Korg PS-3300 - Understanding the patch; Important points when patching; Patching procedure

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2-4 Understanding the patch
@ Important points when patching
with the P3300
In the PS-3300, the internal patch connects
some modules together, but other modules
are independent and provided with input
and output jacks on the control panel.
When you set up a patch, think carefully
about what you are using to control what:
How will this output affect this input?
Will external patching be more effective
than using the internal patch?
The appropriate control voltage is printed
below each input jack (—SV ~ +5V, OV~
+5V, SVp-p, Lcsn » ete.)
Control voltage outputs also have listed the
type of signal they produce.
So when you set up a patch, match the
output to the input; be sure that the input
can handle the kind of control signal you
are putting into it. Use the VP whenever
necessary.
For example, if you take a —SV ~ +5V
control signal and plug it into a OV ~ +5V
input, nothing will happen during the —SV
~ OV portion of the control signal.
If you take a —5V ~ +5V control signal (an
analog signal) and plug it intoa Scxo (a
switch-type
of
input)
input
jack
(digital),
the section you are trying to switch will be
OFF when the control voltage goes above
+4V; it will be ON when the control volt-
age is below OV.
@
Patching
procedure
You can divide synthesizer modules into
three group:
1.
The
EG,
GEG,
and
MG.
These
“manipu-
lators” can be thought of as being like the
different sections of a supermarket since
they supply the raw materials.
2.The S/H, VP, and modulation VCA.
These “convertors” are like a kitchen. Here
the raw materials are chopped and cooked.
Of course the kitchen can be bypassed and
the materials eaten raw.
3. The VCO, VCF, and VCA. These are the
mouths that eat the food. If the raw mate
rials and cooking suit these palates, you pot
the effect you wanted. In other words,
these modules are what they eat.
When you set up a patch, you first have to
consider the following:
1, What kind of modulating signals are
available from which modules?
2. If you are going to process the modulat-
ing signal, in what way do you want to
change it, and what is the best module to
do the job?
3. Which part of the sound signal are you
going to control (pitch, tone color, vol-
ume).
With the above concepts in mind, let's go
on to the actual patching procedure. If you
follow the steps below when thinking
about setting up a patch, you have a rea
sonable chance of getting the effect you
want.
1. Analyse the effect you want.
2. Select the modules to use based on your
analysis.
3. Set up the patch using the modules you
selected.
If you want the synthesizer to work for
you and make the sounds you want, you
have to use it in this kind of step-by-step
fashion. Otherwise it will be like the blind
leading the blind: you'll bump into all sorts
of strange effects, but only by accident.
Exactly the same rules apply when you use
the internal patch.
There are usually several ways you can go
about getting the same eff ry and use
the simplest method possible. If you get
into this habit, it will be much easier when
you get around to synthesizing a really
complex sound.
5
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