Korg 01/W pro - Page 14

As we mentioned earlier, the 01/W pro has two built-in effects proces-
sors. In the explanation that follows, however, we will use just one of
them, so that you can better understand just what it is doing to your
sound. Enter Edit Combination mode, and move to page 8. (The
message "P8: EFFECT" will appear on the top line of the display
when you get there.)
Move the cursor to the FX1 parameter in the upper-left portion of the
display, and slide the VALUE slider all the way down. (If it is already
all the way down, move it up and then down again.) The value of the
parameter should change to read "00: NO EFFECT". Now press the
CURSOR DOWN key twice to move the cursor to “FX2.” The value of
this parameter should be 01:Hall. Now we're ready to start our dis-
cussion of the 01/W pro's effects.
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- Effects that add acoustic ambience to a sound
Effects used to add a sense of acoustic ambience to a sound are
commonly known as reverb.
E Reverb
Sounds exhibit a wide variety of reverberations, depending on the
size of the surrounding acoustic environment and the materials used
in nearby wails, ceiling, and so on. Reverb is an effect that is used to
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add such reverberations to dry sound. (Dry sound is the term used to
refer to the original sound without any added effects.)
The 01/W pro features nine types of reverb--1:Hall through 9:Spring--
each of which simulates an acoustic environment with different char-
acteristics. Try listening to all of these effects, pressing the VALUE
key and playing a few notes with each. (You will find it easier to distin-
guish the effect added to the harp sound by these effects---and by the
early reflection and delay effects described below---if you hit the keys
and release them quickly.) Can you hear the differences in the rever-
berations produced by these effects?
Let's look at the nature of these reverberations. Imagine making a
noise in a hall. After that noise travels directly to your ear, you will
hear a number of sounds reflected from the surrounding walls and
ceiling. These are known as early reflections. The time that passes
before you hear these reflections---known as pre-delay---will vary
depending on the size of the hall. The reflections then bounce around
wildly, producing a fuzzy reverberation that gradually fades away.
The time that it takes for these reflections to disappear is known as
the reverb time; it, too, changes with the size of the acoustic environ-
ment.
Finally, the quality of these reverberations depends upon the material
used in the ceiling, walls, and other objects in the room. If the walls
are made of a soft material, for example, they will tend to absorb the
DRY SOUND
FIRST REFLECTION
Level
a a EARLY REFLECTIONS
a REVERBERATION
pá Es Time
PRE-DELAY