Tutorial On
Musical Synthesis Using The Korg Oasys, Triton and Karma Workstations
Last Updated
Introduction
This
tutorial is written for Korg Oasys and the Oasys Companion O.C. program as well
as Triton and Karma owners who use the Triton Controller T.C. program both of
which I developed. The software is available at http://www.pryer.freeserve.co.uk/ Other synth users might find this tutorial
of interest as well even if they don’t use the software or Korg synths.
Tip…T.C. or OC users should save this web page in
the same directory as programs.exe so you can access it from within the program
(NB. from T.C. version 5.05 onward.)
To do
that :-
1. Goto Internet Explorer
IE, tools, programs
2. Set word (or similar such as Frontpage) as your default html editor.
3. Download my tutorial page from the web.
4. Then go to I.E. file menu, Edit with MS word (or similar)
5. Save in word (or similar) as Tutorial.htm for the TC or Oasys1.htm for the
OC in the same folder as the executable in the program files folder in windows.
(triton.exe or Oasys.exe file location).
That will save the page complete with pictures......
Index
Part 1
A Little History of Musical Synthesis
Midi Setup - Connecting the Synthesizer to the P.C
Making your first Edits using the Triton Controller T.C.
Software – Program Play Mode
Part 2
A
Little History of Musical Synthesis
The
‘King of Instruments’ is the church organ.
By the 14th century they were relatively common and were the
first instrument which mimicked other instruments. There vast array of ‘stops’ from the flute
to the gemshorn were generated by differently constructed pipes. Some of wood and some of metal and of varying
shapes. The ‘synthesis’ was done
mechanically and stops could be combined. It took 700 years for the first
electronic device to attempt the same feat.
The first
electronic ‘synthesizer’ was Thadeus Cahill’s Telharmonium an enormous
instrument built way back in the early 1900’s.
Although hardly meant for the home user it was the first electronic
musical instrument. In fact it was so big it had to be transported in railroad
cars. Then came the Theramin, a weird
device consisting of a pair of aerials and played by the musician moving his
hands by them. The varying
electromagnetic inductance provided the control source. The next major development was the
A pure tone or Sine wave. 2 cycles are shown above. It sounds a bit
like a soft flute and by definition contains no harmonics. By adding multiple frequencies most wave
forms can be generated by a process called fourier synthesis.
Listen to Sine wave A 1 second sample.
A Pianos waveform looks and sounds different. 3 Cycles are shown above. The spectrum analysis below shows the relative
magnitude of the various harmonics which make up the piano waveform. Notice that there are 11 significant
harmonics !
A harmonic series for a Piano. Each peak represents
a sine wave at multiples of the fundamental (lowest) frequency 320Hz component. 1x, 2x, 3x etc. By adding a few sine wave you
can generate most waveforms. A Hammond Organ could create the first 8 harmonics
which could be individually adjusted by the drawbars. The Moss board does a nice representation of
a classic
New
keyboards were invented in the 1960’s such as the fender
Electronic Music Studios London Ltd. Circa 1970 – All of this now fits into the Tritons
case !
Things
have come a long way since the 1900’s and professional synths, using large
scale integrated digital circuitry are now available for £2,000 which would
have cost £50,000 back in 1975 ! The
Fairlight was one of the first sampling synths, as was the Disclaver in the
late 1970’s, but they did then, what the Triton does now but at 100 times the
price the price of a Triton in real terms.
Also the Triton is a lot more complex and contains countless features
not found on its precursors. The Korg
Triton series of synthesizers use the Triton ‘Hyper Integrated Synthesis
System’ - HiSys chip set (and the optional Moss Board) and are some of the most
powerful workstations on the market today.
The fact that the Triton series (Classic, Studio, Karma, LE and Rack)
use the same chip and basically the same
The very
latest synthesizers are called software or soft synths. They exist only as a program running on a
computer and this approach is immensely powerful but depends on the quality of
the sound card in the PC. They have not
replaced hard wired synths yet, but may do so in the future, however for now
hardware specifically created for music production is preferred. The Triton could exist as a program, but
somehow playing a PC on the stage is not the same !
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A
quick lesson on |
Lets start……Firstly,
if you want to use the T.C. you need to connect your PC to your synth.
