
???Dual
???Live audio input, including modeled feedback
???Four
The
faithful
To this core, we added features ???rst introduced in the KORG Legacy
For more information, see
Detailed Speci???cations
???Two oscillators (including ring modulation), noise generator, and resonant,
???Modifications to the Patch Panel, for separate access to individual VCOs, VCFs, and the VCA
???Two patchable
???Original
???Original
???AMS modulation of all original
???Live audio input
???External Signal Processor, with dedicated highpass and lowpass filters, triggering, and
PolysixEX
Rich sounding, versatile, and
The PolysixEX is a
For more information, see ???PolysixEX??? on page 6, and ???EXi: PolysixEX??? on page 307 of the Parameter Guide.
Detailed Speci???cations
???Oscillator,
???Dedicated chorus/ensemble/phaser effects
???Classic ADSR envelope, plus two
???Classic ???MG??? LFO, plus two
???
???Extensive AMS modulation, plus four AMS mixers
15
Introduction to OASYS
A new leap to the ideal workstation ??? a
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. It consists of a 16- track MIDI sequencer and
The
The effect section lets you use up to sixteen effects simultaneously, providing twelve Insert Effects that can be applied independently to each track, two Master Effects that can be applied to sends 1/2, and two Total Effects that can be applied to the ???nal stage of playback for all tracks to add a ???nishing touch to your sound. You can choose from 185 types of effect that cover every need. These effect types range from effects ideal for recording, such as a guitar amp model + cabinet, bass amp model + cabinet, and mic modeling + preamp, through effects used for mastering, such a stereo mastering limiter.
When you???ve completed your MIDI and audio tracks, you can turn the result into a
Your completed MIDI and audio tracks can be mixed down to two channels, and burned to an audio CD using the internal
This audio data can also be stored on the internal hard disk drive.
Detailed Speci???cations
???
???Number of songs: 200
???Resolution: 1/192nd of a quarter note
???Tempo:
???Maximum storage capacity: 400,000 MIDI events (MIDI data only) or 300,000 audio events (audio data only)
???MIDI tracks: 16 tracks + 1 master track, 156 preset and 100 user patterns (per song), 18 preset and 16 user template songs. Formats: Korg (OASYS) format, support for SMF formats 0 and 1
???Audio tracks: Maximum simultaneous playback of 16 tracks, maximum simultaneous recording of 4 tracks, WAVE file format. Maximum continuous recording time 80 minutes (monaural). Automation: volume, pan, EQ, send 1/2. Maximum 5,000 regions. Event Anchor function. BPM Adjust function
???RPPR: One pattern set available per song
The OASYS provides a total of six audio inputs; four channels of analog input, and two channels of digital input. Analog inputs 1 and 2 use combo jacks that can accommodate either phone plugs or XLR plugs. With MIC/LINE select switches, phantom power switches, and level adjustment knobs, the inputs will accept any source from mic level to professional level. For digital input, the OASYS provides an S/P DIF jack (optical, 48 kHz/96 kHz). As outputs, there are the main L/MONO and R outputs as well as eight individual audio outputs and an S/P DIF (optical, 48 kHz/96 kHz) output.
16
Main Features Open Architecture Synthesis Studio
Superb user interface
Control surface and a rich variety of other controllers
The huge array of functions and parameters are displayed in a 10.4 inch color LCD for excellent visibility. The OASYS uses Korg???s proprietary TouchView graphical user interface, letting you perform operations simply by touching the screen.
In addition to traditional controllers such as joystick, ribbon controller, and assignable keys, there???s also a control surface consisting of numerous sliders, knobs, and switches.
The control surface provides sliders, knobs, and switches that give you tactile control for editing sounds via the Tone Adjust function, controlling the KARMA function, editing EQ or the volume or panning of each oscillator/timbre/track, or adjusting the source level for recording or sampling. You can also use the control surface to control external MIDI devices.
The LEDs located beside the sliders and around the knobs show the current status or the stored value for each controller, contributing greatly to the ease of use. With its excellent set of controllers and superb display, the OASYS provides full scope for your imagination and artistic expression whether you???re performing on stage or working in the studio.
The OASYS
The OASYS provides eight
An
* English version only.
Storage expansion via USB 2.0
Four USB 2.0 connectors are
The OASYS??? expandability
The OASYS uses an open architecture that allows it to be expanded without adding hardware.
The EXs series of
An ADAT optical output jack and word clock input jack can be added by installing the optional
17
Introduction to OASYS
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
2. Vector Joystick
The Vector Joystick is a powerful
For more information on how Vector Synthesis works, see ???Using Vector Synthesis??? on page 64.
3. SW1 and SW2
These on/off switches can perform a number of different functions, such as modulating sounds or locking the modulation values of the joystick, ribbon, or aftertouch.
Also, each one may work either as a toggle, or as a momentary switch. In toggle mode, each press alternates between on and off; in momentary mode, the switch only changes for as long as you hold it down.
Each switch has an LED, which lights up when the switch is on.
Each Program, Combination, and Song stores its own settings for what the switches will do, and whether each switch defaults to being on or off.
4. Joystick
The joystick moves in four directions: left, right, forwards (away from yourself), and backwards (towards yourself). Each of the four directions can be used to control different program or effects parameters.
The speci???c assignments can change depending on the current Program, Combi, or Song. Generally, though, they will do something like the functions shown below:
Standard Joystick functions
5. Ribbon controller
The Ribbon controller lets you modulate Program or effects parameters by sliding your ???nger left and right along its
As with the other controllers, its speci???c function will change depending on the current Program, Combi, or Song.
18
Front and rear panels Front panel
6. KARMA buttons
KARMA stands for ???Kay Algorithmic Realtime Music Architecture.??? It???s an immensely powerful recording and live performance tool, which can provide a wide range of musical effects including:
???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
???Gated and chopped dance production effects
???Any combination of the above
??????and much more.
ON/OFF button
This switches the KARMA function on and off. As with the other KARMA buttons, the button???s LED will light up to show you that it is turned on.
LATCH button
When LATCH is turned on, KARMA will continue to play even after you???ve stopped holding notes on the keyboard, drum/chord pads, or MIDI In.
This is convenient when you want to play on top of a
CHORD ASSIGN button
This lets you assign notes and chords to the drum and chord pads. There are a several different ways to do this; here???s one of them:
1.Play a single note, or a chord of up to 8 notes.
2.Press the CHORD ASSIGN button.
3.Press the pad to which you???d like to assign the notes.
That???s
MODULE CONTROL button
In Combi and Sequencer modes, KARMA has four independent Modules, each of which can be generating a different musical effect. When used to control KARMA, the Control Surface sliders and switches are ???ve layers deep: one for each Module (A- D), and then a Master Layer which controls selected parameters from all of the Modules at once.
The MODULE CONTROL button selects whether the KARMA SLIDERS, SWITCHES, and SCENES will control either a single Module independently, or the Master Layer. In Program mode, only a single Module is available, and the Master Layer is used to control it; you cannot select other settings).
7.Control Surface (MIXER &
MODULATION)
The Control Surface is the set of 9 sliders, 8 knobs, and 16 switches to the left of the LCD screen. It looks like a mixer, but can do a variety of things such as editing sounds, controlling the KARMA function, and sending MIDI messages to external devices. You can freely change back and forth between the different functions without losing any of your edits.
CONTROL ASSIGN buttons
As explained below, you can use the front panel CONTROL ASSIGN buttons to switch between the various control surface functions. You can also view and edit the control surface settings on the LCD screen (P0??? Control Surface page in each mode).
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Introduction to OASYS
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 current Multisample in Sample mode, and each of the 16 Timbres or Tracks in Combi and Sequence modes.
The LEDs to the right of the switch show whether you???re currently editing Timbres (or Tracks)
If you switch to one of the other Control Assign modes, and then go back to TIMBRE/TRACK, it will automatically return to the previously selected group
AUDIO
AUDIO lets you use the control surface to adjust the volume, play/mute status, solo, pan, and send levels of the analog inputs and S/P DIF audio inputs. In Sequencer mode, you can also choose to control hard disk recording tracks
As with TIMBRE/TRACK, if you switch to one of the other Control Assign modes, and then go back to AUDIO, it will automatically return to the previously selected group (Inputs, HDR
EXTERNAL
The knobs and sliders have a much wider range of values than there are LEDs in the rings and strips, so the values shown are only approximate. Also, note that the minimum value of the slider is shown by having no LEDs lit.
MIXER KNOBS button
This applies only when CONTROL ASSIGN is set to TIMBRE/TRACK or AUDIO. It toggles the knobs between controlling the pan of all channels or controlling the pan, EQ, and sends of the currently selected channel.
SOLO button
This applies only when CONTROL ASSIGN is set to
TIMBRE/TRACK or AUDIO. It toggles the SELECT buttons between selecting the current Oscillator, Timbre, Track, or Audio Input (when SOLO is off) or soloing the channel (when SOLO is on).
For more information on SOLO in the various modes, see:
Program mode: ???Solo switch and Select switches
Combi mode: ???Solo switch and Select switches
Sequencer mode: ???Solo switch and Select switches
EXTERNAL lets you use the control surface to transmit MIDI messages to external MIDI devices.
R.TIME KNOBS/KARMA
R.TIME KNOBS/KARMA lets you modulate sounds and effects with the knobs, and control KARMA with the sliders and switches.
TONE ADJUST
TONE ADJUST gives you
More information on the Control Surface
For more information on how the Control Surface works in the different modes, see:
???Program mode:
???Combi mode:
???Sequence mode:
8. VALUE entry
When you???ve selected a parameter on the TouchView??? display, you can edit it using any of the four
???The VALUE slider
???The Inc 
and Dec 
buttons
???The VALUE dial
???The numeric keypad
VALUE slider
Use this to edit the selected parameter???s value. This control is convenient for making large changes to the value, such as moving quickly to the minimum or maximum setting.
You can use the value slider as a modulation source, but only when the following are true:
???You???re on the Program mode
???You???re on the Combination mode P0??? Prog Select/Mixer page, and the big Combination name is selected.
Knob & Slider LEDs
Each knob has a ring of LEDs, which shows the current value of the knob???s parameter. Similarly, each slider has a strip of LEDs. As you select different CONTROL ASSIGN buttons, you???ll notice that all of the LEDs change to show the values for the newly selected mode.
In these cases only, the value slider sends MIDI CC#18, and can be used as a modulation source.
Inc 
and Dec 
buttons
These are used to increase or decrease the parameter value by individual steps. They???re convenient for making ???ne parameter adjustments.
20
Front and rear panels Front panel
VALUE dial
Use this dial to edit the selected parameter???s value. This control is convenient when you want to scroll through a very long list of selections.
These buttons are convenient when you know the exact value that you want to enter. Use the
The ??? button inverts the sign
Special functions of the ENTER button
ENTER has a few special functions when it is pressed in combination with other buttons.
Whenever an
By holding down the ENTER button while you press a numeric button
In Program and Combination modes, you can hold down the ENTER button and press the SEQUENCER REC/WRITE button to use the Auto Song Setup function. This imports the current Program or Combi into Sequence mode for quick and easy recording.
9. MODE buttons
OASYS has six different operational modes, each one optimized for a speci???c set of functions. These buttons select the current mode.
Each button has an LED, which lights up to show the mode you???ve selected.
COMBI button
This selects Combination mode, for playing and editing complex splits and layers of Programs.
PROG button
This selects Program mode, for playing and editing basic sounds.
SEQ button
This selects Sequencer mode, for recording, playing, and editing audio and MIDI tracks.
SAMPLING button
This selects Sampling mode, for recording and editing audio samples and multisamples.
GLOBAL button
This selects Global mode, for making overall settings, editing Wave Sequences and Drum Kits, and more.
DISK button
This selects Disk mode, for saving and loading data to and from the internal hard drive or
10. UTILITY buttons
HELP button
The HELP button gives you
For information on any
For information on the current LCD page, press and release the HELP button.
While the help page is on the screen, you can touch any of the
The top of the Help page has ???breadcrumb??? links, which show the hierarchy of pages above the current one. Touch any of these links to jump to the corresponding page.
The backwards and forwards buttons function like the similar buttons on a standard web browser. If you use links to jump between pages, you can then use the backwards and forwards buttons to move through the pages you???ve already viewed.
The Contents page lets you access any part of the Help system, including almost all of the text and graphics in both the Parameter and Operation Guides. The Index contains a shorter list of links to important articles.
To close the help display, just press the HELP button again, or press the
RESET CONTROLS button
This feature lets you reset the Vector Joystick to the center position, or reset any of the Control Surface sliders, knobs, or switches to their saved value.
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Introduction to OASYS
To reset a single control, hold down RESET CONTROLS and then move a Control Surface slider or knob, press one of the control surface buttons, or move the Vector Joystick.
To reset an entire page of the Control Surface all at once, including all sliders, knobs, and switches, hold down RESET CONTROLS and then touch any of the Control Assign buttons, such as TIMBRE/TRACK or
TONE ADJUST.
COMPARE button
Use this button to compare the sound of the Program or Combination that you are currently editing with the saved,
FUNCTION button
This button is reserved for future use.
11. BANK SELECT buttons
Use these buttons to change banks when selecting Programs or Combinations. The LEDs in the buttons light up to show the current bank.
In Program mode, these buttons select the Program bank. They are active only on the Play pages.
In Combination mode, these buttons have two functions:
???When you???re selecting Combinations, they choose the Combination bank.
???When you???re assigning a Program to a timbre within the Combi, they select the Program bank.
In Sequencer mode, when a track???s Program name is selected, these buttons change the Program bank.
General MIDI banks
Selecting General MIDI Program banks is a little different from selecting other banks. Each time you press the
What???s in each bank?
For details on the contents of the Program banks, see ???Program Bank Contents??? on page 2. For details on the Combi banks, see ???Combination Bank Contents??? on page 3.
12. TouchView display
The OASYS features our exclusive TouchView graphic interface, based on a
By touching items on the LCD screen, you can select pages, tabs, and parameters, and set parameter values via
13. Headphone jack
This stereo 1/4??? headphone jack carries the same signal as the Main L/R outputs.
The headphone volume is controlled by the VOLUME slider.
14.
The
This drive is a precision device. When using it??? especially when burning
15. Drum/Chord Pads
These
Assigning notes to the pads is fast and easy.; see ???CHORD ASSIGN button??? on page 19 for details.
The notes and/or chords assigned to the pads are stored with each Program, Combi, and Song. There are also Global settings for use when the Control Surface is set to EXTERNAL, for easy control of external sound modules or
PAD MODE button
The PAD MODE button switches the pads between being velocity sensitive (so that the loudness varies depending on how hard you hit the pad) and playing a single, ???xed velocity for each note (handy if you want the same results every time, regardless of how hard you play).
16. EXIT button
This button makes it easy to return to the main page of the current mode:
???Press it once to go to the
???Press it again to go to the first tab on the main P0 page (such as the main Program Play page). If you had previously selected a parameter on this page, that parameter will be selected.
???Press it a third time to select the main parameter on the P0 page, such as the Program name in Program mode.
Wherever you are in Program, Combi, or Sequencer modes, pressing EXIT three times (or fewer) will take you back to Program/Combination/Song Select,
22
Front and rear panels Front panel
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. If a popup menu or page menu is open, pressing EXIT closes the menu.
17. SEQUENCER buttons
Most of the buttons in this section apply only to Sequencer mode and audio CD playback (in Disk Mode).
REC/WRITE is the exception; it has special functions in Program, Combination, and Global modes, as described below.
PAUSE button
In Sequencer mode, this button pauses the playback of the song. When paused, the button???s LED will light up. Press PAUSE once again to resume playback, and the LED will turn off.
In Disk mode, this button pauses audio CD playback.
<<REW button
In Sequencer mode, when the Song is playing or paused, this button will rewind the song. When you press and hold this button, its LED will light up, and the playback will rewind. (Rewind is disabled during recording, and while the Song is stopped.)
In Disk mode, this button rewinds the audio CD.
FF>> button
In Sequencer mode, when the Song is playing or paused, this button will
In Disk mode, this button
LOCATE button
In Sequencer mode, this button will advance or rewind the song to the speci???ed locate point. This lets you jump immediately to any point in the current Song. The default locate point is the ???rst beat of measure 1.
To set the locate point to the current position, hold down ENTER and then press LOCATE. You can also set the Locate point directly via the
REC/WRITE button
In Sequencer mode, pressing this button will enter
recording by pressing the SEQUENCER START/STOP button. For more information, see ???Recording MIDI in
In Program, Combination and Global modes, pressing REC/WRITE will open the Save dialog box. For more details, see ???Writing to internal memory??? on page 164, and ???Using the (SEQUENCER) REC/WRITE switch to write??? on page 165.
In Program and Combination modes, you can hold down the ENTER button and press the SEQUENCER REC/WRITE button to use the Auto Song Setup function. This imports the current Program or Combi into Sequence mode for quick and easy recording. For more information, see ???Auto Song Setup??? on page 2 of the Parameter Guide.
START/STOP button
This starts or stops recording and playback in Sequencer mode.
In Disk mode, this button starts and stops playback on the audio CD.
18. TEMPO controls
TEMPO knob
This adjusts the tempo for the OASYS as a whole, including:
???
???
???EXi Step Sequencers
???KARMA
???Songs in Sequence mode
The LED will blink at
NOTE: If the GLOBAL MIDI page MIDI CLOCK parameter is set to External, or if it is set to Auto and a clock is currently being received via MIDI, then neither the TEMPO Knob nor the TAP TEMPO button will have any effect.
TAP TEMPO button
This lets you enter tempos simply by tapping your ???nger on the button. Two taps are enough to change the tempo; for greater accuracy, you can continue tapping, and the tempo will be averaged the most recent 16 taps.
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Introduction to OASYS
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.
To continue, press the SAMPLING START/STOP button, as described below.
START/STOP button
In Sampling, Program, Combination, and Sequencer modes, pressing this when the SAMPLING REC button is lit will do one of three things, depending on the setting of the Trigger parameter (on the Sampling mode Recording - Audio Input page):
???If Trigger is set to Sampling START SW, sampling will begin immediately.
???If Trigger is set to Note On, sampling will begin as soon as you play a note on the keyboard.
???If Trigger is set to Threshold, sampling will begin as soon as the selected audio source reaches a preset volume level.
On the Sampling mode???s P1: Sample Edit page, pressing this button will play the selected sample.
This button is also used to play back WAV ???les from the disk. You can play back WAV ???les in the directory window of various Disk mode pages, in the Disk mode Make Audio CD page, in the Sequencer mode audio track editing dialog boxes, and in the Select Directory menu dialog box of the Program, Combination, Sequencer, and Sampling modes.
Rear panel
1.
WORD CLOCK ADAT OUT
IN
The optional
WORD CLOCK IN
This allows the sample rate of the OASYS to be controlled by an external device. Connect this to the word clock output of the master clock source.
The Word Clock input requires a shielded, video- quality cable
ADAT OUT
The ADAT optical output carries eight channels of 24- bit digital audio, mirroring analog individual outputs
Connect this to any computer audio system, multitrack recorder, digital mixer, effects processor, or other digital audio device which supports the ADAT optical format.
2. MIDI
MIDI lets you connect OASYS to computers or other MIDI devices, for sending and receiving notes, controller gestures, sound settings, and so on. For more information on MIDI connections, please see ???MIDI applications??? on page 1001 of the Parameter Guide.
24
Front and rear panels Rear panel
MIDI THRU connector
MIDI data received at the MIDI IN connector is re- transmitted without change from the MIDI THRU connector.
You can use this to chain multiple MIDI devices together.
MIDI OUT connector
This connector transmits MIDI data. Use this to control external MIDI devices, or to record into an external sequencer.
MIDI IN connector
This connector receives MIDI data. Use this to play the OASYS from another MIDI device, or from an external sequencer.
3. Pedals
DAMPER jack
For the
The
You can also connect a simple footswitch, which will work as a standard on/off damper pedal.
In order to ensure that the pedal functions correctly, please adjust the switch polarity (see ???Damper Polarity??? on page 659 of the Parameter Guide) and the
ASSIGNABLE SWITCH jack
This lets you connect a simple on/off footswitch, such as the optional Korg
The switch???s function is set in Global mode (on the Controller tab of the Controllers/Scales page), so that it always works the same regardless of the current Program, Combi, or Song. For more information, please see ???Specifying the function of the ASSIGNABLE Switch and ASSIGNABLE Pedal??? on page 149.
ASSIGNABLE PEDAL jack
This lets you connect a continuous controller pedal, such as the Korg
Like the ASSIGNABLE SWITCH, the pedal???s function is set in Global mode. For more information, please see ???Specifying the function of the ASSIGNABLE Switch and ASSIGNABLE Pedal??? on page 149.
4. USB 2.0 ports
There are four external,
5. POWER switch
This switch turns the power on and off. Before turning OASYS off, make sure that you???ve saved any edits to your Programs, Combis, Songs, or other user data.
After turning the power off, please wait for at least ten seconds before you turn the power on again.
6. S/P DIF IN & OUT
These jacks provide
Optical S/P DIF is sometimes called TOSLINK, and formally named (hold your breath!) IEC60958, EIAJ
Whenever you use digital audio connections, make sure that all connected systems are set so that there is one and only one word clock master. You can set the word clock for the OASYS using the Global page System Clock parameter. For more information, see ???System Clock??? on page 644 of the Parameter Guide.
OUT(MAIN) jack
This optical S/P DIF output carries a digital version of the main L/R outputs.
Note that the VOLUME slider does not adjust the S/P DIF output level.
IN jack
You can use this optical S/P DIF input for recording, sampling, and
It can be used simultaneously with the four analog inputs, if you like.
7. Analog AUDIO INPUTS
You can use the audio inputs for recording, sampling, and
25
Inputs 1 and 2 provide combined XLR and 1/4??? TRS balanced connectors. You can use these for either
MIC/LINE switches
These set the input???s nominal signal level. Set these switches according to the type of device that you???re connecting, and then use the LEVEL knobs (described below) to optimize the gain.
Use the LINE setting (button pressed in) when connecting to mixers, computer audio systems, signal processors, or other synthesizers. The nominal level is +4dBu, with 12dB of headroom.
Use the MIC setting (button popped out) only when connecting a microphone.
LEVEL knobs
These knobs let you make more precise adjustments to the input level, after setting the basic levels with the MIC/LINE switches.
The MIN setting is unity gain; the MAX setting provides about 40dB of gain above unity.
PHANTOM POWER switches
These switches enable 48 volt phantom power on the XLR connectors only. This sends a small amount of power to external microphones, using the same wires that carry the audio signals back to the OASYS. Most professional condenser microphones require phantom power; see the microphone???s manual if you are unsure.
If you are not using a microphone which requires phantom power, it???s best to turn these switches to the OFF position.
WARNING: Never plug in unbalanced instruments or microphones to the XLR connectors when PHANTOM POWER is on.
Line Inputs 3 and 4
Inputs 3 and 4 are for
8. Analog AUDIO OUTPUTS
All of the analog audio outputs use unbalanced 1/4??? phone jacks, referenced to a +4dBu signal level.
Connect these outputs to the input jacks of your amp or mixer. In addition to the L/MONO and R main stereo audio outputs, the OASYS provides eight individual audio outputs.
(MAIN) L/MONO, R
These are the main stereo outputs; their volume is controlled by the VOLUME slider. All of the factory Programs and Combis are programmed to play through these outputs.
When editing sounds, or when setting up a Song in Sequencer mode, you can access the main outputs by setting Bus Select to L/R.
If no cable is connected to the R output, L/MONO will carry a mono summation of the stereo signal. So, if you are connecting to a device which does not have stereo inputs (such as a simple keyboard amp), use the L/MONO output.
(INDIVIDUAL) 1???8
These 8 additional audio outputs let you isolate sounds, audio inputs, or audio tracks for recording or complex live sound setups.
These can be used as stereo or mono outputs, in any combination. You can also use the Global Audio page L/R Bus Indiv. Assign parameter to map the main stereo outputs to any of these output pairs, if you like.
Note that the individual outputs are not affected by the VOLUME slider.
9. AC Power connector
Connect the included power cable here.
We recommend that you ???rst connect the power cable to the OASYS, and then connect the other end of the cable to an AC outlet (???p.37).
26
Front and rear panels Names and functions of objects on the LCD display
Names and functions of objects on the LCD display
a: Current page
e: (Category) popup button
d: Popup button (2)
b:Edit cell 
c:Popup button (1)
h: Page tab
g: Page group Tab
The OASYS uses Korg???s TouchView graphical user interface.
By touching on objects displayed in the LCD screen, you can select pages, set parameter values, rename programs and combinations, write data, and perform many other operations.
a: Current page
This indicates the selected page within the current mode.
From the left, this shows the current mode, the number and name of the page group, and ???nally the name of the individual page.
b: Edit cell
When you touch a parameter in the LCD screen, the parameter or parameter value will usually be highlighted (displayed in inverse video). This is called the edit cell, and the highlighted item will be subject to editing.
The parameter value of the edit cell can be modi???ed using the VALUE controllers (???p.35) or by using a popup button in the LCD screen. For parameters that accept a note number or a velocity value, you can also hold down the ENTER switch and play a note on the keyboard to enter the note number or velocity value.
c: Popup button
When this button is pressed, a popup menu will appear, showing the parameter values that are available for selection.
To enter the parameter value, press the desired value in the popup menu.
When a popup menu is displayed, using a VALUE controller (???p.35) will close the popup menu. If the popup menu is unlocked (??????Pin???), it will close if you touch a location outside the popup menu.
Pin
This switches the popup menu display between locked and unlocked.
When locked, the pin will be shown closed, and the popup menu will remain displayed even after you press a parameter value. When unlocked, the pin will be shown opened, and the popup menu will close immediately when you press a parameter value.
d: Select button
When you press this button, a tabbed popup menu will appear, allowing you to perform the following selections.
??????Bank/Program Select,??? ???Bank/Combination Select???: Select programs or combinations by bank
??????Multisample Select???: Select a multisample for a program oscillator by category
??????Wave Sequence Select???: Wave sequences for program oscillators can be chosen by category
??????Effect Select???: Select an effect by category
???Select a sample
???Select a KARMA GE
To close a tabbed popup menu, press the OK button or Cancel button.
27
Introduction to OASYS
Scroll bar
Use this when you wish to see parameter values that extend beyond what can be displayed in the screen at one time.
Press here to scroll to left or right.
e: Category button
When you press this button, a tabbed popup menu will appear, allowing you to perform the following selections.
??????Category/Program Select,??? ???Category/ Combination Select???
To execute, press the OK button. To cancel without executing, press the Cancel button. (The operation will occur when you press and release the button.) The dialog box will close. The EXIT switch corresponds to the Cancel button, Done button, and Exit button.
Text edit button
???Category/GE Select
Press the OK or Cancel buttons to close the tabbed category select popup menu.
f: Check box
Each time you press a check box, it alternates between the checked (red) and unchecked states.
The parameter will be active if it is checked, and inactive if it is unchecked.
* Text edit button
Pressing this button brings up an
j: Radio buttons
Press a radio button to select one value from two or more choices.
g & h: Page group tabs and Page tabs
Press the lower row of tabs to select the page group, and then press the upper row of tabs to select the page.
The left side of the current page display shows the number and group name of the page you???ve selected in the lower row of tabs. The right side of the current page display shows the name of the page you???ve selected in the upper row of tabs.
i: Page menu button
When this button is pressed, a list of menu commands will appear.
