Operation Guide E1 i
Thank you for purchasing the Korg NAUTILUS. To help you get the most out of your new instrument, please read this manual carefully. About this manual The owner’s manuals and how to use them Conventions in this manual These manuals apply to all NAUTILUS models. The front panel and rear panel illustrations show the NAUTILUS-61, but they apply identically to the other models. Abbreviations for the manuals: QSG, OG, PG, VNL The NAUTILUS comes with the following manuals.
Contents About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . ii Introduction to NAUTILUS. . . . . . . . . . . . . 1 Front and rear panels. . . . . . . . . . . . . . . . . . . . . . . . . 1 Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5 TouchView user interface . . . . . . . . . . . . . . . . . . . . . . . 7 Basic information . . . . . . . . . . . . . . . . . . . . . . .
Set Lists . . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Arpeggiator function . . . . . . . . . . . . . . . 157 Set List Overview . . . . . . . . . . . . . . . . . . . . . . . . . . 113 Arpeggiator functions and scene settings. . . . 157 Selecting and playing sounds . . . . . . . . . . . . . . . 114 Selecting Set Lists. . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Selecting Slots. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Using the Comment Pad . . . . . . . . .
Loading & saving data . . . . . . . . . . . . . .203 Saving data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 Writing to internal memory. . . . . . . . . . . . . . . . . . . . 205 Saving to internal drive, CDs, and USB media. . . . . 209 Loading data from disk . . . . . . . . . . . . . . . . . . . . . 213 Loading Songs, sounds, and samples together . . . . . Loading individual banks from a .PCG file . . .
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Introduction to NAUTILUS Front and rear panels Front panel 1. MASTER VOLUME 7. RT control knobs, SELECT 8. DYNAMICS 2. VALUE controllers 6. SHIFT 12. AUDIO IN 3. MODE 4. PAGE 15. TouchView display 10. Effectors 14. Joystick 13. SW 1&2 11. OCTAVE 5. QUICK ACCESS 9. Arpeggiator, Drum track, Step sequencer 1. MASTER VOLUME slider 1. Select the parameter for which you will enter a note number or velocity value.
Introduction to NAUTILUS 3. MODE button 7. RT control knobs, SELECT button The NAUTILUS uses seven modes. To select each mode, press the MODE button and choose using the Mode Select page that is displayed. When you’re playing a program or combination, you can use these controls to adjust the sound or the effects in real time, or to make simple edits. These controls can also be used to adjust the tempo of the arpeggiator, sequencer and so on. To close the menu, press the Close button or the EXIT button.
Front and rear panels Front panel 3. LENGTH Adjusts the length of the arpeggiator pattern and the step sequencer’s sequence. 9. Arpeggiator (ARP) 4. SWING Adjusts the pattern of the arpeggiator or drum track, or the shuffle feel of the sequence played by the step sequencer. 5. DRUM SD Changes the pattern of the drum track, or the snare drum sound used in the sequence played by the step sequencer. 6. TEMPO Adjusts the overall tempo. The tempo setting will control the following.
Introduction to NAUTILUS 10. Effectors 14. Joystick MFX button TFX button The joystick moves in four directions: left, right, forwards (away from yourself), and backwards (towards yourself). Each of the four directions can be used to control different program or effects parameters. These buttons turn the master effects and total effects on/off. When the buttons are on (LED lit), the effect settings for the program, combination, or song will be enabled.
Front and rear panels Rear panel Rear panel 2. (power button) 1. AC Power connector 3. USB 4. Analog Audio Inputs 7. MIDI 5. Analog Audio Outputs 8. Pedals 6. PHONES 1. AC Power connector 3. USB Connect the included power cable here. USB A port We recommend that you first connect the power cable to the NAUTILUS, and then connect the other end of the cable to an AC outlet (see “1. Connecting the power cable” on page 18). There is an external, high-speed USB 2.0 port.
Introduction to NAUTILUS 5. Analog Audio Outputs All of the analog audio outputs use balanced TRS 1/4" phone jacks, referenced to a +4 dBu signal level. MIDI THRU connector MIDI data received at the MIDI IN connector is retransmitted without change from the MIDI THRU connector. You can use this to chain multiple MIDI devices together. MIDI OUT connector This connector transmits MIDI data. Use this to control external MIDI devices, or to record into an external sequencer.
Front and rear panels TouchView user interface TouchView user interface Mode name Page Group name Check-box i: Page menu button b: Popup button d: Edit cell b: Category popup button e: Knob a: Current page f: Slider h: Page tab The NAUTILUS uses Korg’s TouchView graphical user interface. By touching objects displayed in the LCD screen, you can select pages, set parameter values, move sliders and knobs, enter text, connect virtual patch cables, and more.
Introduction to NAUTILUS b-1: Bank Select button ( a-1) d: Edit cell b-2: PROGRAM Bank Type button ( a-2) b-3: 10 Key Use these keys to input a sound number for a sound in the selected bank. The sound will switch when you press the update ( ) button. The sound will be updated and the dialog box will close even if you press the OK button without pressing the update button. The “edit cell” is shown as a black background in the parameter or parameter value display.
Front and rear panels TouchView user interface Dialog box Program Home page Overview/Jump graphics Many menu commands use dialog boxes to make additional settings. The dialog box that appears will depend on the currently selected menu command. The PROGRAM > Home page features an interactive overview of the most important parameters, such as oscillators, filters, envelopes, LFOs, and so on. Just touch any of these overview areas, and you’ll jump to the corresponding edit page.
Introduction to NAUTILUS Basic information About the NAUTILUS’ modes The NAUTILUS has a large number of features that let you play and edit programs and combinations, record and play sequence data, record and play back samples, and manage data on drive. The largest unit used to organize these features is called a mode. The NAUTILUS has seven modes. COMBINATION mode Combinations are sets of up to 16 Programs that can be played simultaneously, letting you create sounds more complex than a single Program.
Basic information About the NAUTILUS’ modes SAMPLING mode SAMPLING mode lets you record and edit your own Samples and Multisamples. For example, you can: • Record samples from external audio sources, including sampling through effects • Edit the recorded samples, or samples loaded from MEDIA mode; set loop points, truncate, time-slice, etc.
Introduction to NAUTILUS SET LIST Set List 000 ... 127 Multisample Slot 000 Slot 001 Slot 127 PROGRAM (EXi) Insert / Master / Total Effect EXi 1 IFX 1 AL-1 STR-1 PolysixEX EP-1 CX-3 MS-20EX MOD-7 SGX-2 MFX 1 MFX 2 TFX 1 IFX 12 TFX 2 EXi 2 Scene1...
Basic information About the NAUTILUS’ PCM memory About the NAUTILUS’ PCM memory “PCM” is another way of saying “samples.” The NAUTILUS has several types of PCM banks, as described below: ROM, EXs, User Sample Banks, and Sampling Mode Data. For more information on the contents of the included ROM and EXs sample data, see the Voice Name List (VNL). ROM The NAUTILUS ROM contains the basic multisamples and samples, and is always loaded and available. EXs EXs stands for EXpansion Samples.
Introduction to NAUTILUS Basic operations After you’ve turned on the NAUTILUS, here’s how to perform basic operations such as selecting modes and pages. 2. Selecting pages 1. Selecting modes Each mode has a large number of parameters, which are grouped into pages. These are further subdivided by tabs into up to nine tab pages. To enter each mode, press the MODE button and then the respective mode button in the Mode menu on the display. The NAUTILUS features seven operating modes. 1.
Basic information Basic operations 4. Press a tab (page tabs) to select a page. As an example here, press the X-Y Control tab. The current page indication in the upper left of the LCD screen will stay the same.” You’ve selected the X-Y Control page. Note: In some cases, there may not be any tabs in the upper line. +/− buttons VALUE dial Use this when you wish to make large changes in a value. To make detailed changes to the values, turn the dial while holding down the ENTER button.
Introduction to NAUTILUS 1. In the upper right of the display, press the menu button. A list of menu commands will appear. 2. Select a menu command by pressing it with your finger. A dialog box for the selected menu command will appear. Check-type commands will not display a dialog box; their status will be switches, and the list will close. • To close the list without selecting a command, press the display somewhere other than the list, or press the EXIT button. 3.
Basic information Basic operations 6. Writing and saving After you edit, you should write or save your changes as necessary. For example if you’ve edited a program, your changed will be lost if you select another program or turn off the power. The same applies to a combination. Settings you edit in GLOBAL mode will be remembered as long as the power is on, but your changes will be lost when you turn off the power. For details on the Write operations, see the following pages.
Introduction to NAUTILUS Setup Turning the power on/off 1. Connecting the power cable 1. Connect the included power cable to the NAUTILUS’ rear panel AC power inlet. 2. Connect the other end of the power cable to the AC power outlet. If your power cable uses a separate ground wire, you must connect this ground wire before inserting the plug into the AC outlet. When disconnecting, you must first disconnect the plug before you disconnect the ground wire.
Setup Turning the power on/off Changing the Auto Power-off setting at startup If Auto Power-off is enabled, a dialog box indicating the time until automatic power-off will appear immediately after start-up. The dialog box will close automatically after a few seconds. The clock icon shows the time left before the dialog box closes. Press the clock icon to keep the dialog box open. Press the Change Setting or OK button to close this dialog box. 1.
Introduction to NAUTILUS Connections Connections must be made with the power turned off. Please be aware that careless operation may damage your speaker system or cause malfunctions. 6. Connecting to computers via USB 1. Analog audio output connections Computer Powered monitors, etc. Mixer INPUT Monitor OUTPUT 2. Analog audio input connections USB Guitar Mic 4. Connecting USB devices CD-R/RW, hard disks, removable disk, etc.
Setup Connections 2. Use the Bus Select parameters to send the desired sounds, audio tracks, inputs, or effects to the individual outputs, as either mono (1…4) or stereo (1/2 and 3/4) signals. Choose the Mic setting only when connecting a mic. Note that some microphones, such as condensers, may require external phantom power, which is not supplied by the NAUTILUS.
Introduction to NAUTILUS Connecting a foot pedal USB MIDI controllers You can use a connected foot pedal to control volume, modulation, or other functions. You can connect class-compliant USB MIDI controllers directly to the NAUTILUS, and use them just as you would controllers connected to the 5-pin MIDI jacks. To do so: 1. Connect an optional XVP-20 or EXP-2 etc. to the ASSIGNABLE PEDAL jacks. 2.
Setup Connections 5. MIDI connections to equipment & computers Connections to MIDI equipment The keyboard, controllers, and sequencer etc. of the NAUTILUS can be used to control an external MIDI tone generator. Conversely, another MIDI keyboard or sequencer can control the tone generator of NAUTILUS to produce sound. • Use MIDI cables to connect the MIDI connectors of NAUTILUS with the MIDI connectors of your external device.
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Playing and editing Programs Playing Programs What’s a Program? Programs are the basic sounds of the NAUTILUS. You can play them by themselves, layer them together in Combinations, or play a different Program on each of the 16 MIDI tracks, either from the internal sequencer or from external computer-based sequencers. This section of the manual takes a quick look at playing Programs, including how to select programs and basic editing techniques.
Playing and editing Programs Program Bank Contents As shipped from the factory, the contents of the Program Banks are as follows: Program bank contents Bank Contents A...E EXi sounds F...O HD-1 sounds P...R Initialized EXi Programs S, T Initialized HD-1 Programs GM GM2 main Programs g(1)…g(9) GM2 variation Programs g(d) GM2 drum Programs Bank Type Bank type can be set to either HD-1 or EXi Selecting by bank and number You can select Programs from a list organized by Program bank. 1.
Playing Programs Selecting Programs Selecting by Category Using the Find feature You can select Programs from within a category, such as keyboard, organ, bass, and drums. When shipped from the factory, the Programs are organized into 16 categories, each with several sub-categories. There are also 2 more categories, initially named User 16 and User 17, which you can use and rename as desired. At the bottom of the Program Select menu screen, you’ll see a button marked with a magnifying glass.
Playing and editing Programs 2. Press the (Favorite) to the left of the Tempo parameter. The turns green. (this shows that the box is “checked”) sound. However, assigning the Foot Switch to the + or − button lets you step through the items in the list, one by one—just like pressing the front-panel buttons. 3. Write the Program. To set this up: This is an important step. If you don’t write the Program, the change to the Favorites check-box won’t be retained. 1.
Playing Programs Using Controllers General MIDI Programs Internal bank G contains a full set of General MIDI 2 Programs, as well as sub-banks g(1)–g(9) (GM2 variation programs), and bank g(d) (drums). When you select Programs using the Bank/Program Select menu, press the GM button to select GM Bank. Using Controllers The NAUTILUS provides a lot of hands-on ways to control the sound–the mod and pitch-bend joystick, two buttons (SW1 and SW2), and the RT control knobs.
