Thank you for purchasing the Korg MS2000/MS2000R analog modeling synthesizer. To ensure trouble-free enjoyment, please read this manual carefully and use the product correctly.

About this manual

How this manual is organized
The MS2000/MS2000R owners manual is organized as follows.
Printing conventions in this manual

Knobs and keys [ ]

Knobs and keys on the panel of the MS2000/MS2000R are enclosed in square brackets [ ].

Basic Guide

First read the Basic Guide to learn essential points of operation and basic procedures. Introduction explains the features of the MS2000/ MS2000R, and how its modes and programs are organized. Front and rear panel explains the knobs and keys of the front panel, and the input/output jacks and switches of the rear panel. Connections explains how to connect the MS2000/ MS2000R to external audio devices, external MIDI devices, computers, pedals, and pedal switches. Playing explains basics for playing the MS2000/MS2000R (listening to the demos, selecting sounds, using the arpeggiator, etc.). Editing explains the basic procedures for editing sound parameters and global parameters, and describes how the main parameters are edited.
Parameters shown in the LCD screen
Parameters that appear in the LCD screen are enclosed in double quotation marks .

Bold type

Parameter values are printed in bold type. The names of parts of the MS2000/MS2000R and operating procedures are also printed in bold type.
Procedure steps q , 1, 2, 3.
Steps in a procedure are printed as q or 1, 2, 3.
This indicates a page to which you can refer.

Symbols

Parameter Guide
This section explains the operation of all MS2000/MS2000R parameters and discusses points of which you should be aware for various settings. The explanations are organized by page for each mode. Refer to this section when an unfamiliar parameter appears, or when you would like to learn more about the functions.
These symbols respectively indicate points of caution and words of advice.

Display screen

The values of parameters appearing in the display screens printed in this manual are only explanatory examples. They will not necessarily match the values shown in the LCD screen of your instrument.

The MS2000/MS2000R provides two LFOs for each timbre, each with four waveforms. LFO1 is assigned as the modulation source for OSC1. LFO2 is assigned as the modulation source for the pitch modulation controlled by the modulation wheel. If you wish to assign LFO1 and LFO2 to other parameters, you can make VIRTUAL PATCH settings to do so.
LFO 1/2 The LFO (Low Frequency Oscillator) applies cyclic change to sound parameters.
VIRTUAL PATCH VIRTUAL PATCH allows you to use not only EG or LFO, but even velocity (keyboard playing dynamics) or keyboard tracking (the area of the keyboard you play) as modulation sources which can be assigned to sound parameters for greater freedom in creating sounds. Four routings (combinations) can be specied for each timbre. MOD SEQUENCE MOD SEQUENCE is a step sequencer that lets you apply time-variant change to various sound parameters in a way similar to analog synthesizers of the past. Use the sixteen knobs on the front panel to set the value of each step, and playback to make the sound change. You can also operate the knobs in realtime, and record their movements (parameter values) in each step (Motion Rec function). Since each timbre can have up to three sequences, you can obtain very complex tonal changes.

EFFECTS

Each program has a modulation effect, delay, and equalizer. For a modulation-type effect, you can select from three effects such as chorus. For a delay effect, you can select from three types of delay, including a stereo delay.

ARPEGGIATOR

This is an arpeggiator with six types of arpeggio type. For a program whose voice mode is Dual/Split, arpeggios can be played on one or both timbres. Since arpeggiator settings can be made for each program, you can create and save an arpeggio type that is suitable for the sound of that program.

Vocoder programs

Vocoder programs consist of OSC1/NOISE, MIXER, VOCODER SEC., EFFECT, and ARPEGGIATOR. The vocoder takes a signal from the internal tone generator (OSC1/NOISE) or the AUDIO IN 1 jack, applies to it the characteristics of the signal that is input from the AUDIO IN 2 jack, and outputs the result. The most popular use for this is to input a voice from a mic connected to the AUDIO IN 2 jack, in order to create the effect of an instrument speaking.

4 MIDI

MIDI IN connector MIDI data is received at this connector. Connect it to an external MIDI device. MIDI OUT connector MIDI data is transmitted from this connector. Connect it to an external MIDI device. MIDI THRU connector MIDI data received at MIDI IN is re-transmitted without change from this connector. Use it when you wish to connect three or more MIDI devices.

5 DC 9V

Connect the included AC adapter here.

6 Cable hook

Control panel (MS2000)

1 PITCH BEND wheel

This controls the pitch.

2 MODULATION wheel

3 PHONES jack
A set of headphones can be connected here.
This controls the modulation depth. With the factory settings, it will control the depth of the modulation applied by the LFO2 to the oscillator pitch.
Wrap the AC adapter power cable around this to prevent accidental disconnection. When unwrapping the cable from the hook, do not apply excessive force to the cable.
AC adapter (included) Connect to an AC outlet

MIDI IN

MIDI OUT
MIDI keyboard, tone generator module, sampler etc.
Monitor speakers (amplified)
Be sure to turn off the power of all devices before making connections. Failing to take this precaution may cause your speaker system to be damaged, or may cause malfunctions.
b. ASSIGNABLE SWITCH jack
If you wish to use a pedal switch to change programs, to change the octave up/down, or to turn portamento or the arpeggiator on/off, connect a PS-1 switch pedal (sold separately) or DS-1H damper pedal (sold separately). The function that will be controlled is determined by the A.SwFunc setting in Global mode Page 6B: PEDAL&SW (Parameter guide p.56). With the factory settings, this is set to Damper.
Connecting the AC adapter
Connect the included AC adapter. After you have connected the AC adapter to the MS2000/ MS2000R, plug it into an AC outlet.

Connecting MIDI devices

If you wish to connect the MS2000/MS2000R to an external MIDI device, use a MIDI cable to make connections.
Connecting external devices
Connect the OUTPUT jacks (L/MONO, R) of the MS2000/ MS2000R to your audio system (mixer, powered monitor system etc.). In order to take full advantage of the potential of the MS2000/MS2000R, we recommend that you use stereo output. If you are making monaural connections, use the L/MONO jack.
1. Using the MS2000/MS2000R as a tone generator module

Make connections as shown below.

