Korg MONOPOLY POLYSIX MS-20 User manual

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THESIZER
-20
THESIZER

llllli MONOPHONIC SYHTHESIZER MS-20
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INDEX
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Intrgdfugfign.............................. . .
Cnnnactinn with an Amplifier -
Black Diagram and Signal Flow Chart -
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Egflfghrung ------------H-----+---.............. . . .
Anschlufl an einan Verstarkar
Bluckschaltbild und Signalfluftschema
Normaieinsteiiung
Merkrnaia und Fun!-ctinnan
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Verwendung des extarnan Signalprozassars ------- --
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Technische Daten
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1] introduction
Congratulations on purchasing the Kore M5-2'-Ii Synthesizer. This
instrument has been engineered and manutactured using the most
adyaneed techniques known today, and features the same unparal-
leled technology utilized in l<org's reyolutionary Polyphonic Syn-
thesizers, the PS~3100 and PS-3300. With reasonable care, it will
provide years oi high quality and reliable use with unsurpassed
stability, versatility and longeyity.
Please read this manual carefully in order to get the most out oi
your Ni$'2U.
2} Connection with an amplifier
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Connect to AUX input right it-ELET
or leit channel, mono mode. U0 DU
Stereo Preamplifier or electric organ . .
Radio cassette recorder
Keyboard ampr'Guitar arno

3} Bioek diagram and signai flow ehart
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S-2 Signal Flowchart
This diagram shows the various signal paths in the MS-20 Synthe-
sizer. Solid lines I -* I represent sound iaudiol signal flow; broken
linesi -"I-I represent control signal {control voltage} flow. Control
signals are connected from yarious parts of the synthesizer to the
VCD, VCF and VGA by means of internal patches. These internal
oatehes may be supplemented by using the Patch Panel for added
yersatility.
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4) Normal Setting
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This diagram illustrates control positions for the Normal Setting. I n
this setting, all modulation functions are disconnected, producing a
basic unmodulated tone. Since VCO-1 and VCO-2 sound together,
adjust VCO-2's pitch to match VCO-1's by means of the Pitch control
This Normal Setting is the foundation on which you will build when
creating sounds with the MS-20. You will lind it useful to be able to
return to this setting whenever you start a new patch. Therefore, it
is recommended that you memorize these control positions for greater
efficiency of operation.
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5} Features and functions
Voltage Controlled Oscillator WOO]
The VCO is the source of all sound for the M5-20 synthesizer. it is
here that all pitch and basic tonal color elements are determined. The
MS-20 is equipped with two wide-range VCOs.
(I) Scale:
This control is an Octave selector. With each halving of the number
displayed, the pitch goes up one octave. For example the 4' ifootl
scale indication is one octave higher than B‘: similarly, 16’ is one
octave lower than B‘. VCO-1 is variable from 32' to 4': VCO-2 is
variable from 16' to 2'.
@ Waveform:
This selects the various waveforms that detemtine the basic tone
color itimbrel. VCO-1 has four vvavafomts:/\,[\,|_|;fi_ "fl": NCO-
2 has three waveforms:|\|_]_ |l_ , plus a Fling Modulator setting.
Each waveform has its own unique characteristic sound.
/\
{Triangle Wavel: A very basic waveform having few harmonies, and
possessing e soft, round tone color. Excellent for flute, vibes and
other such effects. The Triangle Wave may be changed into a Sine
Wave ihaving no hermonicsl by using the Low Pass Filter.
N
lSawtootlii: A waveform rich in all harmonics, and one of the most
useful to the synthesist. Used for string, brass, voice and other
hermonically rich sounds. The Voltage Controlled Filter i‘v'CFl is
highly effective on Sawtooth Waveforms.
FL- IL
[Rectangle Wavel: A variable waveform having different timbres
depending on the width of the top [celled Pulse lnlidthl. When the
too and bottom widths are equal, the waveform is called e Square
Wave, and pomesses the "hollow" qualities of the reed family [i.a.,
the clarinetl. As the pulse width prollflrtioneteiy decreases. a
strong shift in tone color occurs: the sound becomes "nasal" in
quality. This waveform is called a Pulse Wave. Pulse Width is varied
on the MS-20 using the PW control {see belowl.
{White Noisal: An unpitched sound consisting of equal amounts of
all frequencies. Used for wind, surf, gunshot, percuwion instrument
and other such effects. The use of filters will emphasize certain
frequencies over others, creating many different sound effects.