Playing and editing Programs An example of settings in a Program EXi : Controllers Page (PAGE button → Common: Basic/X-Y/Controllers → Controllers tab) RT control knobs The RT control has 6 knobs. You can use these for many different tasks: • Easy Program Editing • Controlling Arpeggiator 1. Select a function you want to control using SELECT button. When using SW1/2 for AMS or Dmod, the default settings are SW1 Mod.:CC#80 and SW2 Mod.:CC#81.
Playing Programs Using Controllers Foot Pedals and Switches Damper Pedal (Sustain) The damper pedal is also sometimes called the sustain pedal. It acts like the similarly-named pedal on an acoustic piano; when you hold down the pedal, notes will continue to sustain even when you lift your hands off of the keyboard. Assignable Foot Pedal This lets you use a continuous controller pedal, such as the Korg EXP-2 foot controller or Korg XVP-20 EXP/VOL pedal, as an assignable controller.
Playing and editing Programs Easy Program Editing Quick edits using the RT control knobs You can edit any of the Programs shipped with NAUTILUS, or you can start with an initialized Program to create sounds from scratch. You can do many basic edits directly from the front panel RT control knobs without ever delving deeper into the LCD interface. For instance, you can use the knobs to change CUTOFF and RESONANCE, and so on.
Easy Program Editing Quick edits using the RT control knobs Assigning functions to RT control knobs 1–6 Settings for the knob functions are made in each mode for programs, combinations, and songs. These settings are adjusted on the Controller– Knob page in each mode. Note: You can use the RT control knobs as alternate modulation or effect dynamic modulation sources to control program parameters or effect parameters.
Playing and editing Programs Using Compare command When you’re in the process of editing a sound, executing the Compare command on Menu command will recall the saved version of the sound, as it was before you started editing. Executing the Compare command again returns you to the version you are editing. If you edit after having executed the Compare command, your previous edits will be lost. Saving your edits Once you’ve tweaked the sound to perfection, you’ll want to save your work.
Quick Layer/Split Quick edits using the RT control knobs Quick Layer/Split The Quick Layer/Split feature makes it easy to create simple layers and splits. Starting with either a Program or Combination, you can add another Program as a layer, or split the keyboard so that the current sound plays on one side of the keyboard (either upper or lower), and a different Program plays on the other.
Playing and editing Programs Quick Layer example: adding strings to a piano sound Quick Layer dialog Program Select (Layer) Solo (Layer) Volume (Layer) Octave (Layer) Zone Program Select (Main) Volume (Main) Octave (Main) Solo (Main) Select ARP/DRUM Layer/Main Write Layered Combi Tempo Volume Drum Track Here, we’ll walk through a typical use of Quick Layer: adding a string layer to a piano sound. To do so: 1. In PROGRAM mode, select a piano sound-for instance, A000: Nautilus Grand Dry/Amb.
Quick Layer/Split Quick Layer example: adding strings to a piano sound Writing the results 1. When you’ve finished editing your layered sound, press the Write Layered Combi button to save it as a combination. The Write Combination dialog box appears. 2. Press the popup button next to Combination to bring up the save location dialog, and select a location to save the edited Combination. 3. Set the name and category as desired.
Playing and editing Programs Quick Split example: adding left-hand bass to a piano Quick Split dialog Select Split Mode Split Point Program Select (Main) Program Select (Lower) Solo (Main) Octave (Main) Solo (Lower) Octave (Lower) Volume (Main) Volume (Lower) Select ARP/DRUM Lower/Main Write Split Combi Tempo Volume Drum Track Quick Split makes it easy to create common setups, such as piano for the right hand and bass below for the left, or electric piano for the left hand and a lead synth for the
Quick Layer/Split Quick Split example: adding left-hand bass to a piano Writing the results 1. When you’ve finished editing your splitted sound, press the Write Split Combi button to save it as a combination. The Write Combination dialog box appears. 2. Press the popup button next to Combination to bring up the save location dialog, and select a location to save the edited Combination. 3. Set the name and category as desired.
Playing and editing Programs Detailed Program Editing Editing HD-1 Programs Creating your own Programs You can create your own original HD-1 sounds by editing the factory Programs, or by initializing a Program and starting from scratch. You can save these Programs into any bank other than GM (which contains General MIDI Programs). You can sample from within PROGRAM mode—including resampling the Program itself. For more information, see “Sampling in PROGRAM and COMBINATION modes” on page 145.
Detailed Program Editing Editing HD-1 Programs Basic/X-Y/Controllers - Program Basic X-Y Control Controllers Tone Adjust LFO - Common LFO Amp/EQ - Amp1/Driver1 Filter - Filter1(A/B) Amp/EQ - EQ OSC1, 2 MFX/TFX TFX 1, 2 IFX IFX1-12 AUDIO OUTPUT L/MONO, R Amp/EQ - Amp1 Mod Filter - Filter Key Track Insert Effects Master Effects Individual Outputs Filter - Filter1 Mod. Filter - Filter1 EG Filter - Filter1 LFO Mod.
Playing and editing Programs Xfade Range Type Bank Multisample 4. Select ROM Stereo as the Multisample Bank for MS1 and MS2. There are four main types of Multisample Banks: ROM, SAMPLING mode, EXs, and User Sample Banks. For each type, you can also choose between looking at mono and stereo Multisamples. Note that stereo Multisamples will require twice as many voices as mono Multisamples. ROM Multisamples are the built-in “factory” sounds, and are always available.
Detailed Program Editing Using LFOs and Envelopes (EGs) Using LFOs and Envelopes (EGs) Using LFOs Each Oscillator has two LFOs: LFO1 and LFO2. There is also a single Common LFO, shared by both Oscillators. While LFO1 and LFO2 are separate for each voice, the Common LFO is shared by all voices in the Program. This makes it useful when you want all of the voices to have an identical LFO effect.
Playing and editing Programs Using Alternate Modulation (AMS) and the AMS Mixers AMS (Alternate Modulation Source) refers to any of the assignable modulation sources in NAUTILUS, including: • Built-in physical controllers, such as the Joystick, and RT control knobs • Incoming MIDI controllers, or MIDI controllers generated by the X-Y Envelope AMS Mixer A+B example AMS A: LFO AMS B: EG • Modulators such as the Filter, Pitch, and Amp EGs, the LFOs, or the AMS Mixers Intensity is a parameter that sets the
Detailed Program Editing Controlling Pitch AMS Mixer Smoothing examples Original AMS A: Smoothing with Long Attack and Short Release: • “Selective pitch-bend, using only the joystick” on page 94 • “Generating a static value” on page 94 Suggestions on using AMS Smoothing with Short Attack & Long Release: When making settings for alternate modulation, think of the effect that you wish to produce, what type of modulation will be necessary to produce that effect, and what parameter of the oscillator, filt
Playing and editing Programs Using Filters The filters allows you to diminish or emphasize specified frequency areas of the sound. The tone of the sound will depend significantly on the filter settings. The basic filter settings, including the routing, type, cutoff frequency, and resonance, are set on the Filter page. Filter Routing Each oscillator has two filters, Filter A and Filter B.
Detailed Program Editing Using Filters Resonance Filter EG Resonance emphasizes the frequencies around the cutoff frequency, as shown in the diagram below. The Filter EG is a multi-stage envelope, which you can use to modulate the filter (naturally!) as well as other Program parameters.
Playing and editing Programs Keyboard Track Shape and Intensity How Key Track works: Keys and Ramps The keyboard tracking works by creating four ramps, or slopes, between five keys on the keyboard. The bottom and top keys are fixed at the bottom and top of the MIDI range, respectively. You can set the other three keys–named Low Break, Center, and High Break–to be anywhere in between. The four Ramp values control the rate of change between each pair of keys.
Detailed Program Editing Using the Amp section Pan AMS and Intensity Intensity specifies the depth of the pan modulation from the selected AMS source. If you set AMS to Note Number, the pan will change according to the keyboard position of each note played. With a setting of LFO1 or 2, the sound will sweep from side to side, creating an auto-pan effect. Other settings allow you to move the oscillator pan by using a RT controller, an envelope, or other modulation sources.
Playing and editing Programs Using EXi In EXi Programs, you can select one or two EXi to be split or layered together. Each EXi has its own sonic character and different pages of parameters. To select different EXi: 1. Select an EXi Program. Note: EXi Programs are stored in EXi Banks, separate from HD-1 Programs. Depending on settings, any bank except for INT-G may be an EXi bank. 2. Press the PAGE button, and then press the PAGE SELECT Common button. 3. Press the Basic/X-Y/Controllers button. 4.
Detailed Program Editing Using EXi EP-1 MDS Electric Piano PolysixEX New technology, classic sounds Rich-sounding, versatile, and easy-to-use synth The EP-1 provides incredible recreations of six classic tine and reed electric pianos, along with modeled vintage effects. Based on Korg’s Multi-Dimensional Synthesis (MDS), the EP-1 delivers natural real-time expression without the limitations of ordinary sample playback.
Playing and editing Programs Using Vector Synthesis Vector Synthesis lets you control Program and Effects parameters by using the programmable X-Y Envelope set by X-Y pad on the display. X-Y Point and X and Y axis values X-Y Point +127 Y value: +50 Y-Axis 0 –127 0 +127 X-Axis X value: –90 You can also use the X-Y Envelope to move its position automatically over time, as shown below. What does Vector mean? Modulation generally works by moving a single control. like a slider, in a straight line.
Detailed Program Editing Effects X-Y control Volume Control and CC Control The X-Y control does two main things: it can control the relative volume of the two Oscillators in PROGRAM mode (or of up to 16 Programs at once in COMBINATION mode), and it can generate CCs for controlling Program and Effects parameters. X-Y control and MIDI The X-Y control features interact with MIDI through the XY CC Control. The X-Y CC Control is generated by the X-Y position.
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Playing and editing Combinations Playing Combinations What’s a Combination? Combinations, or “Combis” for short, let you split and layer up to 16 Programs at once. A Combi is made up of 16 Timbres. Each Timbre has a Program, along with parameters for key and velocity zones, mixer settings, MIDI channel and controller filtering, and so on. As with Programs, each Combi has 12 Insert Effects, 2 Master Effects, and 2 Total Effects, for shaping and transforming the sounds of the individual Timbres.
Playing and editing Combinations Selecting by Bank and number You can select Combinations from a list organized by Combination bank. 1. Press the Combination Select popup button. Press the Bank(List) button at the bottom of the screen. The Bank/Combination Select dialog appears. Bank/Combination Select menu: 4. If you like, play a few notes to hear the new Combination. You can play the new Combination while the menu is still showing, without needing to press OK. 5.
Playing Combinations Selecting Combinations Selecting by Category Using the Find feature You can select Combinations from within a category, such as keyboard, organ, bass, and drums. When shipped from the factory, the Combinations are organized into 16 categories, each with several sub-categories. There are also 2 more categories, initially named User 16 and User 17, which you can use and rename as desired.
Playing and editing Combinations Easy Combination editing Changing the Programs within a Combi Changing the Programs assigned to the 16 Timbres is a quick way to dramatically alter the sound of the Combination. Selecting Programs for Combi Tracks Adding a timbre You can add timbres when selecting an InitCombi to make a new combination, or when the combination is not using all 16 timbres. To change the Program assigned to a Timbre: 1. Go to the COMBINATION > Home– Mixer page.
Quick Layer/Split Quick Layer example: adding strings to a piano Combination Quick Layer/Split The Quick Layer/Split feature makes it easy to create simple layers and splits. Starting with either a Program or Combination, you can add another Program as a layer, or split the keyboard so that the current sound plays on one side of the keyboard (either upper or lower), and a different Program plays on the other.
Playing and editing Combinations 4. Set the Volume and Octave of the Main Combination and the Layer Program as desired. You can adjust the relative levels of the piano and strings, and change the octave transposition of one or both sounds. For example, you could reduce the volume of the strings, and set them to play an octave above the piano. Writing the results 1. When you’ve finished editing your layered sound, press the Write Layered Combi to save it as a combination.
Quick Layer/Split Quick Split example: adding a lead synth to a Combination Quick Split example: adding a lead synth to a Combination Quick Split dialog Select Split Mode Split Point Program Select (Lower) Solo (Lower) Combination Select (Main) Solo (Main) Octave (Main) Octave (Lower) Volume (Main) Volume (Lower) Select ARP/DRUM Lower/Main Tempo Write Split Combi Volume Drum Track Quick Split makes it easy to create common setups, such as piano for the right hand and bass below for the left, or pian
Playing and editing Combinations Writing the results 1. When you’ve finished editing your splitted sound, press the Write Split Combi button to save it as a combination. The Write Combination dialog box appears. 2. Press the popup button next to Combination to bring up the save location dialog, and select a location to save the edited Combination. 3. Set the name and category as desired. The system automatically creates a new name based on the names of the two original sounds.
