Kross operation Guide

Detailed Editing with Programs Using Filters
37
Resonance
Resonance emphasizes the frequencies around the cutoff 
frequency, as shown in the diagram below.
When this is set to 0, there is no emphasis, and frequencies 
beyond the cutoff will simply diminish smoothly.
At medium settings, the resonance will alter the timbre of the 
filter, making it sound more nasal, or more extreme. At very 
high settings, the resonance can be heard as a separate, 
whistling pitch. 
To make the resonance track the keyboard pitch, please see 
“Key Follow” on page 27 of the Parameter Guide.
Modulating the filters
You can modulate the filter cutoff frequency using the Filter 
EG, the LFOs, keyboard tracking, and other built-in and 
MIDI controllers. This is a great way to add a rich variety of 
tonal change to the sound.
Filter EG
The Filter EG is a multi-stage envelope, which you can use 
to modulate the filter as well as other Program parameters. 
The EG itself is set up on the P-FILTER EG> ENVELOPE 
page; the way that it affects the filters is controlled by the 
parameters described below, on the P-FILTER> EG-I 
(Intensity) page.
The Intensity to A and Intensity to B settings control the 
basic amount of EG modulation for filter frequencies A and 
B, respectively, before other modulation.
The Velocity to A and Velocity to B settings let you use 
velocity to control the amount of EG modulation.
The Filter EG AMS setting selects an AMS modulation 
source to scale the amount of the Filter EG that’s applied to 
Filters A and B. The two filters share a single AMS source, 
with separate intensity A or B settings.
LFO modulation
You can modulate the filter via LFO1, LFO2, and the 
Common LFO. Among other applications, LFO modulation 
of the filter can produce the classic “auto-wah” effect.
The P-FILTER> LFO-I (Intensity) page lets you set up the 
following parameters separately for each LFO:
Intensity to A and Intensity to B specify how much the 
LFO changes the tone.
The AMS setting selects an AMS modulation source to scale 
the amount of the LFO applied to Filters A and B. The two 
filters share a single AMS source, with separate intensity 
settings.
For example if AMS is set to SW1: #80, turning SW1 on 
will apply an auto-wah effect. (see page 35)
Keyboard Track
Most acoustic instruments get brighter as you play higher 
pitches. At its most basic application, keyboard tracking re-
creates this effect by increasing the cutoff frequency of a 
lowpass filter as you play higher on the keyboard. Usually, 
some amount of key tracking is necessary in order to make 
the timbre consistent across the entire range.
The KROSS keyboard tracking can also be much more 
complex, since it allows you to create different rates of 
change over up to four different parts of the keyboard. For 
instance, you can:
• Make the filter cutoff frequency increase very quickly 
over the middle of the keyboard, and then open more 
slowly–or not at all–in the higher octaves.
• Make the cutoff frequency increase as you play lower on 
the keyboard.
• Create abrupt changes at certain keys, for split-like 
effects.
How Key Track works: Keys and Ramps
The keyboard tracking works by creating four ramps, or 
slopes, between five keys on the keyboard. 
For details, please see “How it works: Keys and Ramps” on 
page 26 of the Parameter Guide.
Low resonance
High resonance

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Playing and editing Programs
38
Using the Amp section
The Amp section includes controls for volume, pan, and the 
driver circuit.
You can control the volume using the Amp EG, LFO 1/2, 
Key Track, and velocity, along with other AMS sources.
Each Oscillator has its own Amp section: Amp1 for OSC1, 
and Amp2 for OSC2.
Background - what does “Amp” mean?
Different sounds have characteristic shapes to their volume 
levels.
For example, the volume of a piano note begins at a high 
volume the instant you play the note, and then decreases 
gradually. 
The volume of an organ note, on the other hand, remains 
constant as long as you continue pressing the key. 
The volume of a note on a violin or wind instrument can be 
varied during the note by the musician (i.e., by regulating the 
amount of pressure on the bow or the force of the breath).
Pan
Pan
The main Pan parameter controls the stereo position after 
the signal has passed through the oscillator, filter, and amp.
Normally you’ll set this to C064, so that the sound is 
centered equally between the left and right speakers. 
To create a stereo effect when OSC (Oscillator Mode) is set 
to Double, set the OSC1 Pan to L001, and the OSC2 Pan 
R127. This will make OSC1 go to the left speaker, and 
OSC2 go to the right speaker.
With a setting of Random, the pan will change randomly 
each time you play a note on KROSS, producing an 
interesting effect.
Pan - DKIT-SET (Use DKit Setting)
Use DKit Setting applies when OSC (Oscillator Mode) is 
set to Drums.
If this is checked, the Program can use a different pan 
position for each drum sound, as specified by the Drum Kit. 
If this is unchecked, all drum sounds will use the Program’s 
pan position. 
The factory presets and GM drum kits use individual pan 
positions for the different drums, so normally it’s best to 
leave this checked.
Amp modulation
The basic volume level is set by the Amp Level parameter. 
You can then alter this using the modulation sources below:
Amp Modulation
Velocity Intensity is used by most programs to decrease the 
volume of softly played notes and increase the volume of 
strongly played notes, and the Amp Modulation parameter 
adjusts the depth of this control.
Normally you will set Amp Modulation to positive (+) 
values. As this setting is increased, there will be greater 
volume difference between softly played and strongly played 
notes.
LFO1/2
Specifies how the LFO’s will produce cyclic changes in 
volume (tremolo effect).
The volume will be affected by the LFO(s) where you set an 
LFO1 Int (Intensity), LFO2 Int (Intensity) value.
AMS Intensity adjusts the depth of how the tremolo effect 
produced by the LFO will be affected when you assign an 
AMS (LFO1 AMS, LFO2 AMS). 
For example if AMS (LFO1 or LFO2) is set to 
M.Wheel:#01, a tremolo effect will be produced when the 
modulation wheel is moved away from yourself or when 
CC#1 is received.
Keyboard Track
This lets you vary the volume relative to the note that you 
play.
For details, please see “Keyboard Track” on page 37.
Amp EG
The Amp EG lets you control how the volume changes over 
the course of the duration of a note.
Every instrument has its own characteristic volume 
envelope. This is part of what gives each instrument its 
identifiable character.
Conversely, by changing the volume contour–for instance, 
applying a string-like Amp EG curve to an organ 
multisample– you can produce interesting and unusual 
sounds.
Volume
Time
Volume
Time
Piano
Organ
Volume decays 
gradually
Volume remains constant 
until note is released

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