IN OUT MIDI

OUTPUT
If you wish to use a waveform that is input from an external device as the carrier, make settings as described in both of the previous sections 1. Modifying an external waveform and 2. Using the vocoder function.
Editing program parameters
Programs consist of a large number of parameters. In order to create a program from scratch, you will need to understand all of these parameters. Instead of this, we suggest that you select a factory preset program, and try editing it in order to understand each parameter.

b. Select a page

LCD Edit mode consists of multiple pages. Use the PAGE [+][] keys and the SELECT [1][16] keys to select pages. q Press the PAGE [+] or [] key. Each time you press the key, the next or previous page will appear.
01A COMMON Mode: Single 02A NAME MS2000/R 03A VOICE Assign: Poly

Basic editing procedures

The basic procedures for editing are explained below. You can edit a program in Program Play mode or in LCD Edit mode.
1. Editing in Program Play mode
In Program Play mode, you can not only select and play a program, but also use the front panel knobs and keys to edit the sound of the program as you play, for example by adjusting the lter cutoff or slightly slowing the attack. The parameters that correspond to each key will change value or be switched on/off each time you press the key, and their status will be shown by the LED or in the LCD screen. The parameters that correspond to each knob can be adjusted in analog fashion as indicated by the markings around the knob. For both knobs and keys, the ORIGINAL VALUE LED will light when their setting matches the original written value.
q Press a SELECT [1][16] key You will move directly to the page of the desired parameter. The SELECT [1][16] keys correspond to pages as shown below.
Key SELECT [1] SELECT [2] SELECT [3] SELECT [4] SELECT [5] SELECT [6] SELECT [7] SELECT [8] SELECT [9] Page Page01A: COMMON Mode Page03A: VOICE Assign Page04A: PITCH Transpose Page05A: OSC 1 Wave Page06A: OSC 2 Wave (Single/Dual/Split) Page06A: AUDIO IN 2 Gate Sense (Vocoder) Page08A: FILTER Type (Single/Dual/Split) Page08A: FILTER Formant Shift (Vocoder) Page09A: AMP Level Page10A: EG 1 Attack Page12A: LFO 1 Wave Page14A: PATCH 1 Source: Dest (Single/Dual/Split) Page14A: CH LEVEL CH: Level (Vocoder) Page18A: SEQ COMMON Last STEP (Single/Dual/Split) Page15A: CH PAN CH: Pan (Vocoder) Page22A: MOD FX Type (Single/Dual/Split) Page16A: MOD FX Type (Vocoder) Page23A: DELAY FX Type (Single/Dual/Split) Page17A: DELAY FX Type (Vocoder) Page24A: EQ LowEQFreq (Single/Dual/Split) Page18A: EQ LowEQFreq (Vocoder) Page25A: ARPEGGIO Type (Single/Dual/Split) Page19A: ARPEGGIO Type (Vocoder) Page26A: UTILITY InitProgram (Single/Dual/Split) Page20A: UTILITY InitProgram (Vocoder)

10A EG 1 Attack:

a. Adjust the volume of the timbre
q Rotate the [LEVEL] knob. The LCD screen will show Page 09A: AMP Level. If the volume changes over time, this level will be the maximum level that occurs during the change in volume.

09A AMP Level:

If rotating the knob does not produce an effect, try adjusting the FILTER [EG 1 INT] knob, or make sure that the SEQ EDIT SEQ 13 LEDs are dark. If these LEDs are lit, it is not possible to edit the EG or LFO. The knobs will function to edit the sequence data.
b. Adjust the speed at which the tone will change during the decay
q Rotate the EG 1 [DECAY] knob. The LCD screen will show Page 10B: EG 1 Decay. Rotating the knob toward the right (increasing the value) will cause a longer decay time until the sustain level is reached.

10B EG 1 Decay: 030

b. Adjust the output panpot (stereo position)
q Rotate the [PAN] knob. The LCD screen will show Page 09B: AMP Panpot. When the knob is in the center (CNT), the output will be centered.

09B AMP Panpot:

c. Adjust the brightness of the sustained sound
q Rotate the EG 1 [SUSTAIN] knob. The LCD screen will show Page 10C: EG 1 Sustain. The change in brightness produced by the [SUSTAIN] knob will depend on the setting of the [EG 1 INT] knob.

10C EG 1 Sustain: 060

c. Select the envelope source for the volume
q Press the [EG 2 /GATE] key. Each time you press the key, the envelope source will change. If you want the volume change over time, select EG 2 ([EG 2/GATE] key LED dark). If you want the volume to sound at a xed level, as on an organ, select GATE ([EG 2/GATE] key LED lit).
d. Apply distortion to the output
q Press the [DISTORTION] key. Each time you press the key, distortion will be turned on/off. When this is on ([DISTORTION] key LED lit), distortion will be applied. This is effective when you wish to produce a hard\ harsh tone. If distortion is turned on, use the MIXER knobs to adjust the degree of distortion. If you adjust FILTER Cutoff or Resonance, the character of the distortion will change.
7. Specify time-variant changes in volume
If you wish to use the front panel knobs to adjust the EG 2 parameters, you must rst use the SEQ EDIT [SELECT] key to make the SEQ 13 LEDs go dark.

Level Note on Note off

e. Use keyboard playing dynamics to vary the volume

Note on Note on

s VOICE
These parameters specify how the timbre will be sounded, and set the MIDI channel.

Page03: VOICE

A: Assign..[Mono, Poly, Unison]
Specify how the timbre will be sounded Mono The timbre will sound monophonically (single notes). Poly The timbre will sound polyphonically. A maximum of four voices (notes) can be played simultaneously. If Mode is Dual/Split, each timbre will sound the number of voices specied by Timbre Voice.

Single

Trigger EG

Trigger

Pelog This is the Pelog scale, an Indonesian gamelan scale that divides the octave into seven notes. If the Scale Key is C, use the C, D, E, F, G, A, and B notes
Unison The timbre will sound in unison. If Mode is Dual/Split, each timbre will apply a unison effect with the number of voices specied by Timbre Voice.
E: Detune..[00cent.99cent]
Specify the amount of detuning (difference in pitch) that will be applied to notes sounded simultaneously by the Unison function. This parameter will be displayed and can be set only if Assign is set to Unison. If the Mode is Dual/Split and the maximum polyphony (Timbre Voice) of the timbre is 1, this setting will have no effect.

s OSCILLATOR

These are the parameters that affect the waveform of the oscillator.

