Polysix M V1.1 - MIDI-upgrade for the Korg Polysix ================================================== * Comprehensive MIDI implementation: Note number, bend and mod wheels, pedals, arpeggio clock, program change and program dumps. * Memory expansion to 128 programs * A number of other enhancements such as sustain pedal, edit recall and arpeggiator MIDI sync. INTRODUCTION ============ An important goal for the Polysix M has been to retain the original character of the instrument, while at the same time expanding its functionality. The machine is operated in the same way as the original Polysix, with the sole exception of the new functions, in order for all users to feel at home. All sound parameters (VCO,VCF,VCF,MG,EG,EFFECTS, BEND,TUNE and OUTPUT) operate exactly as before, and these will not be discussed further in this manual. The arpeggiator works in exactly the same way as before, apart from the fact that it is now possible to synchronize it to a MIDI clock (e.g. from a drum machine or sequencer). NEW CONNECTORS ============== On the rear panel of the Polysix M there are three DIN connectors, on the left hand side of the panel (rear view). From left to right, these are MIDI THRU, MIDI OUT and MIDI IN. (This order is employed by most manufacturers.) All data sent to the synthesiser is received via MIDI IN and all MIDI data that the synthesiser transmits is sent via MIDI OUT. MIDI THRU delivers a carbon copy of the received data at MIDI IN, and is used for daisy-chaining several instruments from a single MIDI source. MEMORY ====== The original Polysix had 32 memory locations, programs, organized in 4 banks of 8 programs each (4x8=32). This organization has been retained in the Polysix M but in order to increase the memory to 128 programs, the memory has been subdivided into four groups. In this way one obtains 4 groups x 4 banks x 8 programs = 128 programs total. The memory group currently selected is indicated by one of the LEDs 1..4 flashing. To select another memory group: 1) Press MANUAL, and hold it. 2) At the same time, press one of the buttons 1..4. The corresponding LED will start flashing, indicating the currently selected group. Example: The currently selected program is group 3, program B4. This is indicated by LED 3 flashing, with B and 4 being constantly illuminated. To change to, say, group 3, program C7, it is only necessary to press C and 7 as usual, since group 3 is already selected. In order to, say, select group 1, program A5: 1) Press and hold MANUAL. 2) Press 1. 1 starts to flash, indicating memory group 1. 3) Release MANUAL, and press A and 5 as usual. To store a program at a memory location, press WRITE as usual, and then the program number (make sure that the WRITE switch is in the WRITE ENABLE position). Example: The currently selected program is group 2, program D3. To store this program at location D6 instead: 1) Press WRITE. WRITE starts to flash. 2) Press 6. WRITE stops flashing, and the program has been stored. To store the program in group 1, program A1 instead: 1) Press WRITE. WRITE starts flashing. 2) Select memory group 1 by holding MANUAL and pressing 1. 1 starts to flash indicating memory group 1. 3) Release MANUAL. 4) Press A to select bank A. 5) Finally press 1 to store the program. The WRITE LED will go out. If the wrong group or bank is selected, simply move the WRITE switch to the WRITE DISABLE position and then back to the WRITE ENABLE position, causing the WRITE LED to go out. Then restart the operation. In this manual program numbers will be referred to as, for instance, 3C4, meaning "memory group 3, bank C, program 4". EDIT RECALL =========== Imagine the following situation: You've created wonderous new sound by editing program 1A4. By mistake, you press 5, causing the synthesiser to immediately call up program 1A5, and erasing your hard worked edit. In order to avoid this type of frustration, the latest edit is saved in a special memory location in the machine, the edit recall buffer. This is indicated by the MANUAL LED flashing. In order to recall the latest edit at any time: 1) Press and hold MANUAL. 