25
Advanced Features
The Filter Menu - The LFOs Menu
To complement the front panel controls in the Filter section, there are
other functions located within the Filter Menu. This is selected by
pressing the keypad ‘2’ button while the K-Station is in Menu Mode.
Use the PAGE up/down buttons to scroll through the Menu functions
available - See table below.
Q Normalise (Menu Page 1)
This value controls the Resonance Normalise. At zero, when reso-
nance is applied, the main audio signal will remain at normal levels.
Adjusting clockwise will reduce the signal level in relation to the reso-
nance level.
This feature enables the Filter to emulate many of the classic Filters
such as the Moog type, Oberheim type and Roland TB303* type.
Overdrive (Menu Page 2)
This value of this function controls how much the filter is overdriven.
When used in large amounts it will have the effect of making the sound
richer and slightly distorted.
To complement the front panel controls in the LFO section, there are
many other functions located within the LFOs Menu. This is selected
by pressing the keypad ‘3’ button while the K-Station is in Menu Mode.
Use the PAGE up/down buttons to scroll through the Menu functions
available - See table below.
LFO Delay Triggering (Menu Pages 1 & 6)
When the Voice mode is set to any of the Mono options (see Page 23),
different LFO delay settings are available for legato playing styles
(notes overlapping).
When the first note of a musical phrase is played, it might be desirable
to have an initial delay on the LFO. (If the LFO is routed to pitch modu-
lation, a vibrato effect would be introduced after the delay time). For
the remaining legato notes, a non interrupted vibrato might be required.
Setting this to SGL (single) achieves this.
Setting this to MLT (Multi) sets the LFO delay to apply to every note
played.
LFO Keysync (Menu Pages 2 & 7)
Each LFO waveform may be restarted every time a key is pressed.
For example, if a siren type sound effect was required, an LFO using a
sawtooth wave would be set to positively modulate pitch. Each time a
new key is pressed, the pitch would climb from the same point
(because the LFO waveform would be restarted) rather than being at
an undetermined pitch position.
Note : If the LFO Common To All Voices function (detailed below) is
set to ON for the LFO, altering this value will have no effect. How a
keysync is applied to the LFO is determined by the changing the
Global Sync Mode settings (found in the Global Menu). See Page 35
in the Advanced Features chapter for details.
LFO Keysync Phase Offset (Menu Pages 3 & 8)
This setting provides an alternative point in the LFO’s waveform cycle
where the waveform will be restarted from when LFO Keysync is set
to ON. To hear the difference, set a slow LFO to modulate Oscillator
pitch modulation and experiment with different LFO waveforms and
LFO Keysync Phase Offset settings.
LFO Common To All Voices (Menu Pages 4 & 9)
Each of the eight voices have two LFO’s - sixteen in total. The eight
LFOs designated LFO 1 (one per voice) may be ‘phase’ locked togeth-
er and similarly the eight LFO’s designated LFO 2 may be locked.
To illustrate this, assume the LFO waveform is a triangle wave and at a
specific moment in time all eight are at the beginning of a the rising
portion of the wave. At a later point in time all will be at the beginning
of the falling portion of the wave. If this waveform is applied to pitch,
when a number of notes are played simultaneously, the pitch of all the
notes will rise and fall at precisely the same time.
If the LFO is not locked, then each wave will be at a random position
relative to the others. In this pitch modulation example, the pitch of all
the notes will be changing ‘out of synchronization’ with others.
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