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PROGRAMMABLE
DIGITAL WAVEFORM
SYNTHESIZER
OWNER'S MANUAL
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KORG
PROGRAMMABLE DIGrXAL WAVEFORM SYNTHESIZER
Thank you and congratulations on your choice of
the Korg DW-6000. To obtain optimum perfomi-
ance from this advanced digital synthesizer,
please read this manual carefully before using.
I Has two Digital Oscillators per voice. Each
.oscillator has eight digitally encoded wave-
forms stored in two 256 l<ilobit ROM chips.
Unlike the simple sawtooth and pulse waver
forms of other synths, the DW-6000's w^vr'
forms are digitally encoded samples of ictu-
al acoustic instruments, to enable mora con-
vincing, realistic sound synthesis.
A new kind of 6-voice programmable poly-
phonic synthesizer featuring an advanced
Digital Waveform Generator System (DWGS)
for sonic richness, plus powerful VCF, VGA
and EG modules, for excellent control and
flexibility.
'The DW-6000 features analog processing via
VCF and VGA modules, for ease of operati^
You enjoy the uniqueness of digital sou™
plus the fat sounds and ease of use of analog
control. ;
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m
FEATURES OF THE KORG DW-6000
More flexible dynamic controi, witli two 6-
'parameter "ADBSSR" digital envelope gener-
ators per voice, one each for the VGA and
VCF, respectively.
7Programnnable Key assign nnode lets you se-
lect unison and polyphonic modes so you
can use the DW-6000 as a versatile mono-
phonic soloing or polyphonic synthesizer.
' 64 different programs can be stored and ac-
^cessed by fingertip control. A footswitch can
be used to advance the program number, for
on-stage convenience. 14 Rapid second
tape interface permits unlimited storage and
rapid reloading of program libraries.
Polyphonic Portamento, controllable by foot
(switch. Its setting can be stored for each pro-
grammed sound.
'MIDI equipped for full interfacing with other
MIDI equipped devices, including synthesiz-
ers, sequencers, remote (keyboards, expander
modules, rhythm machines, and personal
computers.
Noise generator Included for special effects.
i Built-in stereo chorus for spacid'us stereo re-
production.
IMPORTANT ^AFFTY PRFrAIITinN^ ^
Please read and observe the following "J^^^^^'^^,, ,. ^ , ,,. ., . ,,
^ To avoid malfunction do not use this unit in the
precautions to assure reliability and safety. fonowmg locations tor long periods of time:
• In direct sunligfit.
•Exposed to extremes of temperature or humidity.
• In sandy or dusty places.
■ POWER SUPPLY
• Use only with rated AC voltage. If you will be using
this unit in a country having a different voltage, be
sure to obtain the proper transformer to convert to
rated voltage.
•To help prevent noise and degraded sound quality,
avoid using the same outlet as other equipment or
branching off extension cords shared by other
equipment.
■ INPUT/OUTPUT JACKS AND CONNECTIO
CORDS
Be sure to use standard "guitar" cables with phone
plugs, such as the cable supplied with this instru-
ment, for input and output connections to the rear
panel of the DW-6000. Never insert any other l<ind of
plug into these jacks.
■ PREVENTING ELECTRICAL INTERFERENCE
As a microprocessor based device, the DW-6000 is
extremely flexible in operation, yet may possibly
perform erratically if exposed to electrical in-
terference from other electrical devices and fluores-
cent lamps. Avoid operating the DW-6000 near pos-
sible sources of interference. If something seems to
be wrong, try turning off the power, waiting about
ten seconds, the turning it back on. This resets the
computer circuits to their initial state so perform-
ance should return to normal.
■ HANDLE GENTLY
Knobs and switches are designed to provide pc^*^
five operation with a light touch. Excessive force
may cause damage.
■ MAINTENANCE
Wipe the exterior with a soft, dry cloth. Never use
paint thinner, benzene or other solvents.