Page05: OSC 1

A: Wave WAVE .. [Saw.Audio In] B: Control1 CONTROL1 .. [000.127] C: Control2 CONTROL2 .. [000.127]
Wave selects the waveform for OSC1 (oscillator 1). Control1 and Control2 set parameters for the selected waveform. The parameters that you set will depend on the selected waveform. Saw This is a sawtooth wave, suitable for creating typical analog synthesizer sounds such as synth bass and synth brass. Control1 Adjusting this value will modify the waveform. A setting of 0 will produce a conventional sawtooth wave, and a setting of 127 will produce a sawtooth wave one octave higher. Control2 LFO1 is used to apply WFM (wave form modulation) to the waveform specied by Control 1. The Control 2 setting species the depth of the modulation produced by LFO1. By setting the Page 12A: LFO1 Wave parameter to (Tri) and adjusting Frequency, you can create the effect of detuning.

s PITCH

These are the pitch-related parameters.

Page04: PITCH

A: Transpose.. [24.+24]
Adjust the pitch of the oscillator in semitone (100 cent) steps. The range is two octaves upward or downward. Changes made by the front panel OCTAVE (or BANK/ OCTAVE) buttons actually shift the pitches assigned to the keyboard (or keys) in one-octave steps, and do not affect the pitch of the oscillator that is sounding. Nor are such settings saved by the Write operation. If you wish to change the pitch of the oscillator itself, you must use this Transpose setting to specify the pitch.
B: Tune.. [50cent.+50cent]
Adjust the pitch of the oscillator in one-cent steps. The range is 50 +50 cents.
C: Vibrato Int... [63.+63]
Specify the depth of the vibrato effect that is applied when the modulation wheel (or for the MS2000R, the modulation wheel of a connected external MIDI device) is moved to the maximum position. The LFO2 will apply a vibrato effect to the pitch of the oscillator.
Pulse This is a pulse wave, suitable for electronic sounds or wind instruments. Control1 This adjusts the pulse width. A setting of 0 will produce a square wave, with a tone reminiscent of woodwind instruments such as clarinet. At a setting of 127 the pulse width will be 0, and no sound will be heard. By adjusting the pulse width you can produce sounds similar to clavinet or sax. Control2 LFO1 is used to apply PWM (pulse width modulation) to the pulse width specied by Control1. The Control2 setting species the depth of the modulation produced by LFO1. By setting the Page 12A: LFO1 Wave parameter to (Tri) and adjusting Frequency, you can make the sound distort.

D: Bend Range.. [12.+12]

Specify the amount of pitch change in semitones that will occur when the pitch wheel is operated. This setting species the amount of pitch change that will occur when the pitch bender is moved to the maximum positive (+) position.
E: Portamento TIME .[000.127]
This species the speed of the portamento effect (a smooth change in pitch from one note to the next note of a different pitch). With a setting of 000, there will be no portamento effect. Increasing this setting from 001 will cause the pitch to change correspondingly slower. If Page 03: VOICE Assign is set to Mono or Unison, and if Trigger is set to Single, portamento will not apply to the rst-sounded note.
Control1 You can modify the waveform by adjusting this value. A setting of 0 will produce a triangle wave, and a setting of 127 will produce a waveform with a pitch that is one octave and a fth higher. Control2 LFO1 is used to apply WFM (wave form modulation) to the waveform specied by Control1. The Control2 setting species the depth of the modulation produced by LFO1.

B: Direct Level

Specify the volume level of the audio that is output directly from the AUDIO IN 2 jack.

C: Distortion

.[ON, OFF]
If this is ON, distortion will be applied to the OSC1/NOISE/ AUDIO IN 1 signal.

D: Vel Sense.. [63.+63]

Specify how velocity (keyboard playing dynamics) will affect the volume. With positive (+) settings, the volume will increase as you play harder. With negative () settings, the volume will decrease as you play harder.

BPF 7 -63

BPF 9 Frequency
0 +63 Cutoff (range in which BPF 8 will change)

Formant Shift:+2

E: KBD Track.. [63.+63]
Specify how keyboard tracking will affect the volume. With positive (+) settings, the volume will increase as you play above the C4 note on the keyboard, and will decrease as you play below C4. With negative () settings, the volume will decrease as you play above the C4 note on the keyboard, and will increase as you play below C4.
+Cutoff (range in which BPF 8 will change)

C: Resonance

Specify the amount of resonance for each band-pass lter. Increasing this value will emphasize the regions near each cutoff frequency.

Page15: CH PAN

A: Ch Pan
Specify the panpot for each lter of the carrier.

15A CH PAN CH[01]:

Channel
Keyboard Track operates according to the pitch that is controlled by pitch bend, transpose, and Mod Sequence. It is not affected by pitch changes produced by vibrato or Virtual Patch.
These parameters are the same as for a synth program. Refer to 3. SYNTH Parameters.

Channel.. [01.16]

Select the lter for which you wish to make settings.

Pan..[L63.CNT.R63]

Specify the panning of each lter.
Page16: MOD FX Page17: DELAY FX Page18: EQ

s CH PARAM

These set the output level and panning (panpot) for each of the sixteen lters of the carrier (synth). To make settings, use the CH PARAM [SELECT] key and the sixteen knobs, or the CURSOR[][] keys and the [+/YES] [/NO] keys.

Page19: ARPEGGIO

Page14: CH LEVEL

A: Ch Level

Specify the output level for each lter of the carrier.

14A CH LEVEL CH[01]: 060

Channel Level

Page20: UTILITY

This function initializes the settings of the currently selected vocoder program (program common, timbre, effect, arpeggiator). When a vocoder program is initialized, its voice mode will remain at Vocoder. For the procedure refer to 3. SYNTH Parameters.

Channel...[01.16]

Level...[000.127]
Specify the output level of the lter.
With a setting of 0, keyboard tracking will not affect the volume.
Refer to 3. SYNTH Parameters.

C: Init ch Lvl

This function initializes the output level for each lter of the carrier. When the levels are initialized, the output level value will be 127. Procedure 1 Press the SELECT [16] key, and then press the CURSOR [] key twice. The LCD screen will show Page 20C: UTILITY Init ch Lvl.
20C UTILITY Init ch Lvl OK?
20C UTILITY Are You Sure OK?
3 Press the [+/YES] key once again. The output levels will be initialized, and the display will indicate Completed. 4 Press the [EXIT] key. You will return to the rst screen of the Init ch Lvl function.

