Korg NAUTILUS 61

The most dazzling and expansive collection of sounds ever put into a Korg synthesizer

NAUTILUS pushes the boundaries of what a performance synth and workstation is capable of. With the power of nine engines to drive a new approach to sounds, plentiful sampling, audio recording, effects, and processing power, there is simply no other synth that delivers more to explore sonically, with the workflow to get you there faster than ever. Korg spent years refining all our digital, analog, processing, and hardware technologies and delivering them in a way that helps the musician connect with their instrument. The result is the incredibly powerful, one-of-a-kind NAUTILUS.

Nine different sound engines offer massive expressive power
The NAUTILUS features nine dedicated sound engines to realistically reproduce sounds such as pianos, electric pianos, organs and more.

To start, the enhanced SGX-2 piano sound generator offers delicate expressiveness to capture all the nuances of the acoustic piano, and NAUTILUS features the most piano libraries ever put into one product; with 12-step velocity-switched sound, string resonance and more. The EP-1 electric piano sound generator realistically reproduces seven different famous electric piano sounds. The CX-3 engine – the heart of our sought-after CX-3 reissue -covers the distinct sound of classic tonewheel organs. Add to that MOD-7 VPM/FM synthesis, the PolysixEX and MS-20EX for analog modeling, and the STR-1 for physical modeling, and you have essentially an engine for any type of sound you’re looking to get. Used together in Program or Combination mode, these distinctive engines create completely new timbres.

New sounds offered over three broad categories
The approach to the included sound on NAUTILUS, started with Korg setting aside our preconceptions of what sound should be like on a conventional music workstation, and instead focused on pushing the boundaries of sampling and programming to create a brand-new classifications of programs that we divide into three groups:

• “Unique” sounds:
  The NAUTILUS brings you distinctive sounds including phrase loops, prepared pianos, found percussion and more. Many seldom heard-of musical instruments found in different regions around the world can be difficult to play, but distinctive phrases played on these instruments are featured on the NAUTILUS. Use these phrases as-is in your songs—let your imagination be your guide. The NAUTILUS features sounds that were sampled for the first time just for this instrument, including prepared piano sounds created by placing different objects between piano strings and recording samples, or “found percussion” sounds made by turning ordinary items into instruments to be struck. Not only do these novel and mysterious sounds provide an unexpected flavor to your songs, they offer broad possibilities for sound effects used in film and TV music as well.

• “Current” sounds:
  The NAUTILUS also offers the freshest sounds that blend in well with today's music scene, including synths, drum kits, special effects and more. For synths, be sure to check out the EDM, electro and chiptune sounds for starters. Also, the NAUTILUS features more than 50 kinds of drum kits—sounds that most strongly reflect the changes in music over time. The special effect sounds offer useful material like drums added to dance music to create beats—sounds that you can put to use right away.

• Standard sounds:
  We’ve brought together all of the most important sounds a workstation needs including piano, electric piano, guitar, bass guitar and more, covering all genres. For the newly sampled piano sound, we’ve also recorded the lovely sonic ambience of the studio, and you can mix the piano and ambience sound as you like with the new ambience sound. A new electric piano model with a characteristic thick sound has been added, which works great for funky playing styles. We’ve also added many phrases that let you play back actual performances of guitar and bass parts that keyboardists will find useful.

The DYNAMICS knob makes delicate expression possible
With the DYNAMICS knob, you can instantly control the changes in volume and tone in response to how hard you play the keyboard (velocity); and you can customize this knob in real time to match the keyboard playing feel required for each style and song. Even when playing the same sound, you can turn this knob to get the feeling of playing a completely different sound. By finding just the right setting for your playing style, you'll uncover even more of the possibilities that the NAUTILUS offers.

When you activate the DYNAMICS knob and turn it to the left, the keyboard responds more softly to your playing, giving you a wide range of dynamics. This allows for delicate, expressive playing when accompanying a piano solo or vocals, which directly reflects the dynamics of your performance. On the other hand, turning the knob to the right gives a stronger, more flat dynamic response. This brings out the sound when you’re playing in a band or ensemble, which works best when performing with a more even feel.

Make intuitive changes to sounds with the Realtime knobs
The six RT (real-time) knobs at the top left of the panel give you direct control over changes to the PROG and COMBI sounds. A variety of functions are assigned to each knob that lets you enjoy making changes to sounds, such as the filter cutoff and effect depth, the gate time, tempo and swing of the arpeggiator or drum track, the type of snare drum and more. In COMBI mode, you can group timbres and control their levels with the knobs. Further, you can press these knobs into the panel to lock them in place, preventing them from being accidentally changed while you’re playing. For instance, you could use this to enable only the knobs you often use onstage and push the ones in that you do not need.