■ KEEP THIS MANUAL
Store this manual in a safe place for future refer-
ence.
■ MEMORY BACKUP
•To protect your programmed memory contents,
the DW-6000 utilizes a built-in rechargeable back-
up battery power supply. Battery life is rated at five
years or more, so replacement is recommended
after five years. Contact your Korg dealer or autho-
rized service center at that time.
• For maximum security, save your sound programs
on tape, using the built-in tape interface systap^
Then if memory contents are accidentally eras"--
or altered, you can simply load the data back into
DW-6000 internal memory in seconds!
CONTENTS
• FRONT PANEL LAYOUT
6
• REAR PANEL LAYOUT
8
• DW-6000 OVERVIEW
9
1 BASIC SETUP
10
2 Ctrl POTIMO DDOODARAQ This explains how to select any of th© 64 different sounds stored in the ,.
OC.LC.V I IIHUI r nWallMIVIO OW-eOOO's memory. The PROGRAMMER section on the front panel is used 11
_ n — . for this purpose.
■ Features & Functions 1 1
■ About Program Numbers 1 1
■ How to Select a Program Number 12
3 CREATING SOUNDS mow loma^n^w sounds 13
■ Features & Control Functions 1 3
■About the DW-6000'5 "Digital Access Control System" 1 3
'Ifet ■ The DW-6000 Approach to Sound Synthesis 1 4
^^ ■ How to Make New Sounds 1 4
■ Parameters and Values 1 5
• 0SC1 15
• 0SC2 16
• NOISE 16
• VCF 17
• CHORUS 18
• VCFEG,VCAEG 19
• MG 20
• BEND 21
• PORTAIVIENTO 21
• MIDI 22
4 WRITING PROGRAMS TO MEMORY 23
■ Features & Functions 23
■ Which Sections' Settings Can Be Stored in Memory? 23
■ Program Write Procedure 24
■ Repositioning Sounds in Memory 24
5 PERFORMANCE FEATURES 25
6 TAPE INTERFACE ~ ~~ ^
■ Saving Program Data on Tape 29
■ A Word About Data Tones 29
■VERIFY Procedure 30
■ LOAD Procedure 31
7 MIDI 33
■How MIDI Worlds 33
■ DW-eOOO M IDI Features 36
SPECIFICATIONS/OPTIONS 40
MIDI IMPLEMENTATION 42
DATA DUMP REFERENCE ~^ 47
f%
FRONT PANEL LAYOUT
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REAR PANEL LAYOUT
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MIDI equippea syn-
thesizers, sequencers, or
computers.
Computer
Tape decks, radio-
cassette recorders, or
tape recorders.
(WEth recording and
playback functions)
Footswitch
m .
{:j_GND type footswitch)
Mixers, arnplifiers, or
stereo systems.
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-25
DW-6000 OVERVIEW
The DW-6000 uses a new digital method of sound generation called "Digital
Wavefornn Generator System" or DWGS. Korg developed DWGS to provide a higher
level of realism and richness together with the ease of operation of conventional
analog processing.
What is DWGS?
Conventional synthesizers use VCOs or DCOs whicii pro-
duce simple waveforms such as the typical sawtooth,
triangle, pulse, square, etc., found on normal synthesiz-
ers. However, to obtain the richness of real instrument
sounds, you need a more complex harmonic structure
than these conventional waveforms provide. Korg's
-S^GS uses eight digitally encoded waveforms having
we complex harmonic structures required for profes-
sional music. These waveforms are based on actual
samples of real musical instrument sounds (violin,
acoustic piano, electric piano, saxophone, etc.),
recreated by additive harmonic synthesis.
The DW-6000 uses two DWGS oscillators per voice so
you can mix different waveforms in variable proportions
to create even more complex and unusual sounds.
