KORG DSS-1 Abbreviated Instruction

Manual
SAMPLE
Select S. Frq = 16, 24, 32, 48 kHz
Select TOTAL TIME: x.0 or x.0 (sec)
Total Time Half Full
16kHz 8sec 16sec
24kHz 5.5sec 11sec
32kHz 4sec 8
48kHz 2.75sec 5.5sec

F1 SMPL-NO.: 1-16 MEM.DIV: 1,2,4,8,16.

 Samples are numbered 1-16, while
memory is divided into 1, 2, 4, 8, or 16
divisions. E.g. 01/08.
F1 SMPL-KEY ASSIGN AUTO SET? (Y/N)
 See pg. 68 for auto-assign chart.
  Manual mode: blocks assigned from
lowest to highest sample.
F0 SAMPLE START:
 Sample number, memory division,
frequency, and key are displayed. Press
ENTER to sample.
 “F0 Ready to Sample,” then
“Sampling…” will play with sample.
F2 ATTN/GAIN: Attenuation/Gain function.
 0,10,20,30,40dB gain available
 0, -2, -4, -6, -8, -10 dB attenuation values
 Gain should not be clipping! This may
cause damage.
F3 TRIGGER LEVEL: threshold for input
audio to reach before sampling starts
 * mark indicates trigger level.
F4 ORIGINAL/TOP KEY: Based upon number
of divisions, lowest to highest.
 ORG= e.g. C #
 TOP= e.g. D 3
F5 SAVE SAMPLE
 Selects a memory block, gives sound a
name, and saves to disk.

EDIT SAMPLE
F1 SELECT SAMPLE
 Loads/transfers multisounds to the edit
work area from the wave memory area
or from disk.
F2 Auto Repeat ON/OFF.
 Useful for editing
F3 TRUNCATE START/LENGTH
 Cuts off the beginning and/or end.
 S.S. Sound start
 S.L. Sound length
 Automatic optional.
F4 REVERSE SAMPLE: Reverses waveform.
F5 LINK SAMPLES: Takes a sample from the
edit work area (loaded with F1) and links it
with another sound.
 Auto level adjust
 Cross fade link
F6 MIX SAMPLES: Mixes sound loaded with
F1 with a sound from disk.
 Help me
F7 VIEW/EDIT SAMPLE DATA
 Views address and level
F8 SAVE/RENAME SAMPLE

CREATE WAVEFORM
F01 DRAW with SliderA
 Adjust level to time
 You draw waveform No. 1, which is
reproduced in wave form memory slots
2-8 up the register of the keyboard.
 Edit WAVEFORM? If yes, vary the
horizontal and vertical components by:
ADDR = 000 to 511, LEVEL = -2048 to
+2048.
F2 HARMONIC SYNTHESIS :
 1. Blank: Level nil for 128 harmonics
2. SAW: sawtooth wave
3. Square: Rectangular waveform
4. METAL: metallic gong
5. CLAV: Typical clavichord wave
6. ORGAN: Typical organ wave
 HARM: #001 - #128 (horizontal)
 LEVEL: 000-255 (vertical)
F3 SAVE WAVEFORM:
 After drawing or synthesizing a
waveform, can choose 3.
 SELECT WAVEFORM:
 WAVEFORM: Assign number based
upon the spectrum of the wave to be
saved, lower to higher frequency. 1-8.
 KEY: Shows original key
 Input Name: Name waveform.
MULTI SOUND
F0 GET SOUNDS
 Gets sounds from disk to wave memory
and assign them to the keyboard, from
low to high.
 LOOP ON? Loop must be on if sounds
are single full wave cycles.
 LOAD LENGTH= # you want to add.
 Get sounds ends if #sounds > 15. Or if
memory exceeds 262886
 ORG = C3 TOP = C3 . Original key, top
key, can be changed.
 MORE SOUNDS? Repeats the procedure.
F1 Select M. SOUND/SOUND.
  Selects from memory the multisounds
and sounds for use with F2-F9.
F2 REL. PARAMS(TUNE/LEV/Fc): Relative
parameter function.
 Fine adjustment of the tuning, level, and
cutoff frequency within a multisound.
 TUNE values: -63 to +63
 LEVEL values: 01 – 54
 CUTOFF (Fc) values: 01 – 64
 Press COMPARE key to compare the
effects of newly assigned and previous
settings. Press once brings back to
previous value, then restores to new
setting.
F3 ORIGINAL / TOP KEY
 Changes key assignments for sounds
within a multisound.
  ORG = original key setting
 TOP = setting of top key
 TR setting for transpose mode
F4 SOUND START & LENGTH
 Current start and length values are
displayed, and may be changed.
 S.S : Sound start.
 S.L.: Sound length.
F5 LOOP ON/OFF
 Only works for multisounds.
F6 LOOP START & LENGTH ********
 Sets the loop start and length of a sound
within a multisound.
F7 LOOP PROCESS (X-FADE/B&F)
 X-FADE: Creates a loop from the middle
of a waveform onwards. FADE LENGTH is
 distance of start and stop of what is
looped.
 B&F: Back and forth, reverses the wave
from the tail and replays same sound
backwards to continue the wave. LOOP
LENGTH controls how much of the
waveform is reversed and replaced, and
from what start and stop points.
F8 REPLACE SOUND***********
 Takes a sound from a disk
F9 SAVE/RENAME M.SOUND*********
 Blah