A user interface designed for easy operation
For the NAUTILUS, we have completely rethought the user interface, considering that panel controls tend to become denser as more functions are added. The interface of the NAUTILUS lets users find just the things they’re looking for once they understand the principles.

The MODE button lets you see what you’ve selected in each mode on a single screen, from PROG and COMBI to the set list, sampling, sequence and global modes. Each mode has tabs for each function, and the PAGE buttons offer more detailed editing with consistent operations. With the user-friendly navigation of the NAUTILUS, you can press the MODE button at any time to return to the start if you get lost. A dark mode is available for the display, using black as the primary color to reduce eye fatigue.

Six quick access buttons are also available as shortcut buttons. The NAUTILUS further offers four templates as a continuation of the previous user-friendly features, which can be used to select modes like PROG and COMBI, as transport buttons for sequencer playback and recording and so on. You can also select your own settings as you like. What’s more, you can freely assign functions you frequently use and save them in one of four sets.

Convenient arpeggiator and drum track functions
Four scenes of arpeggio patterns and drum track sets are made available that perfectly match each PROG and COMBI preset sound. These are useful for switching between scenes while they’re played, for use when improvising during performance, or for expanding your vision when composing music starting from a sound.

Color TouchView Display
The nerve center of the NAUTILUS is KORG’s enormous eight-inch (800 x 480 pixel) WVGA color TouchView display.

In addition to simply selecting a sound or choosing a parameter with the touch of a finger, the enhanced Touch-Drag ability allows more detailed control of parameter values. Interactive instruments and panel graphics provide the ability to do everything from adjusting the lid of a grand piano to connecting patch cable on a semi-modular synthesizer model.

The TouchView display also hosts a convenient new Search Function, allowing you to search for (and preview) sounds based on their titles.

Set list mode that demonstrates its power in live performances
NAUTILUS can organize all of the resources you need to get through a song—or a set—using the Set List mode. Using the Set List mode, the TouchView display can host 16 color-coded touch-screen buttons; each one can instantly call up the appropriate Preset, Combination, or Sequence—regardless of mode!

You can also select different button colors, such as when you want to change the colors within a song while playing live. This is a powerful feature for situations that require quick and accurate control. The Set List mode even adds a nine-band graphic EQ, allowing the overall tone to be tweaked to match the venue.

Open Sampling System
Using KORG’s Open Sampling System, NAUTILUS can quickly sample an external audio source, regardless of whether NAUTILUS is in the Program, Combination, or Sequencer modes. The Open Sampling Mode can even resample the performance of the NAUTILUS itself. The user sample bank, which extends the convenience of the EXs sample library to user samples, allows custom samples to be loaded and played, taking advantage of the gigantic SSD capacity.

AIFF, WAV, SoundFont 2.0, and AKAI S1000/3000 format samples can be loaded into memory via USB memory. Additionally, you can use a USB Ethernet adapter to exchange large amounts of sample data with your computer at high speed. Instruments or samples that you've previously created on your PC can be used to construct a music production setup based on just the NAUTILUS itself.

16-Track MIDI Sequencer / 16-Track Audio Recorder
NAUTILUS features a sequencer/recording section that offers both 16 MIDI tracks plus 16 audio tracks; a great resource for putting together a dazzling performance or a brilliant production. MIDI sequencing makes it easy to capture ideas, inspiration, and pro-quality phrases using the Drum Track, or RPPR (Realtime Pattern Play/Recording) functions.

The 16-track audio recorder simultaneously captures up to four tracks of 16-bit/24-bit uncompressed data at a sampling rate of 48 kHz. Play along with recorded tracks, add effects, and then resample the NAUTILUS itself and place the resampled WAV files directly in a track. When polishing your tracks, feel free to use mixer automation and editing functions such as copy, paste, and normalize to get the results you want.

16 Onboard Effect Processors
NATILUS provides 16 internal effects to add impact to your sonic creations. Each of the 12 Insert effects can be applied to individual or multiple timbres in a combination, or to individual or multiple tracks of the sequencer. In addition, two Master effects can be applied to sends 1/2, and two Total effects can be applied to all tracks at the final stage of the sound.

A separate three-band EQ is provided for every timbre, for every sequencer track, and for every audio track for adjusting subtle tonal balances or for creatively modifying the overall sound.