Detailed Combination editing Quick Split example: adding a lead synth to a Combination Detailed Combination editing You can edit any of the Combinations shipped with NAUTILUS, or you can start with an initialized Combination to create sounds from scratch. Naturally, you can use the factory Programs to create new Combis, or use your own custom Programs.
Playing and editing Combinations Combination overview Page Combination page structure The COMBINATION > Home page offers access to the most important aspects of Combis, including: Main features Timbre Parameter • Set various parameters for each timbre, such as MIDI channel, OSC select, Pitch etc. MIDI Filter/Zone • Set up MIDI transmission/reception filters for each Timbre. • Set up keyboard and velocity zones for each Timbre. IFX • Select insert effects and make settings for them.
Detailed Combination editing Layers, Splits, and Velocity Switches Layers, Splits, and Velocity Switches Within a Combination, you can use note number and velocity to determine which Timbres will sound. Creating Key Splits and Layers The Programs assigned to each Timbre can sound in three ways: as part of a layer, a split, or a velocity switch. A Combination can be set to use any one of these methods, or to use two or more of these methods simultaneously.
Playing and editing Combinations Velocity Zone Slope Similar to Key Zone Slopes, as described above, these let you fade in and fade out sounds gradually over a velocity range, instead of a simple hard switch. In the case of the above example, you could set the velocity zones of the two Timbres so that they partially overlap. Then, set the Top Slope and Bottom Slope so that the sound changes gradually, instead of changing suddenly between velocity values of 63 and 64.
Detailed Combination editing Altering Programs to fit within a Combination Altering Programs to fit within a Combination You can make various changes to Programs within the context of a particular Combination, to make them fit better with other Programs, or to create particular sonic effects. These changes do not affect the original Programs, or how those Programs sound in other Combinations.
Playing and editing Combinations Editing Programs from within a Combination or Song If you want to dive in deeper than Tone Adjust allows, you can also go directly into the editing pages of a Program from within a Combination or Song—while still hearing all of the other Timbres or Tracks. Tone Adjust lets you change the way the Program sounds in a specific Combination or Song without affecting the original Program.
Detailed Combination editing Effects Effects Effects are covered in their own section of the manuals, so we won’t go into too much detail here. Insert Effects Insert Effects let you send either individual Oscillators or the entire Program through up to 12 effects, in series. You can use any type of effects, from distortions and compressors to choruses and reverbs. The Insert Effects can be routed to the main outputs, or to any of the individual outputs.
Playing and editing Combinations Saving your edits Once you’ve tweaked the sound to perfection, you’ll want to save your work. To save your edits: 1. Select the Write Combination command from the page menu, at the upper right-hand corner of the screen. This brings up a dialog box which allows you to save the Combination. Optionally, you can also select a new location, or change the Combination’s name. 2. Press the Combination’s name to bring up the text edit dialog.
Creating songs (SEQUENCER mode) Sequencer overview About the NAUTILUS’ sequencer The NAUTILUS’ sequencer can hold up to 200 songs and 400,000 MIDI events or 300,000 audio events. It consists of a 16-track MIDI sequencer and a 16-track audio recorder, giving you a total of 32 tracks. Via MIDI, you can record from and play through external MIDI devices, as well as the NAUTILUS keyboard, physical controllers, and internal sounds.
Creating songs (SEQUENCER mode) This is a conceptual diagram of SEQUENCER mode including the hard disk recording function. Sampling memory (RAM) Sample Sample Song MIDI Track 01..
Playing Songs Playback Playing Songs Playback In order to play back a Song in the sequencer, you must first either load the Song from disk, send the Song to the NAUTILUS via MIDI SysEx, or record a new Song. Let’s start by loading and playing the demo song data. 1. Follow the instructions for loading and playing the demo songs under “Playing the demo songs” on page 11 of the QSG. 4. Press the SEQUENCER REW or FF button to rewind or fast-forward.
Creating songs (SEQUENCER mode) Operations that use the QUICK ACCESS button Press the QUICK ACCESS button while holding down the EXIT button to start and stop the sequencer, put the sequencer in REC mode and so on.
Playing Songs Playback Loop playback When recording or playing back a song, you can individually loop the MIDI tracks that are playing. In the Home– MIDI Track Loop page, check Track Play Loop for the MIDI tracks you want to loop, and use Loop Start Measure and Loop End Measure to specify the starting and ending measure of the region that will play back as a loop. If Play Intro is checked (enabled), the measures preceding the loop will be played back as an introduction before the loop begins.
Creating songs (SEQUENCER mode) MIDI recording • You can record up to 400,000 events (e.g., notes), up to 200 songs, and up to 999 measures in each song. • You can perform and record using ARP and the Drum Track. • The maximum timing resolution is 1/480 parts per quarter-note. • You can perform and record using RPPR (Realtime Pattern Play/Recording). • There are sixteen tracks for MIDI performance data, and a master track which controls the time signature and tempo.
MIDI recording Preparations for recording In general, you should set MIDI Channel to different channels 1–16 for each track. Tracks that are sent to the same MIDI channel will sound simultaneously when either is recorded or played. Saving your song parameter settings All of the above settings can be saved as a Template Song. If you frequently use the same settings, this can be a real timesaver. For more information, see “Template Songs,” below. 5. Adjust the effect settings.
Creating songs (SEQUENCER mode) Template Songs The preset data consisting of 18 template songs on the NAUTILUS (P00–P17) is designed to let you quickly get started creating your songs, featuring sets of sounds and effects that match each style of music. Aside from the presets, you can also create original template songs that contain the settings and sounds you frequently use. If Copy Pattern to MIDI Track too? was checked in step 3, the Copy Pattern To MIDI Track dialog box will appear.
MIDI recording Recording MIDI in real-time Recording MIDI in real-time When you’ve finished with “Preparations for recording,” as described above, you can start recording! 2. Set the Recording Setup to Overwrite. Real-time recording lets you record your performance on the NAUTILUS, including the notes that you play, joystick and knob movements, and so on. This is in contrast to step recording, which is described in a later section. The default is to record onto a single track at a time.
Creating songs (SEQUENCER mode) Overdub With this method, the newly recorded musical data is added to the existing data. 6. When you finish recording, press the SEQUENCER START/STOP button. Recording will end (playback will continue). When you perform overdub recording on a previouslyrecorded track, the newly recorded data will be added to the previously-recorded data. Note: Instead of pressing the SEQUENCER REC button in steps 5 and 6, you can use a foot switch connected to the ASSIGNABLE SWITCH jack.
MIDI recording Recording MIDI in real-time Loop All Tracks Multi (multitrack recording) This method lets you continue recording as you add musical data. Multitrack recording allows you to simultaneously record onto multiple tracks, each with a different channel. The specified region can be recorded repeatedly. This is ideal when recording drum phrases, etc. 1. In the upper right of the LCD screen, check “Multi REC.” 1. Use “Track Select” to select the track that you want to record. 2.
Creating songs (SEQUENCER mode) An example of realtime recording In this example, we’ll assign a drum program to MIDI Track 01 and create the following one-measure drum phrase. Hi hat: F#3 Snare: E3 Bass drum: C3 1. Create a new song, and specify a drum program for MIDI Track 01. Use “Track Select” to select MIDI Track 01, and verify that you hear a drum program. 2. Go to the Home– Recording Setup page. In Recording Setup, specify “Loop All Tracks” and set it to M001M001.
MIDI recording MIDI step recording MIDI step recording Step recording is the recording method in which you specify the duration and strength of each note, and use the keyboard to specify the pitch of each MIDI note. You can use the Rest button and Tie button of the dialog box to input rests and ties. Input a dotted note by selecting “.” with the radio buttons at right.
Creating songs (SEQUENCER mode) Note Step Time: Select Step Time: .3- Key, Button Measure/ Beat Tick - Rest button 002 / 02.000 F2 - F2 key 002 / 02.240 Tie - Tie button 002 / 03.000 F2 - F2 key 002 / 03.240 - Rest button 002 / 03.360 A2 - A2 key 002 / 04.000 A3 - A3 key 002 / 04.240 - Rest button 002 / 04.360 8. When you are finished recording, press the Done button. Press the SEQUENCER START/STOP button to play back.
MIDI recording Recording the sound of a Combination or Program Recording the sound of a Combination or Program Here’s how you can easily copy the settings of a Combination or Program, and then record using that sound. Setup in SEQUENCER mode (Copy From Combination and Copy From Program) In SEQUENCER mode, you can use the “Copy From Combi” and “Copy From Program” page menu commands to set up a Song based on a Combination or Program.
Creating songs (SEQUENCER mode) Recording multiple MIDI tracks from an external sequencer 1. Make sure that the MIDI OUT of your external sequencer is connected to the MIDI IN of the NAUTILUS. 5. In the SEQUENCER > Track Parameters– MIDI page, use MIDI Channel to specify the MIDI channel of each track. If it is not connected, turn off the power, make the connection, and then turn the power on. Set the MIDI channel of each NAUTILUS track to match the MIDI channel of each external sequencer track.
MIDI recording Recording System Exclusive events Recording System Exclusive events Exclusive messages received from an external MIDI device or the parameter changes produced when you edit a MIDI track parameter, audio track parameter or effect parameter can be realtime-recorded on any MIDI track. During playback, the exclusive messages you recorded will control the track parameters and effect parameters of the song, and can be sent to external MIDI devices.
Creating songs (SEQUENCER mode) Exclusive messages that can be recorded in realtime The following exclusive messages can be recorded in realtime: • Exclusive messages received from an external MIDI device • Parameter changes in SEQUENCER mode (see “System Exclusive events supported in Sequencer mode” on page 557 of the PG) • Master Volume universal exclusive messages assigned to the foot pedal or a knob 88
MIDI recording Recording patterns Recording patterns Recording and editing patterns 5. Select the page menu command “Pattern Parameter”. A dialog box will appear. You can record patterns in either of two ways; realtime recording or step recording. However, pattern realtime recording differs from song realtime recording in that you can use only Loop type recording. You can edit patterns by using Event Edit operations to modify the recorded data or insert new data.
Creating songs (SEQUENCER mode) Control data in pattern recording To record control data in a pattern, you should restore the control data to its normal value within the pattern. If you fail to restore the normal value, unnecessary control data may remain in a “stuck” position when you place the pattern in a song or use the RPPR function to play the pattern.
Audio recording Audio recording overview Audio recording Audio recording overview • There are sixteen audio tracks. They allow 16- or 24-bit linear PCM recording with a maximum time of 80 minutes. • Automation data (volume, pan, EQ, send 1/2) can be recorded for each track. • Up to sixteen tracks can be played back simultaneously, and up to four tracks can be recorded simultaneously. • The Stereo Pair function lets you assign two tracks as a pair for recording, control, and editing.
Creating songs (SEQUENCER mode) How audio data is stored on the internal drive When you save Songs to internal drive, they’re stored in an .SNG file. This .SNG file contains all of the data from SEQUENCER mode, including all of the Songs in memory, except for the related audio files. Temporary audio files If you’re recording a new song, and haven’t yet saved it as an .SNG file, the audio files are stored in a temporary location on disk.
Audio recording Audio input settings and recording source selection Audio input settings and recording source selection On the Audio Input tab page of the Home-Sample page, you can select the audio source to record, and operate the play/mute, solo, pan and volume controls when recording. IFX1…12: The external audio input signal will be sent to the IFX1–12 bus. Choose this when you want to apply an insert effect while recording. Set REC Source to match the post-IFX Bus Select setting.
Creating songs (SEQUENCER mode) Pan Audio Track Mixer This specifies the panning of each external audio input signal. If you are inputting a stereo audio source, you will normally pan the inputs to L000 and R127 respectively. You can specify the audio source to record from, and change the Play/Mute status, Solo status, pan, and volume for playback. Level This controls the level of the external audio signal. The default is 127.
Audio recording Recording procedure REC 1, 2, 1/2, REC 3, 4, 3/4: The REC 1/2 or REC 3/4 buses will be recorded. Choose this if you want to record only the audio input while hearing the sequencer playback and your keyboard playing from the L/R outputs. You can also mix several audio inputs to the REC buses, or use the REC buses to mix the direct sound from the audio inputs with the sound processed by insert effects, and record the result.
Creating songs (SEQUENCER mode) Note: If the REC Source is L/R, this setting is ignored; the L/R (post-TFX) signal is output from the L/R jacks and the headphone jack. Recording Setup (Audio Track) Bit Depth You can choose to record either 16-bit or 24-bit data. 24-bit yields higher fidelity, but uses more space on drive. Automation Only Normally you will record with this unchecked. Both audio track automation events and audio events will be recorded.
Audio recording Recording procedure 4. If the level is still not high enough, increase the Recording Level using the on-screen slider. Again, the goal is to get the level as high as possible without activating the CLIP! or ADC OVERLOAD! messages. Setup 2. In the Home– Audio Input Sampling page, set the Audio Input parameters as described below.