The menu commands that appear will differ depending on the page you???ve selected.
You can also select up to ten menu commands by holding down the ENTER switch and pressing a numeric key
* Dialog box
The dialog box that appears will depend on the currently selected menu command.
When selecting a program or combination number in a dialog box, use the VALUE controllers (???p.35) to input the number.
j: Radio buttons
f: Check box
k: Other objects
To modify the parameter value of an object shaped like a slider or knob, ???rst touch the object, and then use the VALUE controllers to modify the value. There are also buttons which execute an operation when they are pressed and released, such as Done, Copy, and Insert (similar to the OK and Cancel buttons explained under ???* Dialog box,??? above).
28
Front and rear panels Names and functions of objects on the LCD display
Toggle buttons
This type of button will change its function or switch on/off each time it is pressed.
Play/Rec/Mute button in Sequencer mode
Solo On/Off button in Sequencer mode
Use the numeric keypad
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Introduction to OASYS
Basic Information
About the OASYS??? modes
The OASYS has a large number of features that let you play and edit programs and combinations, record and play sequence data, record and play back samples, and manage data on disk. The largest unit used to organize these features is called a mode.
The OASYS has six modes.
Program mode
Programs are the basic sounds of OASYS. In Program mode, you can:
???Select and play Programs
???Edit Programs
synthesis type:
???Create drum programs using drum kits (as created in Global mode)
???Play and control one KARMA module
???Sample and resample
For example, you can sample an external audio source while listening to a performance generated by the KARMA function, or you can play a Program and resample your performance.
Combination mode
Make detailed settings for oscillators, ???lters, amps, EGs, LFOs, effects, KARMA, vector synthesis, etc. The speci???c parameters will vary depending on the
Combinations are sets of up to 16 Programs that can be played simultaneously, letting you create sounds more complex than a single Program. In Combination mode, you can:
PROGRAM
OSC 1
MS1(Multisample/Wave Seq)
Drum Kit
MS2 (Multisample/Wave Seq)
MS3 (Multisample/Wave Seq)
MS4 (Multisample/Wave Seq)
AMP1/
PITCH1 FILTER1 DRIVER1
OSC 2
MS1(Multisample/Wave Seq)
Drum Kit
MS2 (Multisample/Wave Seq)
MS3 (Multisample/Wave Seq)
MS4 (Multisample/Wave Seq)
AMP2/
PITCH2 FILTER2 DRIVER2
Insert / Master / Final Effect
KARMA Module A
Wave Seq.
Resampling
COMBINATION
30
Basic Information About the OASYS??? PCM memory
???Select and play Combinations
???Use OASYS as a
???Edit Combinations
Assign Programs to each of the 16 Timbres, each with separate volume, pan, EQ, and keyboard and velocity zones; make settings for effects, vector synthesis, and KARMA.
???Control and play up to four KARMA modules
???Sample or resample
For example you can sample an external audio source while listening to the performance of the KARMA, or resample a performance you play using a combination.
Sequencer mode
Sequencer mode lets you record, play back, and edit MIDI tracks and audio tracks. You can:
???Select and play Songs
???Edit Songs
Assign Programs to each of the 16 MIDI Tracks, each with separate volume, pan, EQ, and keyboard and velocity zones; make settings for effects, vector synthesis, and KARMA; edit MIDI data
???Record up to sixteen MIDI tracks simultaneously
???Record up to four of the sixteen audio tracks simultaneously, mix using automation, and import WAVE files.
???Control and play up to four KARMA modules
???Sample or resample
You can sample an external audio input source while playing a song, and use
You can also resample an entire song, and then use Disk mode to create an audio CD.
???Use OASYS as a
???Record patterns and assign them to individual keys, using RPPR (Realtime Pattern Play/Recording)
Sampling mode
Sampling mode lets you record and edit user samples and multisamples. For example, you can:
???Sample external audio sources (i.e., record samples), including sampling through effects
???Edit waveform data you sampled or loaded in from media, and set loop points etc.
???Create and edit multisamples, which consist of one or more samples spread out across the keyboard
???Quickly convert multisamples into Programs
???Digital data can be sampled (???ripped???) directly from an audio CD in the
Global mode
Global mode lets you make overall settings for the entire OASYS, and edit wave sequences and drum kits. For instance, you can:
???Make settings that affect the entire OASYS, such as master tune and global MIDI channel
???Create user drum kits, wave sequences, and user scales
???Create drum kits using ROM, EXs, or RAM drum samples
???Rename program, combination, and KARMA GE categories
???Set the function of the assignable pedals and assignable switches
???Transmit MIDI System Exclusive data dumps
Disk mode
Disk mode lets you save, load, and manage data using the internal hard disk, the internal
???Save and load Programs, Combinations, Songs, Samples, and Global setup data
???Format disks and storage media, copy and rename files, etc.
???Load AKAI, AIFF, and WAVE samples, and export RAM samples in AIFF or WAVE formats
???Export and import sequences to and from SMF (Standard MIDI Files)
???You can use the Data Filer function to save or load MIDI System Exclusive data
???Create and play back audio CDs
About the OASYS??? PCM memory
???PCM??? is another way of saying ???samples.??? The OASYS includes the following PCM memory banks.
ROM: 314 MB
When you turn on the power, the ROM will always be loaded and available. This contains the basic multisamples and samples.
With the factory settings, programs that use this PCM data are loaded into program banks
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Introduction to OASYS
To use these samples when making your own sounds, select Bank ROM (Stereo, Mono) for a program???s MS Select (Program P2:
EXs1 ROM Expansion: 313 MB
EXs1 includes spectacular stereo drums and additional large acoustic and synthesizer multisamples, capturing extra detail and character.
As shipped from the factory, these samples will be loaded and available at
Some of the factory preloaded sounds require EXs1 to be loaded. This includes some of the Programs in bank
All of these Programs, Combinations, Wave Sequences, and Drum Kits all have ???EXs1??? in their names, to remind you that they require EXs1.
Note: if EXs1 is not loaded, these sounds won???t play correctly.
To use EXs1 samples when making your own sounds, choose Bank EXs1 (Stereo, Mono) for a program???s MS Select or a drum kit???s DS Select ???elds.
EXs2 Concert Grand Piano: 503 MB
The
???These samples will be loaded and available at start- up depending on the setting of the Expansion Sample Setup menu command. With the factory settings, these samples will not be available.
???With the factory settings, programs that use this PCM data are preloaded into a portion of the
???To use these samples, select Bank EXs2 (Stereo, Mono) for a program???s ???MS Select??? or a drum kit???s ???DS Select??? fields.
If EXs2 is not loaded, the factory programs in bank
User sampling RAM capacity
The OASYS comes with 1 GB of RAM
In particular, the size of the currently loaded EXs samples trades off against the memory available for RAM samples. The more space used by the EXs samples, the less is available for RAM samples, as shown below.
EXs samples and available sample RAM
Note: To check the amount of sample RAM available,
see
For more information, see ???Sampling and RAM??? on page 119, ???Installing memory??? on page 1038 of the Parameter Guide, and ???Expansion Sample Setup??? on page 684.
Selecting which EXs PCM data is loaded
You have the following possibilities for loading EXs PCM data at startup:
???ROM and EXs1 (factory setting)
???ROM and EXs2
???ROM, EXs1, and EXs2 (if memory has been expanded to at least 1.5 GB)
???ROM
1.Press the MODE GLOBAL switch to enter Global mode.
2.Press the EXIT switch to access the P0: Basic Setup page.
3.In the upper right of the LCD screen, press the page menu button and choose ???Expansion Sample Setup.???
The Expansion Sample Setup dialog box will appear.
4.Check the desired PCM bank.
If ???EXs1 ROM Expansion: 313 MB??? is checked, the ROM and EXs1 multisamples/samples will be loaded at
If ???EXs2 Concert Grand Piano: 503 MB??? is checked, the ROM and EXs2 multisamples/samples will be loaded at
If neither is checked, only the ROM multisamples /samples will be loaded.
To load both EXs1 and EXs2 at the same time, you must ???rst expand the installed RAM to at least 1.5 GB. If you select both EXs1 and EXs2, but there is insuf???cient RAM, a ???memory full??? message will appear, and the operation will not be executed.
5.Press the OK button.
The following message will appear:
32
Basic Information About polyphony
The Expansion Sample Setup has now been changed. In order for your changes to take effect, 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 speci???ed PCM bank will be loaded and available.
6.Press the OK button.
7.Turn off the power.
The next time you turn on the power, the speci???ed PCM bank will be loaded and available.
When you turn off the power, any data you had been editing will be lost. You must save your data before you turn off the power.
8.Wait about ten seconds, and then turn the power on again.
After turning the power off, you must wait ten seconds before you turn the power on again.
9.Select and play programs and combinations that use the loaded multisamples/samples.
For details, please refer to the tables below.
Program banks and PCM memory
About polyphony
Most hardware synthesizers offer a single, ???xed method of synthesis, a predetermined number of voices, and a ???xed amount of effects processing power. OASYS is different; it has no ???xed synthesis method, and it shares its processing power between voices and effects.
This ???exibility means that the system can deliver power where you need it the most. For instance, one Program may need a bunch of voices layered together, but not many effects; another might need complex effects processing, but not as many voices. In both cases, OASYS will automatically divide its processing power appropriately.
Unlike most
Normally, you shouldn???t need to think about this at all; it will just happen automatically. Sometimes, however, it can be convenient to know how the system is allocating its resources. The Effect/EXi Resource Meter, shown on the P8: Insert Effect??? Insert FX, Track View and P9: Master Effect??? Routing pages of each mode, provides this information.
Effect/EXi Fixed Resource Meter
The resource meter shows how the OASYS processing power is being used, as an approximate percentage of the total available power. There are three main categories: FX, EXi Fixed, and Free for Voices.
Note: the displayed values are rounded to the closest 1%, but the internal values have a much ???ner resolution. This means that you may sometimes add an effect, but see no change in the resource meter.
FX
This shows the percentage of the total processing power being used for the IFX, MFX, and TFX. This will vary depending on the speci???c effects being used.
If an effect has been assigned to an IFX, MFX, or TFX, it will take up the same amount of processing resources even if it is turned Off or bypassed. If you want to free up the processing resources, change the selection to 000: No Effect.
EXi FIXED
This shows the percentage of the total processing power used for the ???xed components of EXi instruments. ???Fixed??? means that part of the EXi starts using processing power as soon as the EXi is loaded, before playing any notes; this includes the
Only some EXi include ???xed components; for instance, the
For more information on EXi ???xed resources, please see
FREE FOR VOICES
This shows the percentage of the total processing power remaining after the FX and EXi ???xed components. This power is available for playing synthesizer voices.
When Free for Voices is at 100%, you can achieve the maximum
33
Introduction to OASYS
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
The maximum polyphony may also depend on various other parameters; for more information, see ???A note about polyphony??? on page 32 of the Parameter Guide.
Resource Meter
Effect EXi Fixed Free for Voices
Basic operations
After you???ve turned on the OASYS, here???s how to perform basic operations such as selecting modes and pages.
1. Selecting modes
In order to use a particular function on the OASYS, you must ???rst select the appropriate mode.
Press one of the front panel mode buttons (COMBI,
PROGRAM, SEQ, SAMPLING, GLOBAL, or DISK) to enter the corresponding mode.
2. Selecting pages
Each mode has a large number of parameters, which are grouped into pages. These are further subdivided by tabs into up to nine tab pages.
1. Make sure that the desired mode is selected.
To select a mode, press the appropriate mode key (COMBI switch ??? DISK switch).
Here we will use Program mode as an example for our explanation. Press the PROGRAM switch.
Page tab
Page group Tab
2. Press a tab in the lower line (page group tabs).
As an example here, press the Basic/Vector tab. The current page indication in the upper left of the LCD screen will indicate ???PROGRAM P1: Basic/Vector,??? and the page group will change.
When you press the EXIT switch, you will return to P0 from any page.
34
Basic Information Basic operations
Basic Vector tab
3.Press a tab in the upper line (page tabs) to select a page.
As an example here, press the Vector 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 ???Vector Control.??? You???ve selected the Vector Control page.
Note: Some pages have no tabs.
Vector Control tab
3. Editing parameters
The parameter value in the edit cell can be set by using the front panel VALUE controllers (VALUE slider,
/
switches, VALUE dial, numeric keys
For some parameters, you can use the BANK SELECT switches to select the bank of a program etc., or press a popup button to access a popup menu where you can specify the value of the parameter. In some cases, you can hold down the ENTER switch and play a note on the keyboard to specify a note or a velocity value.
VALUE entry
VALUE slider
Use this when you wish to make major changes in the value.
In Program mode and Combination mode, this slider can also be used as a control source for alternate modulation or dynamic modulation. (This is active in Program or Combination P0: Play when the ???Program Select??? or ???Combination Select??? (the large characters in the upper part of the LCD) is selected).
/
switches
Use these when you wish to make small changes in the value.
VALUE dial
Use this when you wish to make large changes in a value.
Numeric keys
(.) switch
Use these when you know the parameter value that you wish to input.
After using the numeric keys
Use the ??? switch to enter negative numbers.
Use the (.) switch to enter a decimal point.
BANK
The BANK
COMPARE switch
Use this when you wish to compare the edits you have made to a program or combination???s sound with the
When editing a program or combination, press this switch. The LED will light, and the
35
Introduction to OASYS
be recalled. When you press the COMPARE switch once again, the LED will go dark and you will return to the settings that you were editing.
If you edit the settings that are recalled by pressing the COMPARE switch (i.e., the settings that are written into memory), the LED will go dark, and it will not be possible to return to the previous edits by pressing the COMPARE switch again.
In Sequencer mode, you can use the COMPARE switch to make ???before and after??? comparisons immediately after using realtime recording or step recording to record a song, or after performing a track edit operation.
For example, this can be used effectively when
1.
2.Once again,
3.Press the COMPARE switch. The LED will light, and take 1 will be recalled.
4.Press the COMPARE switch once again. The LED will go dark, and take 2 will be recalled.
5.If at step 3 you once again
If at step 4 you once again
In this way, the Compare function lets you recall the previous recording or the previous state of event editing.
The Compare function does not work in Global mode, with the exception of Sampling, Disk, Wave Sequence, and Drum Kit editing.
Popup buttons and popup menus
You can press a popup button to access a popup menu, and then set parameter values.
Keyboard input
When entering a note number or a speci???c velocity as the value of a parameter, you can use the keyboard to input the setting. Hold down the ENTER switch and play the note that you wish to enter as a value. The note number or velocity value will be input.
When the Global P5: Drum Kit page is displayed, you can hold down the ENTER switch and play a note to recall the settings that have been assigned to that note. (If the parameter you???ve selected expects you to enter a velocity value, the velocity you played will be entered.)
In Sampling mode, you can hold down the ENTER switch and play a note to recall the index that is assigned to that note.
36
Setup Connections
Setup
Connections
Connections must be made with the power turned off. Please be aware that careless operation may damage your speaker system or cause malfunctions.
3. Analog audio input connections
Synthesizer
MIDI MIDI
OUT IN
AUDIO INPUT
Option
If you are using a condenser mic that requires phantom power, turn the PHANTOM POWER switch ON.
WARNING: Never connect an unbalanced instrument, device, or mic to the XLR jack if phantom power is turned on.
MIDI OUT
7. Connections to MIDI equipment/computers
5. Pedal connections etc.
DAMPER
Computer
ASSIGNABLE
SWITCH
PEDAL
Power switch
Power cable (Included)
to an AC outlet
1. Connecting the power cable
1. Connecting the power cable
1.Turn off the power of the OASYS.
2.First connect the included power cable to the OASYS??? rear panel AC power inlet.
If your power cable uses a separate ground wire, you must connect this ground wire before inserting the plug into the AC outlet. When disconnecting, you must ???rst disconnect the plug before you disconnect the ground wire. If you are unsure of how to make connections, please contact Korg customer service.
Make sure that your AC outlet is the correct voltage for your instrument.
2. Analog audio output connections
Here???s how to connect the OASYS to your analog amp or mixer.
If you???ve connected a stereo audio amp, be aware that playing at high volume may damage your speaker system. Be careful not to raise the volume excessively.
37
Introduction to OASYS
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 Total Effects are always routed here as well.
1.Connect the AUDIO OUTPUT (MAIN) L/MONO and R outputs to the inputs of your amp or mixer.
2.Use the VOLUME slide to adjust the volume of the headphones. The OASYS??? headphone jack outputs the same signal as the (MAIN) L/MONO and R jacks.
Tip: To monitor the (INDIVIDUAL)
If you???re using OASYS in stereo, use both the (MAIN) L/MONO and R jacks. If you???re using OASYS in mono, use only the (MAIN) L/MONO jack.
2. Use the VOLUME slider to adjust the volume.
The VOLUME slider affects only the main stereo outputs and the headphones; it does not affect the individual outputs, the S/P DIF output, or the optional ADAT outputs.
AUDIO OUTPUT (INDIVIDUAL)
These are 8 additional analog outputs, which can be used as individual mono outputs, stereo pairs, or any combination of the two. Signals sent to these outputs are also mirrored on the ADAT outputs of the optional
???Each note in a Drum Kit
???Insert Effect outputs
???Each Program in a Combination or Song
???Audio tracks
???Audio inputs
You can use these to isolate or group together sounds for recording, or for complex live performance setups.
1.Connect the (INDIVIDUAL)
2.Use the Bus Select parameters to send the desired sounds, audio tracks, inputs, or effects to the individual outputs, as either mono (1???8) or stereo (1/2???7/8) signals.
If the signal is going through one or more insert effects, the output is set at the last IFX in the chain, via the Bus Select parameter on the
If a Program, Timbre, or Track is not going through any insert effects, the output is set using the Bus Select parameters on the
To assign audio inputs directly to outputs, use Bus Select parameters in the P0??? Audio Input (Sampling) page.
In Global mode, the Audio page L/R Bus Indiv. Assign setting lets you mirror the MAIN stereo L/R output on any pair of individual outputs. You can use this to create a private monitoring setup in live and studio environments, or to send the main outputs to the optional
Note: You can???t use the VOLUME slider to adjust the volume of the individual outputs.
Headphones
1.If you???re using headphones, connect them to the OASYS??? headphone jack.
3. Analog audio input connections
Here???s how to input external analog audio sources into the OASYS so that they can be sampled, recorded on the hard disk, or processed through the internal effects.
AUDIO INPUT 1, 2
These two inputs use
???Balanced
???Microphones, including
1.Connect your mics or the output jacks of your external audio sources to the INPUT 1 and 2 jacks.
2.Set the MIC/LINE switch as appropriate for the device you???ve connected, and use the LEVEL knob to adjust the gain.
Choose the LINE setting (switch pressed inward) if you???ve connected a mixer, computer, audio system, signal processor, or another synthesizer.
Choose the MIC setting (switch in the outward position) if you???ve connected a mic. If you???re using an XLR condenser mic that requires phantom power, turn the PHANTOM POWER switch on after connecting the microphone. Otherwise, leave this switch turned off.
IMPORTANT: Never connect an unbalanced instrument, device, or mic to the XLR connector when phantom power is on.
3.After turning on the power, use the Audio Input page to set up the volume, pan, bus routing, and send levels for the inputs, as desired.
For more information, see
AUDIO INPUT 3, 4
These are unbalanced 1/4??? phone jacks, for
1.Connect the output jacks of your
2.Adjust the output level on your external equipment.
3.After turning on the power, use the Audio Input page to set up the volume, pan, bus routing, and send levels for the inputs, as desired.
For more information, see
38
Setup Connections
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. For best results, route such guitars through a
4. Digital audio input/output connections
Digital audio output
The same signal as the OASYS??? AUDIO OUTPUT (MAIN) L/MONO and R jacks can be digitally output to an audio system, digital mixer, DAT or MD recorder, or other device that can accept a sampling rate of 48 kHz or 96 kHz.
???Use an optical cable to connect the S/P DIF OUT (MAIN) jack to the optical digital input jack of your device.
This will output the same audio signal as the AUDIO OUTPUT (MAIN) L/MONO and R jacks.
Note: You can???t use the VOLUME slider to adjust the volume of the digital output.
Digital audio input
An audio system, digital mixer, DAT or MD recorder, or other device that can output audio at a sampling rate of 48 kHz or 96 kHz can be input to the OASYS??? L and R channels, and recorded or sampled to the hard disk or routed through the internal effects and sent to the OUTPUT jacks.
1.Use an optical cable to connect the optical digital output of your DAT or other device to the S/P DIF IN jack of the OASYS.
2.After turning the power on, set the ???S/P DIF Sample Rate??? (Global P0: Global Setup??? Basic Setup page). Incoming data at a 96 kHz sampling rate will be converted for 48 kHz for recording.
3.Set System Clock (Global P0: Global Setup??? Basic Setup page) to S/P DIF.
4.After turning on the power, use the Audio Input page to set up the volume, pan, bus routing, and send levels for the inputs, as desired.
For more information, see
You can use the S/P DIF inputs simultaneously with the four analog inputs.
5. Connecting Foot Pedals and Switches
Connecting a damper pedal
The damper pedal is also sometimes called the sustain pedal. It acts like the
1.Connect an optional
After turning the power on:
2.Go to the Global P2: Controllers/Scales page, and use the Damper Polarity parameter to set the damper polarity.
3.Go to the Global P0 page, and use the Half Damper Calibration menu command to adjust the sensitivity if desired.
For more information, see ???Damper Pedal (Sustain)??? on page 48, and ???Damper Polarity??? on page 659 of the Parameter Guide.
Connecting a foot switch
You can use a connected foot switch to perform functions such as controlling sostenuto, soft pedal on/off, KARMA function on/off, selecting programs or combinations, starting/stopping the sequencer, and controlling tap tempo.
1.Connect a foot switch such as the optional
2.After turning the power on, use Global P2: ???Foot Switch Assign??? and ???Foot Switch Polarity??? to assign the function controlled by the foot switch and to specify the polarity.
For more information, see
Connecting a foot pedal
You can use a connected foot pedal to control volume, modulation, or other functions.
1.Connect an optional
2.After turning the power on, use Global P2: ???Foot Pedal Assign??? to assign the function controlled by the foot pedal.
For more information, see ???Foot Pedal Assign??? on page 659 of the Parameter Guide.
6. Connecting USB devices
OASYS supports
Note that HDR tracks must be played from and recorded onto the internal hard drive. You can back them up to USB devices, however.
The maximum supported capacity depends upon the format of the USB device. With FAT16 format, the maximum capacity is 4 GB; with FAT32, the maximum is 2 Terabytes (2,000 GB).
1.Use a USB cable to connect your external USB device to one of the OASYS???s USB ports.
Standard USB cables have a different connector at each end. Plug the ???at, rectangular connector into the OASYS, and plug the
Note: If the device you are using does not support hot- plugging, make connections with the device powered- off, and then turn on the power of your device.
39
Introduction to OASYS
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.
OASYS
The OASYS supports USB
Note: In order to use
8 USB devices maximum
OASYS has four separate USB 2.0 ports, and can support up to 8 USB devices simultaneously. Note that it doesn???t matter how the devices are connected; even if you use hubs or different ports, the maximum is always 8 devices.
USB Power
Some USB devices get their power from the USB connection. These are called
Other USB devices may require a separate power source, in addition to the USB connection; in this case, you???ll need to use an appropriate power adaptor for the device.
There is a limitation to the total current supplied to all connected USB devices, as de???ned by the USB speci???cation. If the total current consumption of the connected devices exceeds this limit, the OASYS may not correctly recognize the connected USB devices. If this happens, an error message of ???USB Hub Power Exceeded!??? will appear.
To avoid this problem, if you connect more than one USB device, please use a
For details on the electrical current used by a speci???c USB device, refer to its owner???s manual.
7. Connections to MIDI equipment & computers
Connections to MIDI equipment
The keyboard, controllers, and sequencer etc. of OASYS can be used to control an external MIDI tone generator. Conversely, another MIDI keyboard or sequencer can control the tone generator of OASYS to produce sound.
???Use MIDI cables to connect the MIDI connectors of OASYS with the MIDI connectors of your external device.
For more information, see ???Connecting MIDI devices & computers??? on page 1001 of the Parameter Guide.
Connections to a computer
Your performance on the OASYS, as well as controller and sequencer data, can be sent to a computer (connected via MIDI interface), and the tone generator of OASYS can be played from the computer.
???Use a MIDI interface to connect the MIDI connectors of OASYS to the MIDI connectors of your computer.
For more information, see ???Connecting MIDI devices & computers??? on page 1001 of the Parameter Guide.
Note: Some
8. Installing options
You can install the optional
Turning the power on/off
Before you turn on the power, make sure that the desired connections have been made as described in ???Connections??? on page 37.
1. Turning the power on
1.Press the rear panel POWER switch to turn on the power.
The LCD will show the model name, software version, and the amount of RAM memory.
Version: Indicates the system version of the OASYS. (The version may change without notice.)
Memory: Indicates the amount of RAM memory.
Options: Indicates whether an
Example: Factory settings
Version: V1.0.0
Memory: 1GB
Options: EXs1
Example: EXs2 is loaded
Options: EXs2
Example:
2. Turn on your powered monitors or stereo amp.
40
Setup Using the
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 before turning the power on again.
Tip: You can set the ???Power On Mode??? (Global P0: System Preference page) so that the mode and page that had been selected when you turned the power off will appear when the power is turned on.
For more information, see ???Recalling the
Leaving or deleting WAVE ???les in the TEMP folder
If you record audio tracks in Sequencer mode and then turn off the power without saving the song, the WAVE ???les will remain in the TEMP folder of the internal hard disk. If this occurs, the following dialog box will appear the next time you
There are
Do you want to restore these ???les, or delete them from the disk?
[Restore] [Delete]
If you don???t intend to use the WAVE ???les, we recommend that you delete them so they don???t waste space on the internal hard disk. To delete them, press the Delete button.
If you want to use these ???les in a new song etc., press the Restore button to keep them.
For more information, see ???How audio data is stored on the disk??? on page 96.
LCD screen display when options are installed
If you install the
indication appears. If this indication does not appear even though you???ve installed the
For details, see ???Option boards/Memory/Calendar battery??? on page 1035 of the Parameter Guide.
2. Turning the power off
1.Set the front panel VOLUME slider and the volume of your powered monitor or stereo amp to zero.
2.Turn off the power of your powered monitor or stereo amp.
3.Press the OASYS???s POWER switch to turn off the power.
Never turn off the power while data is being written into internal memory.
While data is being written, the LCD screen will indicate ???Now writing into internal memory.??? Data is written into internal memory by the following operations.
???Writing (updating) a Program, Combination, Global Setting, Drum Kits, or Wave Sequences
???Loading Program, Combination, Global Setting, Drum Kit, or Wave Sequences data in Disk mode
???Receiving a MIDI data dump for Program, Combination, Global Setting, Drum Kit, or Wave Sequences
???When using Sampling mode menu commands (???Move Sample,??? ???Move MS,??? ???Convert MS To Program,??? ???Time Slice,??? etc.) to simultaneously modify programs or drum kits.
???When sampling to RAM in Program, Combination, or Sequencer mode, if you simultaneously convert the sample to a program.
Never turn off the power while media such as the hard disk is being accessed, such as while recording or playing audio tracks, or sampling for an extended time on the hard disk. Turning off the power while disk access is occurring may render the media unusable.
