Korg Poly-800 User manual

~-oRGPR~G_R~A~A~~BLE '
'-POLYPHONIC SYNTHESIZER
Thank you and Fongratulations on your choice of
the KORG Poly-8OO. This instrument has been engi-
neered for highest quality sounds and superb relia-
bility. To obtain optimum performance from your
new KORG Poly-800, please read this manual careful-
ly before using.
I

FEATURES OF THE KORG
1.
2.
3.
4.
5.
6.
7.
a.
9.
10.
11.
12.
EIGHT SEPARATELY-ARTICULATED “VOICES” offer full polyphonic capabilities.
EIGHT DIGITALCONTROLLED OSCILLATORS (DCOS) ensure outstanding pitch stability.
NINE ADVANCED
6-STAGE DIGITAL ENVELOPE GENERATORS (DEGs) - 1 per DC0 and
1 for Noise and VCF
- provide a significant improvement over conventional EGs. They help create
highly realistic piano/percussive sounds and many new effects.
“DOUBLE” playing mode provides rich, complex layered sounds by pairing two different DCOs and
DEGs per voice. “WHOLE” mode provides full eight-note playing capability.
64 DIFFERENT PROGRAMS offer a wide range of excellent sounds.
STEREO CHORUS provides smooth, warm ambience
Built-in POLYPHONIC SEQUENCER stores and performs up to 256 notes. It can be started, stop-
ped, and remotely clocked using standard MIDI signals.
MUSICAL INSTRUMENT DIGITAL INTERFACE (MIDI) bus sends and receives key data (pitches
and gales), pitch bends, program changes, and full sequencer control.
l MIDI allows a Poly-800 to be linked with a second Poly-800 or another MIDI keyboard for rich layering
effects.
l A MIDI compatible home computer (or similar equipment) connected lo a Poly-800 can provide ex-
tended polyphonic sequencing, music
transcription, and many other functions, with suitable software
DIGITAL ACCESS CONTROL provides precise push button control over every program parameter.
for creating and editing programs.
l A large 6 digit LED Display offers complete data readout.
l Full editing capabilities allow memorized sound programs lo be easily changed. temporarily or
permanently.
. PROGRAM UP jack lets you change programs in sequence without taking your hands off the
keyboard.
l The Digital Access system provides accurate sound recall. excellent repeatability. and a minimum
of front panel
“clutter’:
New “BANK HOLD” function allows quick single-button access lo programs or parameters within
the same bank.
CHORD MEMORY lets you play parallel harmonies using only 1 key, and also provides monophonic
bass and solo articulation.. HOLD mode provides sustained “Hands-Off’ sound. POLY mode pro-
vides normal four and eight voice playing.
14 SECOND TAPE INTERFACE
~XVS many sets of PROGRAMS and SEQUENCER data to be
rapidly saved or
loaded from cassette. Thq large, prompting alphanumeric display gives Complete in-
formation about
tape operations. Operation is so fast and easy that all 64 programs can be changed
live between songs.
13~
NOISE GENERATOR adds “breath noise” for more realistic instrument sound and also can be used
for many kinds of special effects.~
14. Lightweight (10 lb.), battery/AC operated package can be worn on stage (using built-in strap
pegs), or moved and played ANYWHERE.
*The Poly-800 and a good quality “wireless” transmitter allows you lolaI on-stage mobility . . . first
for a programmable polyphonic synthesizer!