Creating songs (SEQUENCER mode) 3. In the Home– Recording Setup page, set “Track Select” to Audio Track 01. Location Track Select Record 7. In the Home– Recording Setup page, use “Location” to specify the location at which recording will begin. If you want to start recording from the beginning of the song, set this to 001:01.000. 8. Press the SEQUENCER REC button. The NAUTILUS will be in record-ready mode. If you’ve made metronome settings, the metronome will sound the count. 9.
Audio recording Recording procedure Applying an insert effect while you record In this example, we’ll apply an insert effect to the guitar that’s connected to Audio Input 1, and record the effectprocessed sound on audio track 1. 4. In the Home– Mixer: Status Play/Mute page Audio 18, set REC Source to REC1 so that the signal of the REC bus will be recorded on audio track 1. Audio Track 1 REC Source: REC1 Connect your guitar 1. Connect your guitar.
Creating songs (SEQUENCER mode) Punch-in recording an external input source on an audio track In this example, we’ll show how to punch-in record a portion of the track you recorded in “Recording an external input on audio track 1.” Do not change the settings below—use them as they are. • “Audio Input” (Home– Sampling page) • “Recording Setup(Audio Track)” (Home– Recording Setup page) • “REC Source” (Home– Mixer page) Setup 1.
Audio recording Other variations of audio track recording Other variations of audio track recording Bouncing audio tracks Bouncing lets you combine two or more tracks into either a single mono track, or a stereo pair. In this example, we’ll show how audio tracks 1 and 2 can be bounced to audio track 3. Before you proceed, you’ll need to record onto audio tracks 1 and 2.
Creating songs (SEQUENCER mode) Placing a WAVE file in an audio track You can play back a WAVE file by importing it into a region of an audio track. Important: You can only directly import WAVE files from the internal disk. To use files from CDs or external USB devices, you must first copy them to the internal disk, and then import the copied file into the Song. 5. Select the region into which you want to import the WAVE file, and press the Import button located below. A dialog box will open.
Audio recording Placing a WAVE file in an audio track 7. Press the OK button, the selected region will be placed in the audio track. 8. Select the event that you want to edit, and use the location parameters “Measure” and “Beat Tick” to edit the location of the event. You can’t place two or more events at the same location. 9. Press the Done button. 10.Press the SEQUENCER START/STOP button, and make sure that the WAVE file plays back.
Creating songs (SEQUENCER mode) Song editing You can apply a variety of editing operations to Songs, MIDI Tracks, and Audio Tracks, as described below. MIDI Event Edit: Here you can edit individual events of MIDI data. For more information, see “MIDI Event Edit” on page 534 of the PG. Songs Bounce Track: This command combines the musical data of the bounce source and bounce destination tracks, and places the combined data in the bounce destination. All musical data in the bounce source will be erased.
Song editing Placing a WAVE file in an audio track Put To MIDI Track: This command places a pattern into a MIDI track. For more information, see “Put To MIDI Track” on page 552 of the PG. Copy To MIDI Track: This command copies the specified area of musical data from the specified pattern to a MIDI track as musical data. For more information, see “Copy To MIDI Track” on page 553 of the PG.
Creating songs (SEQUENCER mode) Using RPPR (Realtime Pattern Play/Record) This section explains how to assign a pattern to RPPR, and how to play and record using RPPR. Creating RPPR data 1. Create a new song, and choose a drum program for MIDI track 1. 9. Modify only the “Pattern Name.” Select “Pattern Name,” and press the + button to select P002. 2. Select the SEQUENCER > Pattern/RPPR-RPRR Setup page. In this page, the RPPR function is automatically turned on. 10.
Using RPPR (Realtime Pattern Play/Record) RPPR playback RPPR playback Let’s use the RPPR you created to perform in the SEQUENCER > Home– Mixer page. Play RPPR while a Song plays back 1. Select the SEQUENCER > Home– Mixer page (See the diagram below). RPPR can be played in synchronization with the playback of a song. 2. Check the “RPPR” check box. Pattern playback for a key with a “Sync” setting of SEQ will synchronize to the playback of the song. (See “Sync” on page 505 of the PG.
Creating songs (SEQUENCER mode) Recording an RPPR performance You can record RPPR performances in real-time. 3. Select the SEQUENCER > Home– Mixer page. If you are using only one track (such as MIDI Track 01), set “Track Select” to the desired track, and un-check Multi Rec. 4. Check the “RPPR” check box, and set “Track Select” to MIDI Track 02.
Sampling in SEQUENCER mode Recording an RPPR performance Sampling in SEQUENCER mode Sampling is still available in SEQUENCER mode - which can be very convenient. The main areas of functionality are summarized below. For more information, see “Sampling in SEQUENCER mode” on page 148. • Multisample etc. you create can be played back in SEQUENCER mode together with internal programs.
Creating songs (SEQUENCER mode) Other notes about SEQUENCER mode NAUTILUS sequencer file formats The NAUTILUS sequencer supports both the internal NAUTILUS Song format, and Standard MIDI Files. If you like, you can convert data between the two formats, simply by loading the data in one format and then saving it in the other. For more information, see “Save to Standard MIDI File” on page 723 of the PG, and “Save SEQ” on page 721 of the PG.
Other notes about SEQUENCER mode The Compare function The Compare function When you perform realtime recording, step recording, or track editing, this function allows you to make before-andafter comparisons. Comparing after sampling Operations for which Compare is available The Convert to Program and Convert to Seq Event options in the Select Sample No. dialog affect the way that Compare works with sampling in SAMPLING mode.
Creating songs (SEQUENCER mode) About MIDI Track status You can specify whether each track will use the internal NAUTILUS sounds, or use an external MIDI tone generator. When the Track Status (Home– Mixer page) is set to INT or Both, operating NAUTILUS’s keyboard and controllers will sound and control NAUTILUS’s own tone generator. When Status is set to EXT, EX2 or Both, operating NAUTILUS’s keyboard and controllers will sound and control the external tone generator.
Set Lists Set List Overview Set Lists make it simple to play and organize any of the sounds loaded into the NAUTILUS, without regard for what bank they’re stored in or whether they’re Programs, Combinations, or even Songs. Large on-screen buttons with selectable colors make sound selection fast and foolproof, and the Program Up or Down footswitch assignments can be used for hands-free sound changes. Cut, copy, paste, and insert tools make re-ordering a snap.
Set Lists Selecting and playing sounds Set List Play page 16/8/4 Slots buttons Set List Name Slot Name Slot Comments Comment Area Selected Slot Transpose value Previous button Next button EQ button Selecting Set Lists The large name in the Set List display is the name of the current Slot, so that you can easily see the sound that you’re playing. The Set List name is in smaller text at the top lefthand corner of the screen.
Selecting and playing sounds Selecting Slots Selecting Slots 16/8/4 Slots buttons Returning to the current group of Slots These buttons, at the top of the display, select how many Slots are shown at once. Smaller numbers of Slots leave more room to show the Comments; larger numbers let you select between more Slots without switching screens. You can change between these settings at any time, as convenient, and the setting is stored with the Set List.
Set Lists Bank Map Saving your edits The GLOBAL > Basic Setup– Basic Bank Map (KORG, GM(2)) parameter does not affect the reception or transmission of Set List Program and Bank Select messages.
Editing Set Lists Selecting and re-arranging sounds Editing Set Lists Set List Edit page Bank & Number Select Set List Name Slot Name Sound Type Parameter box Category Select or Keyboard Track Selected Slot Previous button Overview For each Slot, you can: • Assign any Program, Combination, or Song • Name the Slot • Enter a text comment (such as lyrics or performance notes), which is shown when the Slot is selected on the main screen Next button • Customize the appearance of the Slot, including the
Set Lists Adding items to the Set List from other modes PROGRAM, COMBINATION, and SEQUENCER modes each have a command in their top page menus: Add To Set List. This makes it easy to browse through sounds and place them in Set Lists as you go. To do so: 1. Choose “Add To Set List” to open the dialog box. 2. Use the “Set List” and “Insert Slot” parameters to select the destination Set List and Slot. By default, these are set to the current Set List and Slot.
Editing Set Lists Detailed Set List editing Detailed Set List editing • When the timbre’s MIDI channel is set to something other than the global channel (COMBI). Naming a Slot You can name a Slot separately from the name of the Program, Combination, or Song it contains. For instance, if you’re creating a Set List for a gig, you can name the Slots after the section of music in which they’re used, such as “Montana Intro.” To do so: 1. Press the slot name to bring up the text edit dialog. 2.
Set Lists Setting the Slot’s color You can assign each Slot to one of 16 different colors, to make it easier to distinguish between them quickly. You can also apply a color to a range of Slots at once. To do so: 1. Press the Color button to bring up the color selection dialog box. 2. Choose a color for the Slot. If you like, you can also select a range of Slots, and apply a color to all of them at once. 3. When you’re done, press OK.
Smooth Sound Transitions Overview Smooth Sound Transitions Overview Smooth Sound Transitions (SST) help to avoid jarring discontinuities when changing between Programs, Combinations, and Songs, by allowing the previous sound and its effects to ring out naturally as you play the newly selected sound. You can even continue to hold notes on the old sound (on the keyboard or with the sustain pedal) as you play the new sound. SST applies to all modes—not just the Set List.
Set Lists Hold Time starts after notes are released The Hold Time starts only after you release any notes being played on the old sound. Continuing from the example above: 1. Select Slot 3. 2. Play and hold a note on the lead synth sound on the right-hand side of the keyboard. 3. While holding the note, switch to Slot 2. Notice how the note continues to play. Other details Controllers Most controllers (Joystick Y, RT control knobs, etc.) affect only the new sound, and not the old.
Sampling (Open Sampling System) Sampling overview About sampling on the NAUTILUS Overview The NAUTILUS can sample external audio from the analog, or USB inputs, at 48 kHz 16-bit resolution (or 24-bit when sampling to disk), in mono or stereo. You can record samples into RAM, or sample directly to disk. You can also digitally resample the complete sound of a Program, Combi, or Song, played live or sequenced, including any effects and ARP-generated events.
Sampling (Open Sampling System) Level PROGRAM, COMBINATION, SEQUENCER modes In PROGRAM, COMBINATION, and SEQUENCER modes, you can resample a complete live performance including filters, effects, ARP, and even sequencer playback. Analog waveform Time You can also sample external audio sources, mix the NAUTILUS sounds with the external audio and sample the combined result, or even monitor the performance of the NAUTILUS while sampling only the external source.
Sampling overview About sampling on the NAUTILUS Multisamples Multisamples lay out one or more Samples across the keyboard. For instance, a very simple guitar Multisample might have six Samples–one for each string. Each Sample is contained in an Index, which includes parameters for the key range, original Sample pitch, tuning, level, and so on. Multisamples can each have up to 128 Indexes.
Sampling (Open Sampling System) Preparations for sampling Audio Settings Audio input settings In this case, set Use Global Setting to Off, and the audio inputs will use the Program’s custom settings. The Audio Input page Sampling can bypass the mixer entirely This page is available in PROGRAM, COMBINATION, SEQUENCER, and SAMPLING modes, and lets you adjust the volume, pan, effects sends, and bussing for the audio inputs, including analog inputs 1 & 2, and USB 1 & 2.
Preparations for sampling Audio Settings 1…4: The external audio input signal will be sent to Individual 1…4 outputs in mono. Pan does not apply in this case. Solo On/Off 1/2, 3/4: The external audio input signal will be sent to the selected pair of outputs in stereo, with the stereo position controlled by the Pan parameter. Set Source Bus to the corresponding Indiv. input. Sound will be output only from channels for which Solo is On. Other channels will be muted.
Sampling (Open Sampling System) Setting the recording level The Recording Level L and R parameters adjusts the signal level at the final stage of sampling. For the best-quality sampling, set the level as high as possible without allowing the level meter to indicate “CLIP !” Press the SAMPLING REC button to enter record-standby mode; the level meters will indicate the recording level of the signal from the bus line you selected in Source Bus. You can use the slider to adjust the signal level.
Preparations for sampling Audio Settings Audio Input 1/2, USB 1/2: Choose these settings if you want to directly sample from the analog, or USB inputs. The input will be sampled directly without being routed through the L/R bus, REC buses, or Individual buses. The inputs will be connected directly, regardless of the Audio Input settings for Bus Select, Pan, and Level. Trigger This controls how sampling will be initiated. The triggers you can select will differ depending on the mode.
Sampling (Open Sampling System) Making settings for the sample to be recorded (REC Sample Setup/Sampling Setup) Next we will specify the location into which the data will be sampled, select mono or stereo sampling, and specify the sampling time. In SAMPLING mode, these settings are made in REC Sample Setup. In COMBINATION, PROGRAM, and SEQUENCER modes, these settings are made in Sampling Setup. These settings apply only in each respective mode.
