Korg Bicycle PS60 사용자 설명서
Quick OSC2
21
Filter LFO 2 Intensity to A (FltLFO2toA) [–99...+99]
This controls the depth and direction of Filter A cutoff mod‐
ulation from LFO2.
)“Filter LFO1 Intensity to A (FltLFO1toA)” on page 20
ulation from LFO2.
)“Filter LFO1 Intensity to A (FltLFO1toA)” on page 20
Filter LFO2 Intensity to B (FltLFO2toB) [–99...+99]
This controls the depth and direction of Filter B cutoff mod‐
ulation from LFO2.
ulation from LFO2.
Amp LFO1 Intensity (AmpLFO1Int)
[–99...+99]
This controls the depth and direction of Amp modulation
from LFO1. Negative (‐) settings will invert the phase of the
LFO.
from LFO1. Negative (‐) settings will invert the phase of the
LFO.
Amp LFO2 Intensity (AmpLFO2Int)
[–99...+99]
This controls the depth and direction of Amp modulation
from LFO2. Negative (‐) settings will invert the phase of the
LFO.
from LFO2. Negative (‐) settings will invert the phase of the
LFO.
Pitch LFO1 AMS Intensity (P.LFO1 AMS Int)
[–12.00...+12.00]
This specifies the depth and direction of the pitch modula‐
tion produced by AMS (LFO1).
With a setting of 0, modulation will not be applied. With a
setting of 12.00, the AMS (LFO1) will apply a maximum of
+/‐1 octave of pitch modulation.
tion produced by AMS (LFO1).
With a setting of 0, modulation will not be applied. With a
setting of 12.00, the AMS (LFO1) will apply a maximum of
+/‐1 octave of pitch modulation.
Pitch LFO2 AMS Intensity (P.LFO2 AMS Int)
[–12.00...+12.00]
This is similar to Pitch LFO 1 AMS Intensity, above.
OSC2
Here you can adjust the settings for oscillator 2. These set‐
tings are available only for a program that uses two oscilla‐
tors; otherwise, this page will be unavailable.
The parameters are the same as for oscillator 1.
Please see “OSC1” on page 19.
tings are available only for a program that uses two oscilla‐
tors; otherwise, this page will be unavailable.
The parameters are the same as for oscillator 1.
Please see “OSC1” on page 19.
About Relative (Rel) and
Absolute parameters
Absolute parameters
The PS60ʹs Tone parameters are of two types: Relative and
Absolute. In the case of absolute parameters, a single
parameter adjusts a single program parameter. In the case of
relative parameters, a single parameter simultaneously
adjusts the value of two or more program parameters.
Absolute. In the case of absolute parameters, a single
parameter adjusts a single program parameter. In the case of
relative parameters, a single parameter simultaneously
adjusts the value of two or more program parameters.
• Relative parameters have an indication of “(Rel)”
following the parameter value.
For instance, “Filter/Amp EG Attack Time” affects a total of
six Program parameters. The value of the Relative parame‐
ter shows the amount of change to these underlying Pro‐
gram parameters.
If the Relative parameter is set to 0 (the slider in the display
is at the center position), the value of the corresponding pro‐
gram parameter will not change.
The definitions of higher and lower settings can vary,
depending on the specific parameter. Unless noted other‐
wise, they work as follows:
When the Relative parameter is at +99 (the maximum), the
Program parameters are all at their maximum as well. Simi‐
larly, when the Relative parameter is at –99 (the minimum),
the Program parameters are at zero.
six Program parameters. The value of the Relative parame‐
ter shows the amount of change to these underlying Pro‐
gram parameters.
If the Relative parameter is set to 0 (the slider in the display
is at the center position), the value of the corresponding pro‐
gram parameter will not change.
The definitions of higher and lower settings can vary,
depending on the specific parameter. Unless noted other‐
wise, they work as follows:
When the Relative parameter is at +99 (the maximum), the
Program parameters are all at their maximum as well. Simi‐
larly, when the Relative parameter is at –99 (the minimum),
the Program parameters are at zero.
Relative Tone parameter parameter scaling
A few of the Program parameters controlled by the Relative
Tone parameter are bipolar, meaning that they can be either
positive or negative (instead of just positive). When these Pro‐
gram parameters are set to negative values, the Tone parameter
may behave differently from the description above.
For instance, if the EG Intensity is set to a negative value,
the Relative Tone parameter values will range from 0 to –99,
the inverse of the diagram above. EG Sustain works differ‐
ently; if it’s set to a negative value, Tone parameter values
range from 0 down to the programmed value, and then up
to +99, as shown below.
Tone parameter are bipolar, meaning that they can be either
positive or negative (instead of just positive). When these Pro‐
gram parameters are set to negative values, the Tone parameter
may behave differently from the description above.
For instance, if the EG Intensity is set to a negative value,
the Relative Tone parameter values will range from 0 to –99,
the inverse of the diagram above. EG Sustain works differ‐
ently; if it’s set to a negative value, Tone parameter values
range from 0 down to the programmed value, and then up
to +99, as shown below.
Relative parameter scaling: EG Sustain
Saving Tone parameter Edits
Tone parameter edits are saved in two different ways,
depending on whether the parameter is Relative or Abso‐
lute.
For more information, please Please see “About Relative
(Rel) and Absolute parameters” on page 21.
Relative: Edits to Relative parameters affect the sound
immediately, but don’t change the underlying Program
parameter settings until the Program is saved. When the
Program is saved, the PS60 calculates the combined effects,
and saves the results into the Program parameters directly.
At that point, all of the Relative parameters are reset to 0.
Absolute: Edits to Absolute parameters are immediately
reflected in the corresponding on‐screen parameters, and
vice‐versa.
depending on whether the parameter is Relative or Abso‐
lute.
For more information, please Please see “About Relative
(Rel) and Absolute parameters” on page 21.
Relative: Edits to Relative parameters affect the sound
immediately, but don’t change the underlying Program
parameter settings until the Program is saved. When the
Program is saved, the PS60 calculates the combined effects,
and saves the results into the Program parameters directly.
At that point, all of the Relative parameters are reset to 0.
Absolute: Edits to Absolute parameters are immediately
reflected in the corresponding on‐screen parameters, and
vice‐versa.
Interaction between parameters and MIDI CCs
A number of the parameters can affect parameters that are
also modulated by dedicated MIDI CCs. The specific CC
numbers are noted in the descriptions for the individual
parameters.
Parameters and the CCs work independently. It’s possible,
for instance, to reduce the value of a parameter, and then for
a CC to increase it again.
This allows you to first edit a parameter, and then use CCs
to adjust the edited result.
also modulated by dedicated MIDI CCs. The specific CC
numbers are noted in the descriptions for the individual
parameters.
Parameters and the CCs work independently. It’s possible,
for instance, to reduce the value of a parameter, and then for
a CC to increase it again.
This allows you to first edit a parameter, and then use CCs
to adjust the edited result.
99
00
Relative Tone Adjust Value
Parameter
Value
As Programmed
0
–99
+99
99
–99
00
Relative Tone Adjust Value
Parameter
Value
As Programmed
0
–99
+99