D: Init ch Pan

This function initializes the panpot for each lter of the carrier. When this is done, the panpot of each lter will be at CNT (center output). Procedure 1 Press the SELECT [16] key, and then press the CURSOR [] key three times. The LCD screen will show Page 20D: UTILITY Init ch Pan.
20D UTILITY Init ch Pan OK?
20D UTILITY Are You Sure OK?
3 Press the [+/YES] key once again. The output levels will be initialized, and the display will indicate Completed. 4 Press the [EXIT] key. You will return to the rst screen of the Init ch Pan function.
These parameters affect the entire MS2000/MS2000R. To set these parameters, press the [GLOBAL] key. If you wish to save the settings you make, you must perform the Write operation (Basic Guide, Edit section p.30).
MIDI IN Keyboad FRONT PANEL: Octave GLOBAL: Transpose GLOBAL: Velocity Curve Timbre 2

SEQ1/2/3

Timbre 1

Arpeggiator

Page1: GLOBAL
A: Mst.Tune..[430.0Hz.450.0Hz]
This adjusts the overall pitch of the entire MS2000/MS2000R in 0.1 Hz steps, relative to the reference pitch of A4 (middle A). Use this when you need to tune the pitch of the MS2000/ MS2000R to other instruments.
D: Vel.Curve.. [1.8, CONST]

MAX (127)

B: Transpose..[12.+12]
This adjusts the overall pitch of the entire MS2000/MS2000R in semitone steps (100 cents). Use this when you wish to transpose to suit the song you are playing. The range covers one octave upward or downward.

Velocity

MIN (1) ppp (1)

Strength (MIDI Velocity)

If this is ON, the signal that is input from AUDIO IN 1/2 will be output without change. This lets you check that the input to the AUDIO IN 1/2 jacks is correct. This setting is not memorized by the Write operation. When the power is turned on, it will always be turned OFF.
Select how velocity (keyboard playing dynamics) will affect volume and tone. The results of this setting are affected by the Position setting.

Page2: MEMORY

A: Protect.. [ON, OFF]
Specify whether or not the internal memory will be protected. ON The following writing operations will be prohibited. Writing a program Loading the factory data Receiving a data dump OFF Data can be written to internal memory.

Page3: MIDI

A: MIDI Ch... [01.16]
Specify the global MIDI channel. When you wish to transmit program changes or system exclusive messages via MIDI, set the global MIDI channel to match the MIDI channel of the connected MIDI device. If you wish to receive performance data on the global MIDI channel, set the MIDI channel of the timbre to match the global MIDI channel. (Set the LCD Edit mode Page 03B: VOICE MIDI ch parameter to GLB.)

B: Local...[ON, OFF]

Switch the local on/off setting. ON Select this setting when you are using the MS2000/ MS2000R by itself. OFF With this setting, controllers such as the keyboard (or for the MS200R, the SELECT [1][16] keys) and modulation wheel will be internally disconnected from the tone generator section. This setting prevents notes from being sounded in duplicate when an external sequencer is connected and the performance data is echoed back from the external sequencer. (Echo back is a when the performance data transmitted by playing the MS2000/MS2000R is re-transmitted back to the MS2000/MS2000R from the sequencer.)
B: PageMemory.. [ON, OFF]
Make settings for the page memory function. ON When you exit LCD Edit mode or Global mode to return to Program Play mode, and then re-enter the previous mode, the page that had been selected when you exited the mode will appear in the LCD screen. OFF When you enter LCD Edit mode or Global mode, the LCD screen will show the rst page of the mode. In LCD Edit mode, Page 01A: COMMON Mode will be displayed. In Global mode, Page 1A: GLOBAL Mst.Tune will be displayed.

Synth Parameter SEQ2/CH PAN SEQ2/CH PAN SEQ2/CH PAN SEQ2/CH PAN SEQ2/CH PAN SEQ2/CH PAN SEQ2/CH PAN SEQ2/CH PAN SEQ2/CH PAN SEQ2/CH PAN SEQ2/CH PAN SEQ2/CH PAN SEQ2/CH PAN SEQ2/CH PAN SEQ2/CH PAN SEQ2/CH PAN STEP [01] STEP [02] STEP [03] STEP [04] STEP [05] STEP [06] STEP [07] STEP [08] STEP [09] STEP [10] STEP [11] STEP [12] STEP [13] STEP [14] STEP [15] STEP [16] Vocoder Parameter MSB (Hex) LSB (Hex) CH [01] CH [02] CH [03] CH [04] CH [05] CH [06] CH [07] CH [08] CH [09] CH [10] CH [11] CH [12] CH [13] CH [14] CH [15] CH [16] 2A 2B 2C 2D 2E 2F SEQ2: *1 CH PAN: 0/1: L63, 2: L62.63: L01 64: CNT, 65: R01.127: R63 SEQ2: *1 CH PAN: 0/1: L63, 2: L62.63: L01 64: CNT, 65: R01.127: R63 Value (transmitted) Value (received)
*1: When Knob = Step Length, data correspondences for both transmission and reception will be: 0.9: 6, 10.19: 5, 20.29: 4, 30.39: 3, 40.49: 2, 50.59: 1, 60.68: 0, 69.78: +1, 79.88: +2, 89.98: +3, 99.108: +4, 109.118: +5, 119.127: +6 When Knob = Pitch or OSC2 Semi, refer to p.66 OSC 2 Semitone values. When Knob= other values, both transmission and reception will be: 0/1: 63, 2: 62.64: 0.127: +63 SEQ3 Step Value 1.16: [Bn, 63, 04, Bn, 62, 30.3F, Bn, 06, mm] (n: channel, mm: parameter value)
Synth Parameter SEQ3 SEQ3 SEQ3 SEQ3 SEQ3 SEQ3 SEQ3 SEQ3 SEQ3 SEQ3 SEQ3 SEQ3 SEQ3 SEQ3 SEQ3 SEQ3 STEP [01] STEP [02] STEP [03] STEP [04] STEP [05] STEP [06] STEP [07] STEP [08] STEP [09] STEP [10] STEP [11] STEP [12] STEP [13] STEP [14] STEP [15] STEP [16] Vocoder Parameter MSB (Hex) LSB (Hex) 3A 3B 3C 3D 3E 3F *1 *1 Value (transmitted) Value (received)
*1: When Knob = Step Length, data correspondences for both transmission and reception will be: 0.9: 6, 10.19: 5, 20.29: 4, 30.39: 3, 40.49: 2, 50.59: 1, 60.68: 0, 69.78: +1, 79.88: +2, 89.98: +3, 99.108: +4, 109.118: +5, 119.127: +6 When Knob = Pitch or OSC2 Semi, refer to p.66 OSC 2 Semitone values. When Knob= other values, both transmission and reception will be: 0/1: 63, 2: 62.64: 0.127: +63 If you are using two MS2000/MS2000R units to transmit and receive these parameters, you must set the transmitting and receiving programs to the same settings.
When the MS2000/MS2000Rs arpeggiator is synchronized to a connected external MIDI device, system realtime messages Start and Stop will control the arpeggiator.