Preparations for sampling Audio Settings Auto +12 dB On In general, the Recording Level should be set to 0 (dB). For more information, see “Setting the recording level” on page 128. In order to maintain headroom, the NAUTILUS generally plays back samples 12 dB softer than the original volume (if +12 dB is off). This is appropriate for sounds which will be played back polyphonically, such as samples of acoustic instruments.
Sampling (Open Sampling System) Sampling and editing in SAMPLING mode In SAMPLING mode, you can record samples, and edit sample data that you sampled or loaded from media (including WAVE and AIFF formats). You can also assign the edited samples to indexes (zones) to create a multisample. For details on how to access each mode and page, refer to “Basic operations” on page 14.
Sampling and editing in SAMPLING mode Creating multisample indexes and sampling–Recording 4. Press the Create button to create an index. Immediately after the power is turned on, Index will show 001/008. This indicates that there are eight indexes, and that the first index is selected (see the illustration below). Creating multiple samples In the example procedure described above, several indexes were created (by pressing the Create button several times), and then samples were assigned to each Index.
Sampling (Open Sampling System) Basic examples of sampling Sampling your voice from a mic, and playing it back as a one-shot sample In this example, we’ll use a mic connected to Audio Input 1 to sample your voice. Connect a mic 1. Connect a mic to the rear panel Audio Input 1 jack. Mic 3. Select “REC Audio Input.” This will make settings for sampling an external audio source. 4. Set “Source Audio” to Audio Input 1/2. 2.
Sampling and editing in SAMPLING mode Basic examples of sampling 9. On the Recording– Audio Input page, try changing the method used to start sampling to “Trigger”. This sets sampling to begin when the input sound exceeds a certain volume. Trigger: Threshold This sets sampling to begin when the input sound exceeds a certain volume. Record 13.Press the SAMPLING REC button. 14.Press the SAMPLING START/STOP button. The NAUTILUS will be in record-ready mode. 15.
Sampling (Open Sampling System) 23.Repeat steps 14 and 15 several times more to record a few more samples. (Example: “Easy,” “To,” “Sample,” “With,” “NAUTILUS”) 8. Press the OK button to execute the command. This completes the setup process for sampling. Note: You might want to recheck the settings you made. Listen to the recorded result Recording– Audio Input page Audio In: On 24.Play the keys one after another. – INPUT1 – Play the keys starting at C2 in semitone steps.
Sampling and editing in SAMPLING mode Basic examples of sampling 14.Press the EXIT button, and then press the Recording tab to go to the Recording– Recording page. 15.Select Index. If you want to create a new index, press the Create button. Set the recording level 16.Refer to “Set the recording level” on page 135 to make the settings. Record Press the SAMPLING REC button, and then the SAMPLING START/STOP button to enter record-ready mode. Speak the word you want to sample.
Sampling (Open Sampling System) NAUTILUS enters record-ready mode, resampling will begin when you press the SAMPLING START/STOP button. Resample: Auto Samples that are assigned to an index will automatically be resampled. Recording Level: 0.0 This is the default setting for resampling. • Recording– Recording Save to: RAM Samples the sound to RAM. Sampling Mode: Stereo Samples the sounds in stereo that are coming in through the internal L/R channels.
Sampling and editing in SAMPLING mode Editing loops 3. Set the start address in “Start,” the loop start address in “Loop Start,” and the end address in “End.” Select Loop Start (highlighted), and use the [VALUE] dial or other VALUE controllers to modify the value. The corresponding vertical line will move. Set Start and End in the same way. In the example shown below, Start is set immediately before the first waveform, Loop Start is set immediately before the second waveform, and End is set as desired.
Sampling (Open Sampling System) Using Time Slice Time Slice is a function that detects the attack of the kick or snare etc. in a rhythm loop sample (a sample consisting of a looped pattern of drums etc.), and automatically divides it into separate instrumental sounds. Each of the divided instrumental sounds is made into a sample of its own, and then automatically expanded into a multisample and program. Pattern playback data for the SEQUENCER mode using the divided samples is also created automatically.
Sampling and editing in SAMPLING mode Using Time Slice • Home– Mixer page Track01 Program: as desired (for instance, P000) • Track Edit, Track Edit page Track01: track data: 8 measures (D2–) Press the Save button to save the data. You will return to the dialog box of step 4. • If you want to create the performance data in a pattern: In order to audition the performance data as it would be if created as a pattern, press the Save button once again to go to the Save Samples & MS dialog box.
Sampling (Open Sampling System) In the Home– Mixer page, press the C#2 key. The RPPR function will begin playing pattern U00. In the Pattern/RPPR, Pattern Edit page, press the SEQUENCER START/STOP button to start playback of pattern U00. When you press the C#2 key in the Pattern/RPPR, RPPR Setup page, the RPPR function will start playing pattern U00. In the same way as in step 7, changing the playback tempo will not affect the pitch.
Sampling and editing in SAMPLING mode Multisample editing Multisample editing Editing a multisample is accomplished with a number of operations i.e. creating indexes for the multisample and assigning a sample to each index, editing operations such as deleting, copying, and inserting indexes, and detailed settings such as sample level and pitch for each index. Multisample editing is performed in Multisample. You can also do some basic edits in the Recording– Recording page.
Sampling (Open Sampling System) Saving, converting to Programs, and Comparing Saving Samples and Multisamples Any Samples and Multisamples that you create or edit in SAMPLING mode must be saved in MEDIA mode, or they’ll go away when you turn off the power. This is different from Programs and Combinations, which can be written to memory. For more information, see “Some types of data must be saved to disk” on page 209.
Sampling in PROGRAM and COMBINATION modes Overview Sampling in PROGRAM and COMBINATION modes Overview In addition to using SAMPLING mode, you can also sample both external audio sources and internal sounds in PROGRAM, COMBINATION, and SEQUENCER modes. For instance, you can resample a performance that uses the NAUTILUS’s full range of features, including filters, effects, Drum Track, and ARP.
Sampling (Open Sampling System) After you finish adjusting the level, press the SAMPLING REC button. Press the ARP button to turn the arpeggiator function off. 9. Sample the sound. Press the ARP button to turn it on. Press the SAMPLING REC button. Press the SAMPLING REC button to enter record-ready mode. Play the keyboard. Recording will start once a key is pressed. During this time, all of the notes that you play on the keyboard and all of the controller operations will be recorded.
Sampling in PROGRAM and COMBINATION modes Sampling a guitar from the audio inputs, while listen- 9. Press the OK button to execute the command. This completes the setup process for sampling. Note: You might want to recheck the settings you made. Audio In: On – Input 1, 2 – REC Bus: 1/2 Sends the input from AUDIO INPUT 1 to AUX Bus 1/2. – RECORDING LEVEL – Recording Level: 0.0 This is the default setting for resampling.
Sampling (Open Sampling System) Sampling in SEQUENCER mode In SEQUENCER mode, you can sample just like in PROGRAM and COMBINATION modes, but there’s an additional option unique to SEQUENCER mode: In-Track Sampling. In-Track Sampling lets you sample an audio source that’s being played along with the song. During the sampling process, the system will automatically create a Program to hold the new sample, and MIDI notes to play it in sync with the song.
Sampling in SEQUENCER mode Resampling a song to create a Wave file 11.Press the SAMPLING REC button. When you play your guitar, the level meter will indicate the volume at which the guitar will be sampled. If the display indicates “CLIP!,” use the VALUE controllers to lower the Recording Level slider (in the right of the display) below 0.0 to an appropriate level. 12.When you have finished making adjustments, press the SAMPLING REC button. 13.
Sampling (Open Sampling System) This number will increment each time you sample, ensuring that the filename will not be the same even if you sample repeatedly. After you have made the settings, press the Done button to close the dialog box. 8. Set Sample Time to the length that you want to sample. Set this to a value slightly greater than the length of the song. 9. Set the Sample to Disk parameter to the desired bit depth. You can sample to drive at either 16-bit or 24-bit resolution. 10.
User Sample Banks Overview User Sample Banks Overview User Sample Banks bring the benefits of EXs to your own sample libraries. You can load and play gigabytes of your custom or converted samples at once, using Virtual Memory. Drive and memory management is easy: you can create subsets of User Sample Banks, and mix and match parts of different banks, without duplicating samples on disk. To create and edit data for User Sample Banks, you’ll use SAMPLING mode.
Sampling (Open Sampling System) Saving User Sample Banks Saving a KSC file which includes Sampling Mode Data automatically creates a User Sample Bank. To do so: 1. Create your own set of samples in SAMPLING mode, load previously created samples, or load samples from Akai or SoundFont 2.0 formats. 2. In MEDIA mode, go to the Save page. 3. Select the internal drive (if you have two internal drives installed, select either one).
User Sample Banks Saving User Sample Banks Creating combined or stripped-down KSCs The great thing about User Sample Banks is that they let you use their data by reference, instead of by copying and editing the data itself. Let's say that you have three User Sample Banks: CoverBand_UserBank.KSC, SoloProject_UserBank.KSC, and Experimental_UserBank.KSC. You can then create additional KSCs to do any of the following: 6. Save a new KSC with a different name (such as BestOfEverything.
Sampling (Open Sampling System) Loading User Sample Banks Once saved to drive, User Sample Banks can be used much like EXs. To load a User Sample Bank: 1. Go to the folder in which you’ve saved your KSC from “Saving User Sample Banks,” above. 2. Select the “[name] UserBank.KSC” file. 3. Press the Load button. The Load KSC dialog will appear. 4. If you’ve just saved the KSC that you want to load, set .KSC Allocation to Clear Sampling Mode Data. This will unload the data from SAMPLING mode.
User Sample Banks Editing User Sample Banks Editing User Sample Banks At any time, you can load a User Sample Bank’s data into SAMPLING mode and edit the Samples or Multisamples as desired, or add new Samples or Multisamples. To do so: 1. If the data is already loaded as a User Sample Bank, use the “Unload all in bank” command on the Global Sample Management page to unload the data before proceeding. For more information, see “Unloading an entire bank of data” on page 644 of the PG. 2.
Sampling (Open Sampling System) User Sample Bank IDs and limitations User Sample Bank IDs Under the hood, the NAUTILUS keeps track of User Sample Banks by a special ID saved in the KSC file. This lets the system find and recognize the User Sample Bank if you change the name or location on the drive, and even if it’s used on another NAUTILUS altogether. An ID is initially assigned when the samples are created in SAMPLING mode.
Arpeggiator function Arpeggiator functions and scene settings Arpeggiator function The arpeggiator is a function that automatically generates arpeggios (patterns of individual notes derived from a chord). Most arpeggiators produce an arpeggio when you play a chord on the keyboard. Drum Track Pattern contents Bank Contents Preset P000…1271 Preset Drum Track patterns User U000…999 User Drum Track patterns You can write to patterns U000 through U999.
Arpeggiator function Setting you can make for the scenes • Arpeggiator settings • Drum track or step sequence selection • Drum track patterns Selecting a scene, playing with the arpeggiator and drum track or step sequencer LATCH/ARP/DRUM button Arpeggio pattern RT control knob parameters Tempo EDIT button Drum track patterns Scene 1–4 buttons Selecting the scene Arpeggiator on/off 1. In PROGRAM mode, COMBINATION mode. or SEQUENCER mode, display the ARP/DRUM tab on the Home page.
Arpeggiator functions and scene settings Selecting a scene, playing with the arpeggiator and drum track If the LED is solidly lit: this means that the Trigger Mode is set to Start Immediately. The Drum Track pattern will start according to the Sync setting (for more information, see “Controlling how the Drum Track starts and stops” on page 162). When you turn it off, the pattern will stop. If the LED is blinking: this means that the Trigger Mode is set to Wait KBD Trig.
Arpeggiator function Setting the scenes A single program (or combination) can contain patterns or playback settings for the arpeggiator and drum track or step sequence as different scenes. Four scenes can be saved in a program. These scenes let you make changes while you are playing, such as by preparing variations with changes to the arpeggio pattern, or scenes with different drum tracks. Basic settings for scenes Making the Arpeggiator settings 1.
Arpeggiator functions and scene settings Setting the scenes Selecting the octave range where the arpeggio is sounded Synchronizing the arpeggiator to your keyboard timing Use the “Octave” to specify the range of octaves where the arpeggio will play. You can specify whether the arpeggio will begin at the moment you play the keyboard, or whether it will always play in synchronization to the MIDI clock tempo. • Press an “Octave” to make your selection. • Press the “Key Sync.
Arpeggiator function Setting the range in which the arpeggiator operates Press the “More” button in Common Settings (on the ARP DRUM edit page) to show the Scene Common Setup dialog box, where you can set the notes (on the keyboard) that make the arpeggiator operate, as well as the velocity range. Use the right-hand “Volume” slider to adjust the volume of the drum track. Use the “Detune” value to adjust the pitch of the entire program.