l IMPORTANT NOTES
.........................................................................................................
5
. FRONT PANEL NOMENCLATURE
..............................................................................
6
. REAR PANEL NOMENCLATURE
.................................................................................
6
l BASIC CONNECTIONS
....................................................................................................
10
.FUNCTION AND OPERATIONS
....................................................................................
11
1.
2.
3.
4.
5.
6.
7.
8.
INITIAL SETUP
...............................................................................................................
11
SELECTING PROGRAMS
.............................................................................................
11
SOUND SYNTHESIS.....................................................................................................
13
3-I What is a Synthesizer
.......................................................................................................
13
3.2
What is a Program
..........................................................................................................
13
3-3 Digital access control system..........................................................................................
13
3-4 Poly-800 Synthesizer Modules and Parameters
...............................................................
14
3.4.1. DC0 1 ......................................................................................................................
14
34.2. MODE ......................................................................................................................
15
3.4.3. DCO 2
.............................
.
........................................................................................
16
3.4.4. NOISE......................................................................................................................
16
3.4.5. VCF..........................................................................................................................
17
3.4.6. CHORUS
..................................................................................................................
18
3.4.7. DEG ..........................................................................................................................
19
3.4.a. MG ...........................................................................................................................
21
34.9. MIDI ..........................................................................................................................
21
CREATING SOUNDS.....................................................................................................
23
4-1l Overview
......................................................................................................................... 23
4.2 Editing programs
............................................................................................................
23
4.3 Writing programs to memory
44 Moving programs
....
...................................................................................................................................................................................................
zz
PERFORMANCE FEATURES.......................................................................................
26
5.1 Tune ...............................................................................................................................
26
5.2 Joystick .....
5.3 Key assign mode
5.4 sequencer
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26
gi
5.5 Program Up Footswitch
..................................................................................................
32
MUSICAL INSTRUMENT DIGITAL INTERFACE (MIDI)
.......................................
33
TAPE INTERFACE
.......................................................................................................... 35
7.1 Saving program and sequencer data on tape ,.,_._!
..........................................................
36
7.2 Recorded data tones
......................................................................................................
36
7-3 Verify ..............................................................................................................................
36
7-4 Loading data into the Poly-8000
.........................................
~.................................. L..
.......
36
POWER SUPPLY............................................................................................................
40
8-l Battery ,life
........
.
.....................................................................................................................................................................................................................
a-2 Replacing batteries
ii
. SPECIFCATIONS ,,,.,_,.,.,.,.,_~
..............................................................................................
41
l OPTIONS
..............................................................................................
42
................................
.

g
To ensure long life for the Poly-800, the following
precautions should be taken
LOCATION:
Do avoid malfunction, do not use or leave the Poly-800 in the
locations for long periods of time:
In direct sunlight.
In extremely high or low temperature or humidity.
In dusty or sandy places.
MUSICAL INSTRUMENT - HANDLE WITH
CARE!
* The Poly-800 may malfunction if excessive force is applied
to the switches and/or knobs or if it is dropped.
CLEANING:
l Use only a soft dry cloth to clean the surface of the Poly-800.
NEVER use benzene. thinners or similar solvents.
INTERFERENCE FROM OTHER ELECTRICAL
APPLIANCES
The Poly-800 uses advanced digital circuitry which may oc-
casionally malfunction due to interference produced by
fluorescsent lamps, other digital equipment, or electrical ap-
pliances with built-in motors. We recommend that you use the
Poly-800
as far as possible from such appliances. If any ir-
regularities occur, turn the power switch off. wait about 30
seconds, then turn the power on again. This should help
return the Poly-800 to its normal operating condition.
MEMORY BACKUP
l A built-in battery powered circuit protects ,the memorized
sound programs when the power is turned off. If the Poly
800 is left without a battery for more than five minutes. or
if the batteiy becomes exhausted. the contents of the pro-
gram memory may be erased. Therefore, the batteries
should be checked reasonably often and replaced when
necessary.
Even if you use the Poly-800’s AC adaptor when play-
ing, always keep good batteries in the unit to avoid
memory loss.
Be sure to change the batteries quickly to avoid possible
loss of program memory.
The Poly-800’s TAPE INTERFACE SYSTEM is an excellent
safeguard against loss of memory. In addition to providing
access to virtually unlimited programs. you may easily re-
load memory (should it become erased) using the Tape In-
terface system and the supplied Program Data Tape. If’s
always a good idea to Save any original programs on tape
to protect them against accidental loss.
WARRANTEE
The Poly-80O is warranted by the manufacturer against defects
in materials or workmanship. The specific conditions and
terms of the warrantee are listed on the enclosed warrantee
registration card.
INSTRUCTIONS
To obtain the best possible results from your Poly-800. please
read this manual carefully. Keep your Owner’s Manual in a
safe place for future reference.
I
“NOTICE”
.Because the
PO/y-800’s case is con&ted of a light weight, high impact PlBS” material, it’s possible for elec-
trostatic discharges to occur which may cause a temporary malfunction. Connecting the unit to an amplifier mixer
etc. (to provide a proper ground connection) BEFORE turning the power on will help ensure reliable operation.

Tune -,,,,
,,,jrPcwe~swilchNclume \ ,“dif ,
&Joystick
/
/
Joystick section
/
Key assig: mode
/i
step
Ll
Speed
/
Start/Stop switch
/
I
/
Sequencer section

E se’ect b”‘to”
/
Parame,er index
/
/

strap peg
Headphone jack
’
program write switch
L
Sequencer write switch
. .