Using the
Inserting a disc
Make sure that the OASYS is on.
1.Press the eject button of the
At this time, the tray will open only halfway. You must manually pull the tray out completely before placing a disc on it.
When opening the
2.Place the disc accurately in the tray, label side up.
3.Push the disk tray in until it is completely closed.
Removing a disc
1.Press the eject button to open the disc tray.
The tray will open about halfway. Manually pull the tray out far enough to remove the disc from the tray.
2.Gently remove the disc from the disc tray.
3.Push the disc tray in until it is completely closed.
Emergency disc removal
Normally you will be able to remove the disc as described above. However, if this is not possible due to a power failure or other problem, you can also remove the disc as follows.
41
Introduction to OASYS
Insert a
Excessive use of this method may cause the CD- R/RW drive to malfunction.
This procedure must be performed with the power off.
42
Playing and editing Programs
What???s a Program?
Programs are the basic sounds of the OASYS. You can play them by themselves, layer them together in Combinations, or play a different Program on each of the 16 MIDI tracks, either from the internal sequencer or from external
This section of the manual takes a quick look at playing Programs, including tours of the
Selecting Programs
There are several different ways to select Programs. Each one is convenient in a different way:
???Using the
???Selecting by Bank and number (via the touch- screen) lets you browse through all of the Programs in memory, to find the one that you want
???Selecting by Program category (via the touch- screen) lets you filter Programs by sound type, such as Pianos or Drums
???Using a
???MIDI program change messages let you select Programs remotely, from either
Overview: Program Banks
OASYS ships from the factory with over a thousand Programs loaded into memory. Another 768 Program slots are left open for your own programming, or additional sound libraries.
These Programs are organized into 14 Banks, as described below.You can also store many more Programs on the hard drive, or on external USB 2.0 devices.
The preloaded Programs in internal (INT) banks
Both
Internal bank G contains a full set of General MIDI 2 Programs.
USER
Program Bank Contents
As shipped from the factory, the contents of the Program Banks are as follows:
Program bank contents
For details on the factory Programs, please refer to the ???Voice Name List??? on page 1041 of the Parameter Guide.
Changing the Bank Type for
Banks can contain either
To change the type of a USER bank:
1.Press the
2.Select the Basic tab.
3.Press the page menu button, and select Set Program
4.Change the Type for the desired banks. Leave all of the other banks set to ???No Change.???
Setting a bank???s type will erase all of the Program data in the bank - so make sure that you???re not erasing any Programs you want to keep!
5. Press the OK button.
An ???are you sure???? dialog appears.
6. If you???re certain of the change, press OK again.
The selected banks will now be initialized to use the new Program types.
43
Playing and editing Programs
Using the
1.Make sure that the PROGRAM button, under MODE, is lit.
This means that you???re in Program 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 Program Play page will appear.
2.If you???re already in Program mode, go to the main Program Play page.
The main Play page shows an overview of the sound structure, such as oscillators, ???lters, etc.
3. Make sure that the Program name is selected.
If it is not selected, go to the PROGRAM P0: Play page and touch the Program???s name, so that it???s hilighted.
4.Use the VALUE controllers to select the program number that you wish to play.
You can use the following methods to select a program.
???Turn the Value dial.
???Press the Inc 
or Dec 
buttons.
???Use the numeric keypad
5.Press a BANK button (INT or USER
When you select a different Bank, the button???s LED will light, and the selected bank will appear on the upper left side of the LCD screen.
For example, to select bank
Selecting by Bank and number
You can select Programs from a list organized by Program bank.
1. Press the Program Select popup button.
The Bank/Program Select dialog appears.
Bank/Program Select menu
In this illustration, bank A is selected. The list on the right shows the Programs contained in that bank.
2.Press the tabs on the left side of the display to select a bank.
3.Press one of the Program names in the list to select a Program.
The selected Program will be highlighted, and the keyboard will immediately switch to the new sound.
4.If you like, play a few notes to hear the new Program.
You can play the new Program while the menu is still showing, without needing to press OK.
5.When you are satis???ed with the selected Program, press the OK button to close the popup menu.
If you press the Cancel button, the selection you made here will be discarded, and you will return to the program that had been selected before you opened the menu.
Selecting by Category
You can select Programs from within a category, such as keyboard, organ, bass, and drums. When shipped from the factory, the preloaded Programs are organized into 16 categories, each with several sub- categories. There are also 2 more categories, initially named User 16 and User 17, which you can use and rename as desired.
1. Press the Category popup button.
The Category/Program Select dialog appears.
Category/Program Select menu
In the illustration above, the Motion Synth category is selected. The list on the right shows the Programs which belong to that category.
2.Press the tabs located to the left side of the display to select a different category.
The name of the selected category will be displayed in full in the lower left.
3.Press one of the program names in the center area to select a program.
The selected program will be highlighted.
4.When you are satis???ed with the selected program, press the OK button to close the popup menu.
If you press the Cancel button, your selection will be discarded, and you will return to the program that had been selected when you opened the popup menu.
44
Using Controllers
Using a footswitch to select Programs
You can assign a footswitch to step through Programs 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
There are two ways of doing this: by assigning the footswitch to Program Up/Down, or to Value Inc/Dec. Each of these is suited to a particular application, as described below.
Assigning the footswitch to Program Up/Down
Assigning the footswitch to Program Up or Program Down lets you directly control Program changes from the footswitch. For most situations, this is the more straightforward method.
To set this up:
1.Connect a foot switch to the
Use a simple on/off footswitch, such as the optional KORG
2.Press the GLOBAL button to enter Global mode.
3.Go to the Controller tab of the Controllers/Scales page.
4.Set the Foot Switch Polarity parameter to match the connected switch.
5.At the top of the page, set the Foot Switch Assign parameter to Program Up (or Program Down).
Now, the foot switch will step through the Programs, one by one.
Note: This setting applies to selecting Combinations, as well.
Assigning the footswitch to Value Inc/Dec
This lets you use the Assignable Foot Switch to duplicate the functions of the 
or Dec 
buttons.
This may be particularly convenient if you like to keep the Bank or Category select windows open as you play, so that you can see the list of available Programs or Combinations. In this speci???c case, the Program
Up/Down assignments will not work (since Program changes are ignored while the window is open). However, assigning the Foot Switch to the Inc or Dec button lets you step through the items in the list, one by
To set this up:
1.Follow steps
2.At the top of the page, set the Foot Switch Assign parameter to Value Inc (or Value Dec).
Now, the foot switch will act just like pressing the
Note: The footswitch will work like this for the entire
Using MIDI Program Change
You can send MIDI Program Change messages to OASYS from external MIDI devices, such as computer sequencers or other MIDI controllers. In conjunction with MIDI Bank Select, you can use these to select any Program from all 14 Banks.
For more information, see ???Bank Map,??? on page 643 of the Parameter Guide.
In Program mode, use the Global MIDI Channel
All transmission and reception of MIDI data in Program mode is performed on the Global MIDI Channel. You can set this in Global mode, on the MIDI page.
General MIDI Programs
Internal bank G contains a full set of General MIDI 2 Programs, as well as
When you select Programs using the Bank or Category windows, you???ll notice that a Variation button appears when you select bank
Using Controllers
The OASYS provides a lot of
These controls let you modify the tone, pitch, volume, effects, etc. in realtime while you play.
Joystick
The joystick moves in four directions: left, right,
forwards (away from yourself), and backwards
(towards yourself). Each of the four directions can be used to control a different function, such as
modulating Program or effects parameters. These assignments can be different for every Program, but generally, they do the following:
Standard Joystick functions
45
Playing and editing Programs
Joystick Lock
The joystick is
However, you can use either of the two
Each button can work as either a Toggle or Momentary switch. In Toggle mode, the assigned function is switched between on and off each time the key is pressed. In Momentary mode, the assigned function is active on only as long as you hold down the switch.
In Program mode, you can check the assignments of SW1 and SW2 on the Play page Assignment tab.
When you write a Program or Combination, the on/off status of the SW1 and SW2 keys is saved.
Vector Joystick
The Vector Joystick lets you control the volume balance between OSC1 and OSC2, and can also generate CC messages to modulate Program and effects parameters.
In Combi and Sequence modes, the Vector Joystick can do all of this, plus balance the volumes of the different Programs in the Combi.
The Vector Joystick does all of this in conjunction with the Vector Envelope, which is a ???exible,
Resetting the Vector Joystick to the center
You can use the
1.Hold down the RESET CONTROLS button.
2.While holding RESET CONTROLS, move the Vector Joystick.
3.Release the RESET CONTROLS button.
The joystick will now be reset to its center position.
Ribbon Controller
Move your ???nger to the left and right on the ribbon controller to apply an effect.
Normally, this is used to control pitch, volume or ???lter etc.
You can use the Lock function of SW1 or SW2 keys to hold the effect even after you release your ???nger from the ribbon controller. For more details, see ???Using the Lock function??? on page 46.
For more details, please see ???Setting the functions of SW1 and SW2??? on page 180.
Using the Lock function
Locking the Joystick
1.Using the standard factory sounds, select Program
To select a program, make sure that you are in Pro- gram mode, and press the BANK INT A button, numeric key 1, 6, and then the ENTER key.
2.Move the joystick away from yourself (the +Y direction).
The vibrato effect will deepen.
3.While holding the joystick away from yourself, press the SW2 switch.
When you press the switch, its LED will light up, and the modulation effect at this point will be maintained.
4.Release the joystick, and play the keyboard.
The modulation will stay the same as it was when SW2 was pressed. Moving the joystick away from yourself will not affect the sound.
5.Press the SW2 key once again to release the Lock function.
SW1, SW2
You can use these buttons to control program parameters
via AMS (Alternate
Modulation), or effect parameters via DMod (Dynamic Modulation).
They can also transpose the keyboard by octaves, turn portamento on/off, or lock the position of the ribbon controller, joystick, or aftertouch.
Locking the Ribbon Controller
Make sure that the
1.Press the SW2 key.
The LED on SW2 will light up.
2.Touch the ribbon controller, and move your ???nger left and right.
Movement in the +X direction will brighten the tone, and movement in the
3.Lift your ???nger up from the ribbon controller.
46
Using Controllers
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.Press the tab labeled Cntrl/View Effect, to go to the Controller/View Effect page.
In the upper
You can also lock both the ribbon and the joystick at the same time:
1.Move the joystick in the +Y direction
2.Press the SW2 key to turn on the Lock function.
3.Move your ???nger on the ribbon controller.
4.Release the joystick, and lift your ???nger up from the ribbon.
The effects of both the ribbon and the joystick will be maintained until you press SW2 again to release the lock.
Lock can also be applied to aftertouch, by assigning SW1 or SW2 to After Touch Lock.
For details on the functions that you can assign to SW1 and SW2, please see the ???SW1/2 Assignments,??? on page 979 of the Parameter Guide.
Control Surface knobs, sliders, & switches
The Control Surface has 8 knobs, 8 sliders plus a master slider, and 16 switches. You can use these for many different tasks:
???Controlling mixer features, including volume, pan, EQ, FX sends, mute, and solo
???Modulating and editing sounds
???Controlling KARMA
???Controlling external MIDI devices
You can switch the Control Surface between its different functions using either the
In Program mode, you can select one of ???ve different functions:
TIMBRE/TRACK lets you adjust the volume, pan, and send levels for Oscillators 1 and 2, along with the Program EQ. In Combi and Sequence modes, you can also use this to select two different banks of Timbres or Tracks, as shown by the LEDs to the right of the switch.
AUDIO INPUTS lets you adjust the volume, pan, and send levels for the analog and S/P DIF audio inputs. In Sequence mode, you can also use this to select two banks of
EXTERNAL lets you send MIDI messages to external MIDI devices.
R.TIME KNOBS/KARMA lets you modulate sounds and effects with the knobs, and control KARMA with the sliders and switches.
TONE ADJUST gives you
You can freely change back and forth between the different functions, without losing any of your edits.
Resetting controls to their saved values
The
To reset a single knob, slider, or switch:
1.Hold down the RESET CONTROLS button.
2.While holding down RESET CONTROLS, move a slider or knob, or press one of the control surface buttons.
The slider, knob, or switch will be reset to the value stored in the Program.
3.When you???re done, release the RESET CONTROLS button.
To reset a group of controls at once:
1.Hold down the RESET CONTROLS button.
2.While holding down RESET CONTROLS, touch any of the Control Assign buttons, such as TIMBRE/TRACK or TONE ADJUST.
All of the sliders, knobs, and switches in the Control Assign group will be reset to the values stored in the Program.
You can also reset all of the faders and switches in the KARMA module, by holding RESET CONTROLS and then pressing the KARMA MODULE CONTROL button. Similarly, to reset a single KARMA Scene, hold
RESET CONTROLS and press any of the SCENE buttons.
Finally, you can also use this to clear all solos, by holding RESET CONTROLS and then pressing the SOLO button.
VALUE slider
When a program number is selected in Program P0: Play page, or when a combination number is selected in Combination mode page P0: Play page, you can use the VALUE slider to modulate Program and effects parameters.
47
Playing and editing Programs
Keyboard
Velocity
Velocity is a measure of how hard you play a note on the keyboard. This can be used to modulate many different aspects of the sound, such as volume, brightness, or the character of the attack.
After Touch
The keyboard can also measure how hard you press down after you play a
Note Number
Sounds can be programmed to change in character based on the note being played. As you play higher or lower on the keyboard, the note number can modulate the
Foot Pedals and Switches
Damper Pedal (Sustain)
The damper pedal is also sometimes called the sustain pedal. It acts like the
Damper Switch vs.
You can use either a standard footswitch (such as the Korg
If you use a footswitch, it will work like a normal synthesizer sustain pedal: notes will sustain forever, as long as the pedal is held down.
A
The off and
The OASYS will automatically sense when a half- damper is connected to the
Damper and MIDI
The Damper Pedal is sent and received as MIDI CC #64. In Combi and Sequence modes, you can ??????lter??? CC# 64 so that it only affects some of the sounds in the Combi or Song.
Assignable Foot Switch
This lets you use a simple footswitch, such as the Korg
???An assignable source for modulating sounds and effects
???Portamento on/off
???Program select up or down
???Sequencer start/stop or punch in/out
???Tap Tempo
???KARMA on/off, Latch on/off, or Scene select
???Duplication of many front panel controls, including the modulation joystick, ribbon, value slider, Real- Time Knobs, SW 1/2, the drum pads, KARMA sliders, or KARMA switches
The switch???s function is set in Global mode (on the Controller tab of the Controllers/Scales page), so that it always works the same regardless of the current Program, Combi, or Song.
For more information, please see ???Specifying the function of the ASSIGNABLE Switch and ASSIGNABLE Pedal??? on page 149.
Assignable Foot Pedal
This lets you use a continuous controller pedal, such as the Korg
Like the Assignable Foot Switch, described above, the Foot Pedal can be used for many different functions, including:
???Master Volume
???Channel Volume, Pan, or Expression
???Assignable sound modulation, as several different AMS or Dmod sources
???Effects Send level control
???Duplication of many front panel controls, including the modulation joystick, ribbon, value slider, Real- Time Knobs, or KARMA sliders
The pedal???s function is set globally (on the Controller tab of the Controllers/Scales page), so that it always works the same regardless of the current Program, Combi, or Song. For more information, please see ???Specifying the function of the ASSIGNABLE Switch and ASSIGNABLE Pedal??? on page 149.
Drum & Chord Pads
There are eight
However, they can also play up to
In addition to playing sounds directly, the pads are also used to select chords for Chord mode. For more information, see ???Using Chord mode??? on page 49.
48
Using Chord mode
Assigning notes and chords to pads
You can assign single notes and chords to the pads in three different 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.
3.Press the pad to which you???d like to assign the notes.
That???s it! The notes are now assigned to the pad.
Press CHORD ASSIGN, and then play notes
This method lets you create a chord out of widely- spaced notes, even if you can???t play all of the notes simultaneously.
1.Press the CHORD ASSIGN button.
2.Play a single note, or a chord of up to 8 notes.
You can play a single note, or a simple chord.
If you like, you can also play up to 8 notes as a legato phrase. As long as you take care that the notes overlap each other, the entire phrase will be recorded as a single chord. You can take as long as you like to play the phrase.
3.Press the pad to which you???d like to assign the notes.
After pressing the pad, you???re done!
Editing notes and velocities using the LCD
You can edit the recorded notes and velocities using the LCD. If you like, you can also enter new notes this way. For more information, please see
Copying and merging pads
Copying one pad to another, or merging two or more pads together, is just like assigning notes from the keyboard.
As with assigning notes to the keyboard, you can either play the pads ???rst, or press CHORD ASSIGN ???rst. In the interest of saving space and time, only the ???rst method is described below.
Copying notes from one pad to another
To copy the note assignments from one pad to another:
1.Press and release the pad whose notes you want to copy.
2.Press the CHORD ASSIGN button.
3.Press the pad to which you???d like to copy the notes.
The new pad will now play the same notes as the original pad.
Merging two or more pads together
You can merge the assignments from two or more pads together, as long as the total number of notes is 8 or fewer. To do so:
1.Press all of the pads that you???d like to merge, and then release them.
All of the pads must be held down at the same time.
2.Press the CHORD ASSIGN button.
3.Press the pad to which you???d like to copy the notes.
You can even use one of the pads that was being merged, if you like. After pressing the destination pad, you???re done.
Fixed Velocity vs. Velocity Sensitive
Each pad stores a velocity level for each of its 8 notes. The PAD MODE button, to the right of the pads, controls whether or not the pads respond to how hard you play.
In Fixed Velocity mode, the pads always use their stored velocity settings, regardless of how hard you play.
In Velocity Sensitive mode, hitting the pad very strongly produces the preset velocities. When you play more softly, the preset velocities are scaled down accordingly, maintaining the balance between the notes in the chord.
Using Chord mode
Overview
Chord mode lets you choose one of the chords assigned to the Pads, and then play it from the keyboard. The chord is transposed according to the note that you play; the played note speci???es the lowest note of the chord, and the higher notes are transposed to match. As when playing chords from the Pads themselves, each note in the chord can have a different stored velocity, scaled by the played note.
In addition to using the
make these settings for each Timbre or Track, as desired. Naturally, you can control all of this via MIDI as well.
Chord mode can duplicate the way that similar features worked on classic analog synths (such as the original Polysix), but it can also use all of the Voice Assign options to create different
Finally, note that you don???t have to use Chord mode to play full chords; you can also use it to create more subtle effects, such as stacked octaves or ???fths. You can even adjust the relative levels of these additional pitches via the stored velocities of the individual chord notes.
49
Playing and editing Programs
Chord Switch
What if Timbres/Tracks share the same channel, but have different Chord settings?
The Chord Switch (abbreviated Chord SW) lets you turn Chord mode on and off via SW1/2 or the Foot Switch.
Important: Programs will only respond to the Chord SW if their Chord parameter has been set to either Basic or Advanced. If it???s set to Off, then the switch will have no effect.
Assigning SW1/2 to control Chord on/off
Within any individual Program, Combi, or Song, you can set either SW1 or SW2 to turn Chord mode on and off. To do so:
1.In the Program, Combi, or Song, go to the Set Up Controllers page.
2.Select Chord SW as the assignment for SW1 or SW2.
Assigning the Foot Switch to control Chord on/off
You can also assign the Foot Switch to turn Chord mode on and off, so that you don???t need to move your hands from the keyboard while performing. This setting will apply globally, regardless of the current Program, Combi, or Song. To do so:
1.Go to the Global Foot Switch Assign page.
2.Select Chord SW for the Assignable Foot Switch.
Enabling Chord mode
Program mode
To enable Chord mode for a Program:
1.Go to the Program Basic page
2.Set the Chord parameter to Basic or Advanced.
Once you???ve selected either Basic or Advanced, Chord mode is enabled immediately. Optionally, you can then turn Chord mode off and on via the Chord SW, using either SW1/2 or the Assignable Foot Switch.
If you set Chord to Off, then it will always remain off, regardless of the Chord SW. This is particularly useful in Combi and Sequencer modes, since it allows you to create splits and layers in which some Timbres/Tracks use Chord mode, but others do not.
Combination and Sequencer modes
To enable Chord mode for a Timbre in a Combi, or a track in a Song:
1.Go to page
2.Set the Timbre/Track???s Chord parameter to Basic or Advanced.
Alternatively, you can set the Timbre/Track to PRG. This is the default, which uses the setting from the Program. Note that if the Program???s Chord mode is set to Off, the Timbre/Track will not respond to the Chord Switch.
If Timbres/Tracks share the same channel, but have different Chord settings, then the Chord SW affects each Timbre/Track individually, as below:
Example setup: keyboard split
To create a split with a
1.Select a bass Program for Timbre 1, and a piano Program for Timbre 2.
2.Set Timbre 1???s Chord to Off, and Timbre 2???s Chord to Basic.
Now, the Chord SW will enable/disable the chord for the right hand only.
Details: initial state of Chord on/off
Normally, when you select a Program, Combi, or Song, Chord mode will be on or off as set by the Chord parameter.
The exception is when SW1 or SW2 is assigned to the Chord Switch. In this case, the stored on/off state of SW1/2 controls whether Chord mode will be on or off by default.
Note that this default state is slightly more complex in Combination and Sequencer modes:
???In Combination mode, SW1/2 affect only Timbres on the Global channel. Other tracks will be as set by their Chord parameters.
???In Sequencer mode, SW1/2 affect only the Tracks on the same channel as the current Keyboard Track. This determines the initial state when a Song is first selected, since the current Keyboard Track is stored with the Song. Other tracks will be as set by their Chord parameters.
Basic and Advanced modes
There are two ???on??? settings for Chord mode: Basic
(Bsc) and Advanced (Adv).
Basic
Advanced uses the Program???s Voice Assign parameters to create a variety of different effects, such as mono legato chords with ???ngered portamento, or poly chords that overlap one another. The Voice Assign settings apply as if the entire chord was a single note, with each pitch in the chord created by an additional transposed oscillator.
Poly, Poly Legato, Single Trigger, Mono, Mono Legato, Legato Offset, Mono Priority, and Mono and Poly Unison all apply.
50
Quick Edits using the Sliders, Knobs and Switches
You can achieve the same effect as Basic, above, by setting Chord to Advanced, Voice Assign to Mono, Priority to Last Note, and Legato to Off.
Creating and editing chords
Chords are assigned to the Pads, stored, and edited as described under ???Drum & Chord Pads??? on page 48.
select a different chord. As soon as a Pad is used, all the Timbres/Tracks will be set to the same
When Source is set to PRG, the Timbre/Track uses the Source chord stored in the Program, instead of any of the chords from the current Combi or Song. This makes it easy to use Chord mode for
Selecting chords
The Chord function uses the chords assigned to the Pads. To select a chord to play from the keyboard (or via MIDI):
1.Select the desired Pad from the Source
or:
When Chord is enabled, Press a Chord Pad.
When Chord mode is enabled, pressing a Chord Pad edits the Source parameter. The Pad will not play any sounds by itself; it only selects the chord to be played from the keyboard.
Chord mode is enabled when the Chord SW is either
unassigned or turned On, and...
???In Program mode, Chord is set to Basic or
Advanced
???In Combi mode, Chord is set to Basic or Advanced on any Timbre (with Status set to INT) on the Global channel
???In Sequencer mode, Chord is set to Basic or Advanced on any Track (with Status set to INT or BTH) on the same MIDI channel as the current Keyboard Track
In Combi mode, selection via the Pads affects all Timbres on the Global Channel. In Sequencer mode, this affects Tracks on the same MIDI channel as the current Keyboard Track.
What if Timbres/Tracks share the same channel, but have different Source settings?
If Timbres/Tracks share the same channel but have different Source settings, they will maintain the different settings as long as the Pads are not used to
Playing chords
The lowest note of the selected chord is transposed to match the note played on the keyboard. Higher notes are transposed accordingly. For instance, let???s say that:
???The stored chord is F4, Bb4, and Eb5
???You play a D3 on the keyboard (or via MIDI)
In this case, the resulting chord will be D3, G3, and C4.
Just as with the Pads, the stored velocities are scaled by the velocity of the played note.
In Combi and Sequencer modes, as long as the root note of the chord is within the Timbre/Track keyboard zone, the entire chord will be played in that
Chords and MIDI
The Chord SW and Source Pad settings (including selections via the Pads) are transmitted and received via SysEx, which can be recorded and played back via internal or external sequencers.
In Combi and Sequencer modes, there are discrete SysEx messages per Timbre/Track for both Chord SW and Source Pad, so that each Timbre/Track can be set individually if desired. Note that this allows more ???exibility than when using the local keyboard???s Chord SW and Pads.
When the Chord SW or the
???In Combi mode, each Timbre on the Global Channel
???In Sequencer mode, each Track on the same MIDI channel as the Keyboard Track
Quick Edits using the Sliders, Knobs and Switches
You can edit any of the Programs shipped with OASYS, or you can start with an initialized Program to create sounds from scratch.
You can do many basic edits directly from the front panel Control Surface knobs, switches, and sliders, without ever delving deeper into the LCD interface. For instance, you can use the knobs to change attack and release times, make sounds brighter or darker, alter effects depths, modulate KARMA???s phrase generation, and so on.
The knobs, sliders, and switches will do different things, depending of the Control Surface CONTROL ASSIGN setting. For editing Programs, the three
important CONTROL ASSIGN settings are
TIMBRE/TRACK, R.TIME KNOBS/KARMA, and
TONE ADJUST.
TIMBRE/TRACK lets you adjust the volume, pan, and send levels for Oscillators 1 and 2, along with the Program EQ.
R.TIME KNOBS/KARMA lets you modulate sounds and effects with the knobs, and control KARMA with the sliders and switches.
51
Playing and editing Programs
TONE ADJUST gives you
Adjusting volume, Pan, EQ, and FX sends
In TIMBRE/TRACK mode, the Control Surface puts all of the basic mixing controls under your ???ngertips.
1.Press the TIMBRE/TRACK button under
CONTROL ASSIGN.
The button???s LED will light up.
2.Optionally, go to the Control Surface tab of the Play page.
This page mirrors the Control Surface. Often, it will show you a little more information about the knob assignments, exact values, and so on.
3. Press the MIXER KNOBS button until the INDIVIDUAL PAN LED lights up.
This makes knob 1 control OSC1???s pan, and knob 2 control OSC2???s pan.
4.Use sliders 1 and 2 to adjust the volumes of OSC1 and OSC2, respectively.
5.Use knobs 1 and 2 to adjust the pan positions of OSC1 and OSC2.
6.Press the MIXER KNOBS button until
the CHANNEL STRIP LED lights up.
This makes the knobs control a virtual channel strip, including pan, EQ, and effects sends.
7. Use knobs
The EQ affects both OSC1 and OSC2. Notice that the display shows you the gain values in dB, and the Mid Frequency in Hz. Also note that knob 2, EQ Trim, lets you compensate for gain changes caused by the EQ.
8. Press SELECT button 1.
This selects OSC1. When the knobs are in CHANNEL STRIP mode, the selected Oscillator is important. While EQ always applies to both Oscillators, the Pan and Effects Send 1/2 knobs affect only the selected Oscillator.
Notice that Pan is available, in different ways, with both settings of the MIXER KNOBS button.