Arpeggiator functions and scene settings Setting the scenes Use LATCH Button: The LATCH button settings on the front panel will be used for the latch settings of the drums. 5. If Trigger Mode is set to Wait KBD Trig, specify the Keyboard Zone and Velocity Zone. These settings specify the range of keys and velocities that will trigger the Drum pattern when you play the keyboard (or receive a note-on).
Arpeggiator function Arpeggiator settings in COMBINATION and SEQUENCER modes In COMBINATION and SEQUENCER modes, you can use use two arpeggio patterns simultaneously, thanks to the NAUTILUS’s dual arpeggiator functionality. The settings in each of these modes are adjusted in a similar way. The following example shows how to adjust settings in COMBINATION mode. 4. Set “ (Tempo)” to specify the tempo. This is the same as for a program. However, the tempo is shared by both arpeggiators A and B. 5.
Arpeggiator functions and scene settings Arpeggiator settings in COMBINATION and SEQUENCER Using the Drum Track in COMBINATION mode Selecting a Drum Track pattern and sound In PROGRAM mode, the Drum Track has a special reserved mixer slot, a dedicated Program select parameter, and so on—and the Drum Track pattern always plays that dedicated Program. In COMBINATION mode (and SEQUENCER mode), the Drum Track simply sends MIDI to play one or more of the 16 Timbres/Tracks.
Arpeggiator function Arpeggiator settings in SEQUENCER mode The Drum Track works much the same in SEQUENCER mode as it does in COMBINATION mode. However, while a combination triggers the arpeggio pattern or drum track pattern on the global MIDI channel, a song triggers the drum track pattern on the MIDI channel specified on the Drum Trigger “Input Ch” in Scene Common Setup. Normally you’ll set this to Tch.
Arpeggiator functions and scene settings Regarding arpeggiator synchronization Regarding arpeggiator synchronization “Key Sync.” parameter The timing of the arpeggiator notes depends on the state of the arpeggiator Key Sync. check box. If this box is checked, the arpeggiator will start running at the first note-on that occurs after you’ve taken your hands completely off the keyboard. If this box is unchecked, the arpeggiator will run in synchronization with the internal/external MIDI clock.
Arpeggiator function Synchronization with Songs • When you press the SEQUENCER START/STOP button, the Drum Track will stop along with the sequencer. • If you want the Drum Track to start simultaneously with the beginning of recording, press the DRUM button during the pre-count before recording (if Trigger Mode is Start Immediately) or play the keyboard (if Trigger Mode is Wait KBD Trig).
Creating Drum Track patterns Regarding arpeggiator synchronization Creating Drum Track patterns To create a Drum Track pattern, you’ll use the SEQUENCER > Pattern/RPPR– Pattern Edit page to convert a user pattern into a user Drum Track pattern. Once you’ve converted the pattern in this way, you’ll be able to use it with the Drum Track in each mode. These converted Drum Track patterns are held in internal memory even after you turn off the power.
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Global Settings, Wave Seq., Drum Kits GLOBAL mode overview In GLOBAL mode you can make overall settings that apply to the entire NAUTILUS, such as master tune, key transpose, effect global button, global MIDI channel, and system clock. In addition, you can set the QUICK ACCESS button, create user Drum Kits, Wave Sequence, and Scales, make settings for the damper pedal and assignable foot switches/pedals, and specify category names for programs and combinations.
Global Settings, Wave Seq., Drum Kits Global Settings Basic Setup Tuning and Transposing Tuning to another instrument To adjust the tuning in fine increments, in order to match other instruments or recorded music: 1. Press the MODE button to select GLOBAL mode. 2. Press the PAGE button to choose the Basic page, and then press the Basic tab to go to the Basic Setup page. 3. Adjust the Master Tune to the desired pitch. The Master Tune is adjustable over a range of ±50 cents (one semitone = 100 cents).
Global Settings Basic Setup Bypassing the effects Insert effects, master effects, and total effects can be bypassed globally. This applies to the entire NAUTILUS regardless of the mode. For example, if you’ve connected the NAUTILUS’s outputs to an external mixer and are using an external effect processor to apply reverb or chorus to the sound, you can turn off the NAUTILUS’s master effects and total effects.
Global Settings, Wave Seq., Drum Kits Global audio settings Making default audio input settings The Global Audio Input page controls the default mixer settings for the audio inputs, including level, pan, effects busing, and so on. It also lets you route the main L/R outputs to a pair of individual outputs, for specific applications in live performance and recording. Each Program, Combination, and Song can either use these Global audio input mixer settings, or have its own custom settings.
Global Settings Pedal and other controller settings Pedal and other controller settings The GLOBAL > Controllers/Scales– Controllers page lets you control how the footswitches and foot pedal will work. Setting up the Assignable Switch and Pedal Assignable Pedal You can specify the function that will be performed by an assignable pedal (the optional XVP-20 VOL/EXP pedal or EXP-2 foot controller) connected to the ASSIGNABLE PEDAL jack. This is controlled by the Foot Pedal Assign parameter.
Global Settings, Wave Seq., Drum Kits Configuring the QUICK ACCESS buttons You can configure which functions will be assigned to the QUICK ACCESS buttons by going to the GLOBAL > Basic Setup– Quick Access page. Setting dialog box 1. The A–F buttons on the screen will be outlined in pink. Press the function you want to set. Selecting a template Select the type of template you want to use. 2. Select the function you want to set for the selected button. None: Nothing will be assigned.
Global Settings Configuring the QUICK ACCESS buttons Sound Browse: Sets the sound select dialog box to the QUICK ACCESS button. Function: Assigns the sequencer transport buttons, the Compare function in the Page menu and so on to the QUICK ACCESS button. 3. Configure the settings for each selected function. See the Parameter Guide for details on the respective functions.
Global Settings, Wave Seq., Drum Kits Creating user scales Creating an original scale, and assigning it to a Program Here is how to set the scale type for each timbre in SEQUENCER mode. 1. Create a user octave scale or a user all notes scale. Select a key, and use the VALUE controllers to adjust the pitch. The range of ±99 raises or lowers the pitch approximately one semitone above or below the standard pitch.
Automatically loading sample data Using the KSC Auto-Load list to select which samples to load Automatically loading sample data Using the KSC Auto-Load list to select which samples to load What’s a KSC? Removing a KSC from the list KSC stands for Korg Sample Collection. KSC files contain links to SAMPLING mode, EXs, and/or User Sample Bank data, including Multisamples, Samples, and Drumsamples. Loading a KSC file loads all of the linked data. You can also remove KSCs from the list.
Global Settings, Wave Seq., Drum Kits Virtual Memory: The samples will use Virtual Memory. This generally allows you to load more large samples at once. Note that the samples may still require a significant amount of RAM. Multisamples shows the current number of Multisamples in SAMPLING mode, out of the maximum of 4,000. KSC Settings: KSCs can store separate load method settings for each Multisample or Drumsample, based on the settings when the KSC was saved.
Automatically loading sample data Creating and saving .KSC files Sample data may be shared by two or more Multisamples or Drumsamples. If a Sample is used only by the Multisample or Drumsample being unloaded, the Sample will be unloaded as well. If the Sample is used elsewhere, it will stay loaded. Creating a new KSC by loading individual Multisamples You can also load a few Multisamples from an existing KSC, and then save out the result as a new KSC.
Global Settings, Wave Seq., Drum Kits Connecting to computers via USB Ethernet and FTP Overview Network Troubleshooting You can use a USB Ethernet adapter to rapidly and easily transfer files to and from your computer, by means of the FTP server functionality built into the NAUTILUS. This feature makes it simple to back up and transfer sample data from the NAUTILUS, restructure your programs and other data, rename various files and directories and so on.
Using Wave Sequences Wave Sequence Overview Using Wave Sequences Wave Sequence Overview What’s a Wave Sequence? Wave Sequence banks Wave Sequences play back a series of different Multisamples over time. You can use this to create a variety of unique timbral and rhythmic effects, as described below. There are built-in “factory” sounds in the banks A, B–I, as shown below.
Global Settings, Wave Seq., Drum Kits Programming Basics The Wave Sequence parameters are spread over two pages. The Step Parameters page goes deeper into the structure of the Wave Sequence, allowing you to edit each of the 64 Steps. Programs, Combinations, and Songs also have a handful of Wave Sequence-related parameters, to make it easier to fit Wave Sequences in with other sounds and rhythmic components (such as ARP).
Using Wave Sequences Programming Basics What’s in a step? Setting up the loop Wave Sequences have 64 steps (although you don’t have to use all of them–see “Setting the length of the sequence” on page 185). Each step includes: Wave Sequences can loop, so that some or all of the steps are played repeatedly–like a drum loop, or a loop in a sequencer. • A “type” setting, which makes the step either play a Multisample, continue the previous step like a tied note, or play only silence like a musical rest.
Global Settings, Wave Seq., Drum Kits Adjusting the sound of an individual step You can make some basic adjustments to the sound of each step’s Multisample, including changing its volume and pitch, making it play in reverse, and changing the sample start points. You can also use the AMS Outputs to modulate other Program parameters outside of the Wave Sequence, such as Filter Frequency, Pan, and so on. To edit steps: 1. Go to the GLOBAL > Wave Sequence– Step Parameters page.
Using Wave Sequences Adjusting the sound of an individual step Modulating Program parameters per step Each step has two AMS Output values. These act kind of like step sequencers, allowing you to modulate any AMS destination in the Program. In other words, virtually any Program-level parameter can have a different setting for each step of the Wave Sequence. For instance, to adjust the Filter Frequency separately for each step: 1. Select the Program that you’ll use for the Wave Sequence. 2.
Global Settings, Wave Seq., Drum Kits Using rhythmic Wave Sequences Creating rhythmic Wave Sequences To create a rhythmic Wave Sequence: 1. On the Seq Parameters page, set the Mode to Tempo. This makes the Wave Sequence synchronize to the system tempo, as set by either the Tempo knob or MIDI Clock. 2. Set Run to On. This is the default setting; the Wave Sequence will move from step to step automatically. 3.
Using Wave Sequences Using rhythmic Wave Sequences Wave Sequence Swing • In PROGRAM and COMBINATION modes, if ARP is off, note-ons are synchronized with the sounding Tempomode Wave Sequence, if any. Swing Resolution = Beat 1 Beat 2 3 Swing = 0% Swing = +100% 3 3 3 • In PROGRAM and COMBINATION modes, if ARP is on, note-ons are synchronized with ARP. +100% –100 Swing = –100% +200% • In SEQUENCER mode during playback or recording, note-ons are synchronized with the sequence.
Global Settings, Wave Seq., Drum Kits Creating smooth, evolving timbres Crossfaded Wave Sequences Stretching or compressing the sequence To create a smooth, crossfading Wave Sequence: If you like the proportions of the step durations and crossfades, but want the whole sequence to go faster or slower. The Exp/Comp (Expand/Compress) button makes this easy: 1. On the Seq Parameters page, set the Mode to Time.
Using Wave Sequences Modulating Wave Sequences Start Step modulation If Repeat Times is 1, Note-On Advance will make the Wave Sequence play as follows: You can use a MIDI controller, such as Velocity, to select a different start step for each note, to introduce more variety into the timbre. You can move the start step either forwards or backwards. For instance: 1st note: 2, 3, 4, 5, 3, 4, 5, 6 1. Make sure that Note-On Advance is Off.
Global Settings, Wave Seq., Drum Kits Saving Wave Sequences Once you’ve spent all this time editing, you’ll want to save your work. To save your Wave Sequence edits: 1. Select the Write Wave Sequence command from the page menu. This brings up a dialog box which allows you to save the Wave Sequence. Optionally, you can also select a new location, or change the Wave Sequence’s name. 2. Press the Wave Sequence name to bring up the text edit dialog.
Using Drum Kits Drum Kit Overview Using Drum Kits Drum Kit Overview What’s a Drum Kit? Drum Kit Programs and Oscillator Mode Drum Kits, as the name implies, are optimized for creating drum sounds. They offer a number of special features, such as: The Program’s Oscillator Mode setting, on the Program Basic tab of the PROGRAM > Basic/X-Y/Controllers page, sets whether the Program is used to play Drum Kits or to play normal Multisamples (such as pianos, strings, etc.).
Global Settings, Wave Seq., Drum Kits Before you start editing… First, select a Drum Program OSC1/Basic Octave setting Drum Kits are edited in GLOBAL mode. While you’re in GLOBAL mode, you’ll play the kit that you’re editing as if you were playing it from within the Program, Combi, or Song which was selected before you entered GLOBAL mode. In order for the note mappings to match the keyboard, the Oscillator’s Octave setting needs to be +0 [8']. All Drum Kit Programs should have this setting already.