1.
2.
Make sure that the Power Switch is turned
3.
When using an amplifier or mixer, connect
off (VOLUME control fully counterclock-
the Poly-800 rear panel output jack(s) to the
wise). amplifier or mixer input jack(s).
3- -9
2
10
1
L POWER
OFF
1
VOLUME
Either batteries or the supplied AC adaptor
can be used as the main power source.
. When using an AC adaptor,
use only the supplied
KORG
9V AC adaptor (designed to be used with local
voltage)
to avoid possible damage.
. Connect the AC adaptor
to the Poly-800 rear panel DC
9V jack, and then plug the AC Adaptor into an AC wall
socket.
,
,
(Mono output channel output)
(R channel output)
4. When using headphones:
. Plug headphones into PHONES jack
r-OUTPUT
PHorES
OCW
R
L/MONO
m?Pe
.

When setting up the Poly-800. please follow the procedure
below.
1. Make sure that everything is properly connected as
described in Basic Connections. with all power turned
OFF.
2. Set the Program and Sequencer WRITE switches and
the TAPE switch (on the rear panel) to the DISABLE
position.
--
3. Turn on the power Switch. (If you are using an amplifier,
turn the amp Volume all the way down BEFORE turning
on the power.) The front panel LED Display will display
the following message:
PITOGRAH HO. PNw.ME A NO.
VALUE
This dot lights up in
DOUBLE MODE (4 Voices)
4. If you are using an amplifier, first set the amplifier Volume
to a suitable position, and then adjust the
Poly-800
VOLUME control for the desired level. If the sound
becomes harsh or distorted. turn down the
Poly-800
VOLUME and/or the amp Volume.
2. SELECTING PROGRAMS
Any of the 64 different sounds programmed into the Poly8O0’s
memorv mav be instantly selected. Each program location is
identified by a two digit.“Program Number, which is used
whenever a program is stored, recalled or moved
from one
location (Program Number) to another.
(2) Selecting Programs
When the Power switch is turned on. the LED Display
shows the following:
(1) Program Numbers
A program number is a two digit number ranging from
It to 88 (the digits 0 and 9 are not used). The first digit
indicates the Program “Bank’: and the second number
indicates the individual program WITHIN that
Program
Bank. For example, Program Number 36 would be
program
#6 in bank 3. The 64 program locations are
arranged in 6 banks or groups of
8 programs each:
Program numbers
Number of programs total
The eight number buttons are used both to SELECT PRO-
1
GRAMS and 10 SELECTPARAMETERS within a program
11-18
I
8
When the Poly-800 is turned on, Program Select made is
automatically chosen (only
three characters shown in the
Disp1ay).
The PROG/PARA button is used to switch bet-
ween the two modes.
21-28
8
31-38
8
.
41-48
864
51-58
8
The display indicates Program Number “: : ” and the
“POLY” mode, the normal playing mode, have been
selected.
NOTE:
61-68
8
IF ALL 6 DIGITS ARE DISPLAYED, YOU ARE IN PARA-
71-78
8
METER MODE AND SHOULD PRESSTHE”PROG/ PARA”
81-88
8 BUTTON BEFORE SELECTING A NEW PROGRAM.
_~_~____ __.. ,__ .~ -.. _.. -._

\
.
SELECTING PROGRAMS
N OW try selecting a different program.
1. Select any number from : : to 8 s.
Examples: Selecting program number z 3.
Press the Number Select Button
will display the following;
z, and the indicator
!
!
PROGRAM NO.
The dash in the right hand digit position means that the
Poly-800 is waiting for you lo select the second digit. (The
old program will sound until the second digit is entered.)
NOTE
If the first digit ~(1s selected incorrectly, just press the
desired Number Select Button ( 2 in the example) twice
so that the correct Program Number appears in the left
hand digit position. Then enter the correct second digit to
finish selecting the desired
program.
2. Press the Number Select button 3 to select the second
digit, and make sure that the DISPLAY shows ><. You
can now play Program 23.
PROGRAM NO.
3. Try selecting and listening to any of the 64 pre-
programmed factory programs, in any order you like.
You’ll find that with a little practice you can select any
desired program very quickly. The Bank Hold features.
described below, makes program selection even easier
in live performance situations.
(3). Bank Hold
The Bank Hold feature allows the current Program Bank
Number (left-most digit) to be “held”. this enables you
to select any of the eight programs In
that bank with
a single press of a button, for the fastest possible pro-
gram access.
EXAMPLE:
Selectlng Bank c’
BANK HOLD\
Bank Hold Switch
,
(4)
Select any program between 2 : and 2s (or simply
press ” c’ “) and then press Bank Hold. The DISPLAY
will show the following:
You may now select any of the eight programs from
2 :
IO ,T,T by simply pressing a single digit between
‘* : ‘* and ”
$ ‘: As long as the small LED dof next
to the Bank digit is lit, you can ONLY select programs
between
i’ : and i’s,
To change Banks, or cancel the Bank Hold function.
‘*
simply press the Bank Hold switch again. The small
LED dot will go out. and the regular two-digit selection
mode will be restored.
\
Program Up
The PROGRAM UP Jack (connected to an optional
footswitch) allows you to change programs in sequence
without faking your hands off the Keyboard. This Jack
accepts “switch triggers” form a footswitch
or other
external source.

