KORG Ms-20 Mini Monophonic Synthesizer User Manual

KORG Ms-20 Mini Monophonic Synthesizer

USER MANUAL

This booklet shows you how to get a variety of specific a sounds with the MS-20.
You can use these sett ings as they are, and as a base for discovering new effects.

Musical instruments

Trumpet

For a more penetrating sound, turn up the VCLPF PEAK knob to between “7” and “9”, the point right before self-oscillation begins.

Clarinet

EG-2 controls the VCHPF fc. Adjust the FcM EG2/
EXT knob to get the most realistic clarinet sound.

Saxophone

The use of pink noise for frequency modulation is important, but be careful not to increase it too much.

Oboe

To get the most realistic oboe sound, carefully adjust the tone color with the VC0-1 PW knob.

Flute I

A soft flute sound. Use patching to get a delayed vibrato effect.

Flute 2

This more complex patching produces a more realistic flute sound than that of the Flute I setting. The VCF is patc_hed so that the sound becomes brighter in proportion to pitch. The tone color of the pink noise is adjusted by the ESP BPF and then used for FM.

Violin

Since the KBD CV OUT is used for VCF FcM, the tone color changes between the upper and lower range of the keyboard .

Cello I

By adding a little portamento, the fretless effect is obtained.

Cello 2

Use the Korg MS-01 foot controller to vary vibrator de th and tone color.

Accordion

Note that it is important to adjust the VC0-1 PW knob so that the pulse width matches that of the VC0-2 -pulse waveform.

Acoustic bass

This is the sound of a bass played with a bow. Be careful to play the keyboard to bring out this effect.

Banjo

Play the keyboard so that is sounds like you are playing .
one string at a time.

Electric bass

When you press the Momentary Switch, you’ll get a pitch bend and the pitch will rise. Use the FM EG-1/EXT knob to set the amount the pitch rises.

Electric piano

Release one key before you play the next , so that you get a staccato effect. If the EG-2 SUSTAIN knob is at “I”, the sound may become inaudible if you are not careful how you play.

Hammond organ

Press the Momentary Switch to get the rotating speaker effect. Set the VC0-2 pitch three of five degrees above that of VC0 -1. In other words, if VC0-1 is “do”, then set VC0-2 to “mi” or “soh”.

Clavinet

Set the pulse width of VC0-1 PW so that is matches the width of the VC0-2 pulse waveform.

Japanese Taishogoto (A modernized version of the traditional koto)

It is important to slightly vary the pitch between VC0-1 and VC0-2.

Timpani

Sharply strike the lower notes on the keyboard. Mix in the noise after adjusting tone color with the ESP SPF.

Cow-bell

VCF self-oscillation is used as a sound source. Use the VC HPF fc knob to vary the pitch of the cow-bell.

Whistle

The control wheeel raises the pitch, while the KBD CV OUT is used to vary vibrato depth in proportion to pitch.

Synthesizer 1

Raise the VC0-2 pitch to the 3d degree above VOC-1 . In other words, raise it to “mi” ifVC0-1 is” do”.

Sythesizer 2

An example of using the Control Wheel to change pitch and tone color. Set the FM MG/T. EXT knob so that the pitch is one octave higher than at the center clik~top.

Synthesizer 3

A rounded tone color suitable for spacey sounds. The MG gives an automatic “wow” effect.

Synthesizer 4 Guitar synthesizer

The optimum ESP setting will slightly vary according to the electric guitar used. Adjust the ESP to get the best results from your guitar.

Sound effects

Police siren (U.S.A.)

With VC0-1 and VC0-2, it sounds like two patrol cars.
The key to this effect is the use of the MG sawtooth waveform.

Storm

The wind blows when you hit a key. Press the Momentary Switch for thunder. Turn up the volume for realism.

Laser gun

Hit one key after another. If you keep a key depressed, the sound will be shorter.

Dive bombing

After playing the furthest key to the right, depress the momentary switch. Release the switch as soon as the bomb explodes.

Chime

Change the chime effect by varying the pitch difference ofVC0-2.

Falling star

The self-oscillating VC HPF is used as the sound source.
The MG and EG -2 vary the oscillation to give the falling effect.

About Patching

© Patching procedure

You can divide synthesizer modules into three groups:

1. The EG-1, EG-2, MG. and control wheel. These “manipulators” can be thought of as being like the different sections of a supermarket since they supply the raw materials.
2. The S/H, modulation VCA, and ESP. These “convertors” are like a kitchen. Here the raw materials are chopped and cooked. Of course the kitchen can be bypassed and the materials eaten raw. •
3. The VCO, VCF, and VCA. These are the mouths that eat the food. If the raw mat erials and cooking suit these palates, you got the effect you wanted. In other words, these modules are what they eat.