USB / MIDI Host Ports Accommodate MIDI Control Surfaces
Any class-compliant USB-MIDI controller can be connected directly to the NAUTILUS. Assign functions to a Korg USB MIDI controller with pads (nanoPAD, nanoPAD2, padKONTROL) to play drum parts.

Smooth sound transitions that eliminate dropouts when changing sounds, regardless of the mode you're in
When you switch program sounds during a performance to get ready for the next section, or when you switch from Program mode to Combi mode, the sound that's currently being output is always given priority and its effects are maintained during the program change, ensuring a seamless transition with no dropouts. This function has also earned extremely high praise from pro musicians.

Nine Synthesizer Engines, United in One Instrument
NAUTILUS harnesses nine distinct synthesizer/sound engines into a single, integrated musical instrument. Dynamic voice allocation and new technologies allow all sound engines to smoothly share a stable, enhanced hardware platform. The results are nothing less than spectacular.

SGX-2 Premium Piano
This sound generator lets you perform with the sounds of famed grand pianos such as the German piano, on which the ambience sounds can be freely modified; or the Italian grand piano, whose sound is growing rapidly in popularity over recent years. These pianos offers delicate expressiveness to capture every last nuance of the acoustic piano, with 12-step velocity-switched sound, string resonance and more.

*String resonance
With the damper pedal depressed, all of the piano strings are free to resonate. When any key is played on the piano, other strings that are pitch-related to the original key may begin to vibrate via sympathetic resonance. The SGX-2 accurately captures and recreates this sympathetic string resonance, adding an additional level of detail to the grand piano sound.
* String resonance overtones can be viewed in the string length edit screen.

EP-1 MDS Electric Piano
This dedicated electric piano sound generator realistically reproduces seven different famous electric piano sounds, with the addition of an earlier model featuring a characteristic distortion. The MDS (Multi-Dimensional Synthesis) technology eliminates the transitions between velocity-switched samples, and does away with the unnatural behavior of looped samples. Smoothly responding to the nuances of the player's touch, yet allowing your performance to reach an energetic climax, this modelled engine features an astounding dynamic range that exceeds what one might expect from digital sound generation.

For each of the seven different models, different amps, cabinets, speakers, and standard vintage effects are realistically simulated. From the samples to the touch and the effects, all aspects affecting the sound are coordinated into a single package, making this the ultimate electric piano.

CX-3 Tonewheel Organ
Tonewheel organ sound engine
The original KORG CX-3 combo organ went on sale in 1980. Loved by musicians around the world, this classic organ reappeared in 2000 as a new product with the same name, but using the latest technology. In NAUTILUS, the CX-3 engine precisely models this classic tonewheel instrument. Proprietary KORG technology has been used to perfectly reproduce the vacuum tube amp, and effects such as Vibrato/Chorus. Special attention was given to the rotary speaker effect, which lets you choose from seven types, as well as use the NAUTILUS' joystick in the X-axis to control the speed. Even the instability, fold-back, leakage, and noise of the tonewheels have been obsessively analyzed and recreated. The organ sounds heard in legendary performances—some recreated here by the original artists—are now yours for the playing. Experience these classic organ sounds, reborn for the present day.

HD-1 High Definition Synthesizer
PCM sound engine
HD stands for “High Definition” indicating the HD-1’s superior sound, starting with KORG’s proprietary low-aliasing sample playback oscillators, full-bandwidth multimode resonant filters, and extraordinarily fast & smooth envelopes and LFOs. The HD-1 is the most powerful PCM sound engine in KORG’s history, into which KORG has poured all the PCM know-how accumulated since the M1. All of KORG's acclaimed PCM sounds are painstakingly created by specialized technicians. Data that was reluctantly omitted from previous models due to limited memory has now been called back into service on the NAUTILUS. The amount of waveform memory alone might rival a PC-based sound engine. Yet the real difference is in the completely different level of quality and finish that is obvious when you play these sounds as instruments on the NAUTILUS. The finest technicians, working on the finest platform, and aiming at the finest quality: that's the HD-1.

MS-20EX Legacy Analog Collection
Analog modeling sound engine
Packed with cutting-edge technology, NAUTILUS nonetheless has respect for the classics. The KORG MS-20 first appeared in 1978 and quickly captivated many synth fans with its rich personality marked by thick and solid sound, aggressive filters, and patching capability that provided nearly infinite possibilities for creating sound. Using KORG’s CMT (Component Modeling Technology) the MS-20EX faithfully reproduces the MS-20 while dramatically expanding its patch panel functionality. Modulate filters with audio-rate oscillators; turn audio inputs into control signals; control all of the original knobs with mod sources including additional envelopes, LFOs, and real-time controllers. It’s a tweaker’s dream. And of course, the NAUTILUS version is now majorly polyphonic.