SOUND SYNTHESIS
3. SOUND SYNTHESIS
A synthesiser is a set of modules or “building blocks” that
can be used together to create many different types of sounds.
In all synthesizers. there are three basic types of modules:
sound SOURCES, sound MODIFIERS, and sound
CONTROLLERS.
The basic sound SOURCES used in the Poiy-600 are eight
Digital Controlled Oscillators
(DCOs). The DCOs produce the
actual pitches, and the selected DC0 WAVEFORM (and selec-
lion of 2’. 4’ Harmonics etc.) has a large effect on the tonal
quality (timbre) of the sound. A NOISE source is also provided.
The sound MODIFIERS for the Poly-800 are the Voltage Con-
trolled Amplifiers
(VCAs), the Voltage Controlled Filter (VCF).
and the Stereo Chorus. Sound modifiers take the basic sound
produced by the sound sources and shape or “line tune” the
sound into its final form
- what you actually hear.
l The VCF modifies the blend of overtones (and
brightness) in the sound.
l The VCAS control the changes in volume ievel which
provide individual note articulation how each note
attacks, decays. etc.
l The Stereo Chorus provides extra warmth and
“thickness” for almost any sound.
The sound CONTROLLERS don’t produce or modify any
sounds directly
- they tell the sources and modifiers what
to do. Controllers in the
Poly-800 include the Keyboard and
Key Assigner, advanced 6.stage Envelope Generators.
Modulation Generator, Programmer, Joystick and MIDI
interface
Without controllers, there would be no way
of coordinating
the different modules in the synthesizer to produce useful
sounds.
MIDI (Musical Instrument Digital Interface) is actually an EX-
TERNAL Controller, which allows different instruments and
equipment to be coordinated for a wide range of new
possibilities.
Each of the sources, modifiers and controllers described
above have several PARAMETERS (variable settings such as
Waveform, Cutoff, Attack Time, etc.).
A “Prcgram”.is the particular collection of Parameter set-
tings that results in a specific desired sound.
On many
synthesizers. knobs must be turned to adjust the
Parameters. and it’s hard to tell what the exact values are
-
especially when you’re editing an existing program. the most
common way
of creating new programs.
On the
Poly-800. each parameter and its value are express.
ed by a pair of numbers:
* The PARAMETER NUMBER (middle two digits of the
six digit DISPLAY) identifies a particular Parameter,
which is like a single control knob on other synthesizers
(Filter Cutoff, for example, is Parameter
‘-: / on the
Poly-800).
l The VALUE (righthand two digits) is like the current set-
ting of that control knob,
or Parameter (e.g.. Filter Cutoff
can have a Value between
z and 32 ).
The eight Number Buttons (also used for Program Selec-
tion). UP and DOWN buttons and large LED Display make
it easy to adjust and DOWN button and LED Display make
it easy to adjust each program parameter precisely for the
exact desired result. TO change any aspect of
a programm-
ed sound, you simply:
l select a Parameter Number
* adjust its Value. using the UP and DOWN buttons
* repeat above to change other Parameters. as needed
Further information is given in the section on “Creating
Sounds’:
Name of parameter
Parameter number