9.Use knobs 7 and 8 to adjust Effects Sends 1 and 2 for OSC1.
Internally, the system ???gures out how the Oscillator is routed to the Master Effects, and automatically adjusts the appropriate send parameters.
Editing sounds & effects with the
The
In R.TIME KNOBS/KARMA mode, knobs
When you move a knob, it sends out the corresponding MIDI CC. Also, when the CC is received via MIDI or generated by KARMA, the knob value changes to match the CC value.
Generally, the knobs ???scale??? the Program???s internal settings. When the knob is in the center, the settings are as programmed. To move the settings to their maximum value, turn the knob all the way to the right; to move them to their minimum value, turn the knob all the way to the left.
Knob scaling
CC Value
For example:
1. Select Program
This is an electric piano sound; let???s see what we can do to make it sound a bit different.
2.Press the R.TIME KNOBS/KARMA button under
CONTROL ASSIGN.
The button???s LED will light up.
3.While playing the sound, turn knob 1 (Filter Frequency) to the right, slowly, to about 3 o???clock.
Notice how the piano becomes a sort of synth sweep.
4.Next, turn knob 2 (Filter Resonance) to the right, also to about 3 o???clock.
5.With knob 2 in that position, try moving knob 1 back and forth as you play.
With the resonance increased, it now sounds like you???re playing through a wah pedal.
Next, let???s say that you decide that???s not really what you
6. Hold the RESET CONTROLS
button.
This button is under UTILITY, between the MODE and BANK buttons, to the right of the LCD.
52
Quick Edits using the Sliders, Knobs and Switches
7.While holding RESET CONTROLS, move ???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.
The table below shows the standard assignments of the
Knob edits can be saved
The
Internally, a single knob usually affects several different parameters. When you write a Program, the edits are saved into the individual parameters, and not to the knob itself. After writing the Program, you???ll notice that the knobs have returned to their center
Using Tone Adjust
Tone Adjust lets you use all of the sliders, knobs, and switches on the Control Surface to edit Program parameters, like the knobs on an analog synth. Each physical control can be assigned to any one of a number of Program parameters.
The speci???c parameters available through Tone Adjust will vary depending on the type of Program.
???Common Tone Adjust Parameters,??? on page 28 of the Parameter Guide.
Other EXi instruments will have their own set of parameters, as described in their manuals.
Editing sounds
1. Select Program
2.Press the TONE ADJUST button under
CONTROL ASSIGN.
The button???s LED will light up.
3. Go to the Control Surface tab of the Play page.
This page mirrors the Control Surface. It???s very useful with Tone Adjust, since it shows you the parameter assignments, exact values, and so on.
4. Look at the assignments for sliders 5, 6, and 8.
Slider 5 is assigned to Amp EG Attack; slider 6 is assigned to Amp EG Decay; and slider 8 is assigned to
Amp EG Release.
5.Raise each of the three sliders so that they are about 4/5 of the way to the top.
The LCD should show their values as between +60 and +70. In other words, you???ve just edited the amp envelope so that the attack, decay, and release are all much longer than they were before.
6. Play a few notes.
Notice that the sound has changed from an electric piano into a soft pad. Next, let???s add just a bit of pitch modulation, to make the sound more rich.
7. Look at the assignments for knobs 2 and 5.
Knob 2 is assigned to Pitch LFO 1
8.Turn knob 2 ever so slightly to the right, so that the LCD reads +01 or +02.
9.Turn knob 5 to the right, until about 2 o???clock, so that the LCD reads about 40.
10.Play a few more notes.
The pitch modulation has added some shimmer to the sound. Now, maybe it could use a bit more edge???
11.Look at the assignments for SELECT switches 1 and 2.
These are programmed to raise the Filter Frequency and Filter Resonance, respectively. Switches are just on/off, but you can set a speci???c value for the On position; notice the +10 and +40 in the switch???s value boxes.
12.Press the two switches, one by one.
The sound now has a more interesting character, due to the ???lters. Since it???s brighter, we???ve also restored some of the electric piano character.
Pretty easy, huh? Note - depending on the parameter, you may sometimes hear glitches in the sound as you move the control.
Changing parameter assignments
The factory Programs include default assignments of Tone Adjust parameters to the knobs, sliders, and switches. If you like, you can change any of the assignments. To do so:
1. Go to the Control Surface tab of the Play page.
On this page, you can see the parameter assignments for each controller, such as Filter EG Attack, Pitch Stretch, Reverse, and so on.
2.Press the popup button next to one of the parameter assignments.
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Playing and editing Programs
A popup window will appear, with a long list of parameters. You 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.
???Parameters which affect both Oscillators, but which are specific to
???The other group of parameters, at the beginning of the list, are ???Common.??? That is, you can use them with most EXi Programs, as well as
???Parameters can only be assigned to one Tone Adjust control at a time. If a parameter is already assigned, it???s grayed out.
3. Select a parameter from the list.
The parameter is now assigned to the control. To cancel out of the list without making a change, just touch on the screen outside of the popup window.
Using COMPARE
When you???re in the process of editing a sound, pressing the COMPARE button will recall the saved version of the sound, as it was before you started editing. To indicate that you are listening to the saved version, the button???s LED will light up.
Pressing COMPARE again returns you to the version you are editing, and the LED will go out again.
If you edit while the COMPARE LED is lit, the key will again go dark and your previous edits will be lost.
Resetting individual controls
The RESET CONTROLS button lets you revert an individual knob, slider, or switch to its saved setting. For more information, see ???Resetting controls to their saved values??? on page 47.
Saving your edits
Once you???ve tweaked the sound to perfection, you???ll want to save your work. To save your edits:
1.Select the Write Program command from the page menu, at the upper
You can also call up this menu command by holding ENTER and pressing 0 on the numeric keypad.
This brings up a dialog box which allows you to save the Program. Optionally, you can also select a new location, change the Program???s name, and assign it to a sound category (such as keyboard, guitar, etc.).
2.Press the ???T??? button to bring up the text edit dialog.
You can give the Program a descriptive name using the
3. After entering the name, press OK.
The text edit window will disappear, returning you to the main Write dialog.
4.Under ???To??? at the bottom of the dialog, press the popup button next to Program to bring up the save location dialog.
5.Select a location to save the edited Program.
You can write to any location in banks
Important:
6.After selecting the location, press OK.
7.Press OK again to start the write process.
8.If you???re sure you want to write to this location, press OK again.
After that, you???re done!
For more information, see ???Writing a program or combination??? on page 164.
Saving edits to GM Programs
You can edit GM Programs, but you must then save them to a Bank other than
Shortcut: SEQUENCER REC/WRITE
You can also use the SEQUENCER REC/WRITE button to quickly update the current Program, using the existing name, bank, number, and category. To do so:
1. Press the SEQUENCER REC/WRITE button.
The Update Program dialog will appear.
2. Press OK to write the program.
Saving to disk
You can also save and manage Programs on the internal hard drive, and on USB storage devices. For more information, see ???Saving to disks, CDs, and USB media??? on page 168.
Detailed Editing with
Creating your own Programs
You can create your own original sounds by editing the factory Programs, or by initializing a Program and starting from scratch. You can save these Programs into any bank other than
You can also create Programs using RAM multisamples that you have sampled or loaded from disk. In addition, you can play a Program and resample your performance, or sample an external audio source while listening to the sound of a Program.
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Detailed Editing with
Overview of editing pages
P0: Play is where you select and play programs, make quick edits using the Control Surface, and adjust the KARMA settings. The other pages let you modify the sound in more detailed ways.
For details on how to access each mode and page, refer to ???Basic operations??? on page 34.
The page and parameter structures of EXi Bank programs are different than those of
Basic
Multisamples and Wave Sequences
The sound of the
You can use these Multisamples directly, or use them through Wave Sequences, which play a series of different Multisamples over time to create rhythms or complex, evolving timbres.
Oscillator Mode
Drums mode is a special variation of Single mode, and uses a Drum Kit (as created in Global mode) instead of Multisamples.
Single Programs use one oscillator, for a maximum of
Double Programs use two oscillators, for a maximum of
Drum Programs use one oscillator to play a Drum Kit. These will normally have a maximum of
A note about polyphony
Polyphony means the number of notes that you can play at a time. This number will vary depending on the particular sound being played, and how that sound is produced. Generally speaking:
???Double Programs use twice as many voices as Single Programs.
???Wave Sequences use twice as many voices as Multisamples.
???Stereo Multisamples use twice as many voices as Mono Multisamples, and Stereo Wave Sequences use twice as many voices as Mono Wave Sequences.
???If the Vector EG is enabled, the number of voices used increases slightly.
Voice Assign Mode
The Voice Assign Mode selects whether the Program will play polyphonically (Poly) or monophonically (Mono).
When this is set to Poly, you can play both chords and melody lines. When this is set to Mono, only one note will sound even if you play a chord.
Normally you???ll set this to Poly, but Mono is useful when playing sounds such as synth basses, synth leads, and other solo instruments. Try switching between Poly and Mono, and listen to the results.
Using Drum Kits
You can create and edit Drum Kits in Global mode. For each note on the keyboard, you can select up to four
For more information, see ???Using Drum Kits??? on page 159.
In Programs, once you???ve set the Oscillator Mode to Drums, you can select between the 144 user- programmable Drum Kits, plus an additional 9 GM2 kits. For more information on the factory sounds, see the Voice Name List.
Copying settings between OSC1 & OSC2
Many of the Program parameters can be set differently for OSC1 and OSC2. These include all of the parameters on:
???All of the tabs on the OSC/Pitch page, except for the Pitch EG
???All of the tabs on the Filter page
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Playing and editing Programs
???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
You can use the page menu???s Copy Oscillator command to copy these parameters from one Oscillator to another. You can even copy parameters from an Oscillator in a different Program.
This command is useful when you want to set both Oscillators to the same settings, or when you want to duplicate settings you???ve used before.
Working with Multisamples
The sound of the
You can use these Multisamples directly, or use them through Wave Sequences, which play a series of different Multisamples over time to create rhythms or complex, evolving timbres.
In Single and Double modes, each Oscillator can play up to four Multisamples or Wave Sequences. In Drum mode, there is one Oscillator, and it plays a single Drum Kit.
Multisamples, Wave Sequences, and Drum Kits
Multisamples, Drum Kits, and Wave Sequences allow you to play samples in different ways.
???Multisamples lay out one or more samples across the keyboard. For instance, a very simple guitar Multisample might have six
???Wave Sequences play back a series of different Multisamples over time. These Multisamples may crossfade to create smooth, evolving timbres, or change abruptly to create rhythms.
???As the name suggests, Drum Kits are optimized for playing drum samples.
Velocity splits, crossfades, and layers
As mentioned above, unless you???re in Drum mode, each Oscillator has four velocity zones, named MS1 (High) through MS4 (Low). This means that the Program can play different Multisamples or Wave Sequences, depending on how hard you play.
Each of these zones has separate settings for Level, Start Offset, and so on. Also, each of the zones can fade into the next, to create smooth velocity transitions. Zones can even be layered together, two at a time.
Selecting Multisamples
Let???s create a simple velocity crossfade between two Multisamples, using just OSC1.
1.Go to the OSC1 Basic tab of the OSC/Pitch page.
2.Set the MS1 and MS2 Type parameters to Multisample.
3.Set the Types for MS3 and MS4 to Off.
4.Select ROM Stereo as the Multisample Bank for MS1 and MS2.
There are three main types of Multisample Banks: ROM, RAM, and EXs. For each type, you can also choose between looking at mono and stereo Multisamples. Note that stereo Multisamples will require twice as many voices as mono Multisamples.
ROM Multisamples are the
RAM Multisamples include Akai, AIFF or WAV ???les loaded from disk, and samples created in Sampling mode.
EXs Multisample banks are PCM expansion sets created especially for the OASYS. Each has its own unique number; for instance, the ROM Expansion option is EXs1, and the Concert Grand Piano option is EXs2. Only the currently loaded EXs banks will appear in this menu.
5. Press the Multisample popup for MS1.
This brings up a list of Multisamples, organized by category. Use the tabs at the left of the screen to browse through the different categories.
6.Select a Multisample by touching its name in the list.
7.Press the OK button to con???rm your selection.
8.Do the same for MS2.
Now that you???ve assigned Multisamples to MS1 and MS2, let???s set up the velocity ranges and crossfades.
9.Set MS2???s Bottom Velocity to 001, and its Xfade Range to 0.
10.Set MS1???s Bottom Velocity to 80.
Now, MS2 will sound when you play softly, at velocities of 79 or
You can also see this split visually, in the graphic on the right side of the LCD.
11.Next, set MS1???s Xfade Range to 20, and its Curve to Linear.
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Using LFOs and Envelopes (EGs)
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.
Reverse check box
Reverse lets you play the selected multisample backwards, without looping. This can produce interesting results for sound effects or other unusual timbres. Reverse applies only to Multisamples; when the Type is set Wave Sequence, this is grayed out.
Using LFOs and Envelopes (EGs)
Using LFOs
Each Oscillator 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
The LFOs can modulate many other parameters, in addition to those listed above.
Basic LFO programming
The OASYS LFOs are very powerful, and offer lots of control for the power user. It???s simple to get started with them,
1. Go to the OSC1 LFO1 tab of the LFO page.
2.Select the Waveform parameter.
3.Use the Inc 
and Dec 
buttons to scroll through the different waveforms, and look at their shapes in the graphic 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 filter and amp effects, and creates a police siren effect when modulating pitch.
???The Guitar waveform is designed especially for guitar vibrato, since it bends only upwards from the base value.
???Saw and Exponential Saw Down are good for rhythmic filter and amp effects.
???Random 1 (S/H) creates the classic
4.After looking at the different waveforms, select Triangle.
5.Select the Shape parameter, and use the VALUE slider to move through its different settings, from - 99 to +99.
Notice how the shape of the waveform becomes more curved, and how
6.Select the Start Phase parameter, and use the VALUE slider 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 Frequency parameter to set the speed of the LFO.
8.Use the Fade and Delay settings to control the way the LFO sounds at the beginning of the note.
For more information on LFOs, see ???Program P5: LFO??? on page 83 of the Parameter Guide.
All of these parameters control the way that the LFO itself 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.
Frequency Modulation
AMS can be used to vary the LFO speed. This lets you change the LFO speed by operating a controller, or by the EG or Keyboard Track settings.
MIDI/Tempo Sync.
If MIDI/Tempo Sync is checked, the Frequency setting will be ignored, and the LFO will synchronize to the system tempo, as set by the TEMPO knob or external MIDI clocks.
This lets you produce vibrato, wah,
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Playing and editing Programs
EGs (Envelope Generators)
An envelope creates a modulation signal by moving from one level to another over a speci???ed time, and then moving to another level over another period of time, and so on.
Start Level
The
Using Alternate Modulation (AMS) and the AMS Mixers
AMS (Alternate Modulation Source) refers to any of the assignable modulation sources in OASYS, including:
???
???Incoming MIDI controllers, or MIDI controllers generated by KARMA or the Vector EG
???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.) to which AMS will control the modulation.
A number of
Note that not all AMS sources may be available for some modulation destinations.
For details on alternate modulation and AMS, see ???Alternate Modulation Sources (AMS),??? on page 965 of the Parameter Guide.
Using the AMS Mixers
Adding two AMS sources together
AMS mixers will do different things depending on their Type setting. The A+B setting merges two AMS sources into one. This can be handy when you need to add one more modulation source to a parameter, but you???ve already used up all of the available AMS slots.
For instance, let???s say that you???re using an LFO to modulate Filter Resonance, and then you decide that it would be interesting to scale that parameter with an EG as well. Resonance has only a single AMS input, but you can easily merge the LFO and the EG together using the A+B AMS Mixer:
1.Assign the LFO to AMS A.
2.Assign the EG to AMS B.
3.Assign the AMS Mixer as the Filter Resonance AMS source.
AMS Mixer A+B example
AMS A: LFO
AMS B: EG
The AMS Mixers combine two AMS sources into one, or process an AMS source to make it into something new.
For instance, they can add two AMS sources together, or use one AMS source to scale the amount of another. You can also use them to change the shapes of LFOs and EGs in various ways, modify the response of realtime controllers, and more.
The AMS Mixer outputs appear in the list of AMS sources, just like the LFOs and EGs.
This also means that the original, unmodi???ed inputs to the AMS Mixers are still available as well. For instance, if you use LFO 1 as an input to a 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.
A+B Output
Scaling one AMS source with another
When the Type is set to Amt A x B, the mixer uses the AMS B input to scale the amount of AMS A. For instance, you can control the amount LFO1 with the Filter EG, or control the amount of the Pitch EG with the ribbon.
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Controlling Pitch
AMS Mixer Amt AxB example
AMS A: LFO
AMS B: EG
Amt A*B Output
Smoothing
The Smoothing Type smooths out the AMS input, creating more gentle transitions between values. You have separate control of the amount of smoothing during the attack (when the signal is increasing) and decay (when it???s decreasing).
Low settings provide subtle controller smoothing, creating more gradual aftertouch, for instance. Higher settings create
Smoothing can also be used to alter the shape of programmable mod sources, such as LFOs and EGs. For instance, you can turn a ???blip??? into a simple envelope shape, as shown below.
AMS Mixer Smoothing examples
Original AMS A: Smoothing with Long Attack and Short Release:
Smoothing with Short Attack & Long Release:
More AMS Mixer features
There are more mixer Types, including Offset, Shape, and Quantize, which offer even more possibilities for creative programming. For more details, see
Suggestions on using AMS
When making 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, ???lter, or ampli???er 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, if you want to control a guitar sound so that it approaches feedback when you move the joystick, you might set up the joystick to modulate the ???lter frequency and resonance.
Controller Setup page
For each program, this tab lets you make settings for the SW1 and SW2 key, and for
Controlling Pitch
Pitch bend
The JS (+X) and
Ribbon speci???es the amount of pitch change (in semitones) that will occur when MIDI control change (CC) #16 messages are received, or when you move your ???nger left and right on the ribbon controller. With a setting of +12, the pitch will be raised one octave at the far right of the ribbon controller, and will be lowered by one octave at the far left of the ribbon controller.
Creating Vibrato
You can use an LFO to create vibrato.
LFO 1/2 Intensity sets the depth to which the selected LFO will affect the pitch. With a setting of +12.00, vibrato will produce a maximum of ??1 octave of pitch change.
JS+Y Int speci???es the amount of vibrato that the LFO will produce when the joystick is pushed away from yourself.
Intensity (AMS Intensity) speci???es the depth of vibrato that will be applied by the LFO when modulated by the selected AMS (Alternate Modulation Source). For example, if LFO1 AMS is set to After Touch and you set an appropriate value for Intensity, vibrato will be applied when you apply pressure to the keyboard or when MIDI aftertouch messages are received.
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Playing and editing Programs
Pitch EG
When the Intensity value is set to +12.00, the pitch EG speci???ed in the Pitch EG page will produce a maximum of ??1 octave of pitch change.
To realistically simulate the slight change in pitch that occurs when a string is plucked or at the attack of a brass or vocal sound, you can use the EG to create a subtle change in pitch at the attack.
Portamento
Portamento makes the pitch change smoothly when you play the next note before releasing the previous note.
The Time parameter controls how long it take the pitch to change. As this value is increased, the pitch will change over a longer time. With a value of 000, there will be no portamento.
You can turn Portamento on and off via SW1 or SW2, by assigning them to Porta.SW CC#65.
Using Filters
The ???lters allows you to diminish or emphasize speci???ed frequency areas of the sound.
The tone of the sound will depend signi???cantly on the ???lter settings.
The basic ???lter settings, including the routing, type, cutoff frequency, and resonance, are set on the P3: Filter page.
Filter Routing
Each oscillator has two ???lters, Filter A and Filter B. The Routing parameter controls whether one or both of the ???lters are used, and if both are used, it controls how they are connected to each other.
The Single routing uses only Filter A as a single
The Serial routing uses both Filter A and Filter B. The oscillator ???rst goes through Filter A, and then the output of Filter A is processed through Filter B.
Parallel also uses both Filter A and Filter B. The oscillator feeds both ???lters directly, and the outputs of the two ???lters are then summed together.
The 24dB/oct. routing merges both ???lters to create a single
Serial and Parallel Routing
Filter A (Low Pass)
Oscillator
Filter B (High Pass)
Filter Types
This selects the parts of the sound which will be affected by the ???lter, as described below. With the Serial and Parallel routings, you can independently set the types for Filter A and Filter B.
The ???lters will produce very different results depending on the selected ???lter type. The selections will change slightly according to the selected Filter Routing, to show the correct cutoff slope in dB per octave.
Low Pass. This cuts out the parts of the sound which are higher than the cutoff frequency. Low Pass is the most common type of ???lter, and is used to make bright timbres sound darker.
High Pass. This cuts out the parts of the sound which are lower than the cutoff frequency. You can use this to make timbres sound thinner or more buzzy.
Band Pass. This cuts out all parts of the sound, both highs and lows, except for the region around the cutoff frequency. Since this ???lter cuts out both high and low
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Using Filters
frequencies, its effect can change dramatically depending on the cutoff setting and the oscillator???s multisample.
With low resonance settings, you can use the Band Pass ???lter to create telephone or vintage phonograph sounds. With higher resonance settings, it can create buzzy or nasal timbres.
Band Reject. This ???lter
Filter Types and Cutoff Frequency
Low Pass
High Pass
Band Pass
Band Reject
Cutoff Frequency
Resonance
Resonance emphasizes the frequencies around the cutoff frequency, as shown in the diagram below.
Low resonance
High resonance
When this is set to 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly.
At medium settings, the resonance will alter the timbre of the ???lter, making it sound more nasal, or more extreme. At very high settings, the resonance can be heard as a separate, whistling pitch.
To make the resonance track the keyboard pitch, see ???Key Follow,??? on page 65 of the Parameter Guide.
Modulating the ???lters
You can modulate the ???lter cutoff frequency using the Filter EG, the LFOs, keyboard tracking, and other
Filter EG
The Filter EG is a
The Intensity to A and Intensity to B settings control the basic amount of EG modulation for ???lter frequencies A and B, respectively, before other modulation.
The Velocity to A and Velocity to B settings let you use velocity to scale the amount of EG modulation.
The AMS setting selects a AMS modulation source to scale the amount of the Filter EG applied to Filters A and B. The two ???lters share a single AMS source, with separate intensity settings.
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Playing and editing Programs
LFO modulation
You can modulate the ???lter via LFO1, LFO2, and the Common LFO. Among other applications, LFO modulation of the ???lter can produce the classic ???auto- wah??? effect.
The Filter LFO Mod tab lets you set up the following parameters separately for each LFO:
Intensity to A and Intensity to B specify how much the LFO changes the tone.
The AMS setting selects a AMS modulation source to scale the amount of the LFO applied to Filters A and B. The two ???lters share a single AMS source, with separate intensity settings.
For example if, AMS is set to After Touch, applying pressure to the keyboard produces an
the MIDI range, respectively. You can set the other three
The four Ramp values control the rate of change between each pair of keys. For instance, if the Low- Center Ramp is set to 0, the value will stay the same between the Low Break key and the Center key.
You can think of the resulting shape as being like two folding doors attached to a hinge in the center. At the Center key (the main hinge), the keyboard tracking has no effect. The two folding doors swing out from this center point to create changes in the higher and lower ranges of the keyboard.
Keyboard Track Shape and Intensity
Intensity = +99 (Original Shape)
Keyboard Track
Most acoustic instruments get brighter as you play higher pitches. At its most basic, keyboard tracking re- creates this effect by increasing the cutoff frequency of a lowpass ???lter as you play higher on the keyboard. Usually, some amount of key tracking is necessary in order to make the timbre consistent across the entire range.
Intensity = +50 (Less Effect)
Intensity = 0 (No Effect)
The OASYS keyboard tracking can also be much more complex, since it allows you to create different rates of change over up to four different parts of the keyboard. For instance, you can:
???Make the filter cutoff increase very quickly over the middle of the keyboard, and then open more
???Make the cutoff increase as you play lower on the keyboard.
???Create abrupt changes at certain keys, for
Intensity =
Intensity to A and Intensity to B adjust the effect that keyboard tracking will have on ???lters A and B. For more information, see
How Key Track works: Keys and Ramps
The keyboard tracking works by creating four ramps, or slopes, between ???ve keys on the keyboard. The bottom and top keys are ???xed at the bottom and top of
AMS Modulation
In addition to the EG, LFOs, and Key Track, you can use two AMS sources to modulate the ???lters. For instance, you could use the ribbon to change the brightness, or use the AMS output of a Wave Sequence.
Using the Amp section
The Amp section includes controls for volume, pan, and the driver circuit. You can control the volume using the Amp EG, LFO 1/2, Key Track, and velocity, along with other AMS sources.
Each Oscillator has its own Amp section: Amp1 for OSC1, and Amp2 for OSC2.
Background - what does ???Amp??? mean?
Different sounds have characteristic shapes to their volume levels.
For example, the volume of a piano note begins at a high volume the instant you play the note, and then decreases gradually.
The volume of an organ note, on the other hand, remains constant as long as you continue pressing the key.
The volume of a note on a violin or wind instrument can be varied during the note by the musician (i.e., by regulating the amount of pressure on the bow or the force of the breath).
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Using the Amp section
Pan
Pan
The main Pan parameter controls the stereo position after the signal has passed through the oscillator, ???lter, and amp. Normally you???ll set this to C064, so that the sound is centered equally between the left and right speakers.
To create a stereo effect when Oscillator Mode is set to Double, set the Amp1/Driver 1 page Pan to L001, and the Amp2/Driver2 page Pan R127. This will make OSC1 go to the left speaker, and OSC2 go to the right speaker.
With a setting of Random, the pan will change randomly each time you play a note on OASYS, producing an interesting effect.
Pan AMS and Intensity
Intensity speci???es the depth of the pan modulation from the selected AMS source.
If you set AMS to Note Number, the pan will change according to the keyboard position of each note played. With a setting of LFO1 or 2, the sound will sweep from side to side, creating an
Pan - Use DKit Setting
Use DKit Setting applies when Oscillator Mode is set to Drums. If this is checked, the Program can use a different pan position for each drum sound, as speci???ed by the Drum Kit. If this is unchecked, all drum sounds will use the Program???s pan position. The factory presets and GM drum kits use individual pan positions for the different drums, so normally it???s best to leave this checked.
Amp modulation
The basic volume level is set by the Amp Level parameter. You can then alter this using the modulation sources below:
Keyboard Track
This lets you vary the volume relative to the note you play. For more information, see ???Keyboard Track??? on page 62.
Amp Modulation
Velocity Intensity is used by most programs to decrease the volume of softly played notes and increase the volume of strongly played notes, and the Amp Modulation parameter adjusts the depth of this control. Normally you will set Amp Modulation to positive (+) values. As this setting is increased, there will be greater volume difference between softly played and strongly played notes.
LFO1/2
Speci???es how the LFO???s will produce cyclic changes in volume (tremolo effect).
The volume will be affected by the LFO(s) for which you set an LFO1 Intensity, LFO2 Intensity value.
Intensity (AMS Intensity) adjusts the depth by which the tremolo effect produced by the LFO will be affected when you assign an AMS (LFO1 AMS, LFO2 AMS).
For example if you set AMS to
Amp EG
The Amp EG lets you control how the volume changes over the course of a note.
Every instrument has its own characteristic volume envelope. This is part of what gives each instrument its identi???able character.