PolysixEX Legacy Analog Collection
Analog modeling sound engine
The Polysix first appeared in 1981, offering six-voice polyphony and program memory, and a surprisingly competitive price tag. With its self-oscillating four-pole filter, smooth analog oscillator and sub-oscillator, plus a lush Chorus/Ensemble effect, the PolysixEX extends the abilities of the original in many creative ways. The strings and pads that were such a major feature of the Polysix will be invaluable when you need the sounds of the early '80s. The classic arpeggiator built into the original Polysix is also provided. As a bonus, it’s also capable of extremely high polyphony.

AL-1 Analog Synthesizer
High-fidelity analog modeling sound engine
Feature-packed, the AL-1 is the same premium analog modeling sound engine that was first featured on the KORG OASYS, the Open Architecture Synthesis Studio back in 2005. Completely eliminating aliasing noise, and delivering the supple and fascinating sound of analog synthesis, this sound engine uses oscillator waveforms and filter morphing to generate new sounds that were unobtainable for analog synthesizers of the past.

MOD-7 Waveshaping VPM Synthesizer
VPM/FM synthesis sound engine
This sound engine uses VPM synthesis based on the VPM (Variable Phase Modulation) technology that powered two classic instruments, the Prophecy which appeared in 1995 and the Z1 which appeared in 1997 as a further evolution, and adds PCM sample playback, multi-mode filters, and external input to create a freely patchable semi-modular synthesizer. Combine Variable Phase Modulation (VPM) from KORG’s classic Prohpecy and Z1, add in some wave-shaping, a little ring modulation, mix in a few samples, and add subtractive synthesis, plus a modular patch-panel system, and you have the MOD-7. Exceptionally versatile, it offers everything from classic FM keyboards, bells and basses (including the ability to import sounds from vintage DX synths) to rhythmic soundscapes and sparkling, epic pads.

STR-1 Plucked Strings
Physical model sound engine
Based on the physical modeling know-how KORG developed over the course of many years, this struck/plucked-string physical modeling sound engine takes advantage of cutting-edge technology. This sound engine shines at producing sounds whose tone responds to your touch in ways that are difficult for a PCM sound engine to reproduce: acoustic guitar, electric guitar, harpsichord, clavinet, harp, bell, as well as ethnic instruments. It also goes much further, allowing you to synthesize and modify sounds that do not exist in reality. This is a sound engine of the future, one that allows the synthesizer programmer to construct truly new sounds.

SPECIFICATIONS

Keyboard: Natural Touch Semi Weighted

Dimensions (W x D x H): 61 key: 1,062 x 386 x 116 mm / 41.81” x 15.20” x 4.57”
Weight: 61 key: 13.0 kg / 28.66 lb.

Tone Generator
Synthesis Types: 9

• SGX-2: Premium Piano (Acoustic Piano)

• EP-1: MDS Electric Piano (Electric Piano)

• HD-1: High Definition Synthesizer (PCM)

• AL-1: Analog Synthesizer (Analog Modeling)

• CX-3: Tonewheel Organ (Tonewheel Organ Modeling)

• STR-1: Plucked String (Physical Modeling)

• MOD-7: Waveshaping VPM Synthesizer (VPM Synthesis)

• MS-20EX: Component Modeling Technology (Analog Modeling)

• PolysixEX: Component Modeling Technology (CMT Analog Modeling)

Maximum Polyphony*1*2:

• SGX-2: 100 voices*3

• EP-1: 104 voices

• HD-1: 140 voices

• AL-1: 80 voices

• CX-3: 200 voices

• STR-1: 40 voices

• MOD-7: 52 voices

• MS-20EX: 40 voices

• PolysixEX: 180 voices

1: In rare cases, when a large number of processor-intensive effects are active simultaneously (for instance, more than 14 O-Verbs), polyphony may be slightly reduced.
*2: A portion of the multicore processor in NAUTILUS is devoted to generating voices, and a separate portion is devoted to generating effects. NAUTILUS dynamically allocates the voice processing power between the engines as necessary. The quoted maximum numbers of voices apply when 100% of the voice processing power is devoted to a single engine.
*3: 100 dual-stereo notes (equivalent to 400 mono voices)

Preset PCM: RAM 496 MB / DISK 2.3G (ROM 1,771 Multisamples, 3,955 Drumsamples)

Build-in Expansion PCM Libraries:

• EXs301: German2 D Piano

• EXs302: Italian F Piano

• EXs303: Japanese Upright U Piano

• EXs304: Prepared Piano

• EXs305: Historical Keyboards

• EXs306: Vintage Keyboards 2

• EXs307: Strings & Synths

• EXs308: Guitar Collection

• EXs309: Bass Collection

• EXs310: World Essence

• EXs311: Background Loops

• EXs312: SFX & Hits

• EXs313: Found Percussions

• EXs314: Expansion Drums

PCM RAM Capacity: Approx. 2GB *4

*4: The memory available for Sampling Mode will change based on the use of Expansion PCM libraries and User Sample Banks. Approx. 260 MB is available when shipped from the factory (When loading the file named “PRELOAD.KSC”).

Wave Sequences: 598 User memory, 377 Preload
Support for stereo multisamples, synchronization of individual notes, and tempo-based settings.

SGX-2 Program
Premium Piano:

• Full key stereo sampling, Chromatically sampled at up to 12 velocity levels, no looping.

• Damper resonance and mechanical noise are reproduced.

• Una Corda sample support

PCM:

• EXs301 – German2 D Piano
  12 velocity levels, includes Ambience Piano type/samples

• EXs302 – Italian F Piano
  12 velocity levels, no Una Corda samples

• EXs303 – Japanese Upright U Piano
  8 velocity levels

• Exs304 – Prepared Piano
  1-4 velocity levels

Piano Type: 128 (With the factory settings, the 64 varieties of EXs6: German D Piano, EXs7: Japanese C Piano, EXs12: SGX-1 Austrian D Piano, EXs17: Berlin D Piano do not produce sound. The options must be downloaded. (Those will be released at a later date.))

Oscillator Control:

• Damper Resonance

• Damper Noise

• Mechanical Noise

• Note Release

• String Resonance

• Una Corda

EP-1 Program
MDS Electric Piano: Tine and reed-type electric pianos powered by Multi-Dimensional Synthesis (MDS), and vintage effects.

Electric Piano Model Types: 7

• Tine EP I Early

• Tine EP I Late

• Tine EP II

• Tine EP V

• Tine EP DMP

• Reed EP200

• Reed EP200A

Oscillator Control: Harmonic Sound Level, Attack Noise, Level, Release Noise Level, Attack Brightness, Hammer Width

Panel Control:

• Tine Type
  Preamp Volume, Tone (Treble, Bass), Vibrate (On/Off, Intensity, Speed), Amp/Cabinet (On/Off, Drive)

• Reed Type
  Preamp Volume, Tone (Treble, Bass), Vibrate (Intensity, Speed), Amp/Cabinet (On/Off, Drive)

Effect Types: 9
Small Phase
Orange Phase
Black Phase
Vintage Chorus
Black Chorus
EP Chorus
Vintage Flanger
Red Comp
VOX Wah

HD-1 Program
Advanced Vector Synthesis: Control oscillator volumes and synthesis & effects parameters via the Vector Joystick and the tempo-synchronized Vector Envelope.

Structure:

• Single: only OSC1, Double: OSC1 and OSC2.

• Double mode lets you layer two completely separate synth voices, each with their own velocity-switched oscillator, dual filter, EGs, LFOs, etc.

• Drums: One drum kit, Double Drums: Two drum kits.

Oscillators: 8 velocity zones per oscillator, with switching, crossfades and layering. Each zone can play mono or stereo Multisamples or Wave Sequences

Filters: Two multi-mode filters per voices (low-pass, high-pass, band-pass and band-reject), Four-mode filter routings (single, serial, parallel and 24dB mode)

Driver: Per voice non-linear driver and low boost circuit

EQ: Three bands, with sweep-able mid

Modulation: Three envelope generators, two LFOs per voice, common LFO, four key tracking generators, AMS (Alternate Modulation Source), two AMS mixers, Quick Layer / Split function

EXi Program Common
Advanced Vector Synthesis: Control oscillator volumes and synthesis & effects parameters via the Vector Joystick and the tempo-synchronized Vector Envelope

Modulation: Common Step Sequencer, AMS (Alternate Modulation Source), Common LFO, 2 Key Tracking Generators

EQ: Three bands, with sweep-able mid, Quick Layer / Split function

AL-1 Program
Oscillators: Ultra-low-aliasing oscillators, OSC1, OSC2, Sub-oscillator and noise generator; ring modulation, FM and Sync

Audio Input: External audio can be processed through the ring modulator, filter, driver, amp, and EQ

