KORG MS-20 OWNERS MANUALINDEX 1) Introduction 2) Cacnection with an Ampiitar 3) Block Diagram and Signal Flow Cnart 4) The Normal Setting 5) Features and Functions 8) About Patching 1) Exeandina Your System 8) Using the External Signal Processor 9) Caution 10) Specifications 11) Se ing Chart Inhaltsverzeichnis 1) Eefneung 2) Amschlul an sinen Veratirer 3) Blocksctaltbild und Sgnalfutchere 9) Mormatenselung 5) Merkmale une Funkuionen. 8) Anschtusse 7) Ausbau theer Aniage 8) Verwencurg des externen Signalorozessors 9} Vorsichtsmatnahmen 10), Tectrische Daten 11). Einsatabelle SOMMAIRE 1) Avantprenee 2) Riccordemnt 8 amplificatout 2) Sehéme de principe et whims da parcours dat rpms 4) Extnecral 5) Particulartés et fonctions 18) Apropos de tlalsons '8) _Uuilstion du protescur de signal exterieur 9) Arenton 10) Coractéristiques M1). Senemas de cigiage 7 1a 20, en 23 23 23 23 24 25(BYOMTAGE CONTROLLED AMPLIERIVCA) @BMODUIATON GENERATOR SBPACTH PANEL @BvcOUI+ 12) CV IN fOVCO2 CVIN DIRIOGER INCTRIC NY BGI TRIGGER IN EG-1 TRIG IND ‘x80 Cv CUT @xao TRIGGER OUT KAD TR OUT $987 SIGNAL IN Brow oa @NTAL CAIN WMODULATON VOLTAGE CONTROWED AMPLIFIER MVCAI @NoIsE GeveLATOR @samre AND HOLD ADPHONES EXTERNAL SIGNAL FROCESSOR ESP i ie MODULATION GENERATOR QUT PUT ENVELOPE GENERATOR OUT WVELOPE GENERATOR-2 Pur Our Put NYOMENTARY SWITCH OUT CONTROL Wettel OUT —@e —# THRESHOLD LEVEL cv ADJUST HIGH CUT FREQUENCY LOW CUT FREQUENCY SIGNAL LevEL1) Introduction Congratulations on purchasing the Korg MS-20 Synthesizer This insrumenthar been engineered enc manutactured using tha most advanced techniques known todey, and features the same urparal jled technology utilized in Korgs revolutionary Polyphonic Syn: ‘thesizets, the PS:3100 and FS-3300, With reasonable care, it will provide years of high quality and raiable use with unsurpassad stabilay, versatility aed longevity Please read this manual carefully in order to ot the mest out of your MS20. 2) Connection with an amplifier Se (oe xe) (o} re) Ps nd Ps oe) Ps .@} LT ry T] Phone oie Keyboard amo/Guiter amo3) Block diagram and signal flow chart am 31 Block aiagram inti. cal 0 ext sain ontey 3107 Max Rey our yoo! a2 exTev iN yoo? OnLy EXT OV IN Leo Lep raw oy EXT Sig PROCESSOR ua cur FvOON Gia ee our cv our SIN LEVEL EWv our our THRES LEVEL22 Sional Flowchart This diagram shows the varius signal paths inthe MS-20 Syrthe- sivne, Sali liner (+) repimeentecund (audio) signal Flom: brokan Tine (~=) reprsene sentra signa! (contra voltags) flow. Conta ‘goals ae connected from various parts ofthe synthssizer to the VCO, VF and VCA by means of intornal petches. These intra! patches may be supplemented by using the Patch Panel for added vio vai | woman] vee | eur oy ro? sear veo [vee el fas Cas C ers O80 Ofe}o BS EXT SiG PROCESSON Om Og S16 LEVEL LOW OUT HIOH GUT OV ADJ. THRES LEVEL.4) Normal Setting ‘This agram iustrates contro! positions forthe Normal Setting. In isconnected, producing Adjust VOO-26 piten to maich VCO- ‘This Nownal Setting i the foundation on whieh you wil Duld wher renting sounds withthe MS-29. Yeu wil find it useful to be able to feturn to this setting whenever you start 9 new patch. Therefore, it is recommended that you memorize these control postions for greater ‘efficiency. of operation5) Features and functions Voltaye Contotiod Ositator (VCO) “The VCO ie the source of all sound forthe MS-2Osynthesier, t'6 here that all pitch and bari tonal color elrrents are determined, The 1MS.20 is eqsipped with two wide-range VCOs. 1 Seale “This contol isan Octave selector. Wit each halving of the eurber cisplayed, the