What's more, the DW-6000 uses analog VGA and VCF
modules so you retain the familiar operation of conven-
tional synths. You get fast, predictable results without
the programming and control difficulties of "digital"
systems. On the DW-6000, synthesis is straightforward,
following basic synthesizer theory of pitch, timbre, and
volume parameters.
DW-6000
Basic Functions
This manual covers the followmg basic functions.
$oiin£l Creation
How to create and alter
sound.
Writing Proflfams
How to store sounds in
the DW-6000's program
memory.
Selecting Programs
How to call up your
stored sounds.
Peirformance Effects
How to use effects
such as Pitch bend,
modulation and porta-
mento wtiile playing.
r
Oscillator Section (Digital)
(*-,i
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OUT
PUT
1. BASIC SETUP
Before using the DW-6000, fallow these steps.
[IIMake sure the power switch is off.
(The power switch is on the left side of the rear panel,
as seen from the rear.)
r-'
[•Ul POWER
mPlug the AC cord into a wall socket.
Attached power cord
Rear view
13] Turn down amplifier volume and connect the DW-6000
OUTPUT jack{s) to the amplifier or mixer input jack(s).
Set the LOW/HIGH switch according to the kind of amp
or mixer input used.
• ID • @@© @»
7
To amp or mixer
Type of input
HFor operation without an amp or mixer, plug standard
stereo headphone into the PHONES jack on the rear
panel.
Use L/MONO for
connection to a sin^f~~~^.
gle amp or mixen
channel.
Switch position
Audio amp (AUX IN)
HIGH
Guitar amp (INPUT)
LOW
Keyboard amp (INPUT)
HIGH or LOW
Mixing console
HIGH or LOW
OJ • Cj 9
TT
7
stereo headphone
[5] Be sure that the rear panel TAPE switch is set to the
DISABLE position.
(If at ENABLE, you will not get any sound when you play
the keyboard.)
TAPE
ENABLE DISABLE
1 r
r
[6] Turn on the power after everything is properly con-
nected. ) Be sure amplifier volume is down.)
Um POWER
n
[7| Adjust amp volume. Adjust volume control on DW-6000
front panel.
-r^
10
2. SELECTING PROGRAMS
i^is explains how to select any of the 64 different sounds stored in the DW-6000's
nnemory. The PROGRAIVIMER section on the front panel is used for this purpose.
Features & Functions
4 PROGRAM NO. display
5 6 V S
#
1 2 3 4
y
1 PROGRAM
switch
NUMBER
keys
3 BANK
HOLD switcli
f PHOGRAM swmSH
When this switch is activated (and its LED indicator is
on), different programs may be selected using the
NUMBER keys.
1 NUMBER keys
Press these l<eys to specify program numbers, which
range HRs from 11 through 88. Programs are arranged
in eight "banl^s," signified by the left digit, with eight
programs per bank, signified by the right digit; 8x8 =
64 total programs.
Bi^NK MOLD switch
This holds the left "bank" digit so that you can use
single number keys to quickly access any of the eight
program numbers within a single bank.
:t PaqGRAM NQ. display
Shows selected program number.
About Program Numbers
The DW-6000 can be store up to
64 different sound programs in its
internal memory. Each of these
\;0)grams has a number from 11
through 88 (the digits and 9 are
not used). When you want to store
a sound, you must assign it a pro-
gram number. When you want to
recall that sound, you select it by
the same program number.
I Every so und gets a program number
Writing programs
Sound program memory (64 total)
You select the program number of the sound that you
want to play or edit.
11
S SELECTING program;
How to Select a Program Number
»>■
When you first turn on the DW-6000's power, the display will appear as shown here and the PROGRAM LED indicator
will be on.
^rri
■ J:V^:T1'i;!.l
r
l:f.1:f:T,'.U;jj;!.l
-LED is on
PROGRAM PARAMETER
^4-J
VALUE will . display the
programmed value for
parameter / / of program
Now if you play the keyboard you will hear the sound of
program number \ '. Adjust the volume and see what it
sounds like.