Start [FA]

When a Start [FA] message is received, the arpeggiator will start from the pitch of the rst played note.

Master ne tuning [F0, 7F, nn, 04, 03, vv, mm, F7]
(A value of 8192 [mm, vv=40, 00] is center (0 cent, A4=440.0Hz), 4096 [mm, vv=20, 00] is 50 cents, and 12288 [mm, vv=60, 00] is +50 cents.) When master ne tuning is received, the value specied for the MS2000/MS2000Rs Global mode Page 1A: GLOBAL Mst.Tune will be ignored, and the overall pitch will be specied by the data that was received.
Resetting all controllers of a given channel
Reset all controllers (CC#121) [Bn, 79, 00]
(value is 00) When a Reset All Controllers message is received, all controller values currently operating on that channel will be reset.
Transmitting sound settings etc. (Data Dump)
Program data and global data can be transmitted as a MIDI exclusive data. The action of transmitting MIDI exclusive data to an external MIDI device is called a data dump. By performing a data dump, you can store various types of data on an external MIDI device, or rewrite the sounds or settings of a second MS2000/MS2000R. Data dumps can be performed on the MS2000/MS2000R as follows. In Global mode Page 3F: MIDI Dump, select the type of data to be transmitted (1PROG, PROG, GLOBAL, ALL), and transmit the data dump. 1PROG will dump only the data for the program selecting in Program Play mode. When the MS2000/MS2000R receives such a data dump, the settings of the currently selected program will be rewritten by the data that was received. In this case, the data will not be saved unless you perform the Write operation. PROG will dump the data for all programs saved in memory. GLOBAL will dump global data (Global mode settings). ALL will dump all programs as well as global data. If PROG, GLOBAL, or ALL dumps are received by the MS2000/MS2000R, the data will be written directly into internal memory; you do not need to perform the Write operation. When a dump request is received from an external device, the MS2000/MS2000R will transmit the data dump that was requested. When you switch to LCD Edit mode, the data of only the selected program will be dumped. If you wish to receive a data dump, set Global mode Page 4D: MIDI FILTER SystemEx to ENA. If this is set to DIS, data dumps will not be received. If you wish to obtain the MIDI Implementation which includes details of the MIDI exclusive format, please contact a Korg dealer.
Front panel knob/key control change assignments
Control changes can be assigned to each front panel knob/key of the MS2000/MS2000R so that the changes in sound as controlled by knob/key operations can be transmitted as performance data.
Synth Parameter PITCH Portamento Wave OSC 1 Control1 Control2 Wave OSC Mod OSC 2 Semitone Audio in 2 Tune OSC 1 Level MIXER OSC 2 Level Noise Level Type Cutoff FILTER Resonance EG 1 Int KBD Track Level AMP Panpot EG2/GATE Distortion Attack Decay EG 1 Sustain Release Attack Decay EG 2 Sustain Release LFO 1 Wave Frequency LFO 2 Wave Frequency PATCH 1 Intensity PATCH 2 Intensity PATCH 3 Intensity PATCH 4 Intensity SEQ MOD FX DELAY FX ON/OFF LFO Speed Depth Delay Time Depth Control1 Control2 Vocoder Parameter Portamento Wave Initial CC#05 0.127 0: Saw, 18: Pulse, 36: Tri, 54: Sin, 72: Vox Wave CC#77 90: DWGS, 108: Noise, 126: Audio In CC#14 0.127 CC#15 0.127 * OSC 1 Wave=DWGS; see p.66 Value (transmitted) 0.127 0.15: Saw, 16.31: Pulse, 32.47: Tri, 48.63: Sin, 64.79: Vox Wave, 80.95: DWGS, 96.111: Noise, 112.127: Audio In 0.127 0.127 * OSC 1 Wave=DWGS; see p.66 0.42: Saw, 43.85: Squ, 86.127: Tri 0.31: OFF, 32.63: Ring, 64.95: Sync, 96.127: RingSync Synth; see p.66 Vocoder; 0. 127 Synth; 0 / 1: 63, 2: 62.63: 1, 64: 0, 65: +1.127: +63 0.127 0.127 0.127 Synth; 0.31: 24LPF, 32.63: 12LPF, 64.95: 12BPF, 96.127: 12HPF Vocoder; 0.25: 0, 26.51: +1, 52.76: +2, 77.102: 1, 103.127: 2 Value (received)

No sound

Are the connected devices or headphones connected to the correct jack(s)?... p.10 Are the connected devices powered-on? Is the [POWER/VOLUME] knob set to a position where sound will be output?.. p.12 Is the Global mode Page 3B: MIDI Local setting turned ON?... p.54 Were any volume-related parameters set to a value of 0?... p.38, 40 Was the FILTER Cutoff set to 0?. p.39 If a pedal is connected to the MS2000/MS2000R, is the pedal in a position for which no sound will be produced?

Tone generator

4 voice, 2 oscillator + noise generator

Keyboard (MS2000)

44 notes (no aftertouch)

Effects

Modulation effect (3 types), delay (3 types), equalizer

6 types

Programs
16 programs 8 (total 128 programs)

Inputs

39 [k] 3.5 [dBu] (AUDIO IN [1/INST] knob: Max) Source impedance 600 [] AUDIO IN 2 jack (with MIC/LINE switch) AUDIO IN 2 [LINE] Input impedance 39 [k] Maximum input level 3.5 [dBu] (AUDIO IN [2/VOICE] knob: Max) Source impedance 600 [] AUDIO IN 2 [MIC] Input impedance 22 [k] Maximum input level 33 [dBu] (AUDIO IN [2/VOICE] knob: Max) Source impedance 600 [] AUDIO IN 1 jack Input impedance Maximum input level