Conversely, by changing the volume
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Playing and editing Programs
Piano
Organ
Strings
Drive
The Drive circuit adds saturation and overdrive to the sound, for everything from subtle fattening to drastic distortion. Unlike an overdrive effect, Drive processes each voice individually, so the timbre stays the same regardless of how many voices are being played.
The two main parameters, Drive and Low Boost, work together to create the overall effect.
Drive controls the amount of edge and bite in the timbre. Low settings will produce mild saturation, and higher settings create more obvious distortion.
Often, it???s useful to increase the Low Boost along with the Drive.
Note: even when the Drive amount is set to 0, the Drive circuit still affects the timbre. If your goal is a completely pristine sound, use the Bypass control instead.
Low Boost is a special
Higher amounts increase the bass boost, and will also intensify the effect of the Drive parameter.
Using Vector Synthesis
Vector Synthesis lets you control Program and Effects parameters by moving the Vector Joystick, by using the programmable Vector Envelope, or by the combination of the two.
What does Vector mean?
Modulation generally works by moving a single control. like a slider, in a straight line. At one end of the control, the modulation is at its minimum; at the other end, it???s at its maximum.
Vector Synthesis is a little different. It works by moving around a point on a
You can think of this point as being positioned on two different lines at once: a
In other words, instead of just having one value (like a slider), each Vector point has two values: one for X, and one for Y. See the graphic below for an example.
Vector Point and X and Y axis values
Vector Point
+127
Y value: +50
X value:
In addition to moving the point directly with the Vector Joystick, you can also use the Vector Envelope to move its position automatically over time, as shown below.
Vector Envelope moving the Vector Point
+127
Vector Joystick and Vector Envelope
You can move the Vector point using the combination of the Vector Joystick and the Vector Envelope. The two work together, although you don???t necessary have to use them both at the same time.
When the Vector Joystick is in its center position, the Vector Envelope has complete control over the point???s position. Likewise, when the Vector Envelope is in the center, the Vector Joystick has complete control.
When the Vector Envelope is in use, the Vector Joystick offsets the position by up to halfway across either axis. For instance, if the Envelope is all the way to the right of the X axis, and the Joystick is all the way to the left, the actual Vector position will be in the center of the X axis.
Hint: to quickly reset the Vector Joystick to its center value, hold down the
Vector Volume Control and CC Control
The Vector does two main things: it can control the relative volume of the two Oscillators in Program mode (or of up to 16 Programs at once in Combi mode), and it can generate CCs for controlling Program and Effects parameters.
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Effects
Vector and MIDI
The Vector features interact with MIDI in two different ways: through the Vector Joystick, and through the Vector CC Control.
The Vector Joystick sends and receives two MIDI controllers: one for the X axis, and the other for the Y axis. In Global mode, you can assign these to any MIDI CC numbers you like. The defaults are CC#118 for the X axis, and CC#119 for the Y axis.
The Vector Joystick and its CCs control the Vector position, in conjunction with the Vector EG.
The Vector CC Control, on the other hand, is generated by the Vector position. Normally, this will only affect internal sounds and effects. If you like, however, you can also enable a Global parameter to send these generated CCs to external MIDI devices.
For more information on Vector Synthesis, see
Vector Synthesis System
Vector Joystick
Vector Joystick
MIDI In
Program switch:
Enable CC control
Effects
Effects are covered in their own section of the manuals, so we won???t go into too much detail here.
Insert Effects
Insert Effects let you send either individual Oscillators or the entire Program through up to 12 effects, in series. You can use any type of effects, from distortions and compressors to choruses and reverbs. The Insert Effects can be routed to the main outputs, or to any of the individual outputs.
For more information, see ???Insert effects??? on page 185.
Total Effects
The two Total Effects are dedicated to processing the main L/R outputs. They???re ideally suited to overall mix effects, such as compression, limiting, and
For more information, see ???Program P9: Master/Total Effect??? on page 134 of the Parameter Guide.
Master Effects
There are two Master Effects, which are accessed through Sends 1 and 2. These are
For more information, see ???Master effects??? on page 186.
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Playing and editing Programs
Automatically importing 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
If inspiration for a phrase or song strikes you while you???re playing, you can use this function to start recording immediately. To do so:
1.Hold down the ENTER key and press the SEQUENCER REC/WRITE key.
The Setup to Record dialog box will open and ask ???Are you sure????
2. Press OK.
You will automatically enter Sequencer mode, and will be in the
3.Press the START/STOP key to start the sequencer and begin recording.
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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 Timbres. Each Timbre has a Program, along with parameters for key and velocity zones, mixer settings, MIDI channel and controller ???ltering, and so on.
As with Programs, each Combi has 12 Insert Effects, 2 Master Effects, and 2 Total Effects, for shaping and transforming the sounds of the individual Timbres. Finally, Combis can use 4 KARMA modules at once, for complex and layered generated effects.
Combination overview
Combination Banks and factory sounds
OASYS ships from the factory with 384 factory- programmed Combinations. You can create your own original combinations by editing these
Over 1,400 Combination slots are left open for your own programming, or additional sound libraries.
These Combinations are organized into 14 Banks of 128 Combinations each, as described below.You can also store many more Combinations on the hard drive, or on external USB 2.0 devices.
The preloaded Combinations in internal (INT) banks A and B use only the basic PCM ROM, in addition to EXi sounds. The Combinations in internal bank C use the EXs1 ROM Expansion PCM, in addition to the basic ROM. For more details on the factory Combinations, please refer to the Voice Name List.
You can play a Combination and resample your performance, or sample an external audio source while listening to the sound of a Combination.
Combination bank contents
Combination page structure
The main P0: Play page offers access to the most important aspects of Combis, including:
???Selecting and playing Combinations
???Selecting individual Programs
???Making basic settings for KARMA
???Editing mixer settings and sound parameters via the Control Surface
???Quick sampling and resampling
The detailed editing pages, P1 through P9, give you more
For details on how to access each mode and page, please see ???Basic operations??? on page 34.
You can perform sampling and resampling in Combination mode. For more information, see ???Sampling in Program, Combination,
and Sequencer modes??? on page 141.
You can also apply the OASYS???s effects to external audio inputs, for a wide range of possibilities. For more information, see ???Effect settings for the audio inputs??? on page 190.
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Playing and editing Combinations
Combination structure and corresponding pages
Selecting Combinations
There are several different ways to select Combinations. Each one is convenient in a different way:
???Using the
???Selecting by Bank and number (via the touch- screen) lets you browse through all of the Combinations in memory, to find the one that you want
???Selecting by Combination category (via the touch- screen) lets you filter Combinations by sound type, such as Pianos or Drums
???Using a
???MIDI program change messages let you select Combinations remotely, from either
Using the
1.Make sure that the COMBI button, under MODE, is lit.
This means that you???re in Combination mode, in which you can select and edit Combinations. If the button isn???t lit, press it now; it will light up, and the main Combination Play page will appear.
2.If you???re already in Combination mode, go to the main Combination Play page.
The main Play page shows the selected Program, status, pan, and volume for timbres
3. Make sure that the Combination name is selected.
If it is not selected, go to the Combination P0: Play page and touch the Combination???s name, so that it???s hilighted.
4.Use the VALUE controllers to select the Combination number that you wish to play.
You can use the following methods to select a Combination.
???Turn the Value dial.
???Press the Inc 
or Dec 
buttons.
???Use the numeric keypad
5.Press a BANK button (INT or USER
When you select a different Bank, the button???s LED will light, and the selected bank will appear on the upper left side of the LCD screen.
For example to select bank
Selecting by Bank and number
You can select Combinations from a list organized by Combination bank.
1. Press the Combination Select popup button.
The Bank/Combination Select dialog appears.
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Selecting Combinations
In this illustration, 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.
The selected Combination will be highlighted, and the keyboard will immediately switch to the new sound.
4.If you like, play a few notes to hear the new Combination.
You can play the new Combination while the menu is still showing, without needing to press OK.
5.When you are satis???ed with the selected Combination, press the OK button to close the popup menu.
If you press the Cancel button, the selection you made here will be discarded, and you will return to the Combination that had been selected before you opened the menu.
Selecting by Category
You can select Combinations from within a category, such as keyboard, organ, bass, and drums. When shipped from the factory, the preloaded Combinations are organized into 16 categories, each with several sub- categories. There are also 2 more categories, initially named User 16 and User 17, which you can use and rename as desired.
1. Press the Category popup button.
The Category/Combination Select dialog appears.
In the illustration above, the Synth is selected. The list on the right shows the Combinations which belong to that category.
2.Press the tabs located to the left side of the display to select a different category.
The name of the selected category will be displayed in full in the lower left.
3.Press one of the Combination names in the center area to select a Combination.
The selected Combination will be highlighted.
4.When you are satis???ed with the selected Combination, press the OK button to close the popup menu.
If you press the Cancel button, your selection will be discarded, and you will return to the Combination that had been selected when you opened the popup menu.
Selecting Combinations using a footswitch
You can assign a footswitch to step through Combinations one by one, either going up (0, 1, 2, 3, etc.) or going down (3, 2, 1 etc.). This lets you change Combinations without using your
For more information, see ???Using a footswitch to select Programs??? on page 45.
Selecting Combinations from MIDI
You can send MIDI Program Change messages to OASYS from external MIDI devices, such as computer sequencers or other MIDI controllers. In conjunction with MIDI Bank Select, you can use these to select any Combination from all 14 Banks.
For more information, see ???Selecting combinations,??? on page 1003 of the Parameter Guide.
Using controllers to modify the sound
You can use the joystick, ribbon controller, SW1, SW2, Vector Joystick, VALUE slider, keyboard, foot pedals and switches, and the Control Panel knobs, sliders, and switches to control the sound.
For more information, see the corresponding explanation for Programs: ???Using Controllers??? on page 45.
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Playing and editing Combinations
Easy Combination editing
Changing the Programs within the Combi
Changing the Programs assigned to the 16 Timbres is a quick way to dramatically alter the sound of the Combination.
There are two ways to select Programs for a Timbre:
???Selecting Programs from the front panel and LCD, either by Bank or by Category
???Selecting Programs via MIDI program change messages
Note: MIDI program changes only work for Timbres whose Status is set to INT.
Selecting Programs from the front panel and LCD
To change the Program assigned to a Timbre:
1. Go to the Prog Select/Mixer tab of the Play page.
This page shows all 16 Timbres at once, including their Program assignments, volume, pan, play/mute, solo, and more.
2. Touch the popup button at the top of Timbre 1.
This is the Category select button. It brings up a window which allows you to select a Program by Category, identical to the similar function in Program mode.
3. Select a Program, and press OK.
The Category Select window will disappear. Note that the new Program is now selected for Timbre 1.
4.Press the popup button directly under the Category button.
This is the Bank/Number select button. It brings up a window which lets you select Programs by Bank??? again, just like the similar window in Program mode.
5. Select a different Program, and press OK.
The Program in the Timbre is now changed to the one you just selected. Also, the Bank /Number parameter is now hilighted, which means that we can use the front panel buttons to select Banks and Programs.
6. Press one of the
Notice that Timbre 1???s Bank and Program change to match the selected Bank.
7.Use Inc/Dec, the VALUE dial, or the numeric keypad to select the Program.
Adjusting the mix
You can use both the Control Surface and the LCD to set the volume, pan, and EQ settings for each Timbre, as well as their PLAY/MUTE and Solo On/Off states.
Setting mix parameters from the LCD
1. Go to the Prog Select/Mixer tab of the Play page.
This page shows the volume, pan, play/mute, solo, and Program assignments for all 16 Timbres.
2.Select the
3.Use Inc/Dec, the VALUE dial, or the numeric keypad to set the volume as desired.
4.Select the
Timbre pan interacts with the pan stored in the Program. A setting of C064 reproduces the Program???s oscillator pan settings. Adjusting the Timbre Pan will move the sound to left or right while preserving the pan relationship between the oscillators. A setting of L001 is far left, and R127 is far right.
Using the Control Surface for the mix
You can also edit the mixer parameters directly from the Control Surface, eight Timbres at a time.
1.Press the TIMBRE/TRACK button under CONTROL ASSIGN, so that the
The button has two LEDs: one for Timbres
2.Optionally, go to the Control Surface tab of the Play page.
3.Press the MIXER KNOBS button until
the INDIVIDUAL PAN LED lights up.
This makes knob 1 control Timbre 1???s pan, 
and knob 2 control Timbre 2???s pan, and so on.
4.Use sliders 1
5.Use knobs
6.Press the MIXER KNOBS button until
the CHANNEL STRIP LED lights up.
This makes the knobs control a virtual channel strip, including pan, EQ, and effects sends.
7. Press MIX SELECT button 1.
The Channel Strip now controls the Pan, EQ, and FX Sends for Timbre 1.
8.Use knobs
Internally, the system ???gures out how the Oscillator is routed to the Master Effects, and automatically adjusts the appropriate effects send parameters.
9. Press MIX SELECT button 2.
The Channel Strip now controls the Pan, EQ, and FX Sends for Timbre 2. Each Timbre has its own, dedicated stereo
10.Edit the Channel Strip for Timbre 2 as desired.
Notice that Pan is available, in different ways, with both settings of the MIXER KNOBS button.
Easy KARMA editing
KARMA stands for ???Kay Algorithmic Realtime Music Architecture.??? It???s an immensely powerful performance tool, which can provide a wide range of musical effects including:
70
Combination editing
???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.
You can control many KARMA parameters directly from the front panel.
Turning KARMA on and off
The overall control for KARMA is the ON/OFF button. Turn the button on (LED lit) to enable KARMA; turn the button off (LED off) to disable KARMA.
LATCH button
When LATCH is turned on, KARMA will continue to play even after you???ve stopped playing on the keyboard, drum/chord pads, or MIDI In.
This is convenient when you want to play on top of a
CHORD ASSIGN button
This lets you assign notes and chords to the drum and chord pads. There are a several different ways to do this; here???s one of them:
1.Play a single note, or a chord of up to 8 notes.
2.Press the CHORD ASSIGN button.
3.Press the pad to which you???d like to assign the notes.
That???s
Selecting KARMA Scenes
Each Combi can have up to 8 KARMA ???Scenes,??? which are presets for the KARMA parameters. Different Scenes may produce dramatically different effects. You can select Scenes directly from the Control Surface:
1.Press the R.TIME KNOBS/KARMA button under
CONTROL ASSIGN.
The Control Surface will switch to
2.Select Scenes by pressing the top row of Control Panel switches.
Note that not all Combis will necessarily have 8 different Scenes.
Editing KARMA parameters via the sliders
You can also edit various KARMA parameters in real time, using the Control Surface sliders. The speci???c parameters will vary depending on the Combi, so it may be helpful to look at the LCD:
1.Go to the Control Surface tab of the Play page.
2.Press the R.TIME KNOBS/KARMA button under
CONTROL ASSIGN.
The LCD will now show the KARMA parameters assigned to the sliders and switches.
3.Move the sliders to change the KARMA parameters.
For more information on KARMA, see the ???KARMA GE guide??? on page 893 of the Parameter Guide.
Combination editing
You can edit the preloaded combinations (Banks A, B, and E) with which the OASYS is shipped, or start with an initialized Combination to create your own original sounds.
You can use the factory Programs to create new Combis, or use your own custom Programs. If you???re in the process of editing a Program in Program mode, and you use the Program in a Combi, you???ll hear the edited version in Combi mode as well.
A suggested approach for editing
First, select a Program for each Timbre, on the Program Select/Mixer tab of the P1: Play page. (Note that you don???t have to use all 16 Timbres!)
Next, create any desired keyboard or velocity splits, layers, or crossfades between the different Timbres. You can do this on the Keyboard Zones and Velocity Zones tabs of the P3: MIDI Filter/Zones page.
After this, adjust the volumes of the Timbres (back on the Program Select/Mixer tab), and set up any other Timbre parameters as desired.
To add ???nishing touches to the sound, set up the Insert, Master, and Total Effects as desired (on the P8: Insert Effects andP:9 Master/Total Effects pages,
respectively.) These effects can be different from those of the individual Programs in Program mode, if desired.
In addition, you can make KARMA settings (on the P7: KARMA page) and controller settings (on the P3: MIDI Filter/Zones page) to create the ???nished Combination.
Soloing timbres
You can use the Control Surface Solo function to listen to the Combi???s individual Timbres. For more information, see ???Solo switch and Select switches
Using COMPARE
When you???re in the process of editing a sound, pressing the COMPARE button will recall the saved version of the sound, as it was before you started editing. To indicate that you are listening to the saved version, the button???s LED will light up.
Pressing COMPARE again returns you to the version you are editing, and the LED will go out again.
If you edit while the COMPARE LED is lit, the key will again go dark and your previous edits will be lost.
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Playing and editing Combinations
Resetting individual controls
The RESET CONTROLS button lets you revert an individual knob, slider, or switch to its saved setting. For more information, see ???Resetting individual controls??? on page 54.
Layers, Splits, and Velocity Switches
Within a Combination, you can use note number and velocity to determine which Timbres will sound.
The Programs assigned to each Timbre can sound in three ways: as part of a layer, a split, or a velocity switch. A Combination can be set to use any one of these methods, or to use two or more of these methods simultaneously.
Layer
Layers cause two or more Programs to sound simultaneously when a note is played.
Program A
Program B
Layer:
Two or more programs sound simultaneously.
Creating Key Splits and Layers
Let???s create a Combi which combines both splits and layers, like the diagram below:
Split
Splits cause different Programs to sound on different areas of the keyboard.
Split:
Different programs will sound in different areas of the keyboard.
Velocity Switch
Velocity Switches cause different Programs to sound depending on the velocity (how hard you play the notes).
Velocity Switch:
Keyboard playing dynamics (velocity) switches between different programs.
On OASYS, you can use a different Program for each of up to sixteen Timbres, and combine two or more of the above methods to create even more complex setups.
Example:
B and C/D are split. In the lower keyboard range, A and B are layered. In the higher keyboard range, C and D are switched by velocity and layered with A.
As an additional possibility, you can set the slope for a key zone or velocity zone so that the volume diminishes gradually. This lets you change a split into a keyboard crossfade, or a velocity switch into a velocity crossfade.
1.Go to the Prog Select /Mixer page.
2.Select a piano sound for Timbre 1, a brass sound for Timbre 2, and a strings sound for Timbre 3.
3.Go to the MIDI tab of the P2: Timbre Parameters page.
4.For Timbres
5.Go to the Keyboard Zones tab of the MIDI Filter/Zones page.
6.Set Timbre 1???s Top Key to G9, and its Bottom Key to C4.
7.Set Timbres 2 and 3 to a Top Key of B3, and a Bottom Key of
You can also enter these values by selecting the parameter, and then holding down the ENTER key and playing a note on the keyboard.
Key Zone Slope
In addition to ???hard??? splits, in which the sound changes abruptly, you can use the Slope parameters to gradually fade a sound in or out over a range of keys.
In the example above, you could set the Bottom Key of timbre 1 to G3, and set the Top Key of timbre 2 to G4, so that these two timbres overlap.
Next, if you set the Bottom Slope of timbre 1 to 12, and set the Top Slope of timbre 2 to 12, the sound will change gradually instead of changing suddenly.
Creating Velocity Switches
Next, let???s create a simple velocity switched Combination, like the diagram below:
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MIDI Settings
1.Go to the Prog Select /Mixer page.
2.Select a brass sound for Timbre 1, and a strings sound for Timbre 2.
3.Go to the MIDI tab of the P2: Timbre Parameters page.
4.For Timbres 1 and 2, set Status to INT and MIDI Channel to Gch (the Global Channel).
5.Go to the Velocity Zones tab of the MIDI Filter/Zones page.
6.Set Timbre 1???s Top Velocity to 127, and its Bottom Velocity to 64.
7.Set Timbre 2 to a Top Velocity of 63, and a Bottom Velocity of 1.
Velocity Zone Slope
Similar to Key Zone Slopes, as described above, these let you fade in and fade out sounds gradually over a velocity range, instead of a simple hard switch.
In the case of the above example, you could set the velocity zones of the two Timbres so that they partially overlap. Then, set the Top Slope and Bottom Slope so that the sound changes gradually, instead of changing suddenly between velocity values of 63 and 64.
MIDI Settings
Timbre Parameters MIDI page
Status
This controls the status of MIDI and the internal tone generator for each Timbre. Normally, if you???re playing an internal Program, this should be set to INT.
If the status is set to Off, EXT, or EX2, that internal sounds will not be played. Off simply disables the Timbre entirely. The EXT and EX2 settings allow the Timbre to control an external MIDI device. For more information, see ???Status??? on page 360 of the Parameter Guide.
Bank Select (when status=EX2)
When the Status is set to EX2, these parameters allow you to transmit MIDI Bank Select messages for changing banks on external MIDI devices.
MIDI Channel
Timbres that you wish to play from OASYS???s keyboard must be set to the global MIDI channel. Your playing on the keyboard is transmitted on the global MIDI channel, and will sound any timbre that matches this channel. Normally you will set this to Gch. When this is set to Gch, the MIDI channel of the timbre will always match the global MIDI channel, even if you change the global MIDI channel.
On some preloaded combinations, Timbres used by KARMA may have their MIDI Channels set to something other than Gch. These will be timbres
that play only when KARMA is
For more information, see
MIDI ???lter settings
For each MIDI Filter item, you can specify whether or not the corresponding MIDI message will be transmitted and received. The checked items will be transmitted and received.
The MIDI ???lters don???t turn the functions themselves on or off. Instead, the ???lter just controls whether or not that MIDI message will be transmitted and received.
For example, if portamento is on, portamento will be applied to the internal OASYS sound even if Portamento SW CC#65 is unchecked.
As another example, let???s say that you???ve selected a bass Program for Timbre 1, and a piano Program for Timbre 2, with the goal of creating a bass/piano split. You could make the following settings so that pressing the damper pedal affects only Timbre 2???s piano sound:
1.Go to the MIDI Filter 1 tab of the MIDI Filter/Zones page.
2.Check the Enable Damper box for Timbre 1.
3.
Altering Programs to ???t within a Combination
You can make various changes to Programs within the context of a particular Combination, to make them ???t better with other Programs, or to create particular sonic effects. These changes do not affect the original Programs, or how those Programs sound in other Combinations.
Timbre Parameters: OSC
Force OSC Mode
Normally this should be set to PRG, so that the sound will play as set by the original Program.
If you wish to force a polyphonic program to sound monophonically, set this either to MN (Mono) or LGT (Legato). Conversely, set this to Poly if you wish to force a monophonic program to play polyphonically.
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Playing and editing Combinations
For more information, see ???Force OSC Mode,??? on page 361 of the Parameter Guide.
For more information, see ???Detune BPM Adjust,??? on page 408 of the Parameter Guide.
OSC Select
Normally, this should be set to BTH (Both).
If the timbre is using a program whose Oscillator Mode is Double, and you want only OSC1 or OSC2 (not both) to sound, set this to OSC1 (only OSC1 will sound) or OSC2 (only OSC2 will sound).
Portamento
Normally, this should be set to PRG.
If the Program uses portamento, but you???d like to disable this for the current Combination, set this parameter to Off.
Conversely, if you want to force the portamento to be on, or just to change the portamento time, set this to a value of
Use Program???s Scale, Scale
This speci???es the scale for each timbre. If you check Use Program???s Scale, the scale speci???ed by the program will be used. Timbres for which this is not checked will use the Scale setting.
Delay
You can set some Timbres so that they don???t sound immediately at
You can specify the delay for each Timbre either in milliseconds (ms), or in rhythmic values which sync to the system tempo.
If you set the Delay to Key Off, the Timbre will sound when the note is released.
Timbre Parameters: Pitch
Transpose, Detune (BPM Adjust)
These parameters adjust the pitch of the timbre.
???In a
???In
???If you wish to change the playback pitch of a drum program, use Detune. If you change the Transpose setting, the relationship between notes and drum sounds will change.
Adjusting the BPM of multisamples or samples created in Sampling mode
If a timbre???s program uses multisamples or samples that you created in Sampling mode (or loaded in Disk mode) at a speci???c BPM value, you can use the page menu command Detune BPM Adjust to call up a new BPM value. This changes the BPM by adjusting the playback pitch.
Editing Programs with Tone Adjust
Using Tone Adjust, you can make detailed edits to Programs within the context of the Combi. These edits will not affect the original Program, or any other Combis which use the Program. To edit a Program with Tone Adjust:
1.Press the TONE ADJUST button under
CONTROL ASSIGN.
The button???s LED will light up.
2. Go to the Control Surface tab of the Play page.
This page mirrors the Control Surface. It???s very useful with Tone Adjust, since it shows you the parameter assignments, exact values, and so on.
3.Select the Timbre whose parameters you???d like to adjust.
This corresponds to the Timbre selected in TIMBRE/TRACK mode. You can set this using the Timbre parameter on the right side of the LCD, or by holding down the TONE ADJUST button and pressing any of the Control Panel switches. The top row selects Timbres
4. Edit the controls as desired.
In addition to editing the values, you can also change the assignments of Tone Adjust parameters to the sliders, knobs, and switches. For more information, see ???Using Tone Adjust??? on page 53.
Effects
Effects are covered in their own section of the manuals, so we won???t go into too much detail here.
Insert Effects
Insert Effects let you send either individual Oscillators or the entire Program through up to 12 effects, in series. You can use any type of effects, from distortions and compressors to choruses and reverbs. The Insert Effects can be routed to the main outputs, or to any of the individual outputs.
For more information, see ???Insert effects??? on page 185.
Master Effects
There are two Master Effects, which are accessed through Sends 1 and 2. These are
For more information, see ???Master effects??? on page 186.
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Automatically importing a Combination into Sequencer mode
Total Effects
The two Total Effects are dedicated to processing the main L/R outputs. They???re ideally suited to overall mix effects, such as compression, limiting, and
Automatically importing a Combination into Sequencer mode
The Auto Song Setup feature automatically applies the settings of the current Combination to a song.
If inspiration for a phrase or song strikes you while you???re playing a program or combination, you can use this function to start recording immediately.
Hold down the ENTER key and press the SEQUENCER REC/WRITE key. The ???Setup to Record??? dialog box will open and ask ???Are you sure????. Press ???OK???. You will automatically enter Sequencer mode, and will be in the
Saving your edits
Once you???ve tweaked the sound to perfection, you???ll want to save your work. To save your edits:
1.Select the Write Combination command from the page menu, at the upper
You can also call up this menu command by holding ENTER and pressing 0 on the numeric keypad.
This brings up a dialog box which allows you to save the Combination. Optionally, you can also select a new location, or change the Combination???s name.
2.Press the ???T??? button to bring up the text edit dialog.
You can give the Combination a descriptive name using the
3. After entering the name, press OK.
The text edit window will disappear, returning you to the main Save dialog.
4.Under ???To??? at the bottom of the dialog, press the popup button next to Combination to bring up the save location dialog.
5.Select a location to save the edited Combination.
You can write to any location in banks INT and USER
6.After selecting the location, press OK.
7.Press OK again to start the write process.
8.If you???re sure you want to write to this location, press OK again.
After that, you???re done!
For more information, see ???Writing a program or combination??? on page 164.
Saving to disk
You can also save and manage Combinations on the internal hard drive, and on USB storage devices. For more information, see ???Saving to disks, CDs, and USB media??? on page 168.