Midi
Setup - Connecting the Synthesizer to the P.C
If you want to get up and
running quickly and prefer to read the detailed instruction later in the Help
file, then this is what you need to do after obtaining a copy of the Triton
Controller. The Oasys does not have a
pcif port – see my instructions in the OC documentation for connection
methods:-
1. Connect the Korg Synth to the PC
using midi leads (
2. Load and run the Triton Controller software. Click Midi Set Button (Red midi symbol main
toolbar). Set model to the model of
synth you use, set midi channel to correct channel – default on synth/software
is 1. Select PCIF for midi in and midi
out in the text boxes if you are using PCIF cable.
3. On the synth goto ‘Global Mode –
4. Also make sure that the Triton bank map is set to
Korg and not general MIDI. (Otherwise you will only have access to
general Midi.) To do this - On the
Triton, Goto global mode - system
preferences (page 2) , and set bank map there to Triton.
If you
click between ‘PCM edit’ and ‘Combi play’ on the T.C. for instance, the mode on
the synth will change. (See lights above
mode buttons). You should now also be able to goto an edit page in the
software, change a parameter on the PC and as you do you should see the
parameter change on the Triton/Karma’s screen.
You will have to manually goto the particular edit screen on the synth
as midi will not alter the screen on the synth automatically - it will however goto the correct mode.
Making your first Edits
using the Triton Controller T.C. Software – Program Play Mode
NB. When you first open the T.C. you will see a
small window in the top left with the various modes of the Triton listed. By clicking on the various radio buttons you
can switch modes on the synth. The sub
window also allows the user to open and close the midi port, very useful if you
use PCIF and you want another application to take over the PC port. Just close the T.C. port first.
The Triton Controller Software is
designed to make editing sounds on the Korg synth a lot easier than using the
small screen that comes with the synth.
This is even more true for those models without a touch screen. The best and simplest page to start with is
Program Play mode – a mode especially for simple adjustments during a
performance. Click the Icon at the top
left of the T.C. menu bar. If the synth
is not in that mode already, then the T.C.
will force the synth to goto that mode and you should see the program
play mode button light up and that mode appear on the tritons screen. (If it does not, then the midi connection
needs checking. Goto step 1 above – midi
setup.). The P.C. screen will display a
new window containing various controls.
Now this is the fun bit!
1. With almost any program loaded on the synth
– slide the octave slider on the T.C. up or down. Play the synth and you will hear the note go
up or down an octave. This is true for
most programs, but not all. Move the
slider again and play the synth again.
2. Next – do the same thing with the pitch
slider – notice what happened to the sound.
3. The Osc Balance changes the respective
volumes of the 2 oscillators which make up most Triton programs. Sliding it will change the timbre or nature
of the sound.
4. The amp level slider changes the output
level of the synth. Try sliding it up
and down and hear the volume change.
5. The Attack and Decay time changes the speed
at which a sound builds up and dies away – classic controls on synths since the
1970’s
6. The IFX slider refers to Internal Effects
and MFX master effects. Changing this
slider will alter the filters modifying the synths sound.
You will see that by just changing
these few sliders you can create many different sounds !
Tip….If
you want to play the synth from the PC keyboard click the mauve button bottom
right – Audition sound using the P.C.
keyboard – and use the Z-M keys and Q-U to play it. Handy if the synth is out of reach from the
PC.
If you want to choose a
program/bank – ie. Sound from the synth, just use the Orange - Program/bank
select button top right. Select a bank, select a program and press the button
below. The synth will then be told by
the T.C. to change the program accordingly.
You should see the synths display change and when you play the synth the
sound will be different.
You can also save a sound – edited
in the synths buffer – to a program/bank location of your choice. Use the Red – Write section of the window of
the T.C. for this.
Finally you can adjust arpeggio
parameters – assuming your model has arpeggios – Karma uses G.E. instead so
this section is not visible on the P.C..
PS…The
Load PCG file will be covered later in the tutorial.
The Triton is prepacked with over
400 multisamples – these are mainly digital recordings of instruments which
have been assigned to the groups of keys on the synth. You can
also sample your own sounds if you own a Triton Classic or Studio. The Triton allows the user to combine
multisamples – so by pressing one note you can sound up to 2 multisamples in a
typical program. By combining Programs
you can create Combinations which are rich sounds. So you can see the Triton offers vast numbers
of ways of making sounds by addition.
The PCM edit page on the T.C. lays
out neatly all of the editing controls – much in the way of earlier synths of
the 70’s/80’s did on their control panel.
When you want to create a new sound its always easiest to start with an
existing one – from one of the Korg PCG files which came with the synth and
which sound similar to the sound you want.