itch goes up one octave. For example the 4 foot) Seal indication is one ociae higher than similarly, 16’ one ‘ctave loner than 8. VCO-1 is varisbe fort 32° t0 4": VCO2 sariabe Irom 18° to’ @) Waveform: This selers th various waveforms that determine the basic ore ‘olor timbee) VCO-1 hes four wavnterms\NTLEIL s :Vc0. ha there wavelorme:N\T LL plies Ring Modlstor setting N (rangle Wave): A very basic waveform having few harmonics, and posiesting asoft, round tone color. Excellent fr flue, vibes and other such effects. The Triangle Wave may be changid into Sine Wave thavra no harmonies] by usin the Low Pas Filter (Sawtooth): A waveform rich in all hamonis, and one of themost ‘useful tothe synthesist. Used for string, bras, vole and other harmonically rich sounds, The Voltage Controle Filter (VCF) is highly eectve on Sawtooth Waveforms. L-fL (Rectangle Wavel: variable wavetorm having citferent timbres ‘epenairg on the wetth of the tp (elles Pulse Width. When the 1p and bottom wits are equal, the waveform i called « Square ‘Wve, ond posiesies the “hollow” ausities ofthe red family (i.e. the clarinet. As the pulse width propertintely decrasses,« strang shiftin tone color occurs; the sourd becomes “nasal in ‘ality. This waveform is called 2 Pulse Wave. Pulse Width it vried ‘on the MS-20 using the PW control [se bolaw. Nee (vhite Nois: An unpitened toune consisting of equa amcunts of ail frequencies. Use for wind, st, gunshot, pareussion instrument and other such effects, The us of Fite wil emphasize certain frequencies over others, creating many diferent sound effects. (Square Wave): A variation of the Rectangle Wave with equal top and bottom widths. A “nollow” sounding wavetorm with only ocd ‘humbered harmonic prevent, Used to simulate reeg Instruman's and other closed pipe sounds _ {utseWavel: This Rectangle Wavélorm hasa relatively rartow top width, and s characterized by a "mesa tone quality, with strong fretence of upper harmonics, Used to simulate déuble rovd ine ‘ment (eg, the oboe) an certain plucked sting sounds (eg, harps ‘hora and staviret IRING)Ring ModUator: This setting combines the sounds of both VCO 'Sin suen sway as tocreate sums andiaitferences ofa rar rmenics present. The result clangorous, “metalic” sound which 's useful for gona, chime and other such effets. The two Seale Controls a walls the Pitch and PW contre all affect the resulting ‘ound, end should be std jucicioutly to crete the desired eect, Pitch ‘This control aries VCO.2's pitch over arange of + one octave You can either match VCO-2¢ pitch to VCO-L, or set it at any relative inorval (eg, third, fh, et.) Once set, pitch levels remain ex teemely stable troughout the playing range, thanks to Korg tech novoev. arm “This control varog the pul wisth (PA) af VCO-1s Rectangle Wave. At "0", the wovalarm ie symmetrical -e..Square Wave Rotating the contol clack proportionately deerasees te ples width. Nogr the full clocks» position, the ules width bosom 0 nervow as to vrtuelly disappear, end no sound wil be heard feels fe Hw S)Portamento: ‘arias the rate of alice”... the time it takes the MS-20 10 go from note to note. The ability o efect smooth transitions between notes isunique to the monophonic synevesizer, end add tothe creative tfecs available, @ Master Tune ‘This control varies the pitch of both VCO's over @rangeof #2 soi- ‘tones, s0 that you can match the synthesizers pitch with that of ‘other instruments Frequency Modulation controls: ‘These contro allow other parts of the synthesizer to affect the VCO's piteh, for such affects vibrato, wil, sitsh bend, “snaane’ marr. ext. Varies the intensity of Vibrato trom the Modulation Generator (MG) “Triangle Wave cutout, or whatever signal patched into the TOTAL sack. eewvext: With no paten inthe patch panel's PREG jack, this control veres he tetfect of Envelope Geneiator 1 on the VCO. Advace the control ‘nd play a note on the keyboard. Note thatthe pic of the now Ties and fall: corresponding to the Envelope curve {se Envelope Generator 1), With any external controler patched in «9, Contiol Wheel, Reverse Enwoione, ot), the contre now varies the intensity of ths fect, DVCO Minar Independent output level control fr VCO:1 and VCO? allow the wer to freely adjust volume belaree of the wo osillatos, or iminate both VCO' sien processing external sound sourens Voltage Controled High Pass Filtr (VCHPF) “This renoves porions of the narmonic elements present Inthe vwavef ce chosen with the VCO section. The cut-off frequency is ‘arable from te low range an up. Use the Cut Ott Frequency knob (or an external control voltag to determine the cut-ft frequency. WCatoft Frequency: The seale on thisknot goes trom O~ 10 "But in the “0” position, the filter i completely open and the basic “one color of the wavetorm s leftunchanged. As You turn up the knob, the tone color becomes brighter. Play 3 note on the keyboard, turn the knob, and note the eect. {DPeek: This knob ceterminss the amount of emphasis apoied to the area right before the low range cutoff frequency chosen with the knob above, When turned up to around its maximum position, ‘the (iter elf baaine to osiine, becoming in effect another sound source. Thisseoecilaicn capability is naothe bi feature found Voltage Control Low Pas Filter (VCLPF) “Ths amevee upper narmonie clamonts of the waveforme chosen swith the VCO wetian, The eutofl frequency ie variable from the Ih senge down end is adjusted by meane of the Cut OM Frequency, orob oF en external control voitoge ROMOM Frequency: The scale on the knob goes from O~ 10 bait in the “10” position, the Fite is completely open and has left on tone color. As you turn the kno counterclockwise the sound will gacualy became more rounded. At the lowest setting ‘becemes bacly recognizableasa sound. Turn the knob while laying @ key end note the effect. gPeat! This emphasis the ‘point rght pefore the cuvoft ‘raquency. Near is nighest position, the Hite itself bepins 10 cicillate. Th seltoscilation.etfect may neused ata separate curd source ‘Cutt Froqueney Modulation Controls: “Tnese controle allow other pars of te synthesizer o vary wach fiters cut-off frequency, in manner simtar to VCO frequency ‘modulstien. NGI. EXT: “The Modulation Generators Triangle Wave output modulates the fiter frequency, fr filter vibrato, atometic "wae", ee 19€G-2/EX ‘This control vris the medulation intensity from Envelope Generstor 2 (when no oaichis in the respective filter CUT OFF FREQ. jock! Tht hiohlv useful effect is called “iter contouring” {and allows you to obtain changes in tonal auaity overtime. Learn ‘0 aca this function, and v0 experiment with different stings of Envelope Gensrstor 2 contrat. When an external device (2... Cantal Wheel, Pecal, Reverse Envelove, ‘ie | is patehos into the aopropriat iter CUT OFF FREQ jack on thadulation effect.High Pass Fit « Low: Pass iter 1®Voltage Controtod Amplifiar (VCA): ‘This device veries the volume of sound passing through tin accord- ance withthe sum of control voltages from Envelope Generator 2 (EG 2) end from any external controller patched into the pate panel VCA INITIAL GAIN isc. Envelope Genorater 1 (EG1) "A special purpose Envelope Generator which