Filters: Two multi-mode filters (low-pass, high-pass, band-pass and band-reject) with four types of filter routings (single, serial, parallel and 24dB mode), Multi Filter mode (only Filter-A; modulatable mix of Low Pass, High Pass, Band Pass, and dry input, for creating a wide variety of unique filter types and effects)

Driver: Per-voice non-linear driver and low boost circuit

Modulation: Five Envelope generators, four per-voice LFOs, two AMS Mixers; Per-voice Step Sequencer

CX-3 Program
Tonewheel Organ Modeling: Phase-synchronous tonewheels (clean and vintage modes), percussion, key click, wheel brake

EX Mode: Four additional, user-specified drawbars, and expanded percussion

Internal Effects: Rotary speaker, vibrato/chorus, amp modeling with overdrive, 3-band EQ

Drawbar Control: Controlled via nine front-panel sliders (via Tone Adjust)

Split: Upper, Lower (even in EX mode)

Modulation: Two AMS mixers

STR-1 Program
Physically Modeled String: Includes physically modeled damping, decay, dispersion, nonlinearity, harmonics, dual pickups, and more. Most string parameters can be controlled in realtime

String Excitation: Three independent excitation sources can be used simultaneously: Pluck, Noise, and PCM. 16 preset “pluck” types, with modulatable width and randomization. Noise generator with saturation and dedicated low pass filter

• PCM Oscillator
  KORG’s ultra-low-aliasing technology, as introduced in the HD-1; 4 velocity zones per oscillator; Uses any mono Multisamples, including ROM, EXs, User Sample Bank, or Sampling Mode. Supports Virtual Memory.

• Excitation Filter
  Dedicated 2-pole multimode filter for shaping the string excitation. Filter can be enabled/disabled separately for each excitation source. Low Pass, High Pass, Band Pass, and Band Reject modes

Audio Input and Feedback: Run real-time audio through the string, including feedback through effects. Modeled feedback includes modulate-able instrument-to-amp distance and orientation

Filters: Dual multi-mode filters per voice; Single, Serial, Parallel (with split stereo output), and 24dB (4-pole) configurations. Low Pass, High Pass, Band Pass, and Band Reject modes

Multi Filter Mode (Filter A only)
Modulatable mix of Low Pass, High Pass, Band Pass, and dry input, for creating a wide variety of unique filter types and effects

Modulation: 5 Envelopes, 4 per-voice LFOs, 2 Key Track generators, String Tracking generators, 4 AMS Mixers

MOD-7 Program
Waveshaping VPM Synthesizer: Combines Variable Phase Modulation (VPM), Waveshaping ring modulation, PCM sample playback, and subtractive synthesis; Able to convert-load SYX files

Oscillators:

• 6 VPM/Waveshaper/Ring Modulation Oscillators
  Phase and modulatable pitch per oscillator. 101 Waveshaper tables plus modulatable Drive and Offset. Use as oscillators, or as Waveshapers or Ring Modulators for other signals

• PCM Oscillator
  KORG’s ultra-low-aliasing technology, as introduced in the HD-1. 4 velocity zones per oscillator.Uses any mono Multisamples, including ROM, EXs, User Sample Bank, or Sampling Mode. Supports Virtual Memory

• Noise Generator (With saturation and low-pass filter function)

Audio Tnput: Run real-time audio through the VPM Oscillators and filters.

Filters: Dual multi-mode filters per voice. (Low Pass, High Pass, Band Pass, and Band Reject modes) , Two types of filter looping (Parallel and 24 dB “4-Pole”)

• Multi Filter mode (Filter A only)
  Modulatable mix of Low Pass, High Pass, Band Pass, and dry input, for creating a wide variety of unique filter types and effects

Patch Panel: Supports both preset algorithm (78 types) selection and free patching.Three 2-in, 1-out mixers for scaling and merging audio, fully modulatable, with phase inversion. Main 6-input stereo mixer, with modulatable pan and volume, plus phase inversion

Modulation: 10 Envelopes, 4 per-voice LFOs, 9 Key Tracking generators, Per-voice Step Sequencer, 4 standard AMS Mixers plus 4 simple AMS Mixers

MS-20EX Program
Oscillators: Ultra-low-aliasing oscillators; VCO1, VCO2, Ring Mod, Pink and White Noise Generator

Audio Input: Run real-time audio through the synthesis engine and ESP (External Signal Processor)

Filters: 12dB/octave High Pass and Low Pass self-resonant filters

• ESP section
  24dB/octave Low Cut and High Cut filters, available per voice.