FL
i5t|uare Wavel: A variation of the Flectangle Wave with equal top
and bottom widths. A "hollow" sounding wevefonn with only odd
numbered harmonics present. Used to simulate reed instnsments
and other closed pipe sounds.
{Pulse Wave]: This Rectangle Waveform has e relatively narrow top
width, and is characterized by a "nasal" tone quality, with strong
presence of upper harmonics. Used to simulate double reed instru-
ments lea, the oboe] and certain plucked string sounds leg, harpsi-
chord and clevinati.
iFi|NG}Ring Modulator: This setting combines the sounds of both
VCO's in such e way as to create sums and differences of all her-
monics present. The result is a clangorous, "metallic" sound which
is useful for gong, chime and other such effects. The two Scale
controls as well as the Finch and FIN controls all affect the resulting
sound, and should be used iudiciously to create the desired effect.
eleggiwgwew
@ Pitch:
This control varies VCO-2’s pitch over a range of s one octave You
can either match VCO-2's pitch to VCO-1, or set it at any relative
interval leg, third, fifth, etc.i. Once set, pitch levels remain ex-
tremely stable troughout the playing range, thanks to Korg tech-
nology.
@ F"llll:
This control varies the pulse width IFWII of VCO-1's Rectangle
Wave. At "O", the waveform is symmetrical ii.B., Square Wave}.
Fiotating the control clockwise proportionately decreases the pulse
width. Near the full clockwise position, the pulse width becomes
so narrow as to virtually disappear, and no sound will be heard.
BEL-> lib L-cu-
(E) Portamento:
Varies the rate of "glide" . . . the time it takes the MS-20 to go from
note to note. The ability to effect smooth transitions batvveen notes
is unique to the monophonic synthesizer, and adds to the creative
effects available.
@h"lester Tune:
@VCO Mixer:
Independent output level controls for VCO-1 and VCO-2 allow the
user to freely adjust volume balance of the two oscillators, or
eliminate both ‘v"CO's when processing external sound sources.
Voltage Controlled High-Pas Filter lVCHFFl
This removes portions of the harmonic elements present in the
waveform chosen with the VCO section. The cut-off frequency is
variable from the low range on up. Use the Cut-Off Frequency knob
or an external control voltage to determine the out-off frequency.
®Cut-off Frequency: The scale on this knob goes from 0 ~ iii
lbut in the "C" position, the filter is completely open and the basic
tone color of the waveform is left unchanged. As you turn up the
Knob, the tone color becomes brighter. Play a note on the keyboard
turn the knob, Hid note the effect.
ifilfleak: This itnob determines the amount of emphasis applied to
the area right before the low range cut-off frequency chosen with
the knob above. When turned up to around its maximum position,
the filter itself begins to oscillate, becoming in effect another sound
source. This self -oscillation capability is another big feature found
in the MS-EC.
Voltage Controlled Low-Pass Filter lVCLFFl
This removes upper herrnonic elements of the waveforms chosen
with the VCO section. The cut-off frequency is variable from the
high range down and is adiosted by means of the Cut-Off Frequency
knob or an external control voltage.
®Cut-Off Frequency: The scale on the knob goes from C ~ 10
but in the "10" position, the filter is completely open and has no
effect on tone color. As you turn the knob counterclockwise the
sound will gredu ally become more rounded. At the lowest setting
it becomes barely recognizable as a sound. Turn the knob while
playing a key and note the effect.
®Feak: This emphasises the point right before the cut-off
frequency. Near its highest position, the filter itself begins to
oscillate. This self-oscillation effect may be used as a separate
sound source.
Cut-off Frequency htodulation Controls:
This control varies the pitch of both VCO"s over e range of 1 2 semi- Th“; °""'i"J'5 Fun“ "film" Pam 5* “'9 "i""t"“5iZ°" ‘F ‘“'i="'\" “Eh
tones, so that you can match the syntheslzer's pitch with that of
other instruments.
Frequency Modulation controls:
filte|"s out-off frequency, in a manner similar to VCO frequency
modulation.
®lii‘lGl'T. EXT:
These controls allow other para of the synthesizer to affect the ycoe The liledvlaliee lfiaearaierh Triansle Wave output modulates the
pitch, for such effects as vibrato, trills, pitch bends, "sweeps", etc.
® lvlerr. ext.
Varies the intensity of ‘vibrato from the Modulation Generator iMGl
Triangle Wave output. or whatever signal is patched into the TOTAL
jeclt.