Just tweak it as necessary. So
how do you do that ?
You need to understand what the
various controls do. Controls are
generally grouped into:-
1. Oscillators – These are Multisamples really, but early
synths just had square wave generators, sawtooth, Sine wave etc. Not real samples and you made the sound
different by filtering them. Although
you can only sound 2 oscillators at once in a triton program you can velocity
switch samples. So if you press the key
lightly you get one multisample and press harder you hear another. Don’t worry too much about this now but
that’s why there are 2 multisample options per oscillator.
2. Filters – Typically high pass or low pass (High
pass just let high frequencies through) and resonance accentuates the
frequencies around the resonant frequency. Overdoing this will cause feedback – and a
whistling sound will be heard.
3. Amplifiers – How loud will the sound be and what will
the balance be between the two oscillators 1 and 2.
4. Envelope
Generators – an envelope
is a graph whose intensity varies with time.
You can make sounds amplitude build slowly and end quickly or vice
versa. You can also apply envelopes to
filters.
5. Effects – ways of further manipulating the sound
such as vibrato, overdrive, leslie speaker etc. – these will be covered later.
The best way of learning about
these controls is literally to play around.
Start by adjusting just one control at a time and observe how it affects
the sound.
Tip……A
quick way of generating new sounds is to press the ‘Random program’ button in
the centre of the PCM edit window – it uses random values to move various
controls, you never know what you will end up with and its great fun ! This feature is only found on the T.C.
software.
The are many different parameters
which the user can edit to change the sound of a program. All of these except the effects can be
accessed from this mode. So exactly how
do you create a sound from scratch ? The
colours in the steps below are the same as used withing the T.C. programs flow
charts.
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1 |
The first step is to decide what
type of sound you want to create as you will need to select a multi sample
whose wave form is similar to the sound you want. The samples wave form shape defines the
‘timbre’ or character of the sound. That
is partly what distinguishes a violin from a trumpet. The shape will change with time and volume
in a real instrument and in you can make this happen on the Triton as well to
improve realism. The T.C. enables the user to search over 400 wave forms by
name. The name of the multi sample
normally gives the clue as to its timbre.
3
cycles of a Piano waveform showing that it is not a pure sine wave but
comprises various harmonics. To do this goto PCM Edit /
MultiSample/Drum Sample edit button in the middle left of the form. You can search by type of instrument or by
name. You can assign 2 oscillators per
note and also change from 1 oscillator to another across the range of the
keyboard ! Select Multisample 0 –
Piano for Osc 1 Hi & Lo and Piano M1 for Osc 2 Hi & Lo.
See how a real Flutes waveform varies
with volume ! |
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2 |
The next step involves adjusting
the filters – normally cutoff and resonance to fine tune the sound. You can get the filters to vary with time
or other parameters – but that’s for later - under Filter Envelope controls. |
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3 |
Finally adjust the Osc 1 and 2
Amplifier envelope. This changes how
the sounds volume varies with time and is crucial in simulating an
instrument. A trumpet may builds
slowly and might decay immediately.
Where as a piano always has a very quick attack (short attack time)
and slow decay (long decay time) see
graph below. Press the Amp/EG
button to edit the amplifier envelope and try to make it look a bit like the
graph below by following the highest points or envelope of the graph. Adjust
the sliders accordingly – you can simulate the curve but it will not be
identical – in fact every note on a real piano will be different !
A
Piano attack and decay curve – The rise of the note is much quicker than the
decay. The low frequency ‘waveyness’ is caused by mis-tuning (beat
frequencies) between the strings for the particular note. |
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4 |
The next step is normally to add
some effects – Say reverb, Master Effect 52.
Goto Effect tab, select Master Effect 1 and select effect number 52 –
Reverb Hall. Make sure the tick box is
ticked so that the effect is switched on ! |
Now try the sound – Listen
carefully and see if you can hear the difference between what you want and what
you have produced on the synth. Practice
makes perfect and there is no substitution for good old trial and error using
some informed judgement.
NB.
This is a simple example but illustrates the main steps in multi sample sound
synthesis. The next step is to start
understanding all of those parameters available to the user. The sections below are colour coded as the
Triton Controller boxes in PCM Edit flow diag.
Further information is available in the parameter Manual which comes
with the synth.