i internlly patched te the NS.20% VCO and MVCA® (Modulation VCA) contr} inputs for pitch bends and delayed vibrato eects resactivaly. In sition. ‘both normal and reverse envelope outputs are available atthe patch ponel for greater Flxilty {Delay Time: Determines the amount of tine between the serval of the tiger signal and the beginning ofthe ettack eye ‘hateack Time: Adjust the sie It takes or the Envslope veltage to {99 from zero 10 its peak level following the er ofthe delay tene {WReteese Time: Dewermines the amour of time It wakes forthe \oitape to drop to zoo gain folowing he tamination of the tigger signal Envelope Generator 2 (E62); ‘This device gonerate rising end falling voltage which when applies {othe VCA end VCF produces eorexponding changes in volume and tone color respectively, The NS-20 festures a unique & part Erwelope [Generator for aaded lenbiity When “iggered” usualy by de presenga note on the Keyboard), the EG voltage rises toa peak ot 2 Yate set by the Atlgck Time conto}, then falls a the Decay Time ‘contra rate t0& level st by the Sustsin Level centro, and eventual: Iy fals tack to zero following termination of the tigger signal arc the end of the Hold Time et the Reise Time control rate, ‘20Hele Time: Extends the tigce signal by a varable amount of time, Ince, it “temembors" te trigger fora specified time period, 2)Attach Time: Sets the time the voitage takes to rst to 2 peak 22Decay Time: Sets the time the voliag takes t fll from tha peak to the Sustain Lovel [%Surtan Level: Sex: the voltage level which wil be sustained forthe ‘duration othe trigger signal (pl tne eet by Held contrat ‘BUReteane Time: See: tho sero the vltape takes to fall to zor fellow ing termination ofthe trigger eign Tho EG.2 autput i intomally patches to the VCA 40 thet ehanges in volume overtime will occur to sounds according tothe EG-2 contro Inadditon, another EG-2 output is sent to the Filter Modulation controls (E-2/EXT) so as wo modulate the VF's cuto Hreavency. In this modo, the fiter's “steady sero isthe Sustain Level, The Tikers extort fraquency wil start below this level Initally, wil rise ove the Sustain fevel during the Attack cys, wil fll 10 the Sus- ‘tain level, an then wil fall below to the inital level again following trigger release, \FoModutation Generator (MG) ‘This device gonerates a variable speed low frequency modulation Signal and is also known 2: a Low Frequency Oscillator (LFO). its ‘main purpos is to provide vibrato, tills, repetitive attack, and other cyclical (Le.repeating) types of modulations “The MS-20 NG features two different simultaneous waveforms ~ ‘wiangle and rectangle ~ both of whote shapes are contioucusly veriale by means of the Waveform control lee diagram) ‘The MG froquency is selected by the Frequerey contro}, and is displayed viaa flashing rod LED for easy visual confirmation Both waveforms ae aailale via patch panel connection. In ade tion, the MG's Trangle Wave it internally patched to the VCO ard LCF via thir respective MG Modulation Intensity controls. This ‘dilating signal i patched through the T. EXT jake on the patch A ditforont modulation signal (9. Semple & Hold, “Dotoye Vibrate, Wheel controllad Vibret, otc) may be aubetitited at any time ond routed to all threo MG intansity controle vin thie input jak, ears” ‘Manual Contellers Consists of two Controller loested to the oft of tho keyboard for ‘sexy manipulation while playin 2 Programmable Control Wheel: ‘When connected to various control inputs, this highly ref device can give such effects a lich bens, modulation depth control, fixer “swneping” sample and Pola “arpeggios”, and many more, ahMomentary Switen: ‘This sites usetul for riggering either er both MS-20 envelope generators, or for triggering external devien,.e, another symshesias sequencer Patch Parl In addition 10 the intemal patchieg system ciscusved above, the [NS-20 Synthesizer features versatile patch panel, which gives you rectly expanded creative possibilities. The following isa ling of ‘the patch conrections avaiable. BEVCO 142CV IN: This ack allows an external controller, such ae another Synthesizer to vary the pitch Inaie f YCO-1 and VCO 2, instead ofthe MS.20's keyboard VCO 2CV IN: Sams a above, but affects VEO.2 only, S5PTRIG IN: Allows the use of externa triggoracurces (og. the MG Rectangle output, footinites, or another syathesze oF sequencer) 10 tigaer the M8-20 ervalope generators. SEGA TRIGIN: Sanieas GP above, but tigger: Envelope Generator only $B KBD CV OUT: Allows the MS-20 Keyooare to control the pitch of ‘mnothersyneize. KBD TRIG OUT. Whenever you pity 3 key on the keyboard trigger signal is gore ‘ated. Ordinarily, this tigger signal output i we ato with the KBD CV OUT to operate another synthesizer. (EXT SIGNAL IN: This jack allows such extornal sound sources 3, an electric quirar tobe processed through the MS.20's YOF and VGA saction. The external sound ean be used slone or combined withthe VCO} by using the VCO Minar contre, In ation, wher ting the ESP medile, the exginal nst-ument round ean be mised ihGE TOTAL BX: This the input tothe MG modulation controls for ‘the VCO nnd VCFe. Ite intrealy patehed to the MG Triangle ‘nave of A diferent sigral may bo patched to this jack and used for tmosdilation purpover SEINITIAL GAIN IVCA): The VCA iv intornaly patched to the G2 output ze that chengos in volume over mo ean be programmed. This jack sllows an externl cortrller t9 vary the VCA slong with the EG:2. When the aun of both ecntiollers ranches 5 volts, no further charges In volume wll occur. {38 Modulation Voltage Controlled Amplifiee (MVCA) “This device Is ¢ prograntmable VCA normally used to vary the odilation intensity (Le. delayed vibrato and modulation west tunctions), Ciher turctone can easily be provrammed via ie patch pane. ‘To set up delayed vitrato, patch the MG Triangle wave ouput into the MVCA input; the MVCA outputs then connected to the ‘TOTAL input jack. The MVCA control input i internally patched tothe EGI output. By use of EG1's Delay and Attack eonirois, ‘delayed modulation (vibrato) functions are easly setup. Another eration woulabe te patch the Control Wheel outout io the MVCA contro! input, for "Modulation Wheel” effects. Many other veriations can be crested with bit of imasination and experimenta- tion, {8 Noies Gorarators (PINK. WHITE): These ourputsare a source of, both pink ana white noize, which may be used as sound sources {patched inte the EXT SIGNAL It jack oF #¢ modulating signals. Whit noite i leo available ot one of the VCO waveforms. Pink ‘cin ina “darker” eoureling white mole, with reduced high fo. ‘quency components. |@ Sample and Hold (S/H) ‘A device which generates “stsppec functions from variable inputs Ureful forereating “random” note etfects, arpeggios, ete. Whenever “-rggeied” by some other device, the SIM “samples” a vervig signal source(e.g.. waveforms, noise, et.) patched Into fs nour, and olds” ts Instantaneous valve url! @ reve trigger is received and a ew sample taken, The triggering can beat requir intarais (€.9, {rom the MG ectangle Wave) or from some other source. “The diagram below illustrates the effect of sampling Pink Nolke sing the MG