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With no patch in the patch panel's FFIEO jack, this control varies the
effect of Envelope Generator 1 on the 'v'CO's. Advace the control
and play a note on the keyboard. hlote that the pitch of the note
rises and falls corresponding to the Envelope curve isee Envelope
Generator 1i. With any external controller patched in ice. Control
Wheel, Fleverse Envelope, etc.i, the control now varies the intensity
of this effect.
filter frequency, for filter vibrato, automatic "we-we", etc.
risers-zlex'r=
This control varies the modulation intensity from Envelope
Generator 2 iwhen no patch is in the respective filter CUT OFF
FH EO. jacltl. This highly useful effect is called "filter contouring“,
and allows you to obtain changes in tonal quality over time. Learri
to use this function, and to experiment with different settings of
Envelope Generator 2 controls.
When an extemai device ie.g., Control Wheel, Pedal, Reverse Envelope
etc.i is patched into the appropriate filter CUT OFF FH E0. lack on
the patch panel, this control varies the intensity of the external
modulation effect.
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High-Pass Filter + Lovv- Faaa Filter
qfevairaga Controlled Amplifier ivcais
This device varies the volume of sound passing through it in accord-
ance with the sum of control voltages from Envelope Generator 2
{E13 2i and from any external controller patched into the patch
panel VGA INITIHL GAIN iacit.
Envelope Generator 1 iEG-1l:
A special purpose Envelope Generator which is internally patched
to the M5-ED’: ‘v"l‘.lD's and MVCAE llvioduiation ‘v‘i.'lAi control inputs
for pitch bends and delayed vibrato effects respectively. in addition,
both normal and reverse envelope outputs are available at the patch
panel for greater flexibility.
ii} Delay Time: Determines the amount of time between the arrival of
the trigger signal and the beginning of the attack cycle.
|[¢AttecltTime: Adjusts the time it takes for the Envelope voltage to-
go from zero to its peak level following the end of the delay time.
I1} Fleleese Time: Determines the arnou nt of time it takes for the
control rate to a level sat by the Sustain Level control, and eventual-
ly falls back to zero following termination of the trigger signal and
the end of the Hold Time at the Fielease Time control rate.
® Hold Time: Extends the trigger signal by a variable amount of time.
in effect, it "remembers" the trigger for a specified time period.
ii‘-Attach Time: Sets the time the voltage takes to rise to a peak.
3 Decay Time: Sets the time the voltage takes to fell from the peak to
the Sustain Level.
93-sustain Laval: Sets the voltage level which will be sustained for the
duration of the trigger signal lplus time set by Hold controli
El; Releae Time: Sets the time the voltage takes to fall to zero follow-
ing termination of the trigger signal.
The EG-2' output is internally patched to the VCA so that changes in
volume over time will occur to sounds according to the EG-2 control
settings.
In addition, another EG-'2 output is sent to the Filter Modulation
controls iEG-2i'E)<Ti so as to modulate the VCF‘s cut-off frequency.
In this mode, the filtar's "steady state" is the Sustain Level. The
filter's cut-off frequency will start below this level initially, will rise
above the Sustain level during the Attack cycle, will fall to the Sus-
tain level, and then will fail below to the initial level again following
trigger release.
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Envelope Generator 2 iEG-2i:
This device generates a rising and falling voltage which when applied
to the VGA and ‘v'CF produces corresponding changes in volume and
tone color respectively. The MS-20 features a unique 5 pert Envelope
Generator for ed-tied flexibility. When "triggered" lusually by de-
pressing a note on the keyboard}, the EG voltage rises to a peak at
a rate set by the Attack Time control, than falls at the Decay Time
B
@"l’l'lodulation Generator lfiilGi
This device generates a variable speed low frequency modulation
signal, and is also known as a Low Frequency Oscillator lLFDi. its
main purpose is to provide vibrato, trills, repetitive attack, and
other cyclical li.e..repaatingi types of modulations.
The MS-20 MG features two different simultaneous waveforms -
triangle and rectangle — both of whose shapes are continuously
variable by means of the Waveform control isee diagram].
The MG frequency is selected by the Frequency control, and is
displayed via a flashing red LED for easy visual confirmation.
Both waveforms are available via patch panel connection. in addi-
tion, the lviG's Triangle Wave is internally patched to the VCO’: and
‘v'CFs vie their respective MG Modulation Intensity controls. This
modulating signal is patched through the T. EXT jack on the patch
panel.
A different modulation signal le.g. Sample St Hold, "Delayed"
Vibrato, Wheel-controlled Vibrato, etc.) may be substituted at any
time and routed to all three MG intensity controls via this input jack.
sss- /\ /]
Fl m an
Control
Waveform .
