No. Name No. Name No. Name No. Name No. Name No. Name No. Name No. Name No. Name No. Name
100 Bass1 110 Bass2 120 Bass3 130 Bass4 140 Bass5 150 Bass6 160 Bass7 170 Bass8 180 Bass9 190 Bass10
101 Hard Lead1 111 Hard Lead2 121 Hard Lead3 131 Hard Lead4 141 Hard Lead5 151 Hard Lead6 161 Hard Lead7 171 Hard Lead8 181 Hard Lead9 191 Hard Lead10
102 Arpeggio1 112 Arpeggio2 122 Arpeggio3 132 Arpeggio4 142 Arpeggio5 152 Arpeggio6 162 Arpeggio7 172 Arpeggio8 182 Arpeggio9 192 Arpeggio10
103 Dance1 113 Dance2 123 Dance3 133 Dance4 143 Dance5 153 Dance6 163 Dance7 173 Dance8 183 Dance9 193 Dance10
104 Pad1 114 Pad2 124 Pad3 134 Pad4 144 Pad5 154 Pad6 164 Pad7 174 Pad8 184 Pad9 194 Pad10
105 Keyboard1 115 Keyboard2 125 Keyboard3 135 Keyboard4 145 Keyboard5 155 Keyboard6 165 Keyboard7 175 Keyboard8 185 Keyboard9 195 Keyboard10
106 Strings1 116 Strings2 126 Strings3 136 Strings4 146 Strings5 156 Strings6 166 Strings7 176 Strings8 186 Strings9 196 Strings10
107 Brass1 117 Brass2 127 Brass3 137 Brass4 147 Brass5 157 Brass6 167 Brass7 177 Brass8 187 Brass9 197 Brass10
108 Organ1 118 Organ2 128 Organ3 138 Organ4 148 Organ5 158 Organ6 168 Organ7 178 Organ8 188 Organ9 198 Organ10
109 Soft Lead1 119 Soft Lead2 129 Soft Lead3 139 Soft Lead4 149 Soft Lead5 159 Soft Lead6 169 Soft Lead7 179 Soft Lead8 189 Soft Lead9 199 Soft Lead10
No. Name No. Name No. Na me No. Name No. Name No. Na me No. Name No. Name No. Na me No. Name
200 Bass11 210 Bass12 220 Bass13 230 Bass14 240 Bass15 250 Bass16 260 Bass17 270 Bass18 280 Bass19 290 Bass20
201 Hard Lead11 211 Hard Lead12 221 Hard Lead13 231 Hard Lead14 241 Hard Lead15 251 Hard Lead16 261 Hard Lead17 271 Hard Lead18 281 Hard Lead19 291 Hard Lead20
202 Arpeggio11 212 Arpeggio12 222 Arpeggio13 232 Arpeggio14 242 Arpeggio15 252 Arpeggio16 262 Arpeggio17 272 Arpeggio18 282 Arpeggio19 292 Arpeggio20
203 Dance11 213 Dance12 223 Dance13 233 Dance14 243 Dance15 253 Dance16 263 Dance17 273 Dance18 283 Dance19 293 Dance20
204 Pad11 214 Pad12 224 Pad13 234 Pad14 244 Pad15 254 Pad16 264 Pad17 274 Pad18 284 Pad19 294 Pad20
205 Keyboard11 215 Keyboard12 225 Keyboard13 235 Keyboard14 245 Keyboard15 255 Keyboard16 265 Keyboard17 275 Keyboard18 285 Keyboard19 295 Keyboard20
206 Trance1 216 Trance2 226 Trance3 236 Trance4 246 Trance5 256 Trance6 266 Trance7 276 Trance8 286 Trance9 296 Trance10
207 Brass11 217 Brass12 227 Brass13 237 Brass14 247 Brass15 257 Brass16 267 Brass17 277 Brass18 287 Brass19 297 Brass20
208 Motion1 218 Motion2 228 Motion3 238 Motion4 248 Motion5 258 SFX1 268 SFX2 278 SFX3 288 SFX4 298 SFX5
209 FM1 219 FM2 229 FM3 239 FM4 249 FM5 259 Vocoder1 269 Vocoder2 279 Vocoder3 289 Ex Aud Trig 299 Ex Aud to FX
Factory Preset Sounds Listing
Example Initialisation Sounds
Bank 1 - Sounds 100 - 199
Bank 2 - Sounds 200 - 299
Sound 300 - Double Saw Example 1
The double effect works by making each oscillator produce two waves
for each setting - sine, saw and tri. These are normally in phase and
appear to be one waveform. The phase difference between each of
the two waves for a single oscillator can be independently phase shift-
ed by adjusting the pulse amount control. The phase can be moved
from -180 to 180 degrees.