.a
3.4.1 DC0 1
The basic sound sources of the Poly-800 are the eight Digitatly
Controlled Oscillators (DCOs), which offer precise frequen-
cy tuning and stability through the use of advanced
integrated
digital technology.
The
Poly-800 DCOs operate on a principle of additive
squarewave synthesis. Different waveforms are created by
adding together, in different proportions, up to four
squarewave Harmonics at octave intervals, from 16’ to 2’ (a
four octave range.)
Each DC0 then is separately articulated by its own 6-stage
Digital Envelope Generator, which allows very complex and
interesting sounds to be created, especially when Iwo
DCOs
are combined oer voice in DOUBLE Mode.
1
PARAMETER NAMES AND FUNCTIONS
I::
OCTAVE
Determines the basic pitch range over a three octave
range (High, Middle, Low). By choosing different com-
binations of
the Octave and Harmonics parameters,
you can select a basic pitch range from 1 ’ (highest)
.
to 32’ (lowest).
.mm
The Waveform parameter works together with the
,16’
. 2’ Harmonics parameters (see below) to deter-
mine the basic tonal quality (timbre) of the oscillator.
The Harmonics parameters turn each squarewave
Harmonic ON and OFF. The Waveform parameter
selects the actual LEVELS of the individual
.-
squarewave Harmonics which are added together to
create the final waveform.
The
Poly-8OO provides a choice of two waveforms (har-
monic levels): Squarewave
(n) at Value : , and
Sawtooth ( h) at Value 2.
l With a Waveform Value of : , all of the squarewave
Harmonics (that are turned ON) are added together
at equal volume:
nr~.n~~~b~
turned ON or
OFF at
each feet.
16’. 8’. 4’. 2’ all ON
l With a Waveform Value of
2 , each Harmonic (that
is turned ON) is combined with a different relative
volume (16’ is loudest, 2’ is softest):
8’. 4’. 2’. ON 4’. 2’ ON
step wave
.
wAvcRMT
m:;m HARMONICS (16’ 8’ 4’ 2’)
The Harmonics parameters turn any combination of
individual squarewave harmonics on and off.
regardless of the Waveform Parameter Value. This
allows a wide variety of different waveforms to be
created. For example. you could add together just the

16’ and 4’ harmonics, at either the same level
(Square Waveform), or with the 16’ harmonic 3 times
louder than the 4’ harmonic (Sawtooth Waveform).
l When a Square Waveform is selected (Value of : ).
and any single ONE of the Harmonics parameters
Is ON, a regular square wave is produced at the
selected pitch range.
!
COMBINING TWO OR MORE of the harmonics with
the Square Waveform selected produces octave
doubling “effects."
-When the Waveform Value is
I
z, and ALL of the
16’ - 2’ Harmonics are turned!ON. the DC0
waveform will be a close approximation of a sawicoth
wavelorm.
16 84’
I
r 1
LEVEL
ON ON
ON
ON
I
OFF ) OFF / OFF 1 OFF 1 0
(
*With all Harmonics turned ON, the basic pitch
range will be selected by the Octave parameter
( ; : ). However, several types 01 modified Sawlc-Zh
waveforms are available by turning OFF 1 or 2 of
the higher Harmonics, and higher-pitched
saw-
tooths are available by turning OFF the 16’ or 16’
& 6’ Harmonics.
LEVEL
The maximum level of
DC0 1 can be adjusted over
a range of E (of9 to 3 :(full). This is’useful both
for adjusting the overall volume to match other pro-
grams, and for balancing DC0 1 and DC0 2 in Dou-
ble Mode.
LEVEL
I
VALUE
MAXIMUM
f
MINIMUM
Since each DC0 is orficuloted by its own Digital Envelope
loud the DC0 will be when the DEG reaches its A/tack peak.
3.4.2 MODE : ‘. ‘.
:1 .;, ,.
The DC0 MODE parameter determines the basic architec.
fure of the Poly-600:
WHOLE Mode 6 individual voices with 1 DC0 and 1 DEG
per voice. (LED Dot OFF)
DOUBLE Mode 4 individual voices with 2 DCOs and 2
DEGs per voice. (LED Dot ON)
The LED Dot next lo the Key Assign Mode Display always
shows whether the currently selected Program is in WHOLE
Mode or DOUBLE Mode:
PROGRAM NO.
PARAMET NO.
“AWE
r
ihe Dot is Lit when
DOUBLE Mode
In WHOLE Mode, all
6 DCOs are controlled by the DC0 1
Parameters ( : : - :: ), and the 6 related DEGs are all con.
trolled by the DEG 1 Parameters ( 5 : - 55,.
Tying to access any DC0 2 or DEG 2 Parameters ( z :
_ 7 3 a”d 0: # _
55) will produce a blank readout in the
Vi& dispgy: lo show that they are not Currently being
used. However, the previousvalues of these parameters
‘are still saved in memory, and will be available again
when DOUBLE Mode is selected.
In DOUBLE Mode. 4
DCOs and DEGs are controlled by the
DC0 1 andDEG 1 parameters. and the olhar 4 DCOs and
DEGs are controlled by the DC0 2 and DEG 2 paramalers.
Exceptionally dynamic and realistic sounds result from us-
ing a SEPARATELY programmed 6.stage Digital Envelope
Generator to control EACH of the hvo DCOs that are “layered”
together for each note.)
MODE
VALUE
I
t
DOUBLE
z
(4 Voices)
WHOLE
I
(8 Voices)