Using Drum Kits Editing Drum Kits Creating a velocity crossfade Fine-tuning the sound of each sample For this key, let’s create a simple velocity crossfade between two stereo Drumsamples. 1. If you like, adjust the Levels for the two Drumsamples. 1. On the GLOBAL > Sample Setup page, make sure that DS1 and DS2 are turned On. Just press the On/Off buttons to toggle them, if necessary. 2. Similarly, make sure that DS3…8 are turned Off.
Global Settings, Wave Seq., Drum Kits Controlling effects for each key Controlling pan for each key Drum Kits have their own, built-in mixers. For each key, you can control the Insert Effects busing, Master Effects sends, and pan. To use separate pan settings for each key: To use separate bus settings for each key: 2. Under Pan, make sure that the Use DKit Setting check-box is checked. 1. In PROGRAM mode, go to the Routing tab of the IFX page. 2.
Editing arpeggio patterns Creating a user arpeggio pattern Editing arpeggio patterns Creating a user arpeggio pattern About user arpeggio patterns The patterns that can be selected on the NAUTILUS’s arpeggiator are called “arpeggio patterns.” There are two types of arpeggio patterns: preset arpeggio patterns and user arpeggio patterns. Preset arpeggio patterns: There are five patterns; UP, DOWN, ALT1, ALT2, and RANDOM. The functionality of these patterns is fixed, and cannot be edited.
Global Settings, Wave Seq., Drum Kits A pattern consists of Steps and Tones. • Step: Each user arpeggio pattern has up to 64 steps. Starting with the first step, the arpeggiator will play notes at intervals of the note value specified by Resolution. The vertical lines of the grid indicate the steps. Use Step to select the step; then specify Pitch, Gate, Velocity and Flam for each step. You can also select the step by pressing the Step line in the parameter view at the bottom.
Editing arpeggio patterns Creating a user arpeggio pattern Drum pattern You can use the arpeggiator to play a rhythm pattern by using “Fixed Note” with a drum program. 1. In PROGRAM mode, select a drum kit program. For this example, select the preset program O034: Jazz Dry/Amb Kit (Category: Drums). 2. In GLOBAL > Arpeggio Pattern, select the parameter settings. Arpeggio Tone Mode: Set this to Fixed Note. This will cause the tone to always sound at the specified pitch. 4.
Global Settings, Wave Seq., Drum Kits When specifying Gate and Velocity, press the SELECT button to select ARP, and set knob 1 (GATE) and knob 2 (VELOCITY) to the center position (12 o’clock). Dual arpeggiator editing Here we will use a combination as an example in our explanation. The same procedure applies when editing an arpeggio pattern in SEQUENCER mode. The drumsample corresponding to each note number will differ depending on the drum kit.
Editing arpeggio patterns Saving the arpeggio pattern Saving the arpeggio pattern Once you are finished editing, give the arpeggio pattern a name and then save the pattern. 1. Select “Rename Arpeggio Pattern” from the page menu command. 2. Press the arpeggio pattern name that is displayed above to show the text edit dialog box. Use the keyboard on the display to give the pattern a name. 3. Once you have inputted the name, press OK. The display will return to the main dialog box. 4.
Global Settings, Wave Seq.
Loading & saving data Saving data Overview There are three ways to save data; you can write it into internal memory, save it to media (on the internal drive or external USB storage media, including CD-R/RW), or transmit it as a MIDI data dump. Writing to internal memory The following types of data can be written into the internal memory. • Programs Programs 000–127 in banks A...T • Combinations Combinations 000–127 in banks A...
Loading & saving data MIDI data dump The following types of data can be transmitted as a MIDI data dump and saved on an external data filer or other device. • Set Lists, Programs, Combinations, global settings, Drum Kits, Drum Track Patterns, Wave Sequences and Arpeggio Pattern • Songs For more information, see “Dump Program” on page 690 of the PG. About preload data and preset data “Preload data” refers to the sounds and other data loaded in the NAUTILUS when it is shipped from the factory.
Saving data Writing to internal memory Writing to internal memory Writing Programs and Combinations • COMBINATION > Combination Select on the Home page Edits to Programs and Combinations can be saved to the internal memory, which we’ll refer to as “Writing.” If you want edits to be preserved after the power is turned off, you must write them. • SEQUENCER > Track Program Select on the Home – Mixer page Do not turn off the power for at least 10 seconds after using any of the Write commands.
Loading & saving data The Edit Buffer, Write, and Compare Editing names and entering text “Edit buffers” are temporary areas in memory used for storing edits. There are five separate edit buffers, one for each of the following data types: You can change the names of any user-editable data, including Set Lists, Programs, Combinations, Songs, Samples, drive files and directories, and more (see “Where can names be changed?” on page 207). You can also change the names of some Categories and Sub Categories.
Saving data Writing to internal memory Text edit dialog Character buttons Cursor Text Delete button Deletes the character to the left of the cursor. Cursor buttons Move the cursor to left or right. Character Set Selects the type of character. Space button Insert a space at the cursor location. Shift button Switches between uppercase and lowercase characters. Cancel button, OK button If you are satisfied with the text that you input, press the OK button.
Loading & saving data Memory protect Writing Global settings Memory Protect lets you prevent certain types of data from being overwritten accidentally. There are individual checkboxes to enable Memory Protect for different parts of the system, as described below. Any edits in GLOBAL > Basic Setup, MIDI, Controllers/Scales, Category Name are temporary until you use the Write command to store them in the internal memory.
Saving data Saving to internal drive, CDs, and USB media Saving to internal drive, CDs, and USB media Some types of data must be saved to disk Media setup Everything that you create or edit within the NAUTILUS— sounds, songs, samples, etc.—can be saved to disk, and backed up on external media. Before saving or loading data, make sure that the desired drive or USB storage media is selected.
Loading & saving data Saving memory contents to drive You can save various types of data individually, as explained under “Saving to internal drive and USB media” on page 203. However, you can also save all of the most important contents of memory, including: 8. For now, leave all of the boxes checked in the Selection button dialogs. There are individual check-boxes for each bank of Programs and Combis, and for various other types of data.
Saving data Saving to internal drive, CDs, and USB media Data dependencies When using Save All, “Save PCG & SNG,” and Save PCG to save Combinations, you should also remember to save the Programs used by each timbre (or the Drum Kits, Wave Sequences and Arpeggio Pattern used by the Programs) at the same time. Similarly when saving Programs, you should also remember to save the Drum Kits, Wave Sequences and Arpeggio Pattern used by the programs.
Loading & saving data Full Format: Select this when formatting media that has not been physically formatted, or media (CD-RW) that has not been UDF-formatted. Note: Normally, it is not necessary to perform a Full Format on media that has been physically formatted at 512 bytes/block. Execute the Quick Format for such media. Note: You will normally select Full Format for CD-RW media etc. that has not been UDF-formatted. If an error message of “Media not formatted” appears, execute Full Format.
Loading data from disk Loading Songs, sounds, and samples together Loading data from disk The types of data that can be loaded from media are shown in the diagram “Supported file types” on page 218. (For more details, see “Load selected” on page 703 of the PG.) The MEDIA mode Load page lets you load data from the internal drive or any USB 2.0 Mass Storage Device, such as hard drives, flash media, CD-R/RW drives, etc.
Loading & saving data 10.Use “.KSC Allocation” to specify whether or not to erase any samples currently in memory. Append will leave all currently-loaded SAMPLING mode, EXs, and User Sample Bank data intact. SAMPLING mode Multisamples and Samples will be loaded into the next available vacant numbers following the existing data. Clear Sampling Mode Data will erase all Multisamples and Samples from SAMPLING mode, and load the data in the same configuration with which it was saved.
Loading data from disk Loading individual banks from a .PCG file Loading individual banks from a .PCG file 1. Select the .PCG file containing the data you want to load. Refer to steps 1–4 of “Loading Songs, sounds, and samples together” on page 213.” Select the .PCG file in step 4. When data is loaded into a bank that is different than its original bank, the data (bank, program, pattern, and kit numbers, etc.
Loading & saving data Loading data by individual item or bank The NAUTILUS lets you load programs, combinations, drum kits, Wave sequences and Arpeggio Pattern individually or by individual banks. This is a convenient way to rearrange combinations in the order in which you will use them during a live performance. Be aware that if you change the order of Programs, the sounds played by Combinations may also be affected.
Loading data from disk Loading the samples required by Programs or Combinations Loading the samples required by Programs or Combinations Loading samples required by a single Program or Combination Programs and Combinations may sometimes require sample data that’s not currently loaded. If this happens, the message Samples Not Loaded appears at the top of the display. You can easily load the required sample data, and save the results so that it can be loaded automatically in the future.
Loading & saving data Supported file types DOS file .PCG file All programs 1 program bank A...T 1 program All combinations 1 combination bank A...N 1 combination All drum kits (User) 1 drum kit bank A...O 1 drum kit All arpeggio patterns 1 arpeggio pattern bank INT, USER 1 arpeggio pattern DOS directory (created by Save SEQ on the NAUTILUS) All Wave sequences 1 Wave sequence bank A...
Using Effects Effects overview Effects basics The NAUTILUS provides 12 insert effects, two master effects, and two total effects, together with a mixer that controls the routing of these effects. All of these are stereo in/out. Specific parameters of these effects can also be controlled in real time from the NAUTILUS’ controllers or via MIDI messages using Dynamic Modulation (Dmod), by MIDI/Tempo Sync, or by using a common LFO or the X-Y Envelope to apply synchronized change to differing modulation effects.
Using Effects Effect I/O Insert effects Set List EQ Insert Effects (IFX 1–12) are stereo-in/stereo-out. If you set Wet/Dry to Dry, the input signal will pass through without being processed by the effect.
Effects overview Effects in each mode Effects in each mode EXi Programs may have a different filter and amp structure for each type, but you can also apply insert effects, master effects, and total effects to EXi 1 & 2, just as for OSC 1 & 2 an HD-1 Program. PROGRAM mode For HD-1 Programs, you can use insert effects to process the final sound in the same way that you use the Filter, Driver, Amplifier, and EQ (equalizer) to process the sound from the oscillators (OSC 1 & 2).
Using Effects In SEQUENCER mode you can also use the effects when recording external audio sources to audio tracks. Audio Inputs You can also use audio from the analog, and USB audio inputs in Programs, Combinations, and Songs. Use the Home– Audio Input/Sampling page of each mode to make audio input settings. Alternatively, you can check Use Global Setting and make these settings in the GLOBAL > Basic Setup– Audio page. Normally you will leave Use Global Setting checked.
Effects selection and routing Using effects in Programs Effects selection and routing The insert effects, master effects, and total effects have the same structure in all modes, but the routing settings will determine how the oscillators of a Program, timbres of a Combination, or tracks of a Song will be sent to each insert effect, master effect or total effect. In the pages that follow, we will explain how you can make routing settings and effect settings in each mode.
Using Effects 4. Make Chain settings. Effect On/Off P (Effect preset) If the Chain check box is checked, the insert effect will be connected in series. Since the output of the oscillator is being sent to IFX1 in step 2, making settings as shown in the diagram step 6 would connect all five insertion effects IFX1 → IFX2 → IFX3 → IFX4 → IFX5 in series, so that these effects would be inserted into the output of the oscillator. 5. Make settings for Pan (CC#8), Bus Sel.
Effects selection and routing Using effects in Combinations and Songs 4. Use “Return 1” and “Return 2” to adjust the output levels of the master effects. Note: For each effect, the Wet value of the Wet/Dry parameter is the output level at the effect. The return value is multiplied with this (“Return” = 127 will be x1.0) to determine the actual output level of the master effect. 5. Select the MFX1 and MFX2 pages, and set the parameters for each selected effect as desired.
Using Effects Insert effects Continuing from the above: 1. Go to the COMBINATION > IFX– Insert FX page. Note: In SEQUENCER mode, you can also choose a REC bus as the Source Bus for each track in the Audio Track Mixer page, so that the signals sent to the REC bus(es) can be recorded to the drive. You can use MIDI to control dynamic modulation (Dmod) for each effect, the post-IFX pan (CC#8), and Send 1 and Send 2.
Effects selection and routing Using effects in SAMPLING mode Using effects in SAMPLING mode In SAMPLING mode, you can apply effects to external audio sources from the Audio Input 1–2 jacks, and sample the result. It’s also possible to apply effects to a multisample and resample the result. Insert effects 1. Go to the Insert FX page. Routing an external input 1. Go to the SAMPLING > Recording– Audio Input page. 2. Choose the insert effect that you want to use on the audio input.
Using Effects 6. Access the IFX1–12 pages and edit the parameters of each effect. For more details, see step 6 under “Using effects in Programs,” beginning on page 223. For details on applying an effect to an external audio input and sampling the result, see “Sampling external audio through insert effects” on page 136. Master effects and Total effects Master effects work the same as the do in PROGRAM mode, as described under “Master effects” on page 224.