This can be automated by using an LFO to adjust the phase difference
between the two waves.
When a triangle LFO 2 wave is selected, this will ramp the phase dif-
ference of the double waves up and down and the result is similar to a
chorus effect. At moderate to high settings this sounds much like PWM
of a square wave.
In this sound only oscillator 1 is used. It is set to a sawtooth wave. The
PWM position is set centrally and the PWM position from LFO 2 is set
to +30. LFO 2 speed is set to 65 with the waveform as a tri wave.
Try varying the speed of LFO 2 and the PWM position from LFO 2
amount for different effects.
Sound 301 - Double Saw Example 2
When a sawtooth wave for LFO 2 is selected and used to modulate
the phase difference between the two waves AND the LFO 2 pulse
amount is set to maximum, a complete change in phase occurs
between the double waves from maximum to minimum (180 to -180
degrees) during the cycle of 1 period of the LFO. This then repeats
immediately from 180 degrees again. This is equivalent to two waves
with a constant detune.
In this example only Oscillator 1 is used again. It is set to a sawtooth
wave. The PWM position is set centrally and the PWM position from
LFO 2 is set to +63. The LFO speed is set to 50 with the LFO 2
waveform as a saw wave.
Try varying the LFO speed to adjust the amount of detune between
the double oscillators. Note that settings for the LFO 2 pulse amount
that are not maximum or minimum values will produce clicks in the
sound because the phase difference will be interrupted.
Sound 302 - Oscillator Sync Example
Oscillator 1 can sync Oscillator 2 so that each time Oscillator 1 com-
pletes it's cycle it resets the start cycle of Oscillator 2. When listening
to only Oscillator 2 this has a very distinctive sound.
Here the Oscillator 2 level is 100% and Oscillator levels for Oscillators
1&3 are both 0%. Oscillator 1 has no envelope modulation whereas
Oscillator 2 has a mod env depth of 45. The modulation envelope is
set with an attack of 080 and a decay of 100. The sustain and release
times for the mod envelope are 000. As the pitch of Oscillator 1 rises
and falls this changes the way the Oscillator 2 wave is reset.
Try experimenting with the modulation envelope settings, the mod env
depth amount for Oscillator 2 and the Octave / Semitone settings for
Oscillators 1&2.
Sound 303 - Ring Mod Example
Here all the Oscillator levels are set to 000. The Ring Mod level is set
to 100%. The modulation envelope has an attack setting of 035 and a
decay setting of 105. The mod env amount is set to +50 for Oscillator
2 and -40 for Oscillator 1.
Try experimenting with the modulation envelope settings, the mod env
depth amount for Oscillators 1&2 and the octave / semitone settings
for Oscillators 1&2.
Sound 304 - Main Output EQ Filter Example.
The additional main output tempo sync'ed enveloped filter.
This is a powerful eq filter which is at the output stage of the signal
path of the K-Station. This can boost frequencies as well as attenuate
them - compared the low pass filter which can only attenuate. Positive
settings of the amount control will boost frequencies above the fre-
quency point and attenuate frequencies below it. Negative settings of
the eq amount will attenuate frequencies above the frequency point
and boost frequencies below it.
The key point to this feature is the EQ Depth control. This will use a
dedicated LFO to move the frequency point of the eq. The eq LFO can
be sync'ed to midi clock or to the arpeggiator clock and an eq initial
position can also be set just like for the chorus and pan effects.
This example has been set up for use with an external input. It will
work particularly well with drum loops etc. Try varying the amp enve-
lope controls and the eq level, depth, rate and frequency controls.
To Next Page
Loading...