rectangle waveform as triggering souree. (Note: when sing the MG Rectangle waveform, turn the Waveform control to. ‘the extreme clackwvise position for best rests.) Other posibie inputs for sampling a the Wheel make yor own arpeggios), Envelope Generators (run up oF down the scale a trigger signal, for an external LEO, {0 PHONES (Headphone OUT) Use this jack for heacbhones. ‘SE xtemal Signal Processor 1ESP): ‘This powerful module allows external instruments to actually “play {ive MB-20 synthesizer, with the sarne Bowe and Texibiity a8 achieved by playing the Keyboard Since everything ina synthesizer voltage controlled, itis normally 0: possibie to control a synthesizer crectly with an extérral ‘natrument, which generates audio signals. However, the MS-20's ES? module permits external sound sources to vary the synthesizers pitch, volume, tone color and attack ael decay by means of builtin itch and Envelope Followers which produce control voltages com ‘forming with the input signa’ lich ard volurna raepactivaly. A ‘rigeer tignal can sled be produced to trigger the MS.20% Envelope Gonarators, for programmed attack/decay eyeles. “The ESP Medule consits of high gain prosmplitir,vxisble band bis filter, Envelope Fellower/Triager Detoctor, and Pitch to Voltege converter, The verious outputs are railable atthe pete ‘pene! for connsetions to other parts ofthe synthesier, 6) About Patching Sotiing up # paton is ona way of using the MS-20 mere eflctivaly for synthesizing ounce. Patching involves using such outputs a the control whol in a restive wey to control various eynthoszer ‘notions thu inereasing the variety of sounde and eacts possible When setting up « patch, follow theve stops to be aure you grt the (1) Where IVCA, VEF, VEO, ete) do you want to crest the effect id what kindof effect do you want? (2) What kind of Coniol signe! will ou need Tor that effect? (3) Which section of the synthesizer will generate tat kind of control sgral? It you don’t put your thoughts into this order betors you start connecting patch cords fiom one jack to another, you will ot be tle to synthesize te sound you want, Even if you just use the internal patch without external patch cords, these same rules apply. When you wants certain sound, break it down into its elements of pitch frequency), tone colar oF timbre (harmonic elements), and olume (envelope o” amplitude change overtime, ‘Then pur these elements together By using the various sections of the synthesizer Remember thatthe keyboard generates both a control voltage and a ‘Wiggs signal every tire you playa key, In other words it acts both se scontl knob and 9 witch, Make fslluse of thie and thr ‘ebvious pomibilities for erating sounds. The more twehniquoe you knew the mote ircly you'l be ante t-play the music you want. 7) Exponding Your System + Hew are mo examper using the SO-10 Korg Analog Sequencer 11). One simpie Keats set the SO-10 to determine the pitch and ‘one color produced by the MS-20 st eacn stop. Then if you use the Internal clockot the SQ-10 to run through the stps.you wil nave sutomate corgral of the MS-20. ero somo women oe cumme snene woren omrs Um Gime o corm @ OSU abo O) werner out 23 so10 (2) Fors ive performance, another atective way of using the [50-10 i tet up pateh so thatthe SO-10 advances one sep snd changes the tone color avery time yau py « key on the MS-20, fren oer eo Oot « sosimesous Q) onemr5-—tEO Qh stemconot * tn this example the MS-10 ie vee with the MS-20 to increata the depth and richnoss of tho sound. ‘Connect patch cords from the MS-20 KBD CV OUT and TRIG OUT jacks to