KORG Krome music workstasion 61key - Manual (Page 43)

Detailed Editing with Programs Using Filters
39
Resonance
Resonance emphasizes the frequencies around the
cutoff frequency, as shown in the diagram below.
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 filter, 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, please
see “Key Follow” on page 29 of the Parameter Guide.
Modulating the filters
You can modulate the filter cutoff frequency using the
Filter EG, the LFOs, keyboard tracking, and other
built‐in and MIDI controllers. This is a great way to
add a rich variety of tonal change to the sound.
Filter EG
The Filter EG is a multi‐stage envelope, which you can
use to modulate the filter as well as other Program
parameters. The EG itself is set up on the EG tab; the
way that it affects the filters is controlled by the
parameters described below, on the Filter1/2–
Modulation page:
The Intensity to A and Intensity to B settings control
the basic amount of EG modulation for filter
frequencies A and B, respectively, before other
modulation.
The Velocity to A and Velocity to B settings let you use
velocity to control the amount of EG modulation.
The AMS setting selects an AMS modulation source to
scale the amount of the Filter EG applied to Filters A
and B. The two filters share a single AMS source, with
separate intensity Into A or to B settings.
LFO modulation
You can modulate the filter via LFO1, LFO2, and the
Common LFO. Among other applications, LFO
modulation of the filter can produce the classic “auto‐
wah” effect.
The Filter1/2– LFO Mod. page 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.
JS‐Y Intensity to A and JS‐Y Intensity to B specify the
depth of the wah effect produced by the LFO when the
joystick is moved toward yourself, or when CC#2 is
received.
The AMS setting selects an AMS modulation source to
scale the amount of the LFO applied to Filters A and B.
The two filters share a single AMS source, with
separate intensity settings.
For example if AMS is set to SW1: CC#80, turning SW1
on will apply an auto‐wah effect (see page 37).
Keyboard Track
Most acoustic instruments get brighter as you play
higher pitches. At its most basic application, keyboard
tracking re‐creates this effect by increasing the cutoff
frequency of a lowpass filter 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.
The KROME 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 frequency increase very
quickly over the middle of the keyboard, and then
open more slowly–or not at all–in the higher
octaves.
• Make the cutoff frequency increase as you play
lower on the keyboard.
• Create abrupt changes at certain keys, for split‐like
effects.
How Key Track works: Keys and Ramps
The keyboard tracking works by creating four ramps,
or slopes, between five keys on the keyboard.
For details, please see “How it works: Keys and
Ramps” on page 28 of the Parameter Guide.
Low resonance
High resonance