Sound does not stop

Is the Global mode Page 6A: PEDAL & SW A.Switch setting appropriate for the pedal switch that is connected? p.57
Cant write programs or global settings
Is Global mode Page 2A: MEMORY Protect turned OFF? p.30, 54
Transpose or velocity curve is not transmitted/ received correctly
IsGlobalmodePage1C:GlobalPositionsetappropriately? p.53

Outputs

L/MONO, R jacks Output impedance Maximum output level Load impedance Headphone jack Output impedance Maximum output level Load impedance 1.1 [k] (MONO: 550) +6.5 [dBu] 100 [k] 10 [] 35 [mW] 33 []

Arpeggios do not start

Is the arpeggiator turned on ([ON/OFF] key lit)?.. p.15 Is Global mode Page 3C: MIDI Clock set to Internal?... p.54

Control inputs

ASSIGNABLE PEDAL jack ASSIGNABLE SW jack

IN, OUT, THRU connectors

No response to MIDI messages sent from an external device
Is the MIDI cable connected correctly?.. p.10 Does the MIDI channel of the data transmitted from the external MIDI device match the global MIDI channel of the MS2000/MS2000R?..p.11

MS2000B / MS2000BR Owner's Manual Addendum
Thank you for purchasing the MS2000B/BR Analog Modeling Synthesizer. To ensure trouble-free enjoyment, please read this manual carefully and use the product as directed. The MS2000B provides an XLR microphone jack on the front panel. Also included is a matching gooseneck microphone that can plug directly into this jack, providing immediate access to the Vocoder functions (see MICROPHONE CONNECTIONS). In addition, the MS2000B and MS2000BR contain many new internal programs compared to the original MS2000/R (see VOICE NAME LIST). The specifications and functions remain the same as for the MS2000 / MS2000R. Please read and refer to the MS2000 / MS2000R Owner's Manual.
MS2000B / MS2000BR Zusatzanleitung
Vielen Dank fr den Kauf des MS2000B/BR Analog Modeling Synthesizers. Um ein lange und problemlose Nutzung sicherzustellen, sollten Sie diese Anleitung sorgfltig lesen und das Instrument entsprechend bedienen. Der MS2000B besitzt eine XLR Mikrofon-Buchse auf dem Frontpanel und ein, im Lieferumfang enthaltenes, passendes Schwanenhals-Mikrofon, welches Ihnen die Benutzung der Vocoder-Funktionen sofort ermglicht. (siehe ANSCHLUSS DES MIKROFONS). Auerdem wurden viele der Werkssounds fr den MS2000B/BR komplett neu programmiert (siehe VOICE NAME LIST). Die technischen Daten und Funktion sind ansonsten identisch mit denen des MS2000/R. Zur Bedienung studieren Sie bitte daher die bisherige MS2000/MS2000R Anleitung.
MICROPHONE CONNECTIONS (MS2000B ONLY)
Do not use the AUDIO IN 2 jack when using the microphone provided. Use only the microphone included with the MS2000B when using the front panel mic input jack. Set the AUDIO IN [2/VOICE] knob to zero when you are not using the AUDIO IN 2 jack or the mic input jack. Do not apply pressure to the neck of the microphone, and do not bend it more than necessary. These actions may cause damage to the microphone, etc.
ANSCHLUSS DES MIKROFONS (nur MS2000B)
Zum Anschluss des beiliegenden Mikrofons bitte ausschlielich die dafr vorgesehene frontseitige Mikrofonbuchse verwenden, nicht die AUDIO IN 2 Klinkenbuchse. Falls Sie weder den Mikrofoneingang noch die AUDIO IN 2 Buchse verwenden, drehen Sie den AUDIO IN [2/VOICE] Regler zurck auf 0. ben Sie keinen Druck auf den Schwanenhals des Mikrofons aus und biegen Sie ihn nur soviel wie notwendig, da sonst das Mikrofon beschdigt werden knnte. Achten Sie beim Anschluss des Mikrofons darauf, dass der integrierte XLR Stecker korrekt in die Buchse gesteckt wird (Die Schraube am unteren Ende des Mikrofons muss nach hinten weisen). Zur Bedienung der Vocoder-Funktion lesen Sie bitte die Seite 17 der MS2000/MS2000R Bedienungsanleitung.

Mic base Griff

INSTALLING THE MICROPHONE
Please refer to Using the vocoder function (page 17 of the MS2000/MS2000R Owner's Manual). When connecting the MS2000B microphone, make sure the microphone and the mic input jack are facing the same way (the screw on the base of the microphone should face the rear of the MS2000B) Hold the microphone by the base when connecting and disconnecting.
Um Beschdigungen vorzubeugen, halten Sie das Mikrofon whrend des Anschlieens und Abnehmens am unteren Ende fest.
DISCONNECTING THE MICROPHONE
Push down on the latch lever of the mic jack and, while holding the microphone by its base, pull the mic straight up and out of the mic jack. Be sure to depress the latch lever on the mic jack when removing the microphone.

Latch lever

ABNEHMEN DES MIKROFONS
Drcken Sie den Sicherungsstift der XLR-Buchse nach unten und ziehen sie whrenddessen das Mikrofon nach oben heraus. Halten Sie dabei das Mikrofon am unteren Ende.

Sicherungsstift

MS2000B/MS2000BR Mode demploi
Tout dabord nous tenons vous remercier de votre achat du synthtiseur modlisation analogique MS2000B/BR. Afin de profiter pleinement de votre achat, veuillez lire attentivement ce manuel, et utiliser votre appareil dans des conditions correctes. Le MS2000B possde une entre microphone sur la face avant, et un microphone est inclus pour la fonction Vocodeur. (Voir COMMENT INSTALLER LACCESSOIRE MICROPHONE FOURNI). Quelques programmes internes ont t modifis par rapport au MS2000 (voir VOICE NAME LIST). Les caractristiques et fonctions sont les mmes que les MS2000/MS2000R. Veuillez S il vous plait lire et vous rfrer au mode demploi de ces modles.
COMMENT INSTALLER LACCESSOIRE MICROPHONE FOURNI (SEULEMENT MS2000B)
Sil vous plait, ne pas utiliser lentre AUDIO IN2 quand vous utilisez le microphone fourni. Vrifiez que vous utilisez le microphone fourni uniquement avec lentre Micro. Rglez le bouton AUDIO IN [2/VOICE] sur zro quand vous nutilisez pas lentre AUDIO IN 2 et lentre Micro. Ne pas trop manipuler le corps du micro et ne pas le tirer plus que ncessaire, cela pourrait provoquer des dconnections ou des troubles.
INSTALLATION DU MICROPHONE.
Sil vous plait veuillez vous rfrer au chapitre Utilisation de la fonction vocoder (page 17 du mode demploi des MS2000 et MS2000R). Quand vous connectez le Microphone fourni, veillez ce que la connectique du Micro et la prise dentre concident (une vis sur la tige du Micro est situe sur la face arrire). Veuillez maintenir la tige du Microphone fourni quand vous linstallez ou vous le dmontez.