Effects selection and routing Using effects with the audio inputs Using effects with the audio inputs Just as you can in SAMPLING mode, the PROGRAM, COMBINATION, and SEQUENCER modes also let you apply the NAUTILUS’ effects to the signals from the analog, or USB inputs and sample the result, or to use the NAUTILUS as a 4-in (analog, and USB) 6-out effect processor. You can also use the NAUTILUS as a vocoder effect (026:Vocoder) that uses an external mic input to control the internal sounds.
Using Effects Detailed effects editing Dynamic modulation (Dmod) Dynamic modulation (Dmod) lets you use MIDI messages or the NAUTILUS’s controllers to modulate specific effect parameters in real-time. Using Dmod to change the feedback level via SW1 For more information, see “Dynamic Modulation Sources (Dmod)” on page 912 of the PG. 5. Go to the Basic/X-Y/Controllers– Controllers page, and set the Target to “RT Control”, the RT Control to “SW1 Mod.”, and the Mode to “Toggle”. Dmod Example 6.
Detailed effects editing MIDI/Tempo Sync MIDI/Tempo Sync MIDI/Tempo Sync lets you synchronize effects LFOs and delay times to the system tempo. For more information, see “Tempo Synchronization” on page 734 of the PG. For this example, set Delay Base Note to and Times to x1 so that the effect will be easily understandable. The delay time will repeat at an interval of a 8th note. 4. Change the tempo, and the delay time will change. Using MIDI/Tempo Sync to synchronize delay time to tempo 1.
Using Effects Effect Presets Effect Presets let you easily store and recall all of the settings for an individual effect. You can store up to 16 user presets for each effect type, in addition to 15 re-writable factory presets. Effect On/Off P (Effect preset) Selecting Effect Presets 1. Select an effect in the Insert FX page. 2. The P00: Initial Set settings will be recalled. “P (Effect Preset)” will show --------. 3. Use “P (Effect Preset)” to select an effect preset: P00– P15 or U00–U15.
Appendices Troubleshooting Power supply Power does not turn on Startup does not complete Is the power cable connected to an outlet? For more information, see “Connections” on page 20. In some cases, the NAUTILUS will not start up properly if certain USB storage devices are connected. In this case, disconnect the USB devices from the NAUTILUS, wait about 10 seconds, and then turn on the power again.
Appendices Can’t switch modes or pages If the NAUTILUS is doing any of the following, you may not be able to change modes or switch to a different page: • Recording or playing back a song or pattern • Sampling • Playing a WAVE file • A menu dialog or select dialog is on the LCD display In COMBINATION or SEQUENCER modes, can’t edit the value of Timbre/Track parameters such as MIDI Channel or Status Some parameters can’t be edited while notes are playing, either locally or from MIDI.
Troubleshooting Programs and Combinations After sampling or sample edits Disk access noise is heard in the analog outputs After a sample edit has been executed, or after a stereo sample has been recorded, a small noise may be heard. This has no effect on the audio data that was edited or sampled. Check that the electrical grounding is correct for the NAUTILUS and all connected audio equipment, and remove any ground loops.
Appendices Can’t write a Program Samples don’t play from the correct keys You can’t write HD-1 Programs into an EXi bank, or EXi Programs into an HD-1 bank. If desired, you can use the GLOBAL mode page menu command Set Program Bank Type to change the type of each bank, so that it will accommodate the desired type of Programs. For more information, see “Changing the Program Bank Types” on page 26.
Troubleshooting Set Lists ARP doesn’t record properly after using “Copy From Combi” Are the audio input settings correct? • Please see Audio input and output, and Audio inputs don’t work properly. Is Multi REC (SEQUENCER > Mixer) checked? Is there space remaining on the drive? Are the settings in the Copy From Combination dialog box correct? • Delete unwanted WAVE files. • In the Copy From Combination dialog box, check the Multi REC standby option before you execute the copy.
Appendices Sampling Can’t sample Are the audio input settings correct? • See “Audio inputs don’t work properly” on page 234 Is there enough free RAM memory for sampling? Is there free space in memory? For more information, see “0–1f: Free Sample Memory/Locations” on page 579 of the PG, and “0–9: Media Info” on page 702 of the PG. • In order to sample to RAM, you must allocate sufficient space for sampling. • If you are sampling to drive, select a different disk.
Troubleshooting Arpeggiator function Arpeggiator function The arpeggiator will not start Is the ARP button turned on (lit)? (see page 158) Is “MIDI Clock” (GLOBAL > MIDI) set to Internal or Auto? See “MIDI Clock” on page 653 of the PG. Is “All ARP Off” selected on the GLOBAL > Basic SetupBasic page? See “All ARP Off” on page 633 of the PG.
Appendices Effects Effects are not applied Have you selected effect program 000? • Select an effect other than 000: No Effect for IFX1–12, MFX 1, 2 or TFX 1, 2.
Troubleshooting Other problems • In the case of a CD-R, it may be possible to make the disc be recognized by executing the page menu command Convert to ISO9660 Format (MEDIA– Utility page) to convert the disc to ISO9660 format. However depending on the state in which the disc was saved, it may be converted into ISO9660 level 3 format, and may still not be recognized.
Appendices Error and confirmation messages A (ADC–Are You Sure) ADC Overload Are you sure? Meaning: If the ADC OVERLOAD! indication appears above the Recording Level bar, the signal is distorting because of an overload at the Audio Input stage. To solve this problem: Meaning: This message asks you to confirm execution. To execute press the OK button. To cancel, press the Cancel button.
Error and confirmation messages D (Destination–Disk) Can’t open pattern Continue? Meaning: When you finished recording, it was not possible to allocate enough memory to open the pattern that was Put into the track. (When it must be opened automatically.) If you press the OK button, the pattern data will be deleted, and the recorded or edited content will be saved. If you press the Cancel button, the recorded content will be discarded.
Appendices E (Error–Exceeded) Error in formatting medium Meaning: An error occurred while performing a physical format (full format) or high-level format (quick format) of the media. To solve this problem: • Use other media. Meaning: When executing the MEDIA mode Utility page menu command Convert to ISO9660 Format, an error occurred while rewriting the UDF area. To solve this problem: • Use other media. Error in mount process.
Error and confirmation messages F (File–Front) F (File–Front) Failed. Source device not found Failed. Bad install.info - invalid SOURCE Failed. Bad install.info - VERSION missing Failed. Bad install.info - CRC fails Meaning: When saving a .SNG file, a separate directory is created for the Song’s audio files. The directory’s name consists of the .SNG file name followed by “_A” (for “Audio”). If this error appears when saving a .SNG file, it can mean that a directory with this name already exists.
Appendices File/path not found Meaning: When loading a sample file in MEDIA mode, executing the Delete command, or selecting a disk or directory in a dialog box, the specified file name does not exist. Or, when executing the Copy command in the MEDIA mode Utility page, and you used a wildcard to specify the copy file name, the specified file was not found.
Error and confirmation messages K K NAUTILUS system version … update complete. Please restart the system. Meaning: This message will appear when you’ve used the GLOBAL > Basic Setup– Basic page Page Menu Command Update System Software, after the update is complete. Restart the system to use the updated software. • Turn the power button off, and then on again.
Appendices MIDI data receiving error Multisample L and R are identical Meaning: While receiving MIDI System Exclusive data, the format of the received data was invalid, for example because the size of the data was incorrect. Meaning: Since the destination (save location) L and R multisample numbers are the same, the editing operation could not be executed. To solve this problem: Mount Error • Select a different multisample number for the L and R of the destination (save location).
Error and confirmation messages N (No data–Not enough song memory) Not enough memory Not enough region locations available Meaning: When starting real-time recording in SEQUENCER mode, the minimum amount of free memory (such as memory for the BAR events up to the recording start location) could not be allocated.
Appendices O (Obey copyright rules–Oscillator) Oscillator Mode conflicts (Check PROG mode: Program Basic Page) Meaning: In SAMPLING mode when you executed Convert MS To Program with Use Destination Program Parameters checked, the conversion destination program Oscillator Mode setting did not match. • In PROGRAM mode, set the Oscillator Mode of the conversion destination program. If converting a monaural multisample, select Single. If converting a stereo multisample, select Double.
Error and confirmation messages R (Rear sample–Root) R (Rear sample–Root) Rear sample is empty Root directory is full Meaning: When you executed Link in the SAMPLING mode Sample Edit page, the sample that you specified as the rear sample is empty. Meaning: You attempted to create a file or directory in the root directory of the media, but this would exceed the maximum number of root directory entries. • Specify a sample that contains data as the rear sample, and execute once again.
Appendices T (The clock–/TEMP folder detected) The clock battery voltage is low. Please replace the battery, and set the date and time in MEDIA mode This file is already loaded Meaning: The battery for the clock/calendar function has run low, and needs to be replaced. Your Korg Distributor can help you find a service center to replace the battery. • Load the .PCG files that have not yet been loaded. The data on the medium will be lost.
Error and confirmation messages W (Wave) W (Wave) .WAV already exists. Overwrite? WAVE file size over limit Meaning: When importing a WAVE file that requires conversion to 48kHz/mono, a file of the same name already exists on the drive. To solve this problem: Meaning: When editing an audio track in SEQUENCER mode, you exceeded the maximum number of 230,400,000 samples (80 minutes at a sample rate of 48 kHz, 16-bit) allowable in a WAVE file.
Appendices Internal drive and Media information Types of media supported by the NAUTILUS Naturally, you can read and write data using the built-in drive. For more information, including requirements for external USB storage media and details on connecting USB devices, please see “4. Connecting USB devices” on page 22. External USB storage media USB CD-R/RW and DVD The NAUTILUS supports USB external storage class devices, including hard drives, flash drives, magneto-optical disks, floppy disks, etc.
Internal drive and Media information Restoring the factory settings Restoring the factory settings Restoring the original sounds You can easily restore the Programs, Combinations, Drum Kits, Wave Sequences, Arpeggio Pattern, Set Lists, and EXs samples to their original state as shipped from the factory. This is done by loading the PRELOAD.PCG file, which is included on the internal drive. This operation will erase all of the internal NAUTILUS sounds.
Appendices Specifications Operating temperature +5 – +40 °C (no condensation) System/Keyboard System Keyboard NAUTILUS System Version 1.
Specifications HD-1 Program HD-1 Program Advanced Vector Synthesis Control oscillator volumes and synthesis & effects parameters via the tempo-synchronized Vector Envelope. Structure Single: only OSC1, Double: OSC1 and OSC2. Double mode lets you layer two completely separate synth voices, each with their own velocityswitched oscillator, dual filter, EGs, LFOs, etc. Oscillator Virtual Memory Technology (VMT) plays large samples directly from the internal SSD.
Appendices MS-20EX Program Oscillators Ultra-low-aliasing oscillators. VCO1, VCO2, Ring Mod, Pink and White Noise Generator. Audio Input Filters Run real-time audio through the synthesis engine and ESP (External Signal Processor). 12 dB/octave High Pass and Low Pass self-resonant filters. ESP section: 24 dB/octave Low Cut and High Cut filters, available per voice. Patch Panel Patchable audio and modulation, at audio rates.
Specifications SGX-2 Program SGX-2 Program Premium Piano Virtual Memory Technology (VMT) plays large samples directly from the internal SSD. Chromatically sampled at up to 12 velocity levels, no looping. Damper resonance and mechanical noise. Modeled String Resonance. Una Corda sample support.
Appendices Drum Track Preset patterns 1,272 preset (common with the preset patterns of the MIDI sequencer) User patterns 1,000 patterns Patterns created in SEQUENCER mode can be converted to drum track user patterns. Controllers DRUM On/Off Trigger Mode, Sync, Zone, Swing, Drum SD and Tempo settings can be specified. Step Sequence User patterns Sequencer/HDR Tracks 16-track MIDI sequencer + 16-track hard disk recorder + master track. Number of Songs 200 songs Resolution /480 Tempo 40.
Specifications General General Audio Inputs (Analog) Audio inputs 1, 2 1/4" TRS balanced Input Impedance: 10 kΩ Nominal Level: LINE +4 dBu (Analog Input Gain = min), –36 dBu (Analog Input Gain = max) Nominal Level: MIC –22 dBu (Analog Input Gain = min), –55 dBu (Analog Input Gain = max) Maximum Level: LINE +16 dBu (Analog Input Gain = min), –24 dBu (Analog Input Gain = max) Maximum Level: MIC –10 dBu (Analog Input Gain = min), –43 dBu (Analog Input Gain = max) Source Impedance: 600 Ω Signal to noise ra
[Music Workstation] Date : 2019. 11. 1 MIDI Implementation Chart NAUTILUS Ver.1.
Published 11/2020