To select other programs:
-^
mPress the PROGRAM switch (if not already on). An LED
will light above the switch.
B-
LED is on
[U Press the NUMBER keys to seiect any program number ( / ,' ~8'3 ) .
Example: To select program numberi?^...
Press
Display
A dash appears in the right
hand digit until you select the
second digit. (This means it is
waiting for you to select the
second digit.)
@
Press
liiii'Wiriii'jii
BANK HOLD
If you turn on the BANK HOLD switch the left digit (bank number) will be "locked." Depressing NUMBER keys will nov^
only change the right digit "program number." This is the fastest way to select different programs within a bank.
3] Pressing the BANK HOLD switch preserves the left
digit of the selected program number.
E^m
IJ=l.!r1:M,',IJ[.l
I Now press BANK HOLD.
'LED dot lights.
An LED dot lights up to in-
dicate that the bank num-
ber (2) will not change.
BAWKHOLD
□
^Now if you press any of the NUMBER keys, only the
right hand digit will change.
i-.].r.W:T.v.i?i.i
Only this digit changes when you press the
number keys.
OWhen you want to change to a program number in a dif-
ferent bank, press the BANK HOLD switch again to
cancel BANK HOLD. You can now enter both digits us-
ing the NUMBER keys.
3ANK HOLD
rn
^^
' - -'-■!
K^BjI
LkiiMiiim
The LED dot goes out
when BANK HOLD is off._^
3. CREATING SOUNDS
to Make New Sounds
Features & Control Functions
8 PARAMETER
NUMBER display 9 VALUE display
1 KEY ASSIGN section
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"^'^^^''^^'^i^*':-
5 6 7 8
^^
PROGRAMMER
2 EDIT
SLIDER
3/4 DOWN/UP
keys
5 PARAMETER 6 NUMBER Keys 7 BANK
switch HOLD
switch
;1 KEY ASSIiiNlsectlon
The DW-6000 offers the user a choice of three dif-
ferent ways to assign voices from the keyboard (call-
ed "Key Assign Modes"): P0LY1 is the "standard"
polyphonic keyboard mode, for playing chords and
melody lines.
P0LY2 is intended particularly for portamento chord
work. UNISON combines all voices and one note, for
rich and fat soloing sounds.
t£DlTSLlOER
Permits rapid and easy adjustment of parameter
VALUES {aspects of the sound) over a wide range.
3tt,DQWMUPI^m
Press to change parameter values up or down a step
at a time.
5 PARAMETER switch
When this switch is on, you can create and modify
sounds by selecting different parameters {using the
NUMBER keys) and varying their VALUEs (using the
EDIT slider and/or DOWN/UP buttons).
€ NUMBER Keys
These keys are used to select diffeent Parameter
Numbers (when the parameter switch is on).
ISflANK HOLD switch
This holds the Parameter Number's left digit, so that
the NUMBER keys can be used to select only the right
digit. This can speed up Parameter Number selection
when you are working on several parameters within
the same "family" (that is, having the same left digit).
8 PARAMETER NUMBER display
Shows selected parameter number.
Shows current VALUE for selected parameter.
^bout the DW-6000's "Digital Access Control System"
The various aspects of a sound, such as its pitch, timbre
and variations in volume, are called "Parameters." To
create or change a sound, you adjust the values of each
of these parameters.
On the DW-6000, there are 34 parameters per program;
each parameter has a number, and each parameter's
value is also represented by a number. These numbers
are shown on the front panel display. To create or
change a sound, you select parameters and change (or
[—•Using the Parameter Index
"Edit") their values.
When the DW-6000 stores a sound in memory or calls it
back from memory, it is actually storing and recalling the
values you have given it for the sound's various parame-
ters. All possible parameters and values are listed in the
"parameter index" chart on the right side of the DW-6000
front panel. To create or change a sound, you first use
the number keys to select a parameter number, then you
use the edit slider and up/down keys to change its value.