When you set up a patch, you first have to consider the following:

1. What kind of modulating signals are available from which modules?
2. If you are going to process the modulating signal, in what way do you want to change it, and what is the best module to do the job?
3. Which part of the sound signal are you going to control (pitch, tone color, volume).

With the above concepts in mind, let ‘s go on to the actual patching procedure. If you follow the steps below when thinking about setting up a pat ch, you have a re} sonable chance of getting the effect you want.

1. Analyse the effect you want.
2. Select the modules to use based on your analysis.
3. Set up the patch using the modules you selected.

If you want the synthesizer to work for you and make the sounds you want, you have to use it in this kind of step-bystep fashion. Otherwise it will be like the blind leading the blind: you’ll bump into all sorts of strange effects, but only by accident.

Exactly the same rules apply when you use the internal patch.
There are usually several ways you can go about getting the same effect; try and use the simplest method possible. If you get into this habit, it will be much easier when you get around to synthesizing a really complex sound.

Patching Examples

Example 1. Delayed vibrato.

1. Analysis of effect.
a. The frequency (pitch) of the audio signal changes.
b. It changes in a regular cyclic way.
c. The amount of cyclic variation also changes.
d. The beginning of the vibrato is delayed after a key is played.
2. Selection of modules.
a. VCO FM (to change pitch)
b. MG (to generate a cyclic signal)
c. VCA
d. EG-l (to control timing)

Example 2. Manual control of vibrato depth.

1. Analysis of effect.
a. The frequency (pitch) of the audio signal changes.
b. It repeatedly rises and falls in a regular pattern.
c. The amount of this cyclic variation increases and decreases.
d. You control the amount of change by hand.
2. Selection of modules.
a. VCO FM (to change pitch)
b. MG (to generate a cyclic signal)
c. VCA
d. Control Wheel (to control the output voltage by hand)

Example 3. Switch controlled slowly changing tone color.

1. Analysis of effect.
a. The tone color changes.
b. It changes gradually.
c. You use a switch to turn on the effect.
2. Selection of modules.
a. VCF FcM (to change tone color)
b. EG-1 (to control timing)
c. Momentary switch (to turn the effect on and off)

Example 4. Switched cyclic change of pitch and tone color.

1. Analysis of effect.
a. The pitch changes.
b. The tone color changes.
c. They change cyclically (repeatedly).
d. The effect is turned on by a switch.
2. Selection of modules.
a. VCO FM (to change pitch)
b .. VCF FcM (to change tone color)
c. MG (to generate a cyclic signal)
d. Momentary Switch (To turn the effect on and off)

Example 5. Glissando controlled by a switch.

1. Analysis of effect.
a. The pitch changes.
b. It changes in steps.
c. It rises step by step.
d. The effect is switched on by a button.
2. Selection of modules.
a. VCO FM {for pitch change)
b. S/H (to make a continuously varying signal into one that
changes in steps.)
c. EG-1 (for control of timing)
d. Momentary Switch (MSW) (to turn the effect on and off)

Example 6. Convenient contrl of glissando.

1. Analysis of effect.
a. The pitch changes.
b. It changes in steps.
c. You can conveniently control the effect.
2. Selection of modules.
a. FM (to change the pitch)
b. S/H (to change a continously varying signal
into a stepped signal)
c. Control Wheel (to control output voltage by hand)

Example 7. Switched random pitch change.

1. Analysis of effect.
a. The pitch changes.
b. It changes in steps.
c. The changes are random.
d. The effect is turned on by a switch.

2. Selection of modules.
a. FM (to change pitch)
b. S/H and MG (To continuously generate stepped changes)
c. NG (Noise Generator) (to provide a non-cyclic signal to be sampled by the S/H)
d. Momentary Switch (MSW) and EG-1 (to control timing and switch the effect on and off)

Blank Charts

Use these blank charts to record the settings you find usefuL

Use these blank charts to record the settings you find usefuL

Use these blank charts to record the settings you find usefuL

Use these blank charts to record the settings you find usefuL

Use these blank charts to record the settings you find usefuL

Use these blank charts to record the settings you find usefuL

KORG

KEIO ELECTRONIC LAB., CORP.
Head Office: No. 15- lE· Shimotakaido. 1-chornc, Suginami-ku, Tokyo, Japan.
Branch Office:No. 18-21. Chayamachi, Kila-ku. Osaka, Japan.

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