MIDI
F1 CHANNEL SELECT
  Sets MIDI send and receive channel
numbers
F2 FUNCTION SELECT
 Provides filtering reception of MIDI
program changes, and for transmission
and reception of control change, pitch
bender, and channel
pressure/aftertouch.
F3 OMNI MODE
 Turns OMNI on or off.
F4 LOCAL ON/OFF
 Turns on/off local control.
F5 SAVE MIDI PARAMETERS
 Saves MIDI settings to disk, along with
systems they are saved with.
SYSTEM
GET SYSTEM

DISK UTILITY
Format disk

DSS-1 Program Parameter Mode

F00: Initialize Parameters
 CLEAR/RESET programs.
F01: Write/Rename
 Saves program to a memory number
 Can name/rename program

OSC FUNCTION GROUP

F11: OSC OCT
 Assigns ocs’s to octaves on the keyboard
 16, 8, and 4.
F12: OSC1 Multi Sound
 Selects multisound for OSC1
F13: OSC2 Multi Sound
 Selects multisound for OSC2
F14: Mix Ratio
  Volume balance between OSC1 and
OSC2
F15: OSC2 Detune & Interval
 Detune raises the pitch for a chorus
effect
 Interval raises OSC2 by whole steps
F16: SYNC MODE, D/A Resolution
 Synchronizes the waveforms of OSC1&2
whenever they are restarted/played.
Otherwise, their waves follow
independent trajectories. Useful with
vibrato and autobend.
 The # of bits used to convert the digital
data to analog signal may be varied
between 6-12.
F17: OSC MG MOD (Vibrato)
  FRQ: Frequency, controls the speed of
the vibrato.
 INT: Controls the amount of pitch
modulation in the vibrato.
 DLY: Delays the onset of the vibrato (i.e.,
attack).
F18: AUTO BEND MODE
 MODE: chooses which of the OSC are
used.
 POL: Determines whether pitch is bent
up or down.
F19: AUTO BEND TIME & INT
 INT: Intensity: How high or low above
normal pitch the bend starts.
 TIME: Duration of the bend.
F21: NOISE LEVEL (White noise).
 LEVEL: Gain of white noise.
VCF FUNCTION GROUP
Voltage Control Filters are Low Pass Filters
that affect tone color and timbre
F31: VCF MODE & EG POL:
 MODE: Steepness of cut-off slope.
Minus 12 or 24 db per octave.
 POL: Polarity: is the filter cutoff swept
upwards or downwards? (High or low-
pass)
F32: VCF CUTOFF & EG INT:
 CUTOFF: Voltage Control Filter Cutoff:
Sets the band at which the cutoff starts.
 EG INT: Envelope Generator Intensity:
How high and steep is the slope of the
VCF?
F33: VCF RESO & KBD TRACK:
  VCF RESO: Voltage Control Filter
Resonance: A bandpass filter, with
increased EQ prior to cutoff. The higher
the value, the greater the stronger the
resonance peak.
 KBD TRACK: Typically, the natural EQ of
a piano or other instrument creates
brighter tones with higher notes. This
value sets how much this variable band
pass EQ changes up the scale.
F34 VCF MG MOD: Voltage Control Filter
Modulation Mode: Modulates the cutoff
frequency in a set, regular way, like a wah-
wah.
 FRQ: Frequency: Speed of the effect.
 INT: Intensity: Depth in modulation;
amount of change in cutoff frequency.
  DELAY: Delay: How long until the effect
kicks in.
F35: VCF EG: Voltage Control Filter
Envelope Generator. (Moderated by F31
and F32.)
 A: Attack time: Time it takes for EG to
reach maximum voltage before decay
begins.
 D: Decay time: Time from the end of the
attack to the break point level. Greater
the value, more gradual the possible
change in tonal color.
 B: Break point level: Sets level at which
decay time ends.
 S: Slope time: Time it takes for the
envelope voltage to change from the
break point level to the sustain level.
 (Assuming difference in level between
break point and sustain).
 S: Sustain level: Sets the level at which
the slope time ends.
 R: Release time: Time that the sound
continues to change after key released.
VCA FUNCTION GROUP:
Voltage Control Amplifiers control the
volume of the sound from the VCF.
F36: VCA TOTAL LEVEL:
 TOTAL LEVEL: 1-63. Controls the volume
of the VCF. (Use to minimize volume
variation between 2 different sounds).
F37: VCA DEC KBDTRACK: VCA Decay
Keyboard Tracking.
  Makes the VCA EG decay time become
longer or shorter in proportion to
keyboard pitch.
F38: VCA EG: Voltage Control Amplifiers
Envelope Generator: Controls how volume
changes over time.
 A: Attack time: How long it takes for EG
to reach maximum volume.
 D: Decay time: Time from end of attack
to break point level.
 B: Break point level: Sets level at which
decay time ends.
 S: Slope time: Time from break point
level to sustain level.
 S: Sustain level: Level at which the slope
time ends.
 R: Release time: Time it takes for sound
to fade after key is released.
VELOCITY FUNCTION GROUP
Controls aspects of the sound according to
how hard the keyboard is played
F41: AUTO BEND INT: Auto bend intensity.
 Intensity: Higher the value, the greater
the pitch bend when you play harder.