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PCM EDIT – OSCILLATOR 1 AND 2
PARAMETERS This section takes a tour around
Program Edit Mode - Osc 1 / Osc 2 boxes on the Triton Controller. I have noted where a particular feature is
not found on a particular model. |
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MultiSample Selection Multisamples are stored in
permanent memory, both internally in the synth and ‘externally’ on the optional
Expansion Boards, as well as samples the user creates using the sampling
facility of the Triton Classic and Triton Studio *. So first select the source of
the sample. 0 are the internal multisamples (Default value) , 1 is RAM user
samples * and 2-9 are the optional Expansion boards – if loaded in the
synth. Then select a multi sample
number – The Triton Classic for instance has 425 to choose from. Tip.
An easier way of doing this is to use the Multi Sample/Drum Sample data
button in the middle left of the window.
This lists by name the samples and you can search and sort by
name/type. Press ‘Enter Multisample No.’
button to send instruction to the synth to load the sample. |
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Reverse & Start Offset Reverse makes the sample
waveform play in reverse – ie. A
mirror image from left to right.
Original Sawtooth Waveform. Reversed Sawtooth Waveform The Start Offset specifies the
point the multi sample begins sounding – This parameter has no effect on some
samples. |
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Level This controls the volume or
amplitude of the multisample. From 0
to 100%. |
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Random A feature not found on the
Triton – this randomises various parameters to generate totally new sounds
automatically. Every time you press the
button a new sound will be generated.
Press a key each time you press the random button in order to hear it
! |
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Delay This defines the length of time
before a multi sample sounds in milli seconds (1/1000 sec). So when you press a key on the synth the
multisample will not play until the delay time has expired. |
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Tune This does what it says on the
box – allows fine tuning of the sample in cents. 100 Cents are an octave. |
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Tranpose & Octave Transpose shifts the pitch of a sample
up or down by a semitone. Octave
shifts the sample up or down by an octave. |
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Portamento This is a classic old synth
effect. When you press two different
notes, on after another, the pitch ‘glides’ between them rather than
jump. Click the enable button and vary
the time to hear the effect. Finger
means that if unchecked portamento is always applied. Checked means that
portamento is only applied if you play legato – that is press the next key
before releasing the previous one. |
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Velocity Switch This enables you to go from Osc1
Hi to Osc1 Lo depending on how fast you hit a key. Remember that real instruments timbre often
change with volume. Play with the 3
sliders after selecting 2 totally different multisamples for Osc 1 Hi and Osc 1 Lo. Now hit the synths keys at different speeds
to hear the effect ! |
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PCM EDIT – COMMON PARAMETERS This section takes a tour around
Common parameters. Those controls which affect both Osc 1 / Osc 2. |
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Oscillator Mode This determines whether a sound
can use Osc 1 alone or both Osc 1 and 2 sound giving a richer tone. The Drum option enables the Drum
multisamples of which there are another 413 on the Triton Classic and can be
accessed on another T.C. window. Drum
Kit edit. |
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Voice Assign Determines whether the synth can
sound monophonically – 1 note at a time, or polyphonically (ability to play
chords) – upto 64 notes at a time. The hold feature holds the note
even after you release the key. Legato holds the note on until
another note is played. Priority determines what happens
when the polyphonic limit is met – will the highest note get priority, Lowest
note or last note played. Single Trigger – In polyphonic
mode stops repeated notes overlapping. The advantage is that you do not run
out of different notes so quick. |
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Scale Type Western Music normally uses an
equal temperament scale for where each note is a the 12th root of
2 in proportion to its neighbour. That
is a constant relationship. But musicians from other areas will want to use
scales typical for their traditional music, such as pelog for Indonesian
forms. On the Triton you can even design your own scale should you so wish. Key defines if C on the keyboard
plays C, C#, D etc. Random scale varies the pitch
when a note is sounded. Bigger the
value bigger the variance. |
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Pitch \Envelope Generator Using this button opens another
window full of controls. Here is where
you can vary the pitch of an oscillator with time. |
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Low Frequency Oscillators LFO
Pulse Code Modulation PCM L.F.O.’s have been around since
the early days of synths and are just another oscillator which runs at a low
frequency, often too low to hear.
LFO’s can control vibrato, tremolo and many other cyclic effects. |
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Osc 1 & 2 Filters The next major
group of controls are the filters. One
group for each of the 2 oscillators.
Filters change the timbre of the sound by either removing harmonics or
accentuating them. Basically changing
the original waveform. If you strip out all the harmonics in a wave you will
eventually end up with a sine wave.
