Korg Karma - Page 81

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is why you can separately trigger the envelopes and the “riff” itself. For
example, you may want the motion of an envelope to continue smoothly,
while you retrigger the start of the riff itself. Or you might want to let the
riff continue doing its thing, while retriggering an envelope through
Dynamic MIDI.)
24. Using Combi A056 - Bed of Roses - the guitar strumming effect
will not stay in sync with the basic percussion rhythm when I
switch between scenes.
Changing Time Signatures (of the Phases) unfortunately causes the GEs
to go out of sync sometimes. I’d like to improve this in the future.
In this case, on A056, if you look on the K.RTC page you will see that
Knob 8 is Time Signature. In Scene 1 (which is what comes up when you
load it), the Knob is far right. In Scene 2, it is elsewhere. In my brief
experiments, it seemed that if you set Knob 8 far right in Scene 2 also,
you can then change scenes at any point without it going out of sync. In
other words, if you set the Time Signatures the same in both Scenes, you
can switch without causing it to get whacked.
This should work with other Combis that have the same settings. Note,
though, that even with different Time Signature settings, you can get it to
stay in sync if you are careful to hit the scene change at exactly the right
time, i.e. on a downbeat. This can be done by assigning a CC to the
Scene Button (in Global (6.1-3)) and sending it from the sequencer.
25. How can I control the velocity of the Chord that’s on a Chord
Trigger Button?
Since there is no way to enter the velocity of a chord trigger button
directly, you just have to get lucky.
One thing that might increase your chances: the velocity is actually
taken from the last note played before the Chord Trigger is assigned.
Normally, you just play a whole chord and then hit Assign. But the other
way is to turn Assign “On”, then play 1 note and hold it, then play how
ever many other notes you want (up to 8), one at a time with the other
hand. Then Assign the Chord Trigger when finished. This allows wide
voicings to be assigned, and also makes it easier to determine the
velocity of the whole chord, since you can concentrate more on the last
note.