2) Press 8. MANUAL will start flashing, and the edited sound will be fetched for continued editing. Example: Assume program 2B4 is a string patch. Upon selecting this patch you notice that the release time is a bit too short. Adjust this using the RELEASE knob. By doign this, the sound is also copied into the EDIT RECALL buffer, and this is indicated by MANUAL flashing. You now want to save your new patch to another program location, but don't know which locations are free. Thanks to the EDIT RECALL function it's now possible to examine the other programs while the edit is kept safe in the edit recall buffer. Eventually, you find that 4D5 is available. In order to fetch the edit, hold MANUAL and press 8. The edited string patch is now fetched from the edit recall buffer, and MANUAL begins to flash to indicate that an edit sound is being heard. After this, the patch can be stored at the memory location as usual. To sum up: As soon as a patch is edited, it is saved in an edit recall buffer. The contents of the buffer can be retrieved at any time using MANUAL-8. However, note that if you press MANUAL (on its own), in order to make the front panel 'live' (the MANUAL LED lights up), changes are not saved in the edit recall buffer. There's no need, since the patch is available on the panel itself and can be retrieved simply by pressing MANUAL. Also, please note that only changes made to the VCO,VCF,VCA,MG,EG and EFFECTS parameters are saved in the edit recall buffer, since the settings of the other knobs and switches are not part of a program patch. KEY ASSIGN FEATURES =================== No need to worry - POLY, UNISON and CHORD MEMORY work just as before - with, however, some new optional functionality. This section is a bit in-depth technical; if you don't understand what's going in, just skip to the next section. Upon powering up these settings are the same as for the original Polysix. First of all, what's a synthesiser voice? It's not a little dwarf squashed away in a corner of the machine! Instead, we can imagine a choir of 6 people. Let's assume we're dealing with super-vocalists, who can cover the whole tonal range of bass to soprano. This choir could sing in several different 'modes'. They could sing six separate parts. Or they could all sing the same part. Or they could sing a three-part song, with two choir members singing each part. Or they could... As long as they limit themselves to the physical limit of six notes at once, they could sing anything in any combination. The Polysix operates in much the same manner. We can play at the most six notes at once, since we have six voices in the machine. How these voices are handled is selected by the key assign mode. The key assign mode describes how the synthesiser will react to the keys played. Are all notes to be heard individually (POLY), or should only one be heard, but with all six voices at once (UNISON), or... Even in the POLY mode there area few variants. What happens, for instance, if more than 6 keys are depressed. Should the last keys pressed be ignored, so that none of the first notes heard will be lost, should the last 6 keys to be pressed always be heard, so as not to 'lose' any notes? In many cases, this is set by the manufacturer of the instrument and cannot be changed. The Polysix M however offers the possibility of adjusting the key assign mode to suit the style of music and playing. This is done in the following manner: When pressing POLY, UNISON or CHORD MEMORY, hold it down, which will allow the key assign mode to be adjusted, by pressing A..D and 1..6. The following functionality is available: ((*) indicates that this is a power-up default setting. These are the same as the key assign modes in the original Polysix.) in POLY MODE: ------------- Button LED off LED on A When a new key is pressed, The synthesiser always selects the next voice in turn is the lowest-numbered non- assigned (cyclic mode).(*) sounding voice (reset-to-zero). B No voice memory.(*) If the same key is pressed several times, the same voice is used (memory). C If more than six keys are If more than six keys are depresed, only the oldest depressed, only the last are heard. are heard.(*) D The MG delay is retriggered The MG delay is retriggered only when all keys have been as soon as a new key is released (and a new one depressed. depressed).(*) These functions can be enabled/disabled by pressing the corresponding button (while POLY is depressed). In addition to this, LEDs 1..3 show how many voices are played for each key depressed: 1: SINGLE - only one voice per key (*) 2: DUAL - two voices per key. 3: TRIPLE - three voices per key. These are selected by pressing 1,2 or 3 (while POLY is depressed). Note that the polyphony of the instrument decreases in the DUAL and TRIPLE modes (three-note polyphony in DUAL, and two-note polyphony in TRIPLE). in UNISON MODE: --------------- Button LED off LED on A Single trig. Multi trig. The voices are retriggered The voices are retriggered only when all keys have been as soon as a new key is released (and a new one depressed. (*) depressed). B See C. Last key priority. The last key pressed is heard. (*) C ( Only if B is off ) Lowest note priority. Highest note priority. The lowest key pressed is The highest key pressed is heard. heard. D ( See POLY MODE D ) These modes are selected in the same way as the poly modes. In addition to this, the number of voices to be played can be selected by holding UNISON and pressing 1,2,3,4,5 or 6. in CHORD MEMORY MODE: --------------------- This is actually a monophonic mode, even though a whole chord can be programmed. This is due to the fact that it is ONE sole key that sets the root note for the chord when playing in this mode. A..D thus work in the same way as in UNISON MODE. (In order to change the key assign mode, hold CHORD MEMORY while pressing A..D .) In this mode it is not possible to set the number of voices to be played using 1..6, however, it is possible to select whether the pedal connected to the CHORD MEMORY input on the rear of the instrument will function as a sustain pedal or chord memory pedal - see below. SUSTAIN PEDAL ============= The greatest omission from the original Polysix is without doubt the lack of a sustain pedal input. This has been corrected in the Polysix M. The pedal connected to the CHORD MEMORY input on the rear of the instrument can function either as a sustain pedal or as a chord memory pedal. When the machine is switched on, the pedal will be set to sustain pedal mode (contrary to the original Polysix). By holding the CHORD MEMORY button and pressing 1, chord memory pedal mode can be selected. In order to switch back to sustain pedal functionality, repeat the same procedure. When the CHORD MEMORY button is depressed, LED 1 shows the selected mode: LED 1 off means the pedal operates as a sustain pedal. LED 1 on means the pedal operates as a chord memory pedal. Note that the Polysix M will accept both pedals with opening and closing (make or break) contacts. Upon power up the machine assumes the pedal is in the 'up' (undepressed) position, no matter which electical state (open or closed) this represents. The other position of the pedal will then be the 'down' (depressed) position. Therefore, remember to keep the pedal released and plugged in to the synthesiser when it is turned on, or else it's possible that the pedal will seem to be inverted when used. THE ARPEGGIATOR =============== The arpeggiator works as before, with the additional functionality of being able to synchronize to MIDI, for instance from a MIDI drum machine. See the section on arpeggio parameteres below for information on MIDI synchronization. Please note that when the arpeggiator is on, it operates on the notes pressed on the keyboard, and sends the resulting arpeggiation out via MIDI. Incoming MIDI data is received as usual, even when the arpeggiator is operating. It is thus not possible to arpeggiate over incoming MIDI notes, however, it is possible for the arpeggiator to play an external synthesiser connected to MIDI OUT. Also note that it is now possible to have HOLD selected while the arpeggiator is operating. MIDI and TAPE ENABLE ==================== In order to select MIDI channels etc, the machine is switched into TAPE ENABLE mode. In contrast to the original Polysix, it is possible to play the machine and edit sounds even in TAPE ENABLE mode. It is not possible to select (or write) programs, or change the key assign mode. The arpeggiator and HOLD functions operate however. Additionally, the TAPE ENABLE mode is of course used when saving/loading programs to/from tape. This is done in much the same way as before, so only changes from the original Polysix are described here. SAVE/LOAD PROGRAMS TO/FROM TAPE =============================== Switch the machine to TAPE ENABLE mode. Make sure that the POLY, UNISON and CHORD MEMORY LEDs are off. If not, press the corresponding button. If the TO TAPE, FROM TAPE or VERIFY buttons are pressed, the corresponding operation will be performed. Note however that the whole memory of 128 programs is saved. (Note: it is not possible to load a 128-program dump made this way into a original 32-program Polysix). For transferring programs in groups of 32, for instance in order to load sound data from an original Polysix dump, memory group 1..4 must be selected first. Example: In order to load a 32-program dump into memory group 3: 1) Switch the machine to tape enable mode. 2) Press 3. 3 lights up, and indicates that memory group 3 has been selected. 3) Press FROM TAPE as usual, and start playing the program tape. The 32 programs on tape are now loaded into memory group 3. This is indicated by FOUND and LOADING lighting up when the data has been found on the tape. 1..8 will then light up as usual while loading. Example: To save all 128 programs on tape. 1) Switch the machine to tape enable mode. 2) Start the tape recorder in record mode. 3) Press TO TAPE. 1..8 will now light sequentially four times in a row to show that the data is being sent to the tape recorder. 