Patch Panel: Patchable audio and modulation, at audio rates

Patch Points:

• Keyboard
  Keyboard CV Out, Keyboard Trigger Out, VCO1+VCO2 CV In, VCO2 CV In

• VCO
  VCO1+VCO2 External Frequency Control In, VCO1 Out, VCO2 Out

• VCF
  External Signal In, External HP Filter Cutoff Frequency Control In, External LP Filter Cutoff Frequency Control In, HPF Out, LPF In, LPF Out

• VCO+VCF
  Total External Modulation In

• VCA
  External Initial Gain Control In, VCA In

• EG
  EG1 Envelope Signal Normal Out, EG1 Envelope Signal Reverse Out, EG1+EG2 Trigger In, EG1 Trigger In, EG2 Envelope Signal Reverse Out

• MG
  Triangle Out, Rectangle Out

• Noise Generator
  Pink Noise Out, White Noise Out

• Sample and Hold
  Clock Trigger In, Sample Signal In, S/H Out

• Modulation VCA
  Control Voltage In, Signal In, Signal Out

• Manual Controller
  Control Wheel Out, Momentary Switch

• ESP
  Signal In, AMP Out, BPF In, BPF Out, F-V CV Out, Envelope Out, Trigger Out

• Others
  EXi Audio In, Mixer 1 In, Mixer 1 Out, Mixer 2 In, Mixer 2 Out

ESP (External Signal Processor):Use incoming audio as a trigger and/or CV source

Modulation: Original DAR (Delay, Attack, Release) and HADSR (Hold, Attack, Decay, Sustain, Release) EGs 1 &2, Original MG (with MIDI sync), Sample-and- Hold, MVCA, NAUTILUS: 4 additional multi-stage Envelopes, 4 additional per-voice LFOs, and 4 AMS Mixers.

PolysixEX Program
Oscillators:

• VCO
  Saw, Pulse, PWM

• Sub Oscillator
  Off, 1 octave below, 2 octaves below

Filter: 24dB(4-Pole) Octave Low Pass self-resonant filter

Effects: Integrated Polysix Chorus, Phaser, and Ensemble

Arpeggiator: Integrated MIDI-synced arpeggiator, with adjustable Range, Mode, and Latch

Modulation:

• Polysix
  Original ADSR EG and MG (with MIDI sync).

• NAUTILUS
  2 additional multi-stage Envelopes, 2 additional per-voice LFOs, and 4 AMS Mixers.

Combination
Number of Timbres, Master Keyboard Functionality: 16 Maximum. Keyboard and velocity splits, layers, and crossfades of up to 16 Programs and/or external MIDI Devices. The tone adjust parameter function lets you modify program settings, and the master keyboard function lets you control external MIDI devices.

Advanced Vector Synthesis: Control oscillator volumes and synthesis & effects parameters via the Vector Joystick and the tempo-synchronized Vector Envelope. Quick Layer / Split function

Drumkit
Assignable stereo/mono samples with 8 velocity zones per oscillator (with crossfade functions)

Number of Programs/Combinations/Drum kits
User Memory Programs: 2,560 (1,920 [1,280 HD-1+640 EXi] come preloaded)

User Memory Combinations: 1,792 (256 come preloaded)

User Memory Drum Kits: 264 (104 come preloaded), 256 GM Level2 preset programs + 9 GM Level 2 drum preset programs

Set List
Number of Set Lists/Slots:

• 128 set lists, 128 slots per set list

• Each set list provides a 9-band graphic EQ, and a Tone Adjust function that allows program settings to be adjusted

• Transpose setting

• Hold Time setting of Smooth Sound Transition (SST) supported for each slot

Sampling
System: Open Sampling System (resampling, In-Track sampling)

Bit Depth/Sampling Frequency: RAM: 16-bit/48 kHz stereo/mono sampling
DISK: 16 or 24-bit/48 kHz

Sampling Time: RAM: Depends on the amount of available PCM RAM
DISK: Maximum 80 minutes stereo (879MB: 16bit)

Sample Locations: 16,000 samples/4,000 multisamples (128 indexes per multisample)

Formats: KORG format, AKAI S1000/S3000 data (with advanced Program parameter conversion); SoundFont 2.0, AIFF, and WAVE formats

Editing: Time Stretch, Time Slice, Crossfade Loop, and other standard editing features.