DEMONTAGE DU MICROPHONE

Poussez le petit levier et en mme temps tirer le Microphone tout en maintenant la prise en face avant.

petit levier

2003 KORG INC.
1504 DTH Printed in Japan

Voice Name List

No. A01 A02 A03 A04 A05 A06 A07 A08 A09 A10 A11 A12 A13 A14 A15 A16 B01 B02 B03 B04 B05 B06 B07 B08 B09 B10 B11 B12 B13 B14 B15 B16 C01 C02 C03 C04 C05 C06 C07 C08 C09 C10 C11 C12 C13 C14 C15 C16 D01 D02 D03 D04 D05 D06 D07 D08 D09 D10 D11 D12 D13 D14 D15 D16 Name UnisonRingLD Flashin'Pad X-ModBass IDM Pad HyperForce Pan Tran Razor Blade DetuneBass High Voltage AnalogBell FonkaDeli AutoTrance 4OSC"m7" Digy Bass Domin8or FilterString 70'sFunkLead SawSaw House Bass Stairs Pad Poly Line Ice Field Fairies Line Bass ModLead RingPerc Reed Piano Filter Muzik RingChord Warp Bass KillaBeez Evolution TriangleLead GatedSyncBas Bass Machine Snowdance Stab Saw Wheeler Pad SynthHarp AcidRingBass Dirty Sync ElektricArpe RockOrgan Ready 2 Air Sweep"min" TechRingBass Echo Park PWM Strings Uni Synth Electrick Zap Bass Reactor Pad TheMehT Astral Vox Water Edge Phunk Bass Ana Fuzz Deep Bell PhaserClav Trip Planet Glass ReverseBass Diginator Ana Strings Category Synth-Lead Seq/Motion Synth-Bass Strings/Pad Synth-Hard Synth-Soft Seq/Motion Synth-Bass Synth-Lead Percussive/Bell Keyboards Seq/Motion Synth-Hard Synth-Bass S.E/Drum Strings/Pad Synth-Lead Seq/Motion Synth-Bass Strings/Pad Synth-Hard Synth-Soft Seq/Motion Synth-Bass Synth-Lead Percussive/Bell Keyboards Seq/Motion Synth-Hard Synth-Bass S.E/Drum Strings/Pad Synth-Lead Synth-Bass Synth-Bass Strings/Pad Synth-Hard Strings/Pad Seq/Motion Synth-Bass Synth-Lead Percussive/Bell Keyboards Seq/Motion Synth-Hard Synth-Bass S.E/Drum Strings/Pad Synth-Lead Seq/Motion Synth-Bass Strings/Pad Synth-Hard Synth-Soft Seq/Motion Synth-Bass Synth-Lead Percussive/Bell Keyboards Seq/Motion Synth-Hard Synth-Bass S.E/Drum Strings/Pad Mode Single Single Dual Single Single Single Single Single Dual Single Single Dual Dual Single Single Single Single Single Single Dual Single Single Single Single Single Dual Single Dual Single Single Single Single Single Single Single Dual Single Single Single Single Single Single Single Dual Single Single Single Single Dual Single Single Single Single Single Dual Single Single Single Single Dual Single Single Dual Single SEQ 1 Cutoff LFO2 Frequency T1 Pitch T2 Cutoff LFO2 Frequency Pitch Panpot Osc2 Semitone Pitch T1 Osc2 Semitone T2 Osc2 Semitone Patch 3 Intensity Cutoff T1 Pitch T2 Osc2 Semitone T1 Pitch T2 Pitch Pitch Patch 1 Intensity Cutoff Cutoff Osc2 Semitone EG1 Attack Time T1 Panpot T2 Cutoff EG2 Attack Time Osc1 Control2 Pitch Osc2 Semitone T1 Osc1 Control2 T2 Resonance Patch 1 Intensity T1 Pitch T2 Noise Level Osc1 Control2 Resonance Noise Level LFO1 Frequency Pitch Osc2 Semitone Pitch T1 Osc1 Control2 T2 Cutoff Osc2 Tune Cutoff Cutoff Pitch Osc2 Semitone EG2 Decay Time Panpot T1 Cutoff T2 Pitch Pitch Patch 2 Intensity Level Resonance T1 Step Length T2 Step Length Cutoff EG1 Intensity Pitch Step Length Osc2 Semitone Osc1 Control2 T1 Noise Level T2 Pitch Pitch Cutoff EG1 Intensity Patch 1 Intensity Level T1 Level T2 EG2 Decay Time Pitch Pitch T1 Panpot T2 Pitch Resonance SEQ 2 Panpot Cutoff EG1 Intensity Cutoff Pitch Cutoff Cutoff Cutoff Cutoff Cutoff Cutoff EG2 Release Time EG2 Release Time Cutoff EG1 Intensity Pitch EG2 Sustain Level EG2 Sustain Level Cutoff Osc2 Tune Pitch Resonance EG2 Release Time Cutoff EG1 Intensity Resonance Noise Level Cutoff Level Panpot Cutoff SEQ 3 Panpot Panpot Panpot Resonance ARPEGGIATOR Off Off Off Off Off Off Random Off Off Patch 4 Intensity Osc1 Control2 Level Cutoff Cutoff Alt1 Off Trigger E13 Off Off Off Off Off Off Off Alt1 Off Off Alt1 Off Off Up Off Osc2 Semitone Cutoff Panpot Osc2 Level Resonance Patch 4 Intensity Panpot Panpot Panpot Level EG2 Attack Time Pitch Resonance Patch 1 Intensity Cutoff Panpot EG2 Release Time Cutoff Resonance Level Level LFO2 Frequency Pitch Cutoff Panpot Panpot Level Panpot Panpot Cutoff Cutoff EG1 Intensity Osc2 Level Panpot Cutoff Panpot Osc1 Level Level Panpot Level Cutoff Pitch Cutoff EG1 Attack Time Cutoff EG2 Release Time Cutoff Cutoff Cutoff Level Panpot Level Panpot Panpot Pitch Osc1 Control1 Noise Level Osc1 Control2 Cutoff Pitch