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Example:
Changing the 0SC1 (oscillator 1) waveform.
Parameters related to 0SC1 Here we have a choice of
values from / to S- Parameter number IE' .
ES3^F~
13
3!
First select parameter number ;^ (using the number keys
with the parameter switch turned on). Then adjust the
value (using the edit slider or up/down keys).
13
3 CREATING SOUNDS
The DW-6000 Approach to Sound Synthesis
To create new sounds on the DW-6000, you change or edit
old programs. You do not start with a "blank slate". There
are 64 sounds already in memory, if you have a new sound
in mind, the easiest approach is to first select a sound that
resembles the sound you want to create. Then "edit"
{change the selected sound until you get the sound you
want, if you don't find a similar sound, it doesn't matter;
start with any sound you like.)
After you finish editting your sound, you store it into
memory. This is called "writing a program to memory". At
this point you can give it a different program number
{thereby preserving the sound you started with) or the
same program (thereby erasing or "overwriting" the old
sound).
Selecting a
Program: Find-
ing a current
programmed
sound that re-
sembles the
new one you
..wish to create.
Creating
Sounds (Edit-
ing): Changing
the values of
the parameters
•that ne^ to be
changed to ob-
tain the desired
sound.
—
Wriliflgthe
Program to
Memory: Giving
the sound a
program num-
ber and storing
it in meroory.
How to Make New Sounds
HlWtth the PROGRAM switch on, use the number keys to select programs and play the keyboard to find out what the^
sound like. Stop when you find one that resembles the new sound that you want to create.
ElPress the PARAMETER switch so that its LED lights up.
y
■LED is on
[31 Refer to the parameter index chart to find the number of the parameter that you want to change. Press the number
keys to select the desired parameter. -'
Example: Selecting VCF CUTOFF frequency This is parameter number 3 ! , so
Press
y
A dash in the
right hand digit
indicates that it
is waiting for
^ismasxaBByour next input.
Display of PARAMETER NUMBER
Press
Ei miaa
BUse the Edit slider or
change the parameter's
value. Suggestion: Use
the Edit slider to make
large changes in value,
then use the Up/Down
keys to "fine tune" the
sound. (VALUE display)
Up/Down buttons
The LED dot in the corner of the VALUE
display indicates that the value of the cur-
rently selected parameter has been changedji^-.
The dot goes out if you return to its origina
value.
LED dot lights.
Repeat steps m and S for each parameter that needs to be changed.
[6] If you want to return to the original value of a
parameter, just press both Up/Down keys at the same
time.
^^
Press simultaneously.
BANK HOLD
Often you will want to work on several parameters within
the same "family", that is, having the same left digit. In
such cases, turn on the BANK HOLD switch. This locks
the left digit so that the NUMBER keys can be used to
change the right digit only.
Example:
Select parameter number3 / (VCF cut off frequency), then
press BANK HOLD.
IJJifJ.'JJ.J^;M;!i
The left digit is locked to. "3.'
LED dot tights.
Press
lJ:1;»,'MJJ i | :
Q
Now you can quickly access any of the parameters that
pertain to the VCF section, (Resonance, EG Intensity, etc.)
To release BANK HOLD, press the switch again. You ma^
then select both digits of a parameter number.
^To store your new sounds in memory, follow the operation procedures described in 'WRITING PROGRAMS TO MEMORY'
on page 23.
3 CREATING SOUNDS
Parameters and Values
This section describes each module (such as Oscillator 1, VCF, etc.), its parameters
(such as Octave, Waveform, etc.) and the results of using different values within
each parameter.
OSCl
I* ! I'lliff " Ut,tA^;b
t i iQ' Q' a'
/^
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n ^
3 1
Parametei^ in this module determine tiie basic pitoh
range (OCTAVE) and timbre (WAVEFORIVI).