75
Playing and editing Combinations
76
Creating songs (Sequencer mode)
Overview - 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
You can use the sixteen MIDI tracks and one master track (containing tempo data, etc.) to record and play back MIDI data using internal or external tone generators, and use the sixteen audio tracks of the hard disk recorder to record and play back audio signals. (You can play back up to sixteen audio tracks simultaneously, and record up to four audio tracks simultaneously.)
Audio tracks can record external audio sources such as guitar and vocal, as well as the OASYS??? internal tone generator. Automation data for volume and pan can also be recorded.
When you???ve completed a song, you can resample it to a WAVE ???le and use Disk mode to burn your WAVE ???les to an audio CD. This entire process can be carried out on the OASYS itself without using any other equipment.
With its broad range of capabilities such as its
When you turn off the power, the settings made in Sequencer mode and the song data, and any user pattern data that you recorded will not be backed up. If you wish to keep this data, you must save it on media (such as the internal hard disk or
If you wish to save the programs, track parameters, effects, and KARMA function settings etc. selected for a song as a template song, use the page menu command ???Save Template Song.???
Immediately after the power is turned on, OASYS will not contain any song data, so if you wish to play a song on the sequencer, you must ???rst load data from disk, or receive a MIDI data dump from a MIDI ???ler. For more information, see ???Loading data from disk??? on page 171, and ???Receiving SysEx data dumps??? on page 686 of the Parameter Guide.
You can???t record audio tracks if MIDI Clock is other than Internal. (See ???MIDI Clock (MIDI Clock Source)??? on page 652 of the Parameter Guide.)
Sequencer mode structure
Songs
A song consists of MIDI tracks
A maximum of 200 such songs can be created on
OASYS.
MIDI tracks
For more information, see ???Setup parameters & Musical data??? on page 413 of the Parameter Guide.
Song recording and editing
Song recording is performed on tracks.You can record MIDI tracks in either of two ways; realtime recording or step recording. For realtime recording you can choose one of six recording modes.
Audio tracks can be recorded only in realtime. You can also paste WAVE ???les to locations you specify.
You can edit MIDI tracks by using Event Edit operations to modify the recorded data or insert new data, and by using Track Edit operations such as Create Control Data, which inserts pitch bend, aftertouch, or control change data.
You can also edit audio tracks in a variety of ways including Event Editing operations that let you insert or delete audio events, and Region Editing operations. Region Editing allows you to select WAVE ???les and to edit the start/end addresses of a WAVE ???le in single- sample units.
Patterns
There are two types of patterns: preset patterns and user patterns.
???Preset patterns: Patterns suitable for drum tracks are preset in internal memory, and can be selected for any song.
???User patterns: Each song can have up to 100 patterns. When using a pattern in a different song, use the Utility menu commands ???Copy Pattern??? or ???Copy From Song??? etc. to copy the pattern. The pattern length can be specified in units of a measure.
Each pattern consists of musical data for one track. It is not possible to create patterns that contain multiple tracks.
You can use these patterns by placing them in a MIDI track (???Put to MIDI Track??? page menu command) or by copying them (???Copy to MIDI Track??? page menu command). You can also use patterns with the RPPR function of a song.
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Creating songs (Sequencer mode)
This is a conceptual diagram of Sequencer mode including the hard disk recording function.
Sampling memory (RAM)
Sample
Sample
Song
Parentheses such as (P7) indicate the OASYS page used for editing.
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 are made in MIDI Channel (P2: Edit??? Trk Param, MIDI Ch page).
Sampling or resampling can be performed in Sequencer mode. Refer to the explanations of sampling in Program, Combination, and Sequencer modes.
Since you can apply the OASYS??? internal effects to the external audio inputs, a wide range of possibilities are available.
For details, please see ???Effect settings for the audio inputs??? on page 190.
78
Playing Songs Playback
Playing Songs
Playback
In order to play back song data in the sequencer, you must ???rst record 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.
1.Press the MODE SEQ switch.
The P0: Play/Rec??? MIDI Track Program Select/Mixer page will appear. If it does not, press the EXIT switch and then press the MIDI Prog/Mixer tab.
2.Use ???Song Select??? to select the song you want to play back.
You can press the Song Select Popup button and choose from a list.
3.Press the SEQUENCER START/STOP switch.
The song you selected in step 2 will begin playing.
Note: The song will begin playing if you press the SEQUENCER START/STOP switch in a page other than P5: Pattern/RPPR. If you press this switch while you???re in P5: Pattern/RPPR, the currently- selected pattern will begin playing.
4.During playback, you can press the SEQUENCER START/STOP switch to stop playback.
If you press the START/STOP switch once again, playback will resume from where you stopped.
???Press the LOCATE switch to move to the assigned location.
???Press the PAUSE switch to pause playback. Press the PAUSE switch once again to resume playback.
???Press the <<REW or FF>> switches to rewind or
You can use the ???FF/REW SPEED??? page menu command to specify the rewind and
???To set the tempo, turn the TEMPO knob or press the TAP TEMPO switch at the desired interval.
Song Select
Popup
Track 2
Track 1
Category
Program Select
Play/Mute/Rec
Solo
Pan
Volume
Muting just a speci???c track/Monitoring just a speci???c track (Mute/Solo functions)
The OASYS provides a Mute function that lets you silence any of the MIDI tracks
tracks, or listen only to the rhythm section of the
1.Use ???Song Select??? to select the song that you want to play back.
2.Press the SEQUENCER START/STOP switch.
3.Press track 1 Play/Rec/Mute.
The display will change from Play to Mute, and the playback of track 1 will no longer be heard. In this
79
Creating songs (Sequencer mode)
way, the ???mute??? function allows you to silence a speci???ed track until the track is
Press track 2 Play/Rec/Mute. The display will change, and the playback of track 2 will also be muted. To cancel muting, press Play/Rec/Mute once again.
Tip: Play/Rec/Mute can be controlled from the front panel mixer section, or from the P0??? Control Surface page of the LCD screen. (See ???The control surface in Sequencer mode??? on page 80)
4. Press track 1 ???Solo On/Off.???
5.To switch Solo off, press Solo On/Off once again. Press Solo On/Off for both MIDI tracks 1 and 2.
The display will change, and the playback of tracks 1 and 2 will be muted. If the Solo function is turned off for all tracks, playback will be according to the
Play/Rec/Mute settings.
Tip: Play/Rec/Mute can be controlled from the front panel mixer section, or from the P0??? Control Surface page of the LCD screen. (See ???The control surface in Sequencer mode??? on page 80)
Exclusive Solo
???Solo??? will be highlighted, and this time, only the performance of track 1 will be heard. To play back only a speci???ed track by itself in this way is known as ???soloing??? the track (turning Solo on).
If both Mute and Solo are used, the Solo function will be given priority.
Press track 2 ???Solo On/Off.???
The display will change, and you will hear the playback of tracks 1 and 2.
Note: Solo (on) applies to all tracks; MIDI tracks 1??? 16, audio tracks
If as in this example, you???ve turned Solo on for only MIDI tracks 1 and 2, you will not hear MIDI tracks
Normally, the Solo function operates in ???Exclusive Solo off??? mode, where you can solo more than one track at a time (as in the example above). In contrast, ???Exclusive Solo on??? mode allows only one track to be soloed at a time, making it easy to switch between soloed tracks.
Use the ???Exclusive Solo??? page menu command to specify how the Solo function will operate.
Exclusive Solo off: You will be able to solo more than one track at a time. The status of a track will change each time you press its Solo On/Off button.
Exclusive Solo on: When you press a Solo On/Off button, only that track will be soloed.
The SOLO setting is not stored when you save the song.
Tip: You can turn Exclusive Solo on/off by holding down the ENTER switch and pressing numeric key 1 (when not in P4 or P5).
The control surface in Sequencer mode
In Sequencer mode, you can use the nine sliders, eight knobs, and sixteen switches of the control surface to edit the sound of each track during playback, to control the KARMA function, or to transmit MIDI messages to external devices.
If you use the control surface to control the mixer during recording, your moves will be recorded, and will be reproduced during playback. If you want to adjust (and record) mixer settings for multiple tracks, use
As explained below, you use the front panel CONTROL ASSIGN switches to select the functions that will be controlled by the sliders, knobs, and switches.
You can also view the control surface settings in the LCD screen, and edit them there. You may ???nd it convenient to display the P0: Play/REC??? Control Surface page ???rst, so that you can watch the settings you???re making from the control surface.
CONTROL ASSIGN:
TIMBRE/TRACK
When TIMBRE/TRACK is selected, the control surface will edit the pan, EQ, effect send, Play/Rec/Mute status, Solo On/Off status, and volume of each MIDI track.
The LEDs at the right of the TIMBRE/TRACK switch indicate whether MIDI tracks
KNOBS: If you want to view and edit the Pan setting for all eight tracks at once, press the MIXER KNOBS switch to make the INDIVIDUAL PAN LED light, and use the knobs to edit the Pan settings. Conversely if you make the CHANNEL STRIP light, the knobs will control the pan, EQ, and effect sends for a single track. Use the MIX SELECT switches to select the track you want to edit, and use the knobs to control it.
MIX PLAY/MUTE: These switches control the Play/Rec/Mute status. Rec is available if Multi REC is turned on.
80
Playing Songs The control surface in Sequencer mode
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 Tone Adjust.
You can also use these buttons to change the Keyboard/Rec track, so that you can switch between tracks directly from the Control Surface. To do this:
1.Go to the Control Surface tab of the P0: Play page.
2.Set CONTROL ASSIGN to TIMBRE/TRACK, using either the
3.Check the box on the
Now, you???ll be able to change the Keyboard/Rec track directly from the Control Surface.
If you press the SOLO switch, the MIX SELECT buttons will control the Solo On/Off status. The Solo behavior will depend on the Exclusive Solo setting.
Note: If any MIDI track, Audio track, or audio input is soloed, the SOLO switch LED will blink.
Tip: To turn Solo off for all tracks, hold down the RESET CONTROLS button and press the SOLO button.
Tip: To turn Mute off for all tracks, hold down the RESET CONTROLS button and press the TIMBRE/TRACK button.
AUDIO
When AUDIO is selected, the control surface will edit the pan, EQ, effect send, Play/Rec/Mute status, Solo On/Off status, and volume of the audio inputs or audio tracks.
The LEDs at the right of the AUDIO switch indicate whether audio inputs (INPUTS), audio tracks
KNOBS: If you press the MIXER KNOBS switch to make the INDIVIDUAL PAN LED light, the knobs will control the Pan setting of the six inputs, tracks
knobs will control the pan and effect sends for a single input if INPUTS is selected. If HDR
MIX PLAY/MUTE, MIX SELECT: These switches work in the same way as they do for TIMBRE/TRACK, as described above.
EXTERNAL
When EXTERNAL is selected, the control surface is used to transmit MIDI messages to an external MIDI device. For more information, see
R.TIME KNOBS/KARMA
When R.TIME KNOBS/KARMA is selected, the sliders and switches of the control surface are used to control the KARMA function. For more information, see
TONE ADJUST
When TONE ADJUST is selected, the control surface is used to temporarily adjust the program used by each MIDI track. For example while you???re creating a song, you can use this capability to adjust the sound appropriately for your song without going back to Program mode; you might soften the tone of the bass or
Use Track in the right side of the LCD to select the MIDI track you want to adjust.
For more information, see
LOCATE settings
You can press the LOCATE switch to move to the registered location. Initially, this will move to 001:01.000.
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Creating songs (Sequencer mode)
To change the registered 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 LOCATE switch.
When you select a song, the ???LOCATE??? setting is automatically initialized to 001:01.000.
For more information, see ???Set Location (for Locate Key)??? on page 525 of the Parameter Guide.
Loop playback
When recording or playing back a song, you can individually loop the MIDI tracks that are playing.
In the P0: Play/REC??? MIDI Track Loop page, check ???Track Play Loop??? for the MIDI tracks you want to loop, and use ???Loop Start Measure??? and ???Loop End Measure??? to specify the starting and ending measure of the region that will play back as a loop.
If you check ???Play Intro,??? the measures preceding the loop will be played back as an introduction before the loop begins.
If you play back from the ???rst measure with the settings shown in the screenshot below, the speci???ed region of measures will repeat as follows.
If ???Play Intro??? is unchecked, the speci???ed region of measures will repeat as follows.
Track Play
Loop
Loop Start
Measure
Loop End
Measure
Play Intro
82
MIDI recording Preparations for recording
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.
???You can perform and record using the KARMA function.
???You can perform and record using the RPPR (Realtime Pattern Play/Recording) function.
???There are 156
Preparations for recording
Before you begin recording, make sure that the memory protect setting in Global mode is turned off. For more information, see ???Memory protect??? on page 167.
Creating a Song
Before we can begin this example, we need to select an empty song where we can record.
1.Press the MODE SEQ switch to enter Sequencer mode.
2.Choose ???Song Select??? (e.g., in the P0: Play/REC??? MIDI Track Prog Select/Mixer page).
You can press the Song Select Popup button, and choose from a list.
3.Use the numeric keys to input the number of the new song you want to create, and press the ENTER switch. (For example, press the 1 switch and then the ENTER switch.) A dialog box will appear.
If you pressed the Song Select Popup to access the Song No. dialog box, press the desired song number to open the dialog box.
Meter
Song Select
Popup
Track Select
Category
Program Select
Play/Mute/Rec
Solo
Pan
Volume
4.Press the OK button to create the song.
Use ???Set Length??? to input the desired number of measures and press the OK button. You can change the number of measures later if desired. For more information, see ???Set Song Length??? on page 541 of the Parameter Guide.
If you created a song by opening the Song No. dialog box, press the OK button in the Song No. dialog box to close it.
Track settings
Since we???re going to record a new song in this example, we will start by explaining how to assign a program to each MIDI track, and make basic settings such as volume.
For details on audio tracks, refer to ???Audio recording??? on page 96.
1. Assign a program to each MIDI track.
83
Creating songs (Sequencer mode)
Use ???Program Select??? (P0: Play/REC??? MIDI Track Prog Select/Mixer page) to assign a program to each MIDI track.
At this time you can press the ???Category??? popup and select programs by category.
You can copy various settings from Programs or Combinations, including effects, KARMA settings, Tone Adjust, and so on.
When assigning a program, you can use ???Track Select??? to select the track for which you are making assignments, and try playing the sound.
2.Set the pan and volume of each MIDI track.
Pan sets the pan of each track, and Volume sets the volume of each track.
3.Specify the tone generator and MIDI channel that will be played by each MIDI track.
In the P2: Track Parameters??? MIDI page, Status speci???es whether each track will sound the internal tone generator or an external tone generator. MIDI Channel speci???es the MIDI channel for each track.
Normally when using the OASYS as a
In general, you should set MIDI Channel to different channels
Status INT: During playback, the OASYS??? internal tone generator will play the MIDI data recorded on that track. When you operate the OASYS??? keyboard or controllers, you will be playing and controlling the track selected by ???Track Select.??? MIDI data will not be transmitted to an external device.
Status EXT, EX2, BTH: During playback, the MIDI data recorded on that track will be transmitted from MIDI OUT to play an external sound module. When you operate the OASYS??? keyboard or controllers, MIDI data will be transmitted to play and control the external sound module selected by ???Track Select.??? (The MIDI channel of the external tone generator must be set to match the MIDI Channel of OASYS tracks that are set to EXT, EX2 or BTH.)
If Status is set to BTH, both the external tone generator and internal tone generator will be sounded and controlled.
4.Adjust the effect settings.
Make settings for each effect in P8: Insert Effect and
P9: Master/Total Effect.
For more information, see ???Using effects in Combinations and Songs??? on page 187, ???Sequencer P8: Insert Effect??? on page 509 of the Parameter
Guide, and ???Sequencer P9: Master/Total Effect??? on page 521 of the Parameter Guide.
5.Set the tempo and time signature.
To set the tempo, you can turn the TEMPO knob or
press the TAP TEMPO switch at the desired interval. Alternatively, you can select ??? (Tempo)??? in the P0: Play/REC??? MIDI Track Prog Select/Mixer page (or similar page), and use the VALUE controllers to set the tempo. Set ???Tempo Mode??? to Manual.
Next you will set the time signature. In this example, we???ll explain how to set the time signature using the ???Meter??? ???eld. Normally, you specify the time signature before recording the ???rst track, and then begin recording.
a)Press the SEQUENCER REC/WRITE switch, and set ???Meter??? to **/**.
b)Press **/** to highlight it, and use the VALUE controllers to set the time signature.
c)Press the SEQUENCER START/STOP switch to begin recording. When the
If you press the SEQUENCER START/STOP switch during the
6.Set the ???REC Resolution??? if necessary. When you
For example, let???s suppose that you realtime- recorded some eighth notes but your timing was not
quite perfect, as shown in part 1 of the illustration below. If ???REC Resolution??? were set to when you recorded, the timing would automatically be corrected as shown in part 2 of the illustration. If ???REC Resolution??? is set to Hi, the notes will be recorded with the timing at which you play them.
7.Make other settings as necessary.
Make settings for the KARMA function (P7: KARMA), MIDI ???ltering (P3: MIDI Filter/Zone), etc.
You may also wish to use Tone Adjust to adjust the sound. (See ???TONE ADJUST??? on page 81)
When you are ???nished making these settings, the basic setup is complete. You can now record as described under ???Recording procedure??? on page 100
84
MIDI recording Recording MIDI in
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 Template Song??? on page 525 of the Parameter Guide.
Template songs
Loading a template song is an easy way to make settings appropriate for a particular musical style. You can also assign a drum pattern to a track at the same time.
1.In the P0: Play/REC page (or a similar page), press the page menu button and choose ???Load Template Song.???
A dialog box will appear.
2.In the ???From??? ???eld, choose the template song you want to load.
3.If you check ???Copy Pattern to MIDI Track too????, a dialog box for copying a pattern will automatically appear after you execute ???Load Template Song.???
If you execute without checking this, only the template song you selected in step 2 will be loaded.
4.Press the OK button to load the template song, or press the Cancel button if you decide to cancel.
When you execute this operation, song settings other than MIDI Track Loop and RPPR will be copied.
If you executed this operation with ???Copy Pattern to MIDI Track too? checked in step 3, the ???Copy Pattern To MIDI Track??? dialog box will appear.
This dialog box is the same as the one that appears for the ???Copy To MIDI Track??? page menu command.
5.In the ???Pattern??? ???eld, select the pattern that you want to copy. You can press the SEQUENCER START/STOP switch to play back the selected pattern.
In the To ???MIDI Track??? ???eld, select the copy- destination track.
In the ???Measure??? ???eld, specify the starting measure of the
Note: In each of the sixteen preset template songs, track 1 is always assigned to a program of the Drums category. (In preset template songs P02, P04, P08, and P15, programs of the Drums category are assigned to more than one track.)
Following the pattern name for each of the 156 preset patterns, the musical style and the name of the most suitable Drums category program are partially displayed. (Refer to VNL)
By loading a drums track and the corresponding preset pattern, you can instantly set up a drum track appropriate for each preset template song.
6.To execute, press the OK button.
When you execute this operation, ???Measure??? will count up automatically. You can then copy another pattern if desired. When you???re ???nished, press the Exit button.
Recording MIDI in
When you???ve ???nished with ???Preparations for recording,??? you can start recording.
This is a method of recording in which your playing on the keyboard and your operations of controllers such as the joystick are recorded in realtime. This method of recording is normally used one track at a time, and is called single track recording.
As an alternative, multitrack recording allows you to simultaneously record multiple channels of data onto multiple tracks. This is the method you will use when using the RPPR function and the KARMA function to record multiple tracks of musical data at once, or when you playback existing sequence data on an external sequencer and record it onto OASYS???s sequencer in realtime.
Recording setup
In P0: Play/REC??? Preference page Recording Setup, select the realtime recording method you want to use.
Overwrite
With this method, the musical data previously recorded on a track is overwritten by the newly recorded data. When you perform overwrite recording on a
Normally you will use this method to record, and then modify the results by using other types of realtime recording or MIDI event editing.
1.Use ???Track Select??? to select the track that you want to record.
2.Set the Recording Setup to Overwrite.
3.In ???Location,??? specify the location at which you wish to begin recording.
4.Press the SEQUENCER REC/WRITE switch, and then press the SEQUENCER START/STOP switch.
If the Metronome Setup is still set to the default settings, the metronome will sound for a two-
85
Creating songs (Sequencer mode)
measure
5.When you ???nish playing, press the SEQUENCER START/STOP switch.
Recording will end, and the location will return to the point at which you begin recording.
If you press the PAUSE switch instead of the SEQUENCER START/STOP switch, recording will pause. When you press the PAUSE switch once again, recording will resume. When you are ???nished, press the SEQUENCER START/STOP switch to stop recording.
Overdub
With this method, the newly recorded musical data is added to the existing data.
When you perform overdub recording on a previously- recorded track, the newly recorded data will be added to the
It is best to select this mode if you will be recording additional control data, recording a drum pattern, or recording the tempo in the master track. With this mode, data can be added without erasing the existing performance data.
1.Use ???Track Select??? to select the track that you want to record.
2.Set the Recording Setup to Overdub.
3.For the rest of the procedure, refer to steps
Manual
While the song is playing, you can press the SEQUENCER REC/WRITE switch or a connected pedal switch at the desired location to start or stop
Location
Track Select
recording. With this method, the musical data previously on the track is overwritten by the newly recorded data.
1.Use ???Track Select??? to select the track that you want to record.
2.Set the Recording Setup to Manual Punch In.
3.In ???Location,??? specify a location several measures earlier than the point at which you wish to begin recording.
4.Press the SEQUENCER START/STOP switch.
Playback will begin.
5.At the point at which you wish to begin recording, press the SEQUENCER REC/WRITE switch.
Recording will begin. Play the keyboard and operate controllers such as the joystick to record your performance.
6.When you ???nish recording, press the SEQUENCER REC/WRITE switch.
Recording will end (playback will continue).
Note: Instead of pressing the SEQUENCER REC/WRITE switch in steps 5 and 6, you can use a foot switch connected to the ASSIGNABLE SWITCH jack.
Set the Global P2: Controllers/Scales page ???Foot Switch Assign??? to Song Punch In/Out.
7.Press the SEQUENCER START/STOP switch.
Playback will stop, and you will return to the location that you speci???ed in step 3.
Auto
First you must specify the area that will be
86
MIDI recording Recording MIDI in
1.Use ???Track 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.
For example if you specify
4.In ???Location,??? specify a location several measures earlier than the point at which you wish to begin recording.
5.Press the SEQUENCER REC/WRITE switch, and then press the SEQUENCER START/STOP switch.
Playback will begin.
When you reach the starting location you speci???ed in step 3, recording will begin. Play the keyboard and operate controllers such as the joystick to record your performance. When you reach the ending location you speci???ed in step 3, recording will end. (Playback will continue.)
6.Press the SEQUENCER START/STOP switch.
Playback will stop, and you will return to the location you speci???ed in step 4.
Loop All Tracks
This method lets you continue recording as you add musical data.
The speci???ed region can be recorded repeatedly. This is ideal when recording drum phrases, etc.
1.Use ???Track Select??? to select the track that you want to record.
2.Set the Recording Setup to Loop All Tracks.
If Multi REC is checked, it will not be possible to select Loop All Tracks.
3.In ???M (Loop Start Measure), ???M (Loop End Measure)??? specify the area that you wish to record.
For example if you specify
4.In ???Location,??? specify a location several measures earlier than the point at which you wish to begin recording.
5.Press the SEQUENCER REC/WRITE switch, and then press the SEQUENCER START/STOP switch.
Playback will begin. When you reach the starting location you speci???ed in step 3, recording will begin. Play the keyboard and operate controllers such as the joystick to record your performance.
When you reach the ending location you speci???ed in step 3, you will return to the starting location, and continue recording.
The musical data that is
6.You can also erase speci???c data even while you continue loop recording.
If you press the SEQUENCER REC/WRITE switch during loop recording, all musical will be removed from the currently selected track as long as you continue pressing the switch.
By checking the ???Remove Data??? check box you can erase only the speci???ed data. During loop recording, press the note that you wish to delete, and only the data of that note number will be deleted from the keyboard as long as you continue pressing that note.
Similarly, bender data will be deleted as long as you tilt the joystick in the X (horizontal) direction, and after touch data will be deleted as long as you apply pressure to the keyboard.
When you are once again ready to record musical data, uncheck the ???Remove Data??? check box.
7.Press the SEQUENCER START/STOP switch.
Playback will end, and you will return to the recording start location that you speci???ed in step 4.
If Loop All Tracks is selected, normal playback will be looped as well.
Multi (multitrack recording)
Multitrack recording allows you to simultaneously record onto multiple tracks, each with a different channel.
1.In the upper right of the LCD screen, check ???Multi REC.???
2.Make the desired Recording Setup settings.
You can record using Overwrite, Overdub, Manual Punch In, or Auto Punch In.
3.Use ???Location??? to specify the measure at which recording will begin.
4.Press the SEQUENCER REC/WRITE switch.
5.For the track you want to record, press Play/Rec/Mute to make it indicate Rec.
6.Press the SEQUENCER START/STOP switch.
With the default settings for Metronome Setup, the metronome will sound for a
7.Press the SEQUENCER START/STOP switch.
Playback will stop, and you will return to the location speci???ed in step 4.
87
Creating songs (Sequencer mode)
An example of realtime recording
In this example, we???ll assign a drum program to MIDI Track 01 and create the following
Hi hat: F#3
Snare: E3
Bass drum: C3 
1.Create a new song, and specify a drum program for MIDI Track 01. Use ???Track Select??? to select MIDI Track 01, and verify that you hear a drum program.
2.Go to the P0: Play/REC??? Preference page. In Recording Setup, specify ???Loop All Tracks??? and set it to
For more information, see ???Loop All Tracks??? on page 87.
With this setting, measure 1 will be recorded repeatedly. The newly recorded data will be added at each pass.
3.Set ???REC Resolution??? to .
4.Press the SEQUENCE REC/WRITE switch, and then the START/STOP switch.
The metronome will sound a
5.As shown in the musical example printed above, start by playing the C3 note of the keyboard to record the bass drum for one measure.
6.Next, play the E3 note of the keyboard to record the snare for one measure, and then the F#3 note to record the
7.Press the SEQUENCER START/STOP switch to stop recording.
8.Play back the result, and listen to the drum performance you recorded.
Press the SEQUENCER START/STOP switch. When you???ve ???nished listening, press the START/STOP switch once again to stop playback.
9.If you???re not satis???ed with the result, press the COMPARE switch to return to the state prior to recording, and then
Note: When you???re ???nished recording, change the Recording Setup back to the
In addition, access the P0: Play/REC??? MIDI Track Loop page, check ???Track Play Loop??? for MIDI Track 01, and set the ???Loop Start Measure??? and ???Loop End Measure??? to 001. When you play back, MIDI track 01 will repeatedly play the ???rst measure.
MIDI step recording
Step recording is the recording method in which you specify the duration and strength of each note, and use the keyboard to specify the pitch of each MIDI note. You can use the Rest button and Tie button of the dialog box to input rests and ties.
Step recording is useful when you want to create mechanically precise beats, or when you need to record a phrase that would be dif???cult to play by hand ???in realtime,??? or when you ???nd it dif???cult to play extremely complicated or rapid passages.