F42 VCF EG CUTOFF: Voltage Control Filter

Envelope Generator Cutoff:
 CUTOFF: Varies filter cutoff frequency by
how hard you play. E.g., brighter sounds
when play harder.
F43: VCF EG (ATK, DEC, SLP). Controls
voltage control filter filter envelop
according to how hard you play.
  Attack: Greater the value, the shorter
the attack when you play harder, and
longer the attack when play solfter.
 Decay: Greater the value, shorter the
decay when you play harder, and the
longer the decay when you play softer.
 Slope: Greater the value, the shorter the
slope when you play harder, and the
longer the slope when you play softer.
F44 VCA EG LEVEL: Controls dynamic
volume sensitivity of the keyboard, or how
much variation between soft and loud is
possible.
 LEVEL: 0-63

F45 VCA EG (ATK, DEC, SLP): Voltage control

amplifier envelope generator.
  Varies VCA EG attack, decay, slope,
according to how you play.
 Attack:
 Decay:
 Slope:
F46 VELOCITY SWITCH: Swaps multisounds
assigned to OSC1&2 according to how hard
you play. If OSC1=Strings, OSC2=Piano,
these sounds swapped.
 SW: On or off.
 LEV: Percentage switch.
AFTER TOUCH FUNCTION GROUP
Effects that occur after a key is held down;
vibrato, wah-wah, etc.
F51 OSC MG MOD INT: Oscillator
modulation intensity function: How
sensitive vibrato intensity is to after-touch
pressure.
 MOD INT: Modulation Intensity: Higher
the number, more vibrato with pressure.
F52 VCF CUTOFF/MG MOD: Sweeps the
cutoff frequency of the VCF in two ways.
 CUTOFF: After-touch pressure causes an
upwards filter sweep, brightening tone.
 MG: After-touch pressure controls the
intensity of the wah-wah/cyclic filter
modulation. NOTE: The
FREQUENCY/speed of this effect is
controlled by F34 VCF modulation mode.
F53 VCA TOTAL LEVEL: Voltage control
amplifier total level: controls the range of
variation in volume.
  TOTAL LEVEL: Higher values allow
control to begin from lower levels.
JOY STICK FUNCTION GROUP: Pitch bends
and filter sweep of joystick.
F61 PITCH BEND RANGE: Range of pitch
changes produced by joystick when moved
left/right. Can be varied by one octave.
F62 VCF SWEEP ON/OFF: Whether moving
the joystick left/right causes pitch bend.
KEY ASSIGN FUNCTION GROUP
The DSS-1 has 8 “voices.” How the voices
are used when played, and how many
voices are used.
F63 KEY ASSIGN MODE: Chooses between
three modes:
 ASSIGNMODE=POLY-1: Eight voices
assigned sequentially as notes are
 played. Repeated notes are produced by
new voices each time.
 ASSIGNMODE=POLY-2: Same voice is
used if same key played repeatedly.
Therefore not articulated separately.
 UNISON: Useful for melody, solo, bass.
Used with settings in F64. Causes the
envelope to retrigger every time a new
key is pressed: allows legato style
without having to release previous key.
F64 UNISON DETUNE & VOICES:
 DETUNE: Detune intensity.
 VOICES: How may voices: 2, 4, 6, 8.
EQUALIZER/DIGITAL DELAY FUNCTION
GROUP
F65 EQ (BASS, TREBLE): Adjusts EQ after the
VCA.
  BASS: Boosts/Attenuates bass.
 TREBLE: Boosts/Attenuates treble.
F71: DDL MG FREQUENCY: Digital Delay
Modulation Frequency: Each MG can be set
to different frequency. Thus the DD-1 and
DD-2 delay times can be modulated
together or separately.
 MG-A:
 MG-B:
F81, F92, TIME: Sets delay time for one or
other of delays (DDL-1&2). From 0ms to
500ms(halfsecond). Shorter good for chorus
& flanging, longer for echos.
F82, F93, FEEDBACK: How much delayed
output signal is put back into the input to
be delayed again. With longer times,
creates discrete echos. With shorter,
produces flanging effects.
F83, F94 EFFECT LEVEL: Adjusts level of
delayed sound of DDL-1&2 into mix. 00 is
only direct sound, no delay.
F84, F95 MOD INT: Modulation Intensity:
Raising values means the delay time will be
modulated more strongly.
F91, INPUT SIGNAL SELECT: Determines
whether DDL-2’s signal follows DDL-1’s
input in series, or is independent. Direct is
typical for stereo, but series is cool.
F96 MOD INVERT SAW:
 Inverts the phase of the waveform of
signal modulating DDL-2. Good for
stereo chorus.