Below is a simple analog Voltage Controlled Filter module filtering a
square wave into something different. This
is the type of module in a old Korg MS10 synth, which has now been replaced by digital
circuitry in the Triton. But the
effect is the same !
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Cut Off
Frequency and Resonance These are two
classic filters found on almost all synths.
Basically cut off frequency defines the frequency at which frequencies
either higher or lower than it are attenuated. So if you cut off frequencies higher than
the fundamental frequency you will eventually end up with a sine wave as the
harmonics are removed. Stripping out
lower frequencies leaves the harmonics, reduces the fundamental frequency
leaving a brighter sound. Resonance
accentuates frequency components around the resonant frequency and if applied
at the cut off frequency can yield a squeel if applied too much. Play with both sliders to see the effect
they have on the multi samples. The
horizontal resonance slider determines the amount of resonance. Below you can
see the effect of centering the resonant frequency around the cutoff
frequency. Amplitude is the vertical
axis and frequency is the horizontal axis.
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Radio Buttons
LPF +Res and LPF + HPF Low Pass Filter
+ Resonance – sets the cut off frequency to attenuate frequencies higher than
the cut off frequency. Low pass filter
+ high pass filter yields a band pass filter.
So only frequencies around the cut off frequency remain un attenuated. |
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Controlling
Cut off and Resonance with other sources. You can make the
cut off frequency vary with time by using the drop down box and assigning an
envelope to it, or linking it to a Low Frequency Oscillator or joy stick or
any of the other sources in the list. |
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Random Another control
not found on the Triton or Karma. This
randomises parameters for both oscillators and filters and automatically generates
new sounds. |
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Filter /E.G. This opens a sub
window and allows an envelope to be defined for the filters and many
different types of Alternate Modulation Sources A.M.S. |
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Osc. 1 & 2 Amp Output This is the amplifier
section which controls the loudness of both oscillators. The level is just like the volume control
on your hi-fi. Pan is the
balance between stereo channel left and right. Slide it up and down to hear the sound on
the synth move from left to right. Send to Master
Effect 1 and 2 is the level of the signal sent to the master effects and then
blended with the original sound. |
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A.M.S. Allows the user
to choose what source of modulation can control the amplitude of the
signal. Applying a low frequency
oscillator to the signal will create a tremolo effect. A.M.S. pan is
the balance between the signal sent to the left and right stereo channel. |
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Amplifier Envelope Generator This opens a sub
window and allows an envelope to be defined for the amplifiers and many
different types of Alternate Modulation Sources A.M.S. |
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Effects Although all the
effect parameters are contained on another window of the T.C., you can set the
routing of the signal after the amplifiers, to any of the L/R (normal
stereo), Internal Effects, Master Effects, Outputs 1 to 4 etc. using the drop
down box. |
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Sysex Manual Entry This is for the advanced
user, familiar with midi system exclusive.
Notice how the values change when you press any button in this window
– you can see the decimal midi commands which are being sent to the synth.
(In fact the synth actually receives bytes not decimal data). You can input
decimal values to control parameters directly. This
is not advised to be used unless you are familiar with midi definition for
the synth. Although it will normally
do no harm you may get unexpected results.
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Audition Sound Using PC keyboard For those who do
not have the PC close to the synth, you can play the Triton in a fashion on
the PC keyboard. It is also polyphonic
depending on the quality of the PC’s keyboard buffer. This feature is useful
when you are using the T.C. program and editing sounds and don’t want to
continually move from PC to synth. Press the button and then any PC keyboard
key Z-M or Q-U which is an octave higher. |
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Load PCG File If you have opened
a PCG file in the librarian and selected a program and then pressed ‘Turn to
Hex’ yellow button on the PCG window, you can view all of the parameters
making that program. Just click ‘Load PCG’.
You will see all of the sliders, check boxes etc. move to their actual
positions used in the PCM program when you do this. |
Tip…If you need further ‘Help’ there is a
button at the top left of the window which will take you straight to the
program documentation.
That’s it for PCM
edit mode – now the best way of learning is to play around with the
settings. You can do no harm, just keep
the volume low on your speakers just in case a new sound turns out to be rather
LOUD !