4) Stop the tape recorder. Just as before, it is advisable to verify that the data has been recorded correctly using the VERIFY function as usual. It's also possible to dump programs via MIDI to a MIDI sequencer or MIDI data filer. In order to do this, press MANUAL instead of TO TAPE to start the dump. In order to load back program data via MIDI, it is only required to transmit the data via MIDI to the Polysix M. Upon receiving the data, it will be automatically stored in the internal memory. Example: To send memory group 2 to a computer via MIDI for further storage to disk for instance: 1) Connect the Polysix M MIDI OUT connector to MIDI IN on the computer. 2) Prepare the computer for data reception. 3) Switch the Polysix M to tape enable mode. 4) Press 2. Memory bank 2 is now selected, indicated by LED 2 lighting up. 5) Press MANUAL. Data for the 32 programs in memory group 2 are now sent to the computer. MANUAL remains lit for the duration of the dump. If 2 weren't pressed in stage 4, the whole memory of 128 programs would be sent. To store a program dump in the Polysix M, simply send the data to the synthesiser. The dump will be written to memory automatically, provided that the write switch is in the WRITE ENABLE position. See the Polysix M MIDI implementation for the data format. MIDI commands are also available to request the synthesiser to dump its programs. MIDI OUT PARAMETERS =================== To set the MIDI OUT parameters, press POLY in tape enable mode. POLY will light up indicating that the MIDI OUT parameter mode has been selected. The folowing parameters are available: MIDI FILTER ----------- LEDs A..D indicate MIDI filters. MIDI filters inhibit certain MIDI data from being transmitted. The following filters are available: A - key data (note on/note off/all notes off) B - wheel data (bend and mod wheels) C - program change D - pedal (sustain pedal and chord memory pedal) When the respective LED is illuminated, the corresponding information is transmitted, otherwise not. Press the corresponding button to toggle the filter on/off. MIDI OUT CHANNEL ---------------- The MIDI OUT channel is indicated on 1..8 . Channel numbers above 8 are indicated by the corresponding LED flashing. To obtain the selected channel number in this case, add 8 to the LED flashing. To change channels, simply press the corresponding button. For channel numbers above 8, press the same button twice. Example: Channel 9 is selected. This is indicated by LED 1 flkashing (1+8=9). In order to change to channel 13: 1) Press 5 (13-8=5). 5 lights up, indicating channel 5. 2) Press 5 again. 5 starts flashing, indicating channel 13. MIDI IN PARAMETERS ================== To set the MIDI IN parameters, press UNISON in tape enable mode. UNISON will light up indicating that the MIDI IN parameter mode has been selected. The following parameters are available: MIDI FILTERS ------------ These work as the corresponding MIDI OUT parameters, but of course select what should be received by the machine. Example: To turn off reception of program change messages: 1) Switch to tape enable mode, and press UNISON. UNISON lights up indicating MIDI IN parameter mode. 2) The program change reception filter status is shown on LED C. If this LED is not lit, program change messages are not received. 3) Otherwise, press C to turn the LED off. LOCAL ----- Local mode is indicated on MANUAL. If the MANUAL LED is on, the synthesiser operates "as usual", i.e. the keyboard, wheels and pedal control the machine. By turning local mode off (by pressing MANUAL in MIDI IN parameter mode, turning off the LED), all key depressions, bend and mod wheel changes and pedals will only be sent via MIDI (the corresponding MIDI OUT filters permitting), and not to the sound generating circuits in the synthesiser. This can be useful in sequencing and master keyboard applications. Note: The synthesiser will always respond to incoming MIDI data no matter whether LOCAL is on or off. OMNI ---- The WRITE LED indicates omni mode. When the WRITE LED is on, omni mode is selected ('omni on'), and the synthesiser disregards the channel number of incoming MIDI data, resulting in data being received from all MIDI channels. When omni mode is off (WRITE LED is off), MIDI data is only received on the channel indicated by 1..8 . Note that local and omni modes can be controlled via MIDI using the LOCAL and OMNI MIDI commands (see the Polysix M MIDI implementation). MIDI IN CHANNEL --------------- The MIDI IN channel is indicated and selected in the same manner as the MIDI OUT channel. ARPEGGIATOR PARAMETERS ====================== To set the arpeggiator parameters, press the CHORD MEMORY button in tape enable mode. CHORD MEMORY lights up to indicate that arpeggiator parameter mode has been selected. The following parameters are available: NORMAL/MIDI CLOCK ----------------- This is indicated on the MANUAL LED. When MANUAL is lit, this means that the arpeggiator is controlled using the ARPEGGIATOR SPEED knob on the front panel (or the ARPEGGIO TRIG IN connector on the rear panel, if something is connected to this connector). If MANUAL is not lit, clock pulses are derived from the incoming MIDI clock. Note that when the machine is in MIDI clock mode (MANUAL not lit), and the arpeggiator is on, it will not start until a START (250) or CONTINUE (251) MIDI message has been received. In the same way the arpeggiator will stop when a STOP (252) message is received. Sequencers and drum machines usually send these messages when they are started and stopped. STEP SPEED ---------- LEDs 1..8 indicate how fast the arpeggiator runs when synced to MIDI: 1 - one step is equivalent to a 32nd note triplet 2 - - " - 32nd note (demisemiquaver) 3 - - " - 16th note triplet 4 - - " - 16th note (semiquaver) 5 - - " - 8th note triplet 6 - - " - 8th note (quaver) 7 - - " - quarter note triplet 8 - - " - quarter note (crotchet) The step speed is selected by pressing the corresponding button. HOLD OFF TIME ------------- A..D indicate the hold off time. This is, to put it precisely, the time after the arpeggiator has been retriggered by pressing a new key (after all keys have been released) that it will not respond to an external clock pulse. Simple, isn't it! For those interested in arpeggiator details, there is a further explanation below; otherwise, simply disregard this parameter! The full story is as follows: Normally when all keys have been released and a new key (or several keys) is pressed, the new note to be arpeggiated should be triggered immediately without waiting for a clock pulse. Otherwise, there would be the risk of missing the first arpeggiated note, if the key was pressed the millisecond after a clock pulse was received. The arpeggiator would seem to miss a step. On the other hand, another possibility is that a key is depressed a few milliseconds before a clock pulse is received. In this case a double trig would be the result - one trigger caused by the key pressed and another by the clock pulse. The result of the double trig would be that the arpeggiator would advance an extra step for no appearant reason. (This problem does not arise when the arpeggiator is clocked internally, as the internal clock generator is reset every time a new key is depressed - try for yourself by setting a slow arpeggio rate and retriggering the arpeggiator clock generator by pressing a key on the keyboard!) In order to avoid double triggering when keys are pressed just before a clock is received a hold off period has been implemented which disables clock pulse reception for a certain length of time after the arpeggiator has been triggered by a key depression. The hold off time can be set using A..D, from about 10ms at setting A up to about 35ms at setting D. The power-on default is D. In practice, the hold off value should make little difference, but it one experiances strange triggering when using the arpeggiator with MIDI sync, experiment with other hold off settings. TEST MODE ========= (ONLY FOR SERVICE TECHNICIANS OR THE TECHNICALLY INTERESTED) In the original Polysix there are two different test modes. One is started by setting the switch on the KLM-367 circuit board in the TEST position, and switching the front panel TAPE ENABLE switch to the ENABLE position and then back to the DISABLE position. It is used to adjust the programmer DAC. The other test mode is started by jumpering pins DB7 and P17 using a diode (cathode towards DB7) on the 8049 processor on the KLM-366 circuit board (this can be done on the keyboard connector CN04). In this mode the CV DAC is set to generate 0V, 2.5V or 5V depending on the position of the OCTAVE switch (16' results in 0V, etc). This mode is used to check the CV DAC and is not described in the service manual. In the Polysix M both these modes have been merged into one which performs both tasks. The test mode is started in the following manner: 1) Enter tape mode, by switching the TAPE switch to the ENABLE position. 2) Press 5,6,7,8 at the same time. 3) Hold these four buttons, and exit tape mode (TAPE DISABLE). 4) The machine is now in the test mode and cannot be operated in the normal manner. To adjust the programmer DAC, it is still necessary to switch the KLM-367 switch to the TEST position. To exit the test mode, press A (or cycle power). [End of Polysix M manual]