Manual Controllers
Consists of two Controllers located to the left of the keyboard for
easy manipulation while playing.
E6‘ Programmable Control Wheel:
When connected to various control inputs, this highly useful device
can give such effects as pitch bends, modulation depth control,
filter "sweeping", sample and hold "arpeggios", and many more.
El}-filamentary Switch:
This switch is useful for triggering either or both MS-ED envelope
generators, or for triggering external devices,i.e.,another synthesizer
or sequencer.
® Patch Penal:
fir
in addition to the internal patching system discussed above, the
lvlS-20 Synthesizer features a versatile patch panel, which gives you
greatly expanded creative possibilities. The following is a listing of
the patch connections available.
VCO 1+2 CV lhl: This iack allows an external controller, such as
another Synthesizer. to vary the pitch levels of "v‘CD-‘i and ‘L-‘GD-2,
insteed of the MS-20's keyboard.
®vco 2 cv IN: Same as above, but affects vcoe only,
51' TRIG IN: Allows the use of external trigger sources la.g-.the MG
Rectangle output, footswitch, or another synthesizer or sequencerl
to trigger the MS-20 envelope generators.
@ EG-1 TFIIG IN: Same as ® above, but triggers Envelope Generator
1 only.
@ KBD CV OUT: Allows the M5-20 Keyboard to control the pitch of
another synthesizer.
'® KBD TFIIG OUT:
Whenever you play e key on the keyboard a trigger signal is gene-.
rated. Ordinarily, this trigger signal output is used along with the
I-(ED CV OUT to operate another synthesizer.
‘E9 ext‘ steam. liil: This jack allows such extemai sound sources as
an electric quitar to be processed through the MS-20's ‘v'CF and
VGA section. The external sound can be used alone, or combined
with the VCOE by using the VCD Mixer controls. In addition, when
using the ESP module, the original instru mant sound can be mixed in
with the synthesized sounds by using this iaclt.

Li} TOTAL EXT: This is the input to the MG modulation controls for
the V003 and VCF's. It is internally patched to the MG Triangle
wave of A different signal may be patched to this iack and used for
modulation purposes.
ill INITIAL GAIN {VGA}: The VCA is internally patched to the
EG-2 output so that changes in volume over time can be programmed.
This jack allows an external controller to vary the VGA along with the
EG-2. When the sum of both controllers reaches 5 volts, no further
changes in volume will occur.
Modulation Voltage Controlled Amplifier llvl\.f0Al
This device is a programmable VGA normally used to vary the
modulation i|1'[g|15itY{i,e,,f0r' delayed vibrato and modulation wheel
functions}. Other functions can easily be programmed via the patch
paneL
To set up delayed vibrato, patch the MG Triangle wave output into
the MVCA input; the MVCA output is than connected to the
TOTAL input iack. The MVCA control input is internally patched
to the E01 output. By use of EG1's Delay and Attack controls.
delayed modulation lvibratol functions are easily set up. Another
variation would be to patch the Control Wheel output into the
lvl‘v'0A control input, for "Modulation Wheel“ effects. Many other
variations can be created with a bit of imagination and experimenta-
tion.
{gt Noise Generators IPINK, WHITE): These outputs are a source of
both pink and white noise, which may be used as sound sources
[patched into the EXT SIGNAL IN iack} or as modulating signals.
White noise is also available as one of the VCO waveforms. Pink
noise is a "darker" sounding white noise, with reduced high fre-
quency components.
@~ Sample and Hold {Sfiflt
A device which generates "stepped" functions from variable inputs.
Useful for creating “randorn" note effects, arpeggios, etc. Whenever
"triggered" by some other device, the SIH "samples" a varying
signal source le.g., waveforms, noise, etc.i patched into its input, and
"holds" its instantaneous value until a new trigger is received and a
new sample taken. The triggering can be at regular intervals lit-Q-.
from the M0 Flectangle Wave} or from some other source.
The diagram below illustrates the effect of sampling Pink Noise
using the M0 rectangle waveform as a triggering source. (Note: when
using the MG Rectangle waveform, turn the Waveform control to
the extreme clockwise position for best results.l Other possible
inputs for sampling are the Wheel [make yor own arpeggiosi.
Envelope Generators {run up or down the scale at a trigger signal] ,
or an external LFO.
PHONES lHeadphone 0UTi
Lise this iack for headphones.
'31 External Signal Processor l E5Fl:
This powerful module allows external instruments to actually "play"
the MS-20 synthesizer, with the same power and flexibility as
achieved by playing the keyboard!