WAVEFORM
OCTAVE
Here you select the basic pitch range of oscillator 1. The
higher the value, the lower the pitch. You have three
choices which correspond to IB' (16 foot), S' , 4'.
VALUE
OCTAVE
H'
4' (high)
8*
8' {middle)
IB'
16' (low)
I LEVEL
Sets output level (volume) of oscillator 1. This is useful
for adjusting overall volume to match other programs,
and for balancing OSCl with 0SC2 and/or noise as
desired.
VALUE
OUTPUT LEVEL
n
u
No sound from
0SC1
I
t
31
Maximum volume
The choice of waveform will have more effect on the tonal
characteristics (timbre or tone color) of the sound than will
any other parameter. You have eight basic waveforms to
choose from.
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m
WAVEFORM
SPECTRUM
INSTRU-
MENT
FAMILY
1
L_
Brass &
Strings
II
^
1
1 II 1 1
B
Violin
^/
III
.11,1
3
K A.
Acoustic
Piano
Nl
! 1 1
II liiii"
4
/v.
Electric
Piano
1
■^n/
II,
s
Vvy ,.,
Synth-Bass
''>AI
ill
nil
s
(^ .
Saxophone
v^
1
ll 1 1. mill 1 1 1
-I
n. -.
Clavl
'■■^
8
VArJlflAr
Bell & Gong
W"Y^
m
%Jy^Irfltom^ilCM
Bi^V"
OCTAVE
8' H'
cc
P3
JNTERVAL
This is yoyr second sound soorce, designed to be us-
ed together with 0SC1 to create thicker, richer and
more comjiriex sounds.
KiniQP
jESdJIV ihteL
Provides white noise {a mixture of all frequencies) as a
separate sound source. This is useful lor adding
"breath noise" to simulated acoustic instrument
sounds, and for creating special effect sounds such
as wind, surf, gunshot sounds, etc.
i OCTAVE
As with 0SC1, you have a choice of three pitch ranges: V,
8', and IS'.
^O WAVEFORM
Once again, you have eight waveforms to choose from.
V
I LEVEL
Adjusts output level as in 0SC1
MH LEVEL
Adjusts noise volume.
VALUE
LEVEL
n
u
No noise
t
t
3 1
Maximum
fT)
INTERVAL
This lets you transpose or offset the pitch of 0SC2 so that
it sounds a constant interval above 0SC1. Selectable in-
tervals are: Unison (same as 0SC1), a minor 3rd, major 3rd,
perfect 4th, or perfect 5th above.
VALUE
INTERVAL
(
Unison
IVlinor 3rd
IMajor 3rd
i-l
Perfect 4th
c
Perfect 5th
*You will get different in-
tervals (from those
shown above) depending
on the OCTAVE values
for the iwo oscillators.
m
QBI DETUNE
For fine pitch adjustment of 0SC2 relative to 0SC1. The
higher the value, the greater the pitch difference between
the two oscillators. Detuning can help achieve a fatter,
more animated sound.
VALUE
PITCH DIFFERENCE
(J
I
s
Minimum (no detuning— same pitch)
t
Maximum {about 25 cents)
3 CREATING SOUNDS
•
VCF
22
3H
POLARITY
IS
This DW-SOOOOs six voEtage controHed filters (one per
voice) remove or emphasize portions of the basic
waveform liarmonics. This affects the timbre of the
0SC1, 0SC2, and NOISE waveforms. These VCF are
ioW"pass filters, which remove ft^quencios above the
selected CUTOFF frequency (while al lowing lower fre-
quencies to pass through).
eSBI CUTOFF
This determines the cutoff frequency of the low-pass filter,
higher the cutoff frequency, the less effect the filters
¥^e on the basic waveforms (since more frequencies are
passed).
Low-pass filter cutoff frequency.
Frequencies lower
than cutoff fre-
quency are passed.