The Moss board is a user
installable synth in its own right and is an optional extra. MOSS stands for Multi Oscillator Synthesis
System. It is a circuit board which can be inserted into the Triton Classic,
Studio, Rack and Karma and uses physical modelling tone generator using Sondius
XG technology developed at the University of Berkley, California. Its different to multisample synthesis as it
does not contain any samples but generates waveforms similar to musical
instruments such as trumpets or electric pianos. It has many different parameters which the
user can vary to change elements such as the lip character and bell character
for Brass models. Its really another
synthesizer in its own right and can be combined with the multisamples and have
the Triton effects applied to it as well.
Moss is great for lead sounds as it has limited polyphony – ie. Only 6 notes can sound at once. The Moss generator starts with a voice, eg.
Electric piano and the user can then apply envelope generators, Low frequency
oscillators, controls and finally effects.
The Korg Z1 synthersizer used Moss exclusively, although you had 12
voice polyphony expandable up to 18 voices.
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OSCILLATOR 1 AND 2 PARAMETERS This section takes a tour around
Moss - Osc 1 / Osc 2 boxes on the Triton Controller (Moss Section). |
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You can use 2 Oscillators on the
Moss Board and each oscillator can be set to generate 13 different waveform
algorithms. You first pick the
oscillator type you need. They are:- 1.
Standard – Simulates the
oscillator of a classic analog synthesizer such as a MOOG or Korg MS10. 2. Comb Filter – Produces ‘noisy’ sounds,
synth basses and string simulations. 3. VPM – Variable Phase Modulation –
Generates harmonics and has a wave shaping table. 4. Resonance – Utilises filter approach to
generate resonance. Good for creating mallet and pad sounds 5. Ring Modulation – Classic feature of
early synths produced when the difference between two oscillators is fed to
an output. Produces rich overtone structure in a wave and great for metallic
sounds. 6. Cross Modulation – Similar to above 7. Sync Modulation – Similar to above 8. Organ Model – Simulates a Hammond organ
with 3 drawbars but each drawbar can produce waves other than just sine waves. 9. Electric Piano Model – Simulates a warm
electric piano such as a Fender Rhodes. 10. Brass – Double Osc so you can only use 1
Osc at once. Simulates instruments
like a Trumpet or Trombone. 11. Reed – Simulates woodwind instruments
such as a flute or sax. 12. Plucked String – Simulates bass or
guitar. 13. Bowed String – Simulates a violin or
cello. Tip…The EXB-Moss user manual which comes
with the board contains a wealth of information and should be studied in
detail in order to get the most out of the Moss board. What follows is hopefully written in
laymans terms. |
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Each Oscillator has a multitude
of individual controls and these can be accessed by clicking on the ‘More’
button on the T.C. |
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Octave – You can set the frequency
of each oscillator to 4’,8’,16’ and 32’.
ie. The Octave. |
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‘Random’ button produces a
random selection of the 2 oscillators, sub oscillator and noise
generator. Not on the Moss board but
part of T.C. program - great for quickly creating new sounds. |
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Osc. 1 and 2 Parameters Like PCM Edit mode controls a
series of parameters which are common to both oscillators. The main features most people will need are
portamento and Frequency offset. The
latter is useful, as if you detune 1 oscillator from the other you can get a
richer sound. |
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Sub Oscillator No synth would be complete with
a Low frequency or Sub Oscillator.
Useful for all types of modulation and sound generation in its own
right if the output frequency is over 40 hertz. |
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Sub Oscillator Waveform enables
a choice between sine, square , triangle and saw.
Click
on the links above to hear the sound. It is also possible to tune and
transpose the frequency by cents and semitones and Octaves as well. The Alternate Modulation controls enable
the LFO to be controlled by other sources such as the joy stick etc. These are less frequently used controls. |
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Noise Generator – Again a
classic sound module in analog synths.
Noise is purely random sound, like the sound when you purse your lips
and blow – a whoosing sound. On older
analog synths, the noise was specified as White, Pink etc. Generally all being noise, but filtered at
different frequencies. The first drop
down box gives the user choice on how the noise is filtered, whether a LPF or
HPF is used. The sliders control the
frequency, trim and resonance applied to the filters. Again AMS can be applied to the noise. |
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Mixer Section – This controls
the level of the individual oscillators/noise generators fed to both right
and left stereo channel. Feedback is
where the output after the amplifiers are fed back to the mixer. Too big a signal will result in
uncontrolled feedback and squeeling.
Each channel at the mixer can be controlled by AMS / intensity of
AMS. If you want to switch off a
generator just slide the slider to 0. |
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