Kross operation Guide

Detailed Editing with Programs Controlling Pitch
35
Controlling Pitch
Pitch Bend
Pitch bend smoothly changes the pitch upward or downward, 
similar to how a guitarist can “bend” strings. On the 
KROSS, you can use the pitch bend wheel to control this in 
real time.
The amount of pitch change applied when you move the 
pitch bend wheel fully toward yourself or fully away from 
yourself is specified in semitone steps by the Bend(+) and 
Bend(–) settings. For example if Bend(+) is set to +12, 
moving the pitch bend wheel fully away from yourself will 
make the pitch rise one octave.
Note: This can also be controlled via MIDI or by using a 
controller other than the pitch bend wheel.
Ribbon (#16) specifies the amount of pitch change (in 
semitone units) that will occur when MIDI control 
change message #16 is received. With a setting of +12, 
a value of 127 will raise the pitch one octave, and a 
value of 0 will lower the pitch one octave.
Creating Vibrato
You can use an LFO to create vibrato.
LFO1 and LFO2 Intensity specify how deeply the selected 
LFO will affect the pitch. With a setting of +12.00, vibrato 
will vary the pitch in a range of one octave upward and 
downward.
M.Whl-Int specifies the amount of vibrato that will be 
produced by the LFO when the pitch bend wheel is moved 
fully away from you.
AMS Intensity specifies the depth of vibrato that will be 
applied by the LFO when modulated by the selected AMS 
(Alternate Modulation Source). For example, suppose that in 
the P-INPUT/CTRL>CONTROLLERS page, you set SW1 
to SW1 Mod.:#80, set LFO1 AMS to SW1:#80, and set 
“Intensity” to an appropriate value; when you now turn on 
SW1 or receive MIDI control change CC#80, vibrato will be 
applied.
Pitch EG
When the Intensity value is set to +12.00, the pitch EG 
specified in the Pitch EG page will produce a maximum of 
±1 octave of pitch change.
To realistically simulate the slight change in pitch that 
occurs when a string is plucked or at the attack of a brass or 
vocal sound, you can use the EG to create a subtle change in 
pitch at the attack.
Portamento
Portamento makes the pitch change smoothly when you play 
the next note before releasing the previous note.
The Time parameter controls how long it will take the pitch 
to change. As this value is increased, the pitch will change 
over a longer time. With a value of 000, there will be no 
portamento.
You can turn Portamento on and off via SW1 or SW2, by 
assigning them to Porta. SW: #65.
LFO1 Intensity
AMS
AMS Intensity
Modulation Wheel 
Intensity
Pitch EG Intensity

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Playing and editing Programs
36
Using Filters
The filters allow you to diminish or emphasize specified 
frequency areas of the sound.
The tone of the sound will depend significantly on the 
filter settings.
The basic filter settings, including the routing, type, cutoff 
frequency, and resonance, are set on the P-FILTER> BASIC 
page. 
Filter Routing
Each oscillator has two filters, Filter A and Filter B. The 
Filter Routing parameter controls whether one or both of 
the filters are used, and if both are used, it controls how they 
are connected to each other.
The Single routing uses only Filter A as a single 2-pole, 
12dB/octave filter (6dB for Band Pass and Band Reject).
The Serial routing uses both Filter A and Filter B. The 
oscillator first goes through Filter A, and then the output of 
Filter A is processed through Filter B. 
The Parallel routing also uses both Filter A and Filter B. 
The oscillator feeds both filters directly (and allow 
independent settings for each), and the outputs of the two 
filters are then summed together.
The 24dB(4Pole) routing merges both filters to create a 
single 4-pole, 24dB/octave filter (12dB for Band Pass and 
Band Reject). In comparison to Single, this option produces 
a sharper roll-off of frequencies beyond the cutoff frequency, 
as well as a slightly more delicate resonance. Many classic 
analog synths used this type of filter.
Serial and Parallel Routing
Filter Types
This selects the parts of the sound that will be affected by the 
filter, as described below. With the Serial and Parallel 
routings, you can independently set the types for Filter A and 
Filter B.
The filters will produce very different results depending on 
the selected filter type.
Low Pass: This cuts out the parts of the sound that are 
higher than the cutoff frequency. Low Pass is the most 
common type of filter, and is used to make bright timbres 
sound darker.
High Pass: This cuts out the parts of the sound that are 
lower than the cutoff frequency. You can use this to make 
timbres sound thinner or more buzzy. 
Band Pass: This cuts out all parts of the sound, both highs 
and lows, except for the region around the cutoff frequency. 
Since this filter cuts out both high and low frequencies, its 
effect can change dramatically depending on the cutoff 
setting and the oscillator’s multisample.
With low resonance settings, you can use the Band Pass 
filter to create telephone or vintage phonograph sounds. 
With higher resonance settings, it can create buzzy or nasal 
timbres.
Band Reject: This filter type–also called a notch filter–cuts 
only the parts of the sound directly around the cutoff 
frequency. Try modulating the cutoff with an LFO to create 
phaser-like effects.
Filter Types and Cutoff Frequency
Filter Routing
Resonance
Filter Type
Filter A (Low Pass)
Oscillator
Oscillator
Filter B (High Pass)
Filter A (Low Pass)
Filter B (High Pass)
Low Pass
High Pass
Band Pass
Band Reject
Cutoff Frequency

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