Since everything in a synthesizer is voltage controlled, it is normally
not possible to control a synthesizer directly with an external
instrument, which generates audio signals. However, the MS-20's
ESP module permits external sound sources to vary the synthesizei-‘s
pitch, volume, tone color and attack and decay by means of built-in
Pitch and Envelope Followers, which produce control voltages con-
forming with the input signal's pitch and volume respectively. A
trigger signal can also be produced to trigger the MS-20's Envelope
Generators, for programmed attackfdecay cycles.
The ESP Module consists of high gain preamplifier, variable band-
pass filter, Envelope Follower.-"Trigg-er Detector, and Pitch to
voltage converter. The various outputs are available at the patch
panel for connections to other parts of the synthesizer.
6} About Patching
Setting up a patch is one way of using the MS-20 more effectively
for synthesizing sounds. Patching involves using such outputs as the
control wheel in a creative way to control various synthesizer
functions thus increasing the variety of sounds and effects possible.
When setting up a patch, follow these steps to be sure you get the
effect you want:
ill Where WCA, VCF, U00, etc.i do you want to create the effect
and what kind of effect do you want?
{El What kind of control signal will you need for that effect?
[3] Which section of the synthesizer will generate that kind of
control signal?
If you don't put your thoughts into this order before you start
connecting patch cords from one iack to another, you will not be
able to synthesize the sound you want. Even if you just use the
internal patch without external patch cords, these same rules apply.
when you want a certain sound, break it down into its elements of
pitch lfrequencyl, tone color or timbre lharmonic elementsl, and
volume lenvelope or amplitude change over timei.
Then put these elements together by using the various sections of
the synthesizer.
Ftemember that the keyboard generates both a control voltage and a
trigger signal every time you play a key. tn other words it acts both
as a control knob and a switch. Make full use of this and other less
obvious possibilities for creating sounds. The more techniques you
know, the more freely you'll beable to-play the music you want.
7} Expanding Your System
' Here are two examples using the 50-10 ltorg Analog Sequencer.
ill 0ne simple idea is to set the S0-10 to determine the pitch and
tone color produced by the M5-20 at each step. Then if you use the
internal clocl-cot the $0-10 to run through the steps,you will have
automatic control of the M5-20.
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H5-20 Sq-ID
it-HI5'p
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(2) For a live performance, another effective way of using the
S0-ti) is to set up a patch so that the S0-I0 advances one step
and changes the tone color every time you play a key on the MS-20.
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43¢ QQUDE .__ z.|__t_j_}_Uoooc-oooo-.xso»o
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' In this example the MS-10 is used with the MS-Eu to increase the
depth and richness of the sound.
Connect patch cords from the MS-20 KBD CV 0UT and THIS CIUT
jacks to the MS-10 VCO CV IN and TFHG IN jacks. With this
arrangement, both synthesizers operate together when you play the
keyboard of the MS-20. But if you try to play the MS-10 keyboard,
nothing will happen because it has been disconnected by the patch
cords in the V00 CV IN and TFllG IN jacks. So decide which
keyboard you want to use before you set up the patch.
Try using separate amplifiers for left and right stereo channelsl for
each synthesizer.
H5-ID "S-113
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to AMP to H-IF
IIS-20 M5-10
I I I C Du flu
a-1%.. BEBE
it __!___ ._ _______
Setting both synthesizers to produce the same sound and then
changing the pitch slightly on one of them will give you a phase
effect or jet effect. This can be effectively used both on stage and
for rnuiti-track recording.
Bl Using the External Signal Processor [E.S.Pi
To use the ESP module, follow the steps listed below:
ill Connect the external signal source leg, electric guitar, micro-
phone, eiectric piano, etc.i to the ESP's SIGNAL IN iack.
fill Adjust the Signal Level so that the Peak Level indicator only
flickers slightly when the external signal input reaches maximum
volume.
f3i Turn the Threshold Level control clockwise while watching the
TFIIG OUT light, until it lights when playing at medium to high I
voltage levels.
f4i Connect F er V CV OUT to VCO 1+2 CV IN [or VCO 2 CU IN];
connect TFilG OUT lESPl to the TFIIGGEH IN jack, and the EN'v'
OUT iack to the ‘v'CA's INITIAL GAIN iack.
(Si To adjust the Bandpass Filtering section for proper operation
first set LOW CUT FHEO to "10" and HIGH CUT FH E0 to "0".
Play the highest note the ESP is to pick up, and slowly turn the
HIGH CUT control clockwise until the desired pitch is picked up, T