An example of step recording
In this example, we???ll assign a bass program to MIDI Track 02 and
1.Specify a bass program for MIDI Track 02. Use ???Track Select??? to select MIDI Track 02, and verify that you hear a bass program.
2.Access the P4: Track Edit??? Track Edit page.
3.Set ???From Measure??? to 001.
With this setting, step recording will begin from measure 1.
4.Press the page menu button, and press page menu command ???MIDI Step Recording.???
A dialog box will appear.
5.In ???Step Time,??? use ???Select??? to specify the basic timing value at which you will input notes and rests.
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MIDI recording MIDI step recording
Input the ???rst C3 note as . (dotted eighth note). Use the radio button at the left to select .
You can choose from the range (whole note)??? (32nd note).
Input a dotted note by selecting ???.??? with the radio buttons at right.
You can specify ???3??? to input a triplet. If you want to use the unmodi???ed length of the note that???s selected at the left, choose
???Note Duration??? indicates the length that the note itself will sound. Smaller values will produce a staccato note, and larger values will produce a legato note. For this example, leave this setting unchanged.
???Note Velocity??? is the velocity (playing strength), and larger values will produce a louder volume. Set this to Key.
If you select Key for this parameter, the velocity with which you actually play the keyboard will be input.
6.On the keyboard, press and then release the ???rst C3 note that you want to input.
The data you input will appear in the LCD screen as numerical values. In the upper right, Measure 001 Beat Tick 01.000 will change to Measure 001 Beat Tick 01.144. The next note you input will be placed at this location.
7.Input the remaining notes as described in steps 5 and 6. (You???ve already input the ???rst C3 note.)
In addition to the methods described in steps 5 and 6, you can also use the following input methods.
???To input a rest, press the Rest button. This will input a rest of the ???Step Time??? value.
???To modify the length of a note, you can modify the ???Step time??? value before you input the note. However if you want to extend the length (tie) of the note, press the Tie button. At this time, the
???To delete a note or rest that you input, press the Step Back button. The
???To input a chord, simultaneously press the notes of the desired chord. Even if you do not press them simultaneously, notes that are pressed before you fully remove your hand from all keys on the keyboard will be input at the same location.
???If you want to verify the pitch of the note that you will input next, press the PAUSE switch. In this state, playing a key will produce a sound, but will not input a note. Press the PAUSE switch once again to cancel the
8.When you are ???nished recording, press the Done button.
Press the SEQUENCER START/STOP switch to play back.
Access the P0: Play/REC??? MIDI Track Loop page, check Track Play Loop for MIDI Track 02, set Loop Start Measure to 001, and Loop End Measure to 002. MIDI track 02 will play measures
9.If you???re not satis???ed with the result, press the COMPARE switch to return to the state prior to recording, and then
When you begin step recording, all data in the MIDI track that follows the measure where you began recording will be erased. You need to be aware of this if you begin step recording from a measure
If you want to copy data into a measure that already contains data, perform step recording in an empty MIDI track, and use the Move Measure or Copy Measure menu commands. For more information, see ???Copy Measure??? on page 546 of the Parameter Guide, and ???Move Measure??? on page 546 of the Parameter Guide.
If you want to edit or add to the recorded data, you can use the MIDI Event Edit function. For more information, see ???Event Edit??? on page 554 of the Parameter Guide.
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Creating songs (Sequencer mode)
Recording the sound of a Combination or Program
Here???s how you can easily copy the settings of a Combination or Program, and then record using that sound.
When you???re performing in Program or Combination mode, you can use the Auto Song Setup function to automatically set up the settings of that program or combination into a song. Alternatively, you can use the Sequencer mode page menu commands ???Copy From Combi??? and ???Copy from Program??? to set up a song in a similar way.
Auto Song Setup function
The explanation of the Auto Song Setup function given here follows the procedure from Combination mode.
1.Enter Combination mode.
2.If you change any of the settings in the combination in the Combination P0: Play??? Prog Select/Mixer page.
Such as panning, volume and KARMA setting you must ???rst save the edited settings using ???Update Combination??? or ???Write Combination.???
3.Hold down the ENTER switch and press the SEQUENCER REC/WRITE switch.
The ???Setup to Record??? dialog box will appear.
4.Press the OK button to perform the Auto Song Setup.
The OASYS will automatically switch to Sequencer mode, and the combination???s settings will be applied to a new song. The new song will be the ???rst unused song.
5.You will automatically enter
For more information, see
6.Press the SEQUENCER START/STOP switch, and realtime recording will begin.
When you???re ???nished recording, press the START/STOP switch once again.
Settings that are automatically copied from the combination
The settings that will be automatically copied will be the same settings as if you had executed the page menu command ???Copy From Combi,??? and had made the following settings in the dialog box.
For more information, see ???Copy from Combination??? on page 526 of the Parameter Guide
Settings that are automatically copied from the program
The settings that will be automatically copied will be the same settings as if you had executed the page menu command ???Copy From Program,??? and had made the following settings in the dialog box.
with KARMA checked
???To??? set to MIDI Track 01
???KARMA Module??? set to A
For more information, see ???Copy From Program??? on page 526 of the Parameter Guide
Setup in Sequencer mode
(Copy From Combination/Copy From Program)
In Sequencer mode, you can use the ???Copy From Combi??? and ???Copy From Program??? page menu commands to set up a sequencer song based on a combination or program. In this example, we???ll explain how to set up a song based on a combination.
Note: Make sure that the global MIDI channel (Global
P1: MIDI??? MIDI page, MIDI Channel) is set to 01.
1.Create a new song.
For more information, see ???Creating a Song??? on page 83.
2.Select the page menu command ???Copy From Combi.???
A dialog box will appear.
Select the program or combination that you want to copy (i.e., the copy source).
We will copy the effect settings of the combination as well, so check the
Check Multi REC Standby. The Status will be automatically set to REC for the MIDI tracks needed to record that combination.
Press the OK button to execute the copy.
Notice that when you execute this command, the Play/Rec/Mute setting of each track will be set automatically. The Multi REC check box will be checked.
3.Begin recording.
Press the LOCATE switch to set the location to 001:01.000.
Press the SEQUENCER REC/WRITE switch, and then press the SEQUENCER START/STOP switch.
Note: If you play the keyboard during the
4.When you are ???nished performing, press the SEQUENCER START/STOP switch.
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MIDI recording Recording multiple MIDI tracks from an external sequencer
If you made a mistake or want to
(The Multi REC check box will be unchecked when you use Compare, so you will need to check it again.)
Recording multiple MIDI tracks from an external sequencer
1.Make sure that the MIDI OUT of your external sequencer is connected to the MIDI IN of the
OASYS.
If it is not connected, turn off the power, make the connection, and then turn the power on.
For more information, see ???MIDI applications??? on page 1001 of the Parameter Guide.
2.In the Global P1: MIDI??? MIDI page, set MIDI Clock to External MIDI. With this setting, the OASYS will synchronize to MIDI clock messages from your external sequencer.
Make sure that Receive Ext. Realtime Commands is checked.
3.Create a new song in Sequencer mode, and in the P0: Play/REC??? Preference page, check the Multi REC check box. Set Recording Setup to Overwrite.
4.Press Play/Rec/Mute to select ???REC??? for the tracks you want to record.
For the tracks you don???t want to record, select Play or Mute.
Tip: You can also control the Play/Rec/Mute setting from the front panel mixer section, or from the P0??? Control Surface page of the LCD screen. (See p.42 ???The control surface in Sequencer mode???)
5.In the P2: Track Parameters??? MIDI page, use MIDI Channel to specify the MIDI channel of each track.
Set the MIDI channel of each OASYS track to match the MIDI channel of each external sequencer track. Data of the matching channel will be recorded on each OASYS track.
Make sure that Status is set to INT or BTH.
6.Press the LOCATE switch to set the location to 001:01.000.
7.Press the SEQUENCER REC/WRITE switch to enter
8.Start your external sequencer.
The OASYS??? sequencer will automatically begin recording when it receives the MIDI Start message transmitted by your external sequencer.
9.When playback has ended, stop your external sequencer.
The OASYS??? sequencer will automatically stop recording when it receives the MIDI Stop message transmitted by the external sequencer. You can also stop recording by pressing the SEQUENCER START/STOP switch of the OASYS.
After this, you can play back the newly recorded sequence:
10.In the Global P1: MIDI page, set MIDI Clock to Internal.
11.Set ???Tempo Mode??? to Auto.
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Creating songs (Sequencer mode)
12.Press the SEQUENCER START/STOP switch to play back.
Note: If the correct sounds are 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: Track Edit) to
Recording System Exclusive events
Exclusive messages received from an external MIDI device or the parameter changes produced when you edit a MIDI track parameter, audio track parameter or effect parameter can be
During playback, the exclusive messages you recorded will control the track parameters and effect parameters of the song, and can be sent to external MIDI devices.
Note: You can use the page menu command ???Put Effect Setting to MIDI Track??? to insert an exclusive event containing the parameter settings for an insert effect, master effect or total effect into the desired location of a track, so that these settings will automatically switch during playback.
GM, XG, and GS exclusive messages can be recorded on a track, but the OASYS???s tone generator will not respond to these messages.
Recording internal parameter changes
You can use SysEx for automation of internal OASYS effects and Program parameters.
As an example, let???s record a short phrase on track 1, add an insert effect, and then record parameter changes for that effect on an unused track.
Note: In order to record system exclusive messages,
make sure that the Global P1: MIDI??? MIDI setting ???Enable Exclusive??? is checked.
1.Select the desired program for MIDI track 1, and route it to IFX1. Then record a phrase of about sixteen measures.
???In the P0: Play/REC??? MIDI Track Prog Select/ Mixer page, use ???Program Select??? to select the desired program for MIDI Track 01.
???In the P8: Insert Effect??? MIDI Routing1 page, route the MIDI Track 01 Bus Select (IFX/Indiv. Out Assign) to IFX1. Then in the P8: Insert Effect??? Insert FX page, select the desired effect for IFX1.
???Select MIDI Track 01 in ???Track Select.??? Then press the SEQUENCER REC/WRITE switch and then the START/STOP switch, and record a phrase of about sixteen measures.
2.Select MIDI Track 09 in ???Track Select,??? and record parameter changes as desired.
Note: For this example, select an empty track. If you want to record onto a MIDI track that already contains data, set the P0:Play/REC??? Preference page Recording Setup to ???Overdub,??? as described on page 86.
???Select MIDI Track 09 in ???Track Select.??? Then press the SEQUENCER REC/WRITE switch and then the START/STOP switch, and begin recording.
???At the appropriate time while recording, adjust the parameter(s) that you want to
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MIDI recording Recording patterns
Select another effect for IFX1 in the P8: Insert Effect??? Insert FX page, and edit the effect parameter values, or use the P0: Play/REC??? Control Surface page Tone Adjust controls to edit the sound in realtime.
Note: For details on the effects parameters that you can record in
3.Stop recording.
Note: Exclusive messages are always recorded on the current track selected by ???Track Select.??? In this example, they are recorded on MIDI track 9.
Note: In the MIDI event edit screen you can view the recorded exclusive events and their location. Exclusive events are displayed as ???EXCL???.
To view these events, go to the P4: Track Edit??? Track Edit page, and select the page menu command ???MIDI Event Edit.??? Then in the Set Event Filters dialog box, check Exclusive and press the OK button.
Exclusive events cannot be changed to a different type of event. Nor can other events be changed into exclusive events.
4.If you go to the page (e.g., P8: Insert Effect) that shows the parameters you adjusted in realtime, you can watch the recorded changes be reproduced while the song plays back.
Exclusive messages that can be recorded in real- time
The following exclusive messages can be recorded in
???Exclusive messages received from an external MIDI device
???Parameter changes in Sequencer mode (see ???System Exclusive events supported in Sequencer mode??? on page 560 of the Parameter Guide)
???Master Volume universal exclusive messages assigned to the foot pedal or a knob
Recording patterns
Recording and editing patterns
You can record patterns in either of two ways; realtime recording or step recording. However, pattern realtime recording differs from song realtime recording in that you can use only Loop type recording.
You can edit patterns by using Event Edit operations to modify the recorded data or insert new data. You can also use the ???Get From MIDI Track??? page menu command to convert a desired region of performance data from a MIDI track into a pattern. Conversely, you can use the ???Put to MIDI Track??? or ???Copy to MIDI Track??? page menu commands to place or copy the performance data from a pattern into a MIDI track.
Recording patterns in
Here???s how you can use realtime recording to create a pattern. User patterns can be accessed by the RPPR function in the same way as preset patterns, and can be copied to or placed in a song. Playback data from a track can also be copied to a pattern.
When
1.Create a new song, and as described in ???Preparations for recording??? on page 83, set the track to the program that will be used by the pattern.
2.Access the P5: Pattern/RPPR??? Pattern Edit page (See the diagram below).
3.Use ???Track Select??? to select the track that you will use to record the pattern.
The pattern will sound with the program and other settings of the selected track.
4.Set ???Pattern (Pattern Bank)??? to User, and set ???Pattern Select??? to U00.
User patterns
5.Select the page menu command ???Pattern Parameter???.
A dialog box will appear.
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Creating songs (Sequencer mode)
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.
8.Begin realtime recording.
You can record in the same way as you did when recording tracks with Loop All Tracks. (See ???Loop All Tracks??? on page 87.)
Press the SEQUENCER REC/WRITE switch, and then press the SEQUENCER START/STOP switch.
After the
Pattern Select
Control data in pattern recording
To record control data in a pattern, you should restore the control data to its normal value within the pattern. If you fail to restore the normal value, unnecessary control data may remain in a ???stuck??? position when you place the pattern in a song or use the RPPR function to play the pattern. However, the following control data will be automatically reset to the following values when the song or RPPR function ???nishes playing the pattern, or when playback is halted.
When you reach the end of the pattern, the sequencer will return to the beginning of the pattern and continue recording. If you continue recording, the newly recorded data will be added to the
9.If you want to delete speci???c data while you continue pattern recording, you can press the SEQUENCER REC/WRITE switch or check the ???Remove Data??? check box.
For details refer to step 6 of ???Loop All Tracks??? on page 87.
10.Press the SEQUENCER START/STOP switch to stop recording.
If you made a mistake or decide to
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MIDI recording Other ways to record
Using KARMA for pattern recording
If the KARMA function is set to operate for the track that is selected for ???Track Select,??? and record the performance of the KARMA function into the pattern.
Other ways to record
You can record
You can record
Using the control surface to record changes in the pan, EQ, volume, or Tone Adjust parameters of a MIDI track
During realtime recording, you can use the control surface to control the pan, EQ, volume, or Tone Adjust parameters, and record these changes so that they will be reproduced during playback.
If you will be adjusting more than one track simultaneously, you???ll need to use
Note: Changes you make using the control surface are transmitted as control changes or system exclusive messages. In order to record these changes, the Global P1: MIDI??? MIDI ???Enable Control Change??? and ???Enable Exclusive??? items must be checked. Move to Global mode and make sure that these items are checked.
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Creating songs (Sequencer mode)
Audio recording
Overview: About the OASYS??? hard disk recorder
???There are sixteen audio tracks. They allow
???Automation data (volume, pan, EQ, send 1/2) can be recorded for each track.
???Up to sixteen tracks can be played back simultaneously, and up to four tracks can be recorded simultaneously.
???The Stereo Pair function lets you assign two tracks as a pair for recording, control, and editing.
???You can choose from a broad range of internal buses as the recording source; Audio Input
???When you
???Auto or manual
???The Rehearsal function lets you practice a punch- in/out without actually recording.
???You can use the control surface mixer to adjust the pan and volume etc. of the audio tracks, and record these operations as automation events so that the pan and volume changes will be reproduced during playback.
Audio events and regions in an audio track
When you record on an audio track, the actual audio data is recorded directly on the internal hard disk as a WAVE ???le. At this time, a ???region??? is also created; this contains information specifying what portion of that WAVE ???le is to be actually played back. In addition, an ???audio event??? which assigns that region is created; this speci???es the location in the song at which the audio will play.
When playback reaches a point in the song where an audio event is located, the WAVE ???le on the hard disk will be played as speci???ed by the audio event and the region. In other words, the audio will not play if either the audio event, the region, or the WAVE ???le are missing.
Please note that audio events and regions can be deleted by audio event editing or region editing, and can also be easily lost if you turn off the power before saving to the hard disk. If only the WAVE ???le is left on the hard disk, this will occupy hard disk capacity for no purpose; we recommend that you execute ???Delete Unused WAV Files??? (See PG p.523) to free up any such wasted space.
How audio data is stored on the disk
When you save Songs to disk, they???re stored in an
.SNG ???le. This .SNG ???le contains all of the data from Sequencer mode, including all of the Songs in memory, except for the related audio ???les.
PATTERN 00
Regions TRK01_00
TRK01_01
TRK02_00
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Audio recording Audio input settings and recording source selection
When you save an .SNG ???le, its related audio ???les are stored in a separate directory. This directory is created automatically, within the same directory as the .SNG ???le. (It???s also created if you load a
For instance, if the .SNG ???le is named WAMOZART.SNG, its audio directory will be named WAMOZA_A.
This main directory contains
Temporary audio ???les
If you???re recording a new song, and haven???t yet saved it as an .SNG ???le, the audio ???les are stored in a temporary location on disk. The directory structure is the same as described above, except that the main audio directory is named TEMP.
Once you save the song(s) to an .SNG ???le, these directories and audio ???les will be copied to the new ???_A??? folder automatically. On the other hand, if for some reason you don???t or can???t save before turning off the power, you???ll be given the chance to restore these audio ???les the next time that you start up the instrument. Note that while the audio ???les can be recovered this way, the rest of the sequencer data cannot be restored.
Move or
If you move or
Audio input settings and recording source selection
Use Global Setting
You can con???gure the audio inputs separately for each Song, if desired. Alternatively, you can use the Global setting, as made on the Global P0: Basic Setup??? Audio page.
If Use Global Setting is enabled, the Song will use these Global settings, and all of the other settings under Audio Input will be grayed out.
Input1???4, S/P DIF L, S/P DIF R
Input 1???4: These are the input settings for analog audio sources connected to the INPUT
The INPUT 1 and 2 jacks provide XLR and 1/4??? TRS balanced connectors. You can input mic level or line level signals.
Set the MIC/LINE switch to the setting appropriate for the connected device, and use the LEVEL knob to adjust the level. For more information, see ???Setting levels??? on page 101.
Use the LINE position (switch pressed inward) if you???ve connected a mixer, computer, audio system, signal processor, or another synthesizer.
Use the MIC position (switch outward) if you???ve connected a mic. If you are using a condenser mic that requires phantom power, turn the PHANTOM POWER switch ON. Otherwise, leave this switch OFF.
Never connect an unbalanced instrument, device, or mic to the XLR jack if phantom power is turned on.
Only
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. For best results, route such guitars through a
S/P DIF L, S/P DIF R: These are the input settings for digital audio sources such as instruments, DATs, digital mixers, etc. connected to the S/P DIF IN jack. The S/P DIF input and output jacks support 48 kHz and 96 kHz sample rates. Use ???S/P DIF Sample Rate??? (Global P0: Global Setup??? Basic Setup page) to make this setting. 96 kHz data is converted to 48 kHz for recording.
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Creating songs (Sequencer mode)
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 speci???es the output bus for each audio signal.
Off: The external audio input signal will not be sent to any bus. However, you can still record the external audio signal directly by using the P0: Play/REC??? Audio Track Mixer page REC Source setting to choose an external input (Audio Input
S/P DIF R) for recording.
L/R: The external audio input signal will be sent to the L/R bus. Choose this when you want other signals such the OASYS??? internal tone generator to be recorded along with an external audio source. Set REC Source to L/R.
IFX1???12: The external audio input signal will be sent to the
1???8: The external audio input signal will be sent in monaural to INDIVIDUAL 1, 2, 3, 4, 5, 6, 7, or 8.
1/2???7/8: The external audio input signal will be sent via Pan in stereo to INDIVIDUAL 1 and 2, 3 and 4, 5 and 6, or 7 and 8. Set REC Source to the corresponding INDIV. setting.
Be aware that if you change Bus Select (IFX/Indiv.) from Off to L/R or IFX, the volume level from AUDIO OUT L/MONO and R jacks or from the headphone jack may increase abruptly. Please use caution.
Recording becomes possible if you choose a REC bus as the ???Source Bus.??? For example, you can use the REC buses if you want to record only an audio input source that is being played along with the song being output from the L/R bus (i.e., record the input source, but not the song playback). You can also mix several audio inputs to the REC buses, or mix the direct signal from audio inputs to REC buses along with
Off: The signal will not be output to the REC buses. Normally you will leave this Off.
1, 2, 3, 4: The external audio input signal will be sent to the speci???ed REC bus. The Pan setting is ignored, and the signal is sent in monaural.
1/2, 3/4: The external audio signal will be output to the REC buses in stereo. According to the Pan setting, it will be sent in stereo to buses 1 and 2, or 3 and 4.
Send1 (to MFX1), Send2 (to MFX2)
These specify the level at which the external audio input signal will be sent to the master effects.
Send1 (to MFX1) sends the signal to master effect 1.
Send2 (to MFX2) sends the signal to master effect 2.
If Bus Select (IFX/Indiv.) is set to
PLAY/MUTE
These indicate whether each external audio input signal is in Play or Mute condition.
Use the MIX PLAY/MUTE
FX Ctrl Bus (FX Control Bus)
This sends the external audio input signal to the FX Control bus (stereo
REC Bus
This sends the external audio input signal to the REC buses (four mono channels: 1, 2, 3, 4).
The REC buses are dedicated internal recording buses that you can use for recording or sampling audio tracks.
SOLO On/Off
This indicates the SOLO status of each external audio input signal. Use the MIX SELECT
Sound will be output only from channels whose SOLO is On. Other channels will be muted. Solo operation includes both MIDI tracks and audio tracks.
Pan
This speci???es the panning of each external audio input signal. If you are inputting a stereo audio source, you will normally pan the inputs to L000 and R127 respectively.
Effect unit 
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Audio recording Audio input settings and recording source selection
Level
This controls the level of the external audio signal. The default is 127.
The analog audio signals from AUDIO INPUTS
If the sound is distorted even though this level setting is very low, see ???Tips for eliminating distortion when using the analog inputs??? on page 102.
Avoiding extraneous noise
If audio cables are connected to AUDIO INPUTS 1??? 4, any noise carried by the cables will enter into the OASYS mixer structure. Similarly, the S/P DIF input may carry noise from external devices. This may include hiss, hum, and other audio noise.
To avoid noise from unused audio inputs, either:
???Set the input???s Level to 0 or
???Set all of the bus assignments to Off, including Bus Select (IFX/Indiv. Out Assign), REC Bus, and FX
Control Bus
If no audio cables are connected to AUDIO INPUTS
Audio Track Mixer
You can specify the audio source to record from, and change the Play/Mute status, SOLO status, pan, and volume for playback.
REC Source
This selects the source that will be recorded on the track. The signal of the bus line you specify here will be recorded. See below for a diagram of buses when recording from the audio inputs; for more detailed diagrams, see under
If you set the ???Track Select??? ???eld to Audio Track, you will be able to monitor the REC Source of that track.
The mode of operation will differ depending on whether adjacent audio tracks are paired (???Stereo Pair???) or not.
Audio Input 1???4, Audio Input 1/2, Audio Input 3/4, S/P DIF L, R, S/P DIF L/R: Choose these if you want to directly record the audio input from the AUDIO INPUT
If ???Stereo Pair??? is on and Audio Input 1/2 is selected, AUDIO INPUT 1 will be input to the
S/P DIF L/R will be input to the
L, R, L/R: The L/R bus after passing through TFX 1 and 2 will be recorded. Choose this if you want to record an external audio signal being sent to the L/R bus, or the sound being produced by the OASYS (and sent to the L/R bus) in response to sequencer playback, keyboard playing, or MIDI input.
If ???Stereo Pair??? is on, L is sent to
REC 1, 2, 1/2, REC 3, 4, 3/4: The REC 1/2 or REC 3/4 buses will be recorded. Choose this if you want to record only the audio input while hearing the sequencer playback and your keyboard playing from the L/R outputs. You can also mix several audio inputs to the REC buses, or use the REC buses to mix the direct sound from the audio inputs with the sound processed by insert effects, and record the result.
If ???Stereo Pair??? is on, REC bus 1 (3) is sent to odd- numbered tracks, and REC bus 2 (4) is sent to even- numbered tracks.
Indiv.1???8, Indiv.1/2, Indiv.3/4, Indiv.5/6, Indiv.7/8:
The
If ???Stereo Pair??? is on and you???ve selected Indiv.1/2, the Indiv. bus 1 will be sent to
Play/Rec/Mute
Use this to mute an audio track, or to select the recording tracks for
Solo On/Off
This turns the Solo function on/off.
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Creating songs (Sequencer mode)
Pan
This speci???es the pan of audio track.
Volume
Sets the volume of audio tracks
Recording procedure
Recording Setup
These parameters specify how audio tracks will be recorded.
For details on each recording method, refer to the examples for MIDI tracks. (See ???Recording setup??? on page 85)
However, this differs from MIDI track recording as follows.
Overwrite
When recording for the ???rst time, you will normally select this method.
To begin recording, press the SEQUENCER REC/ WRITE switch and then the SEQUENCER START/ STOP switch. To stop recording, press the SEQUENCER START/STOP switch once again.
Audio Track Audio Events: Only the measures you recorded will be overwritten; the data in subsequent measures will remain unchanged.
Audio Track Automation Events: All data following the measure at which you begin recording will be erased.
Overdub
Select this method when you wish to add Audio Track Automation Event data to a
To begin recording, press the SEQUENCER REC/WRITE switch and then the SEQUENCER START/STOP switch. To stop recording, press the SEQUENCER START/STOP switch once again.
Audio Track Audio Events: As with Overwrite, only the measures you recorded will be overwritten; the data in subsequent measures will remain unchanged.
Audio Track Automation Events: The previously- recorded data will remain, and the
Manual Punch In
Select this method when you wish to use the SEQUENCER REC/WRITE switch or a foot switch to
Auto Punch In
Select this method when you wish to automatically re- record selected portions of a
For both Manual Punch In and Auto Punch In, recording will occur as follows.
Audio Track Audio Events, Audio Track Automation Events: Only the measures you recorded will be overwritten; the data in subsequent measures will remain unchanged.
Loop All Tracks
Choose this method if you want to repeatedly record track automation events over a speci???ed region of measures, adding data at each pass. Only automation events can be recorded. You can use ???Remove Data??? to remove audio track automation events.
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Audio recording Recording procedure
Audio events cannot be recorded. This means that if you set ???Track Select??? to Audio Track, and turn ???Automation Only??? Off, you will be unable to start recording.
Recording Setup (Audio Track)
Automation Only
Normally you will record with this unchecked. Both audio track automation events and audio events will be recorded.
If this is checked, only audio track automation events will be recorded. Use this setting if you want to record automation after recording.
Auto Input
This parameter controls monitoring during recording. It automatically switches all
This lets you listen to audio you???ve already recorded when punching in, and also means that you don???t have to disable track
This applies only to
Normally, Auto Input should be enabled (checked). When enabled, record enabled tracks will be monitored as follows:
???When stopped, the monitor carries the input signal.
???When playing but not recording, the monitor carries the track playback.
???When recording, the monitor carries the input signal.