the MS-10 VCO CV IN and TRIG IN jacks, With this arrangement, both synthesizers operate together when you play the keyboard of ihe MS-20. But if you tr to play the M-0 keyboor, ‘nothing will nppen because fas been dlcomected by the paren ‘cords in the VEO CV IN and TRIG IN jacks. So decide which keyboard you want to use before you set up thepeten. “Tey using separate ampifiers (or let ane right stereo channels) Yor each synthesicer. mar mom Qasen Tancut Q Oe ED O mon Setting both synthesizers to produce the sare sourd and then ‘changina the pitch slightly on one of them will give you 8 hase ‘affect or jt effect, Thig ean be efectvely used both on stage and fer multi-track recording 8) Using the External Signal Processor (E.S.P) “To use the ESP module, follow the steps listed below: (1) Connect the external signal source (eg, electric guitar, micro ‘phone, electric piano, etc.) t0 the ESP's SIGNAL IN jack (2). Aas the Signa! Love so thatthe Peak Level indieator only flickers tlghtly when the external signal input reaches maximum volume. G)._ Turn the Threshold Level control clockwise while watching the ‘TRIG OUT taht, until Hats whan playing at medium to high voltage levels. (a) Connec: F « V.CV QUT to VCO 142C¥ IN lor VCO 2 CV IN connect TRIG OUT ESP) to the TRIGGER IN jack, and the ENV. (QUT jock to the VCA’s INITIAL GAIN jac (6) To adjust the Bandpass Fikering ection for proper operation fire sot LOW CUT FREQ to "10" and HIGH CUT FREQ t0 "0" Play the highaet note the ESP i to pickup, and slowly turn the HIGH CUT control clockotiae unt the dodra pitch ie pickoe upNext play the tones nove and turn the LOW CUT control counter: leckaive unt i Is registered on the MS-20, Thi completes the Bandpass Filter adjusmenss. [6) Adjust the CV ADJUST contr! unt! the WS-20 pit matches ‘that of the input instrument. (7) If sire, the original sound of the instrument may be mixed ‘withthe synthesized sours by patching the ESP's PRE-AMP out to the EXTERNAL SIGNAL IN jack. Once the above sts have boen completed, the MS:20 ray be programmed for different sounds inthe same manner as when the Koybord is utilized. 9) Caution 111 On the S-20 there are removable covers at eight places. if you remove these covers you will ee semtixec volume control, But ‘never touch theee controls, They nave been agjusted et the factory {o.give optimum results, If you turn these knobs performance will deteriorate and the synthesizer may be damaged, (For example, sce the VCO is the heert ofthe synthesizer, if ks balance is upset, everything alse will go t00.) (2) Pay atertion to the voltage indications (0 ~ +5, -SV ~ +8V, '5Vip. GND, ete) on the patching panel ard their relationship with ‘th block diagram and signal flow chert, Note that f you connect ‘4 =~ +5V control sgral toa 0 ~ +8V input jack, noting will, hhaapan during the 6 ~ OV partion of the contol sional. I ‘only operate from OV to 15V. So slaayt consider both the ‘Shorectaritics of the output and the input and whether the signet fs analogue er digital whan you setup a pateh, mm 98 9 oO Oo “Thats it ‘Voltage centr! © = 10) Specifications < CONTROL SECTION > 1. Keyboard 2 Vottane contratiea ‘ovoitetor 1{VCO 1) + 6-C97 keysil8 oxtoves + Seale [32 10", 8° 471/16 octaves 5+ octaves (FWD) *Wavetorm (AN. AW MULL, nite nose] (4 modes) + Pulse width adjust 2. Voltage controlied oscillator 2(VC0 2), + Scale [164 ©, 4, 21/6 oetaves +8 octaves FMI swovetorm | NLL Ring modulator (6 modes) = Phueni(=1 ociaved * Master yures\*% oxtaver) + Portamento * Frequency moduletion intensity by NGIT.EXT * Frequency modulation intensity by EGWEXT * VCO level + VCO-2 Inve * Cutett Frequsney + Peak [fat ~ elt OSC] * Cutoff frequency modulation imensity by MG/T, EXT + Catoft frequency modulation Imensity by EG2/EXT * Gutort frequency 1 Peak (fat~selt OSC) * Cutoff frequency modulation Iansity by MGIT. EXT * Cutoff frequency modulation intensity by EG2/EXT = Delay time + artack time * Faleate time * Hold time + Artack tine * Decay sma * Suetsin ove + Fateoe cone * Wavetorm(\~A-ALT-UT-LI) * Frequency 4, VCO master eoniral 5 VCO mixer 6, Voltage controled igh pas filter 1. Voltage controtea ow pass fer & Envelope generator 1 8. Envelope generator 2 10, Modulation generator 11, Monwal controler * Comtal whee! * Momentary smh 12, Peammen & volume * Volume 13. Indiestor * Lad [trigger, MG rate} 1. Control section * Input gna ev * Loweut frequency * High cut frequency + CV aaiust * Threshold level * Sanal in (auto pad system) ‘ut/O~+8V filtered out + ev out (F/V)/0~48V + ENV out/O~+6V + Trig aut! Lon » Peak indicator 2. Input & output 2, Indicator (LED) < PATCH PANEL SECTION > 1. Keybosre * Keyboard control vole cutout (enpenentai}O~12V. + Kopboo:d rigger outpul) oo 2, veo + VEO 1 = VEO 2eontro} vo! ‘input (linear exponeel/O~ OY + VCO 2 control voltage ieput (linger vesponse)/o~-8v * C01 + VCO Zextems! Frequency contro! input (OCT/VI/ -av-HV 3. Ver * Extemal signal inputl3Vpp max + Exeinal HP filter cutot! frequency contol input [20CT/V}/-8V~BV + Exteinal LP titer eutott frequency contra input (20CT/V)-6V~+5V * Total external modulation input cr ext 5. Vea * Exornal inital 3 os ac "EG 1 ervetope signal nox ‘outpuv/-BV ~ ov + EG 1 ervaope signal revere ou outputs = ov + EG1 + £62 wigper inout/ =. co + EG1 + tigger irput/ wo * EG2envelope signal reverse output) A200 7 mG * Triangle ootput( h~A\~/1V/8V90 * Rectangle output ( UPL O-16¥ + Pink noise ovtput/5Vpp * White noise ourput/5Vep * Chock tigger inaut/ aN + Semple signal inout/SV0p + SIM surpur/5Ven. * Contra volzpe nou O~48V * Signal input! BV~#8V * Signe! output/-5V—'8V * Control wheal ourput/-BV~0V~ +v + Momentary switeh/ oho * Signal output/2Vep (output Impedance 3.6k0) * Headphones out/(8) 120m 120mwatss ‘9 one, eansuenprion * 10 vats ‘@Dimensions * 5691W1% 30910) » 24914] mm Weight "77 kg fo fccerories * Pater cord, connecting cord 36emx2,3mect + Stand, cae 4. veo + ver contre input 8 Nose generator 9. Sample and hold 10, Malation VoA 11, Manual controter 12, Signal out 13, Headphones ‘20 etions equiomentWORG ANALOG SEQUENCER SQ-10 KORE MONOPHONIC SYNTHESIZER MS-10 sss oa sa C 3 sprVOLUME. SIGNAL OUT ENVELOPE VOLTAGE VCO MIXER VOLTAGE CONTROLLED | VOLTAGE CONTROLLED VOLTAGE CONTROLLED AM and VOLTAGE VOLTAGE CONTROLLED | VOLTAGE CONTROLLED OSCILLATOR 1 OSCILLATOR 2 HIGHPASS FILTER {LOWPASS FILTER GENERATOR 2 VOLTAGE VOLTAGE VOLTAGE | CONTROLLED CONTROLLED CONTROLLED CONTROLLED F-| CONTROLLED nN TLeel mk | OSCILLATOR 1 OSCILLATOR 2 HP FILTER LP_FILTER AMPLIFIER D aah] oN | os | TOTAL CUTOEE FREQ — CUTOEE FREQ INITIAL GAIN PHONES . | e @ _ -erov — ery 3VPP MAX - yey — ery Over DV POWER OFF 0 HOLD TIME 0 0 VCO 1 LEVEL VCO 1+2 7 10 0 0 CUTOFF FREQUENCY CUTOFF FREQUENCY EG 2 & EXT REV_OUT WAVE FORM WAVE FORM mL MODULATION Potent GENERATOR GENERATOR 1 eat en ee n = pw e +5 GND w 6 8 out IN 32% 4 FREQUENCY CUTOFF FREQUENCY MODULATION MODULATION MODULATION ? 10 ul DECAY TIME wn 5 4 6 SIGNAL IN SCALE SCALE PORTAMENTO MASTER TUNE 0 10 IN AL WAVE FORM tiles 6 SYNTHESIZER 10 HIGH CUT FREQ 10 0 Q o 10 SIGNAL LEVEL LOW CUT FREQ THRESHOLD LEVEL 10 0 10 CV ADJUST 10 0 EG2/ EXT 0 Jo 0 1 RELEASE WME RELEASE TIME 0 10 EG1/ EXT 0 FREQUENCY ° EG2/ EXT