Cutoff EG1 Intensity Osc2 Semitone Osc2 Semitone Panpot Osc1 Control1 Osc1 Control2 Level Off Off Off Off Off Off Off Off Random Off Off Up Off Off Random Off Off Off Off Off Off Off Trigger Off Off Off Off Alt2 Cutoff Level Cutoff Osc2 Semitone Pitch Cutoff Off Off Off Off Up Off Off Off Patch 3 Intensity Off E14 E15 E16 F01 F02 F03 F04 F05 F06 F07 F08 F09 F10 F11 F12 F13 F14 F15 F16 G01 G02 G03 G04 G05 G06 G07 G08 G09 G10 G11 G12 G13 G14 G15 G16 H01 H02 H03 H04 H05 H06 H07 H08 H09 H10 H11 H12 H13 H14 H15 H16 NoisyHit RingSyncBass Stutter StringMachin Far Horizon Burnin'Rave Sub Bass Stream Pad Square Comp Organ Bass Tap Lead Banana Bass UnisonSqurLd Bound Ball Lounge Organ Zoop Mania "M3rd"Chord Jami Bass Bad Dream Need4Speed Turn Wheel Trip 2 Ibiza 80's Bass Motion Pad Golden Synth NuSkoolDrop Synth Lana MG Bass Bass&5thLead ElectroShock Pulse Comp Snow&Ice Century Stab Drive Bass DooM stROBOsCOPe CleanVocoder WispaVocoder DarkVocoder Vocoder Ens Vocoder Cho Vocoder 5th Bass Vocoder VoiceChanger VocoderPulse Vocoder Squ Vocoder Wah Vocoder Vox Vocoder DWGS Vocodevil AudioIn INIT INIT Program Synth-Hard Synth-Bass S.E/Drum Strings/Pad Synth-Lead Seq/Motion Synth-Bass Strings/Pad Synth-Hard Synth-Bass Seq/Motion Synth-Bass Synth-Lead Percussive/Bell Keyboards Seq/Motion Synth-Hard Synth-Bass S.E/Drum Seq/Motion Synth-Lead Seq/Motion Synth-Bass Strings/Pad Synth-Hard Synth-Bass Seq/Motion Synth-Bass Split Prog Percussive/Bell Keyboards Split Prog Synth-Hard Synth-Bass S.E/Drum Split Prog Vocoder Prog Vocoder Prog Vocoder Prog Vocoder Prog Vocoder Prog Vocoder Prog Vocoder Prog Vocoder Prog Vocoder Prog Vocoder Prog Vocoder Prog Vocoder Prog Vocoder Prog Vocoder Prog AudioIn Init Prog Dual Single Single Single Dual Dual Single Single Single Single Dual Dual Single Single Single Dual Dual Single Single Single Single Single Single Single Single Single Single Single Split Dual Single Split Single Single Single Split Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Single Single No. E01 E02 E03 E04 E05 E06 E07 E08 E09 E10 E11 E12 Name Rez Lead DWGS WaveSeq AcidSawBass TickerPad Slippy Pad Synth Brass S&H Signal Magnum Bass Freq Lead BleepsPerc Brett Ped Auto Disco Category Synth-Lead Seq/Motion Synth-Bass Strings/Pad Synth-Hard Synth-Soft Seq/Motion Synth-Bass Synth-Lead Percussive/Bell Keyboards Seq/Motion Mode Single Single Single Dual Single Single Single Single Single Single Single Dual SEQ 1 Osc2 Level Osc1 Control2 Cutoff EG1 Intensity T1 EG1 Decay Time T2 Osc1 Control2 Pitch Osc2 Semitone Panpot Pitch Patch 1 Intensity Noise Level Osc1 Control2 T1 Pitch T2 Cutoff T1 EG1 Decay Time T2 Cutoff Pitch Patch 4 Intensity Cutoff T1 Osc2 Level T2 Osc2 Level T1 Cutoff T2 Panpot Pitch Step Length Cutoff EG1 Intensity Pitch T1 Cutoff T2 Pitch T1 Pitch T2 Pitch Pitch Osc1 Control1 Panpot T1 Patch 4 Intensity T2 Osc2 Level T1 T2 Osc2 Semitone Osc2 Level LFO1 Frequency Pitch Osc2 Level Cutoff Pitch Patch 1 Intensity Osc2 Tune Patch 1 Intensity Panpot Pitch T1 Pitch T2 Panpot T1 Pitch T2 Cutoff Panpot T1 Osc1 Control2 T2 Osc2 Semitone Patch 1 Intensity Resonance Pitch T1 Pitch T2 Osc2 Semitone SEQ 2 EG1 Attack Time Panpot Level EG2 Sustain Level Cutoff Cutoff Panpot LFO2 Frequency Patch 3 Intensity Cutoff Cutoff Noise Level Resonance Cutoff LFO2 Frequency EG2 Release Time Osc2 Tune Osc2 Tune EG1 Decay Time Panpot Patch 2 Intensity Patch 1 Intensity Cutoff Cutoff SEQ 3 ARPEGGIATOR Off Off Off Alt1 Off Off Up Off Off Random Off Up Off Off Off Off Off Trigger Cutoff Level EG1 Attack Time Cutoff Osc2 Semitone Cutoff Cutoff Cutoff Panpot Panpot Cutoff EG2 Decay Time Osc1 Control1 Osc1 Control1 EG2 Attack Time Cutoff Panpot Off Off Off Off Up Panpot Panpot Cutoff Patch 2 Intensity Pitch Level Off Off Off Off Down Off Cutoff Cutoff Cutoff EG1 Intensity Osc1 Control1 Cutoff Patch 2 Intensity Osc1 Control1 Pitch Cutoff Patch 3 Intensity Cutoff Cutoff Level Osc1 Control1 Cutoff EG1 Intensity EG2 Release Time Cutoff Cutoff Cutoff Resonance Panpot LFO1 Frequency Noise Level Off Off Trigger Off Off Off Off Off Off Up Off Off Up Osc2 Level Off Off EG1 Decay Time Osc2 Semitone Cutoff EG1 Intensity Panpot Off Off Off Alt1 Off Off Off Off Off Off Off Off Off Off Off Off Off Off Trigger Off