For audio tracks which are not
Audio track monitoring
(Input: REC Source, Track: track playback)
Source Direct Solo
If this is unchecked, the L/R
Normally you will leave this unchecked, and Check this if you want to monitor only the sound that???s being recorded. Only the signal of the bus line speci???ed by REC Source will be output to the L/R jacks and the headphone jack. When using Multi REC, you???ll hear the sound from the REC Source buses whose Play/Rec/Mute setting is set to REC.
Note: If the REC Source is L/R, this setting is ignored; the L/R
Rehearsal
Check this if you want to rehearse before actually recording on an audio track. (recording will not actually occur).
Audio Track Recording Level
This indicates the input level to the audio track selected for Track Select (when using
Recording Level 1, 2, 3, 4
Level Meter 1, 2, 3, 4
This adjusts the
The upper part of the level meter/slider shows the corresponding audio track number.
If you???re using single track recording, Recording Level 1 and Level Meter 1 both apply.
If you???re using
When using
Note: The settings up to this point are the same as if you executed the page menu command Auto HDR/Sampling Setup with the HDR (Audio Track Recording) setting, to make the setup automatically.
Audio Input, REC Source, Track Select, and
Overwrite are set automatically. For more information, see ???Auto HDR/Sampling Setup:
Setting levels
For the best results, set the levels as described below:
1.If Multi REC is off, set Track Select to an Audio Track.
or
If Multi REC is On,
The Level Meter(s) will now show the recording level(s).
2. Initially, set the Recording Level(s) to 0.0dB.
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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
If you???re using AUDIO INPUT 3 and/or 4, or the
S/P DIF input, adjust the output level of your external audio source.
If you???re sampling external audio through the internal effects, you may also need to adjust the individual effects input and/or output level parameters.
If you???re using internal sounds, adjust the levels using the control surface, effects input/output trim, etc.
4.If the level is still not high enough, increase the Recording Level using the
Again, the goal is to get the level as high as possible without activating the CLIP! or ADC OVERLOAD! messages.
Tips for eliminating distortion when using the analog inputs
If sound from the analog inputs is distorted, but the CLIP! message doesn???t appear, it???s possible that distortion is occurring at the analog input stage, or that distortion is being caused by the settings of the internal effects.
If the ???ADC OVERLOAD!??? message appears above the Recording Level meters, the distortion is due to excessive levels at the input. In this case, either lower the output level of the external audio source, or (for inputs 1 and 2 only) adjust the MIC/LINE gain select switch and LEVEL knob so that this message does not appear.
If there is distortion, but the ???ADC OVERLOAD!??? message does not appear, it???s possible that the distortion is being caused by the settings of the internal effects. To solve this problem, either lower the input Level, or adjust the effects settings (such as changing the individual effect Input Trim parameters).
Examples of audio track recording
Recording an external input source on audio track 1
In this example, we???ll explain how a guitar connected to the Audio Input 1 jack can be recorded on audio track 1.
Recording and playback on an audio track can occur until the end of the master track. You cannot record for longer than 80 minutes.
Connect your guitar
1.Connect your guitar to the rear panel AUDIO INPUT 1 jack.
Press the AUDIO INPUT MIC/LINE switch inward to select the LINE position, and set the LEVEL knob at about the center.
Guitar
Effect unit
If you connect a guitar with passive pickups (i.e., a guitar that does not contain a preamp), you will be unable to sample it at the correct level because of the impedance mismatch. Such guitars should be routed through a preamp or an effect unit.
Setup
2.In the P0: Play/REC??? Audio Input Sampling page, set the ???Audio Input??? parameters as follows.
Use Global setting Off
??? INPUT 1 ???
Bus Select (IFX/Indiv.): Off
Pan: L000
Level: 127
REC Bus: Off
(These settings are made by default, so you don???t need to make them.)
In the P0: Play/REC??? Audio Track Mixer page, use REC Source to select Audio Input 1 (AIn 1), so that the signal from Audio Input 1 will be recorded directly on audio track 1.
Audio Track 1 REC Source: Audio Input 1 (AIn 1)
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Audio recording Recording procedure
LocationTrack Select
Access the P8: Insert Effect??? Audio Routing1 page.
In ???Audio Track 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.In the P0: Play/REC??? Preference page, set ???Track Select??? to Audio Track 01.
AUDIO TRK 01 (???Level Meter 1,??? ???Recording Level 1,??? ???Name 1,??? Take, Take No.) will appear.
Use the ???Name 1??? ???eld to specify a name for the region and WAVE ???le that will be created.
If you intend to record several takes on the same track, check the Take option box.
4.Specify the recording method in Recording Setup and ???Recording Setup (Audio Track).???
???Overwrite???: selected
???Automation Only???: unchecked
???Source Direct Solo???: unchecked
???Auto Input???: checked
???Rehearsal???: unchecked
Note: If you want to record from the beginning of the song or from the measure speci???ed by ???Location,??? you should select ???Overwrite.???
Note: If Take is unchecked, you will be able to input up to eight characters as the ???le name. If it is checked, you will be able to input up to six characters.
Note: If you want the metronome to sound during recording, use Metronome Setup to make metronome settings. For more information, see ???0??? 5d: Metronome Setup??? on page 431 of the Parameter Guide.
Set the recording level
5.Play your guitar at the volume you intend to record.
If the ???ADC OVERLOAD !??? (AD converter input overload) indication appears, turn the rear panel LEVEL knob toward MIN to adjust the level appropriately.
For the best sound, adjust the level as high as possible without allowing the ???ADC OVERLOAD !??? indication to appear.
6.The level meter will show the volume of the guitar signal that will be recorded.
If the ???CLIP !??? indication appears, use the VALUE controller etc. to lower the Recording Level slider
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Creating songs (Sequencer mode)
(located in the right side of the display) from +0.0 down to an appropriate level.
Press the SEQUENCER START/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 Direct Solo.???
Record
7.In the P0: Play/REC??? Preference page, use ???Location??? to specify the location at which recording will begin.
If you want to start recording from the beginning of the song, set this to 001:01.000.
8.Press the SEQUENCER REC/WRITE switch
The OASYS will be in
9.Press the SEQUENCER START/STOP switch.
Recording will start from the location you speci???ed in ???Location.???
If you have speci???ed a metronome
10.To stop recording, press the SEQUENCER START/STOP switch.
Listen to the recorded result
11.Access the P0: Play/REC??? Audio Track Mixer page.
In ???Audio Track 1,??? set the pan and volume etc. for audio track 1.
Play/Rec/Mute: Play
Solo On/Off: Off
Pan: C064
Volume: 100
12.Press the SEQUENCER START/STOP switch to play back the song.
Note: You can use functions such as Compare when recording audio events, just as you can when recording MIDI tracks.
Note: If you want to apply an insert effect on an audio track, set Bus Select (IFX/Indiv. Out Assign) to
Then select L/R as the Bus Select setting (P8: Insert Effect??? Insert FX page) that follows the insert effect you used.
Note: If you want to apply master effects to an audio track, use Send1 (MFX1) and Send2 (MFX2) to set the send levels to the master effect. If you???re using an insert effect, adjust the Send1 and Send2 settings that follow that insert effect.
Recording an external input source on audio track 2 while you listen to the
In this example, we???ll record another guitar performance on audio track 2 while monitoring the performance you previously recorded on audio track 1 as described in ???Recording an external input source on audio track 1.???
1.In the P0: Play/REC??? Audio Track Mixer page, set the Audio Input 2 REC Source to Audio Input 1 (AIn 1).
AUDIO TRACK 2 REC Source: Audio Input 1 (AIn 1)
2.Set Track Select to Audio Track 02.
3.Record as described in step 8 and following of the preceding section.
Applying an insert effect while you record
In this example, we???ll apply an insert effect to the guitar that???s connected to Audio Input 1, and record the
Connect your guitar
1.Connect your guitar. (See p.61 ???Recording an external input source on audio track 1???)
Setup
2.In the P0: Play/REC??? Audio Input/Sampling page, set the ???Audio Input??? parameters as shown below that the signal from the AUDIO INPUT 1 jack is sent to IFX1.
Use Global Setting: Off
Bus Select (IFX/Indiv.): IFX1
INPUT1 Level: 127
INPUT1 Pan: L000
INPUT1 REC Bus: Off
3.In the P8: Insert Effect??? Insert FX page, select the desired effect and route it to REC bus 1.
IFX1 On/Off: On
IFX1: the desired effect
Bus Sel.: Off
REC Bus: 1
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Audio recording Recording procedure
4.In the P0: Play/REC??? Audio Track Mixer page, set REC Source to REC1 so that the signal of the REC bus will be recorded on audio track 1.
Audio Track 1 REC Source: REC1
5.In the P0: Play/REC Preference page, set ???Track Select??? to Audio Track 01.
The remaining steps are the same as step 3 and following of the preceding section ???Recording an external audio source on audio track 1.??? Please refer to that section for details.
In this example, we???ll show how to
Don???t change the P0: Play/REC??? Audio Input/
Sampling page ???Audio Input??? settings, the P0: Play/ REC??? Preference page ???Recording Setup (Audio
Track)??? settings, or the ???P0: Play/REC??? Audio Track Mixer page REC Source settings. We will use these settings as they are.
Setup
1.In the P0: Play/REC??? Preference page, make sure that Audio Track 01 is selected for the ???Track Select??? parameter.
2.Use Recording Setup to specify how recording will start.
In this example, choose
AUDIO TRK 01 Name, Take, Take No.: Specify the region and wave ???le name that you want to record. Note: If you set Recording Setup to Auto Punch In and set
If you set Recording Setup to Manual Punch In, the measures you specify by pressing the SEQUENCER REC/WRITE switch or foot switch will be recorded. In this case, press the SEQUENCER START/STOP switch to play back the song. When you reach the measure at which you want to start recording, press the SEQUENCER REC/WRITE switch or the foot switch to begin recording. When you reach the measure at which you want to stop recording, press the REC/WRITE switch or foot switch once again; recording will end.
Rehearse
If desired, you can simulate the action of recording without actually recording. This will function just as if you were recording, but no audio event, region, or WAVE ???le will be created.
3.In ???Recording Setup (Audio Track),??? check the ???Rehearsal??? option.
4.Use ???Location??? to specify the location at which you want to start recording. Set this several measures earlier than the region you speci???ed for
5.Press the SEQUENCER REC/WRITE switch.
You will enter
Once you press the SEQUENCER REC/WRITE switch, you will be unable to change the audio track selection in ???Track Select.???
6.Press the SEQUENCER START/STOP switch.
Playback will begin from the measure speci???ed by ???Location,??? and simulated recording will occur only in the range of measures speci???ed by
Note: If the ???Recording Setup (Audio Track)??? parameter ???Auto Input??? is Off, you will always be able to hear the REC Source. For more information, see ???Auto Input??? on page 429 of the Parameter Guide.
7.Press the SEQUENCER START/STOP switch to stop recording.
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8.In ???Recording Setup (Audio Track),??? 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???ed for
10.Press the SEQUENCER REC/WRITE switch.
You will enter
Once you press the SEQUENCER REC/WRITE switch, you will be unable to change the audio track selection in ???Track Select.???
11.Press the SEQUENCER START/STOP switch.
Playback will begin from the measure speci???ed by ???Location,??? and recording will occur only in the range of measures speci???ed by
Note: If the ???Recording Setup (Audio Track)??? parameter ???Auto Input??? is Off, you will always be able to hear the REC Source.
12.Press the SEQUENCER START/STOP switch to stop recording.
Listen to the recorded result
13.Press the SEQUENCER START/STOP switch to play back the song.
Make output settings for the audio track as described under ???Listen to the recorded result??? on page 104.
14.Press the SEQUENCER START/STOP switch to stop playback.
Compare the recorded result
???Press the COMPARE switch (the COMPARE switch LED will light), and play back.
The audio track prior to
???Once again press the COMPARE switch (the COMPARE LED will go dark), and play back.
The audio track following
Other variations of audio track recording
Bouncing audio tracks
Bouncing lets you combine two or more tracks into either a single mono track, or a stereo pair.
In this example, we???ll show how audio tracks 1 and 2 can be bounced to audio track 3.
Before you proceed, you???ll need to record onto audio tracks 1 and 2. To record on audio track 2, make settings as described under ???Recording Setup??? on page 100, but in the P0: Play/REC??? Audio Track Mixer page, set Audio Track 2 REC Source to REC1, and in the P0: Play/REC??? Preference page, set ???Track Select??? to Audio Track 02.
Setup
1. In the P0: Play/REC??? Audio Track Mixer page, set
up audio tracks 1 and 2 as shown below:
??? Audio Track 1 ???
Play/Rec/Mute: Play
Solo On/Off: On
Pan: L000
Volume: 127
??? Audio Track 2 ???
Play/Rec/Mute: Play
Solo On/Off: On
Pan: L000
Volume: 127
Note: By setting Solo On/Off to On for both AUDIO 1 and AUDIO 2, you are specifying that only these audio tracks will be recorded.
2.In the P8: Insert Effect??? Audio Routing 1 page, specify the output for audio tracks 1 and 2.
??? Audio Track 1 ???
Bus Select (IFX/Indiv. Out Assign): L/R
???Send 1 (MFX1),??? ???Send 2 (MFX2)???: 000
??? Audio Track 2 ???
Bus Select (IFX/Indiv. Out Assign): L/R
???Send 1 (MFX1),??? ???Send 2 (MFX2)???: 000
Note: If you want to apply insert effects to the audio tracks, set Bus Select (IFX/Indiv. Out Assign) to your choice of
Note: If you want to apply master effects to an audio track, use ???Send 1 (MFX1)??? and ???Send 2 (MFX2)??? to adjust the send levels to the master effects. If you are using an insert effect on the audio track, adjust the Send1 and Send2 that follow the insert effect you???re using.
3.Press the SEQUENCER START/STOP switch to play back the song, and adjust the balance of the audio track 1 and 2 output levels.
The output level of each audio track is adjusted in the P0: Play/REC Audio Track Mixer page by the audio track 1 and audio track 2 Volume setting.
When you???ve ???nished making adjustments, stop playback.
4.In the P0: Play/REC??? Preference page, use ???Track Select??? to select Audio Track 03.
5.In Recording Setup, Recording Setup (Audio Track), specify the desired recording method.
??? Recording Setup ???
Overwrite: on
??? Recording Setup (Audio Track) ???
Automation Only: unchecked
Source Direct Solo: unchecked
Auto Input: checked
Rehearsal: unchecked
??? Audio TRK 03 ???
Name, Take, Take No.: Specify the desired region and WAVE ???lename to be recorded.
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Audio recording Recording procedure
6.In the P0: Play/REC??? Audio Track 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 Track with the following settings. For more information, see ???If you selected Bounce Audio Track:??? on page 530 of the Parameter Guide.
Mode: Mono
From: Audio Track 01: checked
Audio Track 02: checked
To: Audio Track 03
When
Record
7.Set ???Location??? to the beginning of the song (001: 01.000).
8.Press the SEQUENCER REC/WRITE switch.
You will be in
Once you press the SEQUENCER REC/WRITE switch, you will be unable to change the audio track selection in ???Track Select.???
9.Press the SEQUENCER START/STOP switch.
Playback will begin, and
When the audio tracks have ???nished playing back, recording will also end. Song playback will also end automatically.
Listen to the recorded result
10.In the P0: Play/REC??? Audio TRACK Mixer page, mute the playback of audio tracks 1 and 2.
??? Audio Track 1 ???
Play/Rec/Mute: Mute
Solo On/Off: Off
??? Audio Track 2 ???
Play/Rec/Mute: Mute
Solo On/Off: Off
11.Press the SEQUENCER START/STOP switch to play back the song.
Make output settings for audio track 3 as described in ???Listen to the recorded result??? on page 104.
12.Press the SEQUENCER START/STOP switch to stop playback.
If you want to create a WAVE ???le on the hard disk from a song that includes audio tracks, see ???Resampling a song to create a Wave ???le??? on page 145.
Recording automation events for pan, EQ, and volume etc. on an audio track
All audio track parameters (Pan, Volume, Send1/2, and EQ) can be recorded in realtime. In this example, we???ll record Pan and Volume changes on audio track 3.
Access the P0: Play/REC??? Audio Track Mixer page, and use ???Track Select??? to select Audio Track 03 as the track to be recorded. You could use the VALUE controller to operate a desired parameter, but using the control surface lets you mix up to eight tracks simultaneously.
Setup
1.Access the P0: Play/REC??? Preference page.
2.In Recording Setup, Recording Setup (Audio Track), choose the desired recording method.
In this example, we???ll choose overdub recording so that we can record repeated passes, adding more automation data on each pass.
??? Recording Setup ???
Overdub: on
??? Recording Setup (Audio Track) ???
Automation Only: checked
If you record without checking ???Automation Only,??? audio events will also be recorded. Note that this will erase and overwrite the audio events that already exist.
3. Access the P0: Play/REC??? Control Surface page.
4.Press the CONTROL ASSIGN AUDIO switch several times so that the
5.In the center of the right edge of the LCD, check ???Link KBD REC Trk to Ctrl Surface.???
If you check this and press the MIX SELECT 3 switch, each knob will control audio track 3, and at the same time ???Track Select??? will switch to Audio Track 03.
Press the SEQUENCER START/STOP switch to play back, and operate the knobs and sliders etc. to rehearse your mix.
If MIXER KNOB is set to CHANNEL STRIP, knob 1 will control pan, knobs
When you???ve ???nished rehearsing, press the SEQUENCER START/STOP switch to stop. Press the LOCATE switch.
Record
6. Press the SEQUENCER REC/WRITE switch.
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Creating songs (Sequencer mode)
The metronome will begin sounding, and you will be in
7.Press the SEQUENCER START/STOP switch.
After a
Note: When recording automation events, you can use quantization, the resolution setting, and the compare function in the same way as for a MIDI track.
8.When you???re ???nished recording, press the SEQUENCER START/STOP switch to stop recording.
9.Listen to the recorded result.
Press the SEQUENCER START/STOP switch to play back.
If you want to record again, use the Compare function (press the COMPARE switch) to
10.If you want to continue adding automation events, repeat the recording procedure from step 6.
Placing a WAVE ???le in an audio track
You can play back a WAVE ???le by importing it into a region of an audio track.
Important: You can only directly import WAVE ???les from the internal hard drive. To use ???les from CDs or external USB devices, you must ???rst copy them to the internal hard drive, and then import the copied ???le into the Song.
Note: You can only import WAVE ???les that have a 48 kHz sample rate, are monaural, and are less than 80 minutes long. If the WAVE ???le you want to import has a 44.1 kHz sampling rate, use the Disk mode ???Rate Convert??? command to convert the ???le to 48 kHz before you import it. For more information, see ???Rate Convert??? on page 724 of the Parameter Guide.
1.Select the P4: Track Edit page.
2.Use ???Track Select??? to select the audio track in which you want to place the WAVE ???le.
3.Choose the ???Audio Event Edit??? page menu command to open the dialog box.
Event
4.Select the event at which you want to insert a region, and press the Insert button located at the lower left. A dialog box will open.
5.Select the region into which you want to import the WAVE ???le, and press the Import button located below. A dialog box will open.
6.Use ???Drive Select,??? ???Open,??? and ???Up??? to navigate to the desired directory, select the WAVE ???le you want to import, and press the OK button to import the ???le into the region.
108
Audio recording Song editing
When selecting a WAVE ???le, you can press the Play button to audition the ???les to help you ???nd the desired one.
You can also use the ???Name??? ???eld located above to assign a name to the region. Edit the ???Name??? after you???ve selected a ???le.
Note: The OK button is available only if you???ve selected a 48 kHz monaural WAVE ???le. If you???ve selected a 44.1 kHz ???le or a 48 kHz stereo ???le, the button will be
The Play button is available only if you???ve selected a 48 kHz WAVE ???le.
Editing a region will affect the audio track for the entire song. Use caution when editing a region that???s already used in an audio track.
7.Press the OK button, the selected region will be placed in the audio track.
8.Select the event that you want to edit, and use the location parameters ???Measure??? and ???Beat Tick??? to edit the location of the event.
You can???t place two or more events at the same location.
9. Press the Done button.
10.Press the SEQUENCER START/STOP switch, and make sure that the WAVE ???le plays back.
You can press the COMPARE switch to return to the state prior to the edit you just performed.
We???ve kept this example simple, but you can also perform editing operations such as changing the playback position of the WAVE ???le in steps of a single sample, changing the location relative to an anchor point, or crossfading two audio events. For more information, see ???Audio Automation Edit??? on
Song editing
You can apply a variety of editing operations to a song. The available types of editing operation are listed below.
Song
Delete Song: This command deletes the currently selected song. For more information, see ???Delete Song??? on page 524 of the Parameter Guide.
Copy From Song: This command copies all of the setting data and musical data from the speci???ed song to the currently selected song. For more information, see ???Copy From Song??? on page 524 of the Parameter Guide.
FF/REW Speed: This allows you to set the speed at which
GM Initialize: This command transmits a GM System On message to the Sequencer mode, resetting all MIDI tracks to the GM settings. For more information, see ???GM Initialize??? on page 526 of the Parameter Guide.
Auto HDR/Sampling Setup: This command automatically makes the appropriate
Initialize: Set parameters related to hard disk recording and sampling to their default values.
HDR (Audio Track Recording): Make the necessary settings for recording external audio signals such as guitar or vocal from the audio inputs to audio tracks.
Bounce Audio Track: Make the necessary settings for
2ch Mix to Disk: Make settings for resampling a completed song in order to create a
109
switch to select P01.
When you turn off the power, the Sequencer mode settings, the recorded songs, and the user pattern data will be lost.
Note that GM, XG, and GS exclusive messages do not affect the OASYS when they are played back.
The program will not be affected by the Compare, and will not return to its prior state.
WAVE ???les are not deleted when you compare edits to audio tracks. To delete a WAVE ???le you no longer need, use the menu command 
The analog audio signals from the AUDIO INPUT 
C4 key
switch to select 002.
Be aware that if you change the Bus setting from Off to L/R or 
If you use ???Sample Select??? to select the sample, be aware that the assignment to the index will also change.
If you use ???Sample Select??? to select the sample, be aware that the index assignment will also change.
Use caution when handling the 
Unless you save to disk, any sample or multisample data you create will be lost when you turn off the power. For more information, see 
If you check ???Use Destination Program Parameters,??? please be aware of the following point.
If you connect a guitar with passive pickups (i.e., a guitar that does not contain a preamp), you will be unable to sample it at the correct level because of the impedance mismatch. Such guitars should be routed through a preamp or an effect unit.
If you connect a guitar with passive pickups (i.e., a guitar that does not contain a preamp), you will be unable to sample it at the correct level because of the impedance mismatch. Such guitars should be routed through a preamp or an effect unit.
A maximum of 80 minutes for either mono or stereo can be written to media in one sampling operation (mono: approximately 440 MB, stereo: approximately 879 MB).
Quantize
Quantize
Before you write data into memory, you must turn off the memory protect setting in Global mode. (See 
A combination does not contain the actual program data for each timbre, but simply remembers the number of the program used by each timbre. If you edit a program that is used by a combination, or exchange it with a different program number, the sound of the combination will also change.
The Wave Sequence ???Tempo,??? ???Key Sync,??? ???Swing,??? and ???Quantize Trigger??? settings are stored with each program, combination, or song. These parameters are not saved by writing the wave sequence as described here. If you???ve moved from Program or Combination mode and edited these parameters, return to the previous mode and write your edits.
to open the text edit dialog box. (See the following diagram)
Switches between uppercase and lowercase characters.
These types of media are not included. You will need to purchase them separately.
Song data and region data in the OASYS???s Sequencer mode, as well as multisamples and samples cannot be written into internal memory. This data will disappear when the power is turned off. In order to keep this data, you must write it to the internal hard disk, to CD media in the internal 
If you save this data to 
When you format, all data saved on that media will be erased. If you had used a computer etc. to set up that drive so that it can be used as multiple drives (partitions), this data will also be erased. Be sure to 
After formatting, it is not possible to press the COMPARE switch to return to the previous state.
You must format a 
You must use the OASYS to format the media. The OASYS will not correctly recognize media that has been formatted by another device.
When loading programs, combinations, songs, drum kits, or wave sequences, you must make sure that the Global mode memory protect setting is unchecked. (See 
Never remove the media while data is being loaded.
Be aware that if you change the order of programs, the sounds played by combinations may also be affected.
Make sure that both media are detected by the
When writing data to 
If you have selected a WAVE ???le with a sampling frequency other than 48 kHz, it will not be possible to press the Play button.
If you have selected a WAVE ???le with a sampling frequency other than 44.1 kHz or 48 kHz, it will not be possible to press the Insert button.
WAVE ???les at a sampling frequency of 48 kHz will be converted to 44.1 kHz when they are written to an audio CD (when you execute ???Write to CD???).
An audio CD cannot be created on a disc that contains data other than audio (e.g., ???les). In this case, it will not be possible to select the page menu commands ???Write to CD??? or ???Finalize Audio CD.???
Be aware that if you use a faster writing speed in a slower system, writing errors will occur.
When you press the OK button, the ???Obey Copyright Rules??? dialog box will appear.
In order to avoid causing errors, do not subject the drive to physical shock or vibration while CD- R/RW media is being written.
If the calendar backup battery runs low, a message of ???Battery voltage for calendar IC??? will appear in the LCD screen. If the calendar backup battery runs down completely, the calendar will be initialized, and the date and time will not be recorded correctly.
Data you created or edited will be lost when you turn off the power, so be sure to back up your data before you turn off the power.
After you turn off the power, wait approximately ten seconds before you turn the power on.
Before you load this data, you must access the Global mode P0: Basic Setup??? Basic page, and un- check the ???Memory Protect??? setting for the data you are going to load. If you execute this operation with this setting checked, a message of ???Memory Protected??? will appear, and the data will not be loaded.
When you load a .PCG ???le, the internal memory of the OASYS will be overwritten by the data of the
Never attempt to remove the media while data is being loaded.
You can use tap tempo control whenever the TEMPO knob can be operated. For example in Sequencer mode, tap tempo control will not be available if you are playing a song whose ???Tempo Mode??? setting is set to Auto.
/ switches to select a Program, Combination, or Song.
When effects are applied to the external input sound from the AUDIO INPUT 1, 2, 3, 4, and S/P DIF IN jacks, certain effect types or parameter settings may
When applying effects to the signals from the AUDIO INPUT 
Noise can enter the OASYS via these buses; see 
Waveforem = Sine
Phase Offset = 0 [deg]
Waveforem = Sine
Phase Offset = +90 [deg]
Depending on the speci???c delay effect, you may hear a noise if you change the tempo while the delay is sounding. This is because the delay sound becomes discontinuous, and is not a malfunction.
If the Global P1: 
If you???ve used the RESET CONTROLS switch to return all scenes to their original setting, there is no way to return to the edited settings of step 1.
If you???ve used the RESET CONTROLS switch to reset the 
You can???t adjust the performance tempo of each KARMA module individually.
??? is not shown in the display, ???Run??? has been assigned as a performance realtime performance. The KARMA SWITCHES etc. will control ???RUN.???
D
Data from the internal sequencer is not input to the KARMA module. Also, you cannot use note data from the internal sequencer to trigger a KARMA module so that it generates phrases etc.
The song tempo and the KARMA function tempo cannot be set independently.