.
r3.4.3 DC0 2 (DOUBLE Moda only) ,::!.:.:‘:?:.I~ !: -‘. .:. 1
DC0 2 can be combined with DC0 1 to producb a wide variety
of warm, thick sounds. The DC0 2 parametejs are only ac-
tive in DOUBLE Mode (see description of MODE Parameter,
above).
3ARAMETER NAMES AND FUNCTIONS
a
OCTAVE
Similar to DC0 1. The three octave range includes
High, Middle and Low.
a
WAVEFORM
Similar to DC0 1. There is a choice of square wave
( n). or sawtooth ( h,.
pJ_m
HARMONICS (16’ 8’ 4’ 2’)
Similar to DC0 1. Each of the four squarewave har-
monics may be individually turned ON or OFF.
#27 LEVEL
Similar to DC0 1. DC0 2 is controlled by DEG 2. not
by DEG 1.
IzJ
INTERVAL
The pilch of DC0 2 may be transposed or “offset” so
that it sounds at a constant interval above DC0 1. The
range of this parameter is a full octave in semitone
steps (,“-ii’).
*When Interval Value equals ,y , DC0 1 and DC0
2 are In Unison. When Ihe Value equals 7 , DC0
,2 will be a perfect 5lh
(7 semitones) above DC0 1.
l With a Value of : z , DC0 2 will be an octave higher
than DC0 1. This is useful for extending the range
of the Keyboard, or for tuning the two DCOs lo be
rhree octaves apan.
INTERVAL VALUE
,
lai’l
DETUNE
J
The Detune parameter provides fine pitch adjustment
of DC0 2 relative to DC0 1. Detunina DC0 2 Creates
a ‘fatter’ sound because of the slight&h differences
between the two oscillators.
l Deluns Values can range from ’ c ’ (no detuning)
to ’ 3 ’ (full detuning).
DETUNE
VALUE
The Whiie Noise Generator &I be usad for a variety of special
effects, either by ilself or mixed with the DCOs. Unlike any
other synthesizar, the Poly-800 can “envelope” or arliculats
Noise SEPARATELY from the oscillators, which can be used *
to add small amounts of “breath noise” to simulated acouStiC
instrument sounds.
.The LEVEL parameter sets the MAXIMUM noise level
over a range of C (off) lo :s (full).
.Noise level is also controlled by Digital Envelope
Generalor 3 (DEG 3), which also controls the VCF. The
Noise LEVEL parameter actually determines how loud
Noise will be when DEG 3 reaches its Attack peak.

\
.
SOUND SYNTHESIS
3.4.5 VCF ‘.
The Voltage Controlled Filter (VCF) controls tonal quality (tim-
bre) by selectively removing and emphasizing different over-
tones of the DC0 waveforms. The VCF used in the Poly-800
IS a LOW PASS filter: it passes oval tones BELOW the Cutoff
Frequency and reduces or removes completely the overtones
ABOVE rhe Cutoff Frequency. When RESONANCE is turn-
ed up, any overtones very close to rhe Cutoff Frequency will
be emphaslzed.
Cutoff Frequency is the most imponant parameter of the VCF
Varying the Cutoff Frequency changes the blend of overtones.
resulting In a timbre change (which helps create dynamic and
“lifelike” sounds). Cutoff Frequency is determined by the
CUTOFF (‘-: : ). KBD TRACK ( ‘-:3 ). POLARITY ( ‘Y’-: ) and
EG INT( L;S ) parameters. It can be also be affected by DEG
3 and/or by the Modulation Generator (MG).
PARAMETER NAMES AND FUNCTIONS
p-J
CUTOFF
This parameter directly sets the Cutoff Frequency of
the low pass filter.
When the Cutoff Value is set to 7s (assuming both
KBDTRACK (1’3) and EG INT(SS) ares6lto 2).
all wavelorm overtones from lhe DCOs are passed
without any effect. and the sound Is very brighl.
,
As Cutoff Value is reduced. more and more harmonics
are cut off, producing a more rounded or less bright
sound.
When the Cutoff Frequency Value is near c, nearly
all of the waveform is filtered out. resulting in almost
no sound.
/Q
RESONANCE
Resonance emphasizes Ihe harmonics near the Cutoff
Frequency, producing a characteristic “wah” or “band
pass” type of sound.
Harmonics near
The higher Ihe Value, the stronger the effect of the
Filler on the tonal quality (timbre). Resonance can prc-
duce lypical synthesizer “wah-wah” sounds, helps
make instrumental sounds more real&tic. and general-
ly provides a good variety of subtle and dramatic
etfects.
Effect on tone qUdity (
Value
Large (very pesky sound)
1
Small
f
!
None
w ,
KBD TRACK
Keyboard Tracking controls how the VCF Cutoff Fre-
quency changes as you play up and down the
keyboard. There are three Values: Full. Half and Off.
Full ( z ) Cutoff Frequenq rises and falls in EXACT
PROPORTION to the pitch of the HIGH-
EST note sounding at any given time
(whether played on Ihe keyboard or ptc+
duced by the Chord Memory feature).
This tends to keep timbre (tonal quality)
relatively constant as you play up and
down the keyboard.

