Korg PS-3200 User manual

KORG PROGRAMMABLE APHONIC SYNTHESIZER
Owner's Manual
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PROGRAMMABLE POLYPHONIC SYNTHESIZER
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INTRODUCTION
Thank you for choosing the PS-3200 Programmable
Polyphonic Synthesizer. We developed this instrument as an
improved and memory-equipped version of our polyphonic
PS-3100 synthesizer which has attracted much attention from
the world's leading musicians.
As is the case with our other polyphonic synthesizers, you can
play as many keys as you like at the same time. Each key has
its own microelectronic IC synthesizer circuit. The biggest
feature of the PS-3200 is that it has amemory. You can
program it to remember 16 completely different tone colors
that you are free to create as you would on an ordinary
synthesizer. Programming is as simple as pressing abutton. If
you have been using monophonic synthesizers, rest assured
that we have sacrificed nothing in converting to polyphonic
operation. You can even use the PS-3200 just as you would a
monophonic instrument, if you like. But with this polyphonic
capability you can create rich harmonies without the
intermediate step of multitrack tape recording. This makes the
PS-3200 highly suited to live performance applications. The
whole of our PS-Series offers you this kind of excitingly
innovative approach and solidly dependable performance, so
that you can go beyond the limits of conventional synthesizers
and explore the musical universe at will.
WARNING
To reduce the risk of fire or electric shock do not expose
this appliance to rain or moisture.

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This synthesizer employs two signal genera-
tor modules (which include the waveform
generating VCO circuitry) along with many
other signal snapping and control modules
including dynamic low-pass filters, en-
velope modifiers, and a7-band equalizer.
With the total of 32 control knobs found
in these modules you can create virtually
any tone color. Then you can have the
memory remember that setting, no matter
how complex. In this block diagram you
see the signal paths of the audio signal and
the control signals. By studying this dia-
gram and familiarizing yourself with the
pattern of signal flow, you will be able to
work out the most troublcfree method of
creating any particular sound. The shaded
blocks in the diagram are those modules
that the memory will remember the set-
tings of.
•SIGNAL GENERATORS
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Fig. 1PS-3200 +PS-3010.
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Fig. 2Block Diagram.

•NORMAL SETTING
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Figure 3shows the "normal seating" for
one unit (channel 1) and the mixer of the
PS-3200.
With this setting, all modulation functions
are turned off to produce asimple organ
tone. If you don't get an organ tone,
you've probably missed one of the knobs
or switches; go over Fig. 3again.
This manual uses the normal setting as a
starting point for all further explanations
of synthesizer functions and operation.
Learn how to return to this setting quickly
and effortlessly whenever you want; it will
make your relationship with the synthe-
sizer alot smoother.
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•PROGRAM SELECTOR
Each of theso sixtoon buttons is for
adifferent tone color setting. When
you press abutton an LEO indi-
cator lights up.
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Whon you press this button it con-
eels one of the memories so that
you can set up the control panel for
anew tone color setting.
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•WRITE
When you press this button and one
of the program selector buttons at
the samo time, the tono color sot-
ting that you have created will be
put into the memory.
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As an example, these instructions will show
you how to put the normal setting into the
programmer's number sixteen memory:
Press the C/S switch (marked (X) in the
diagram) and set controls to the "normal
setting". Turn off the memory protection
switch (by pushing it up) which is located
to the left of the power switch as shown
(g> in the diagram. When this switch is off
it allows you to write in anew program.
Assuming that you have set up the control
panel for the so-called "normal setting",
press the write button (marked (C) in the
diagram) and the number 16 program selec-
tor button at the same time. This will put
the normal setting into the number sixteen
memory. In other words, the program
input process is as simple as pressing these
two buttons. You will notice that as you
press the write and 16 buttons together,
the I.ED above the CVS switch will turn off
and the I.ED above the number 16 button
will turn on. In this condition, try playing
the keyboard and turning some of the
control knobs in the sections of the control
panel that are outlined in orange. Nothing
should change in the reproduced tone-
color if you have followed all of the in-
structions correctly. Now try pulling out
on one of the control knobs and turning it.
In this case, you will be able to change
parts of the reproduced tone color at will.
When you press back in on the knob, the
setting will go back to the "normal setting"
that you have programmed into the num-
ber sixteen memory.

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All of the settings of the 32 knobs shown
in figure 6can be put into any one of the
memories (1 through 16). To accomplish
this, first press the C/S switch (you have to
have the MP switch off to do this). Then
adjust the control knobs until you get the
tone color that you arc aiming for. (You
can use the setting example as areference.)
Once you have gotten the sound you want,
simply press the write button along with
the program selector butoon that you want
to use to remember that particular tone
color. In figure 6you sec that we have
arbitrarily selected button number one for
this particular tone color setting.
You can put adifferent tone color setting
in memory 2(by going through the same
process), another setting in memory 3, and
so forth. Altogether the memory bank will
store up to sixteen different tone color
settings that you arc free to create and
alter (by pulling out and resetting any of
the control knobs) at will. These settings
will remain in storage, whether you turn
off the power switch or not. This is pos-
sible because there arc batteries (two 3V
batteries) that keep the memory alive. You
must pay attention to the state of these
back-up batteries in order to protect the
memory bank.
Note that the memory protection
switch is merely aprecautionary device
that prevents you from accidentally
erasing amemory (by mistakenly press-
ing the programmer buttons). This MP
button must be in the OFF position
when you write in anew program.
SKUCl *0«E*'*B'PS-3010
Fig. 6
Fig. 7

1-3 THE BACK-UP BATTERIES My^y^M^U-EOlvc
•BATTERY LIFE INDICATOR
LAMP
When this turns on it means that it
is time to toplacc the batteries. But
this must be done with the power
switch on (and the power cord
plugged into an AC socket) in order
to prevent the memory bank from
being erased.
N(T)OttS-C-UrD^7A^>B*iiA9«T
•MEMORY PROTECTION
SWITCH
This is your memory protection
(MP) switch. By leaving it in the
ON position you can protect the
memory bank from accidental
erasure.
Fig. 8Memory protection yFUS£ 2k 2$W
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Fig. 9 Rear panel.
1-4 CHANGING BATTERIES MftxWi
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•New batteries will last for about one
year from the date you put them in. We
put batteries in at the factory, but since
you probably do not know how long the
3200 took to get from us to you, you may
wish to put in new batteries. Then you can
replace them in one year's time, whether
the battery life indicator lamp lights up or
not.
•When you do replace the batteries,
please remember to have the synthesizer
plugged into an AC wall socket, and have
the power switch turned on. You should
have the memory protection switch turned
on as well. Make sure that you have the
plus and minus ends of the batteries in the
right directions when you insert them.
Please Note That If the AC Power is Off
When You Take Out the Old Batteries, the
Memory Bank Will be Instantly Erased.
Should This Happen, You Will Have to
Reprogram it.
•BATTERIES
Use two 3-volt
AM-31. batteries (type
PS 32000) /4V -fS *3230>oi *l*Flg.
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While you are using any one of the sixteen
memory programs, you can alter any part
of the tone color by simply pulling out and
resetting (in the pulled out position) any of
the 32 knobs (in those scetions that can be
put into the memory). (Of course the other
controls always continue to be adjustable
as usual.)
When you push aknob back in, then it
returns automatically to the setting pro-
grammed into the memory (though the
knob does not actually turn by itself; the
process is purely electronic).
All this means that when you use different
amps from usual, or if the acoustics of the
hall you are playing in are different, you
can perform the necessary adjustments to
compensate for variations in reproduced
tone color.