Effects
Insert Effects: 12 Stereo in / stereo out
Master Effects: 2 Stereo in / stereo out
Total Effects: 2 Stereo in / stereo out
Timbre EQ: One 3-band EQ for each timbre/track
Effect Types: 197
Modulation: Dynamic Modulation and Common LFO
Effects Control Busses: Stereo side-chaining for compressors, gates, vocoders, etc
Effect Presets: Total 783 preset, Maximum 32 per 1 effect (Preset User)

Arpeggiator
Arpeggiator Modules: One module in Program mode, two modules in Combination and Sequencer modes
Arpeggio Pattern: 5 presets + ARP A 2,048 slots (1,593 come Preload) + ARP B 128 slots
Controllers: On/Off, Latch, Gate, Velocity, Length, Swing, Tempo

Drum Track
Preset Patterns: 1,272 (common with the preset patterns of the MIDI sequencer)
User Patterns: 1,000. Patterns created in Sequencer mode can be converted to drum track user patterns. Trigger Mode/ Sync / Zone / Swing, Drum SD, Tempo settings can be specified.

Sequencer / HDR
Tracks: 16-track MIDI sequencer + 16-track hard disk recorder + 1 master track.
Number of Songs: 200
Resolution: 1/480
Tempo: 40.00 – 300.00 (1/100 BPM resolution)
Maximum Memory: 400,000 MIDI events or 300,000 audio events
MIDI Tracks: 16 tracks plus the master track, 697 preset / 100 user patterns (per song), 18 preset/16 user template songs,
Audio Tracks:

• 16-track playback, 4-track simultaneous recording, WAV file format 16bit/24bit

• Maximum Single-file Recording Time (mono): 80 minutes

• Automation: Volume, Pan, EQ, and Send1/2

• 10,000 regions (max.)

• Event Anchors, BPM Adjust

Other Functions: RPPR (Realtime Pattern Play and Record): 1 Pattern set per song

General:
Disk Mode: Load, save, utility, data filer function (save/load MIDI System Exclusive data), CD-R/RW (UDF format read/write), ISO9660 Level 1.

Controllers: Joystick, Switches 1 & 2, Arpeggiator Control: On/Off, Latch, Gate, Velocity, Length, Swing, Tempo, DRUM TRACK: On/Off, Swing, Drum SD, Tempo

Display: TouchView graphical user interface, 7 inch color TFT, WVGA (800 x 480 dots), adjustable brightness

Principal Specifications
Frequency Response: 20Hz-22kHz, +/-1.0dB, 10k Ω load
THD+N: 20Hz-22kHz, 0.01%, 10k Ω load (typical)
S/N: 95dB (typical)
Dynamic Range: 95dB (typical)
Crosstalk: 95dB, at 1kHz (typical)

Outputs:
L/MONO, R, Individual 1-4
1/4” TRS Balanced
Output Impedance: 350 Ω Stereo; 175 Ω Mono (L/MONO Only),
Nominal Level: +4.0 dBu,
Maximum Level: +16.0 dBu (when load impedance is 600 Ω or greater)
MAIN VOLUME slider controls only AUDIO OUTPUT (MAIN) L/MONO and R

Headphones
1/4” stereo phone jack
Output impedance: 33 Ω,
Maximum Level: 60+60 mW (when load impedance is 33 Ω),
MAIN VOLUME knob (link with AUDIO OUTPUT (MAIN))

USB-B
24-bit, Sample Rate: 48 kHz, 2 channels
(Digital output of the same signals as AUDIO OUTPUT (MAIN) L/MONO and R)

Inputs:
Audio Inputs 1 and 2
1/4” TRS Balanced
Input Impedance: 10 kΩ
Nominal Level: LINE +4 dBu
Maximum Level: LINE +16 dBu
Nominal Level: MIC –22 dBu
Maximum Level: MIC -10 dBu
Source Impedance: 600 Ω

USB-B
24-bit, Sample Rate: 48 kHz, 2 channels

Control Inputs: Damper pedal (half damper supported), Assignable switch, Assignable pedal

MIDI: In, Out, Thru

USB
USB A (TYPE A)
For connection to external USB devices (QWERTY keyboards, MIDI controllers, ethernet adaptors, and storage)

USB B (TYPE B)
MIDI/audio interface, MIDI: 1 (16 channel) input / 1 (16 channel) output, Audio: 2 channel input / 2 channel output
*2 USB high-speed ports (supports 480Mbps)Disk Drives60 GB SSD (2.5”)
Power Supply: AC power supply terminal, Power switch
Power Consumption: 40 W
Accessories: AC cord, Quick Start Guide

Optional extras:
XVP-20: Expression/Volume Pedal
EXP-2: Foot Controller
DS-1H: Damper Pedal
PS-1: Pedal Switch
PS-3: Pedal Switch

 

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