Frequency
Cutoff frequency
Value —
■63
At the highest value, 'oB, all harmonics are passed. The
lower the value, the more harmonics are cutoff, so the
sound becomes progressively rounder or less bright.
VALUE
TIMBRE
n
u
X
S3
Dull or rounded
t
Bright, unchanged
timbre
RESONANCE
This emphasizes the harmonics near the cutoff frequency,
producing a characteristic peaky or bandpass type of
jnd.
Harmonics near
cutoff frequency
are boosted.
*- Frequency
The higher the value, the higher the resonance peak and
the more obvious the effect. At or near the maximum value
(5 /), the VCFs go into self-oscillation, producing a pure
sine wave, which can be used as an additional sound
source for special effects.
The pitch of the VCF tone
is affected by the Gut Off,
Keyboard Track, EG INT,
and iVIG VCF parameters.
Cutoff frequency
VALUE
EFFECT
n
u
t
3 1
None
:
Self-oscillation,
very "peaky"
sound.
KBD TRACK
Keyboard tracking affects how the cutoff frequency
changes as you play notes higher or lower on the key-
board. At full tracking {VALUE - 2), cutoff rises in exact
proportion to keyboard pitch, maintaining the same
relative timbre for all notes, as is the case with most
jsical instruments. At half tracking (VALUE 1) it rises a
octave for every full octave on the kayboard. (The dif-
ference will be obvious if resonance is set to a high value.)
VALUE
KBD TRACK EFFECT
(off)
No change in cutoff frequency
; (half)
50%
.3 (full)
100%
3 CREATING SOUNDS
I POLARITY
Determines how the VCF cutoff frequency is affected by
the VCF EG (Envelope Generator). With normal polarity
(VALUE = 1), the cutoff frequency rises during the EG's
Attacl< and falls during Decay (as with most musical in-
struments); use "Inverted" polarity (VALUE = ?), for
special sounds where you want the opposite effect.
VALUE
POLARITY
'
Cutoff frequency Is swept up during
A^ the attack portion of the envelope,
/ ' \ and down during the decay portion,
' ^ etc.
c'
Cutoff frequency is swept down dur-
\ / ing the attacl< portion, and up dur-
\ A / ing the decay portion of the enve-
V lope. . ^ ^^
EG INT
The "EG Intensity" parameter determines how much the
VCF Envelope Generator (EG) will affect the cutoff fre-
quency. The higher the value, the more obvious the
change in tone color (timbre).
VALUE
INTENSITY
n
u
t
3 1
No effect
t
Maximum change in tone color.
r-
I
CHORUS
iiljtUk^ ON/OfF j ■
\ 3b s
CHORUS
The built-in stereo chorus can be used to add warmth and
ambience to sounds. It is especially effective when both
outputs (R and L) are used for stereo reproduction, or
listening through stereo headphones. Chorus can be set
to On (1) or Off (0).
VALUE
EFFECT
n
u
OFF
t
ON
r'"-
3 CREATING SOUNDS
VCF EG. VGA EG
ATTACK
I -} ( u ^ •" ..I (
mlSS^Kf ATTACK
S~ I I"' « .■ ? '
H^
KRE#.Kt>.
- 3 1
s?
C5ECAV
J I -
S3
These two envelope generators control the "contour"
(or (Ganges over time, in terms of the sound's attack,
sustain, decay, and other dynamic characteristics) of
each programmed sound. The VCF EG determines
how the timbre, or brightness, changes over time.
The VGA EG determines how volume changes over
time. The DW-6000 utilizes advanced 6-stage EG
modules with "break point" ami "slope" rate
parameters in addition to the conventional attack,
decay, sustain and release parameters. Six parame-
ters of ADBSSR envelope generators.
vv
H'5
%
RELEASE I
SO
r!+
ss
Do
Six parameters of VCF EG and VGA EG.
■■*- Time
ATTACK (Rate)
Controls how long it takes for the volume or cutoff fre-
quency