.
Half ( : )
OFF(:)
Cutoff changes only 1 HALF OCTAVE
FOR EVERY OCTAVE change in the
highesl note played. This fends to make
lower notes brighter (more overtones)
than higher notes, since the VCF cuts out
more and more overtones es the pitch of
a note rises.
Cutoff is NOT AFFECTED by keyboard
pitch. Lower notes are much brighter than
higher notes, as explained above.
KS0 TRACK
VALUE
I
I 00%
I
2
50%
OFF
i ’
0
-
The next three parameters, POLARITY, EG INT and TRIG-
GER, a,, affect the way that the VCF “envelopes” or changes
timbre over the life of a single note. These dontours (produc-
ed by DEG 3) are very important in creating expressive
sounds. Getting a sound “just right” will oflen require you IO
go back and forth between ALL of the VCF parameters several
times, since they all interact in praducingithe final sound.
(‘-:c;( POLARITY
The Polarity parameter determines how the Cutoff Fre-
quency is affected by Digital Envelope Generator s-3.
*When Polarity equals 2 , the Cutoff Frequency is
swept UP during the attack portion of the envelope.
and down during the decay portion etc.. for a “nor-
mal” envelope effect.
l When Polarity equals : , the Cutoff Frequency is
swept DOWN during the attack portion of the
envelope (the envelope is inverted).
a If EG INT ( I-: ‘5) is zero, the Polarity parameter has
no effect, regardless of its setting.
POLARITY
VALUE
V
/
I
pJ
EG INT
.EG Intensity controls how much the VCF Cutoff Fre-
quency is affected (swept) by Digital Envelope
Generaior #3 (DEG 3). tThe Polarity parameter con-
trols which direction the VCF is swept in.)
-EG Intensity has a range of c (no sweep) to
,:s (maximum sweep).
EG INT
VALUE
Sweep deep
1
Sweep shallow
1
N0”e
IS
-I
0
-_
a
TRIGGER
Selects one of two keyboard triggering modes for DEG
3. which controls the VCF (as well as Noise).
Single( ;) DEG 3 will be triggered by the FIRST note
played, causing a normal Attack. Decay
. Break Point - Slope cycle to sweep the
VCF. The Envelope attack cycle will NOT
be retriggerad (restafled) by any new keys
played until ALL keys are released and a
new “first key” is played.
This allows you to use your playing style
to control when new VCF attacks will
occur For example, legato playing
could produce smooth even sounds,
while staccato playing could produce
sharp percussive sounds.
Mulli ( 2 ) DEG 3 will be triggered whenever a new
note is played. eveh if Other keys are still
being held down.
This mode allows fast and fluid playing
without having to lift fingers off precise-
ly to produce a consistent sound.
Single
I
NOTE:
The 7Figgerporamefer only affecc~s DEG 3. DEG I and 2 0~
always trigsued whenever D new no& is assigned to the COT-
responding DCO.
1 3.4.6 CHORUS
The built in Stereo Chorus produces a warm. subtle ambient
that enriches many types of sounds. It is especially effeCti\
when headphones or both line outputs (panned separatei,
are used. The Chorus effecf may be programmed ON or OF

SCIIIND SYNTHFSIS
u
HORUS
1 3.4.7 DEG
I
The Poly-800 has nine Digital Envelope Generators (OEGs).
8 of the DEGs (OEG 1 or OEG 1 & 2) control the volumes of
the 8 individual OCOs. providing individual articulation (at-
tack, decay, etc.) for each note. The remaining OEG (DEG
3) dynamically changes the VCF Cutoff and Noise level.
All Digital Envelope Generators use en advanced 6 stage
,
design. In addition to the normal Altack. Decay, Sustain
and Release functions, they include EAEAK POINT and
SLOPE functions. which control an extra envelope Stage
that can create either a second attack or a second decay.
These newly designed OEGs provide. highly improved
percussive and instrumental sounds and many new
special effects.
In WHOLE Mode. the 8 OEGs that provide DC0 articulation
(Volume Envelopes) are all controlled by the OEG 1
parameters (5 ,
c, .cc
_,u ), so that all notes are articulated in
a similar way. In this.mode the DEG 2 parameters have no
effect (and appear blank if you try to access them).
In DOUBLE Mode, two OCOs and two DEGs are assigned
to each note. Each DEG (and OCO) may be programmed
separately, creating a wide range of complex, dynamic
sounds. DC0 1 is controlled by OEG 1 ( 5 ; . 5 5) and DC0
2 is controlled separately by DEG 2 ( 6 ; - ‘65). (See sec-
tion on DC0 MODE for further information).
PAkAMETER NAMES AND FUNCTIONS
Is:!. PI m ATTACK (Rate)
Controls how long it takes for the envelope contour
to rise from zero to its maximum level after the key
is depressed.
The maximum envelope level mn cormspond 10 the IIWX-
imum DC0 or Noise volume (OS set by LEVEL pammeters
; 7, 2 : , 3 3 ). 11 cm oh correspond 10 Ihe highest /or
lowerr) VCF Cutoff Frquency (asset by POL.ARlTY I’-if’)
and EG INT (q5).
1
,

1;11’1 m . I:i’l DECAY (Rats)
Determines the rate at which the envelope contour
falls from the maximum (Attack) level lo the BREAK
POINT level, after the ATrACK phase is completed,
. If BREAK POINT equals 3 : , the DECAY parameter
has no effect. There needs to be at least a :
number difference in starting 8ending Levels for
Rate parameters lo have a” effect (the Attack peak
is always 3 : .) The bigger the difference, the longer
the actual lime produced by a given DECAY value.
* fix example. assume DECAY is jl :, with BREAK
POINT (B.p.)= 3g, the actual Decay cycle lasts
about 0.5 seconds. With BP.= ?‘p, it lasts about
1.2 seconds (DECAY= 3 :). Al BP.= 25, it lasts
about 3 seconds, and at ZL:. about
5 seconds.
* SLOPE and RELEASE are similarly affected by
changes to BREAK POINT and/o: SUSTAIN levels.
The bigger the defference between starting 8end-
ing levels. the longer the actual time produced by
a particular Rate value.
lf31.~.Q
7 7 BREAK P. (Break Point, Level)
‘Q
,
Determines the envelope level at which the Decay rate
changes to the Slope rate. This allows complex two-
part decay or decay/attack transients lo be created
(see Slope description below for examples).
l If the Break Point level is set to maximum ( 3 : ). the
extra envelope stage is effectively disabled, and the
envelope becomes a conventional ADSR type. (In
this case, SLOPE is used instead of DECAY to set
the actual decay rate from the ATTACK peak to the
SUSTAIN level.)
*You can also produce a regular ADSR by setting
BREAK POINT lo the same value a$ SUSTAIN level.
This method allows DECAY to contr4l the decay rate.
but requires you to change BREAK TOINT whenever
you change SUSTAIN.
I
Js’:.1:i’
SLOPE (Rate)
I
Determines the rate at which the envelope contour
moves from the BREAK POINTlevel to Ihe SUSTAIN
level.
*If the Break Point level is LOWER than the Sustain
level, then SLOPE functions as a second ATrACK
(the envelope moves UP lowards the Sustain level).
-If the Break Point level is HIGHER than the Sustain
level, then SLOPE functions as a second DECAY (the
envelope moves DOWN towards the Sustain level).
*Slope has no effect when Break Point and Sustain
are set to the same value.
Time -
Compressor Guiiar Sound,
using a second attack.
L
lime -
Piano-type Envelope,
using a second decay.
(SSI a . (:51 SUSTAIN (Level)
Determines the constant envelope level at which the
sound is sustained after the Attack, Decay and Slope
phases are completed, for as long as the key is kept
deoressed.
Is;] a a RELEASE (Rate)
Determines the rate at which the envelope contour
falls from the Sustain level to zero after the key is
released.
-If the envelope has not yet reached the Sustain level
(if still in the Attack, Decay or ‘slope phase), then
the envelope level will fall from its CURRENT value
to zero at the Sustain rate.
l As wilh Decay and Slope, changing the Sustain level
automatically changes the actual Release TIME
(because Release is a rate.).
AltXk
f
lime
Long
I
Shoti
I
oecay Break Slope Sustain A&as8
wint
VALUE *