Description

NAUTILUS Music Work Station

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.

Features

Nine different sound engines offer massive expressive power
New sounds offered over three broad categories
The DYNAMICS knob makes delicate expression possible
Make intuitive changes to sounds with the Realtime knobs
A user interface designed for easy operation
Convenient arpeggiator and drum track functions
Color TouchView Display
Set list mode that demonstrates its power in live performances
Open Sampling System
16-Track MIDI Sequencer / 16-Track Audio Recorder
16 Onboard Effect Processors
USB/MIDI Host Ports Accommodate MIDI Control Surfaces
Smooth sound transitions that eliminate dropouts when changing sounds, regardless of the mode you're in
88-key model with piano touch, 73-key model with light touch and 61-key model available
Stand-alone and Plug-in NATULUS Editing Software

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.

88-key model with piano touch, 73-key model with light touch and 61-key model available

The keyboard on the 88-key model of the NAUTILUS uses a four-stage real weighted hammer action made in Japan, called the RH-3. This action is heavier on the lower notes and lighter on the higher notes for superb playability. The 73-key model features a much-requested light-touch synth keyboard from C to C, as with the 61-key model. This key action lets you play organ parts with plenty of glissandos, as well as synth solos that take advantage of the keyboard’s wide range.

The 88-key model is fitted with luxurious wooden side panels, and the 73-key and 61-key models a completely new design with impressive curves that rise from the bottom of the unit to the sides, patterned after the NAUTILUS’ namesakes: the Nautilus submarine and the cephalopod mollusk. All of these elements make the NAUTILUS a distinctive instrument onstage as well, brimming with personality.

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Specifications

System, Keyboard

System NAUTILUS System Version 1.0
Keyboard

88 key: RH3 (Real Weighted Hammer Action 3), A - C
73 key: Natural Touch Semi Weighted, C - C
61 key: Natural Touch Semi Weighted, C – C
Velocity sensitive is supported, after touch is not supported.

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 midQuick 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 input 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

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

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 EnvelopeQuick 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 ? load
THD+N 20Hz-22kHz, 0.01%, 10k ? 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 ? Stereo; 175 ? Mono (L/MONO Only),
Nominal Level: +4.0 dBu,
Maximum Level: +16.0 dBu (when load impedance is 600 ? or greater)
MAIN VOLUME slider controls only AUDIO OUTPUT (MAIN) L/MONO and R

Headphones

1/4” stereo phone jack
Output impedance: 33 ?,
Maximum Level: 60+60 mW (when load impedance is 33 ?),
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 k?
Nominal Level: LINE +4 dBu
Maximum Level: LINE +16 dBu
Nominal Level: MIC –22 dBu
Maximum Level: MIC -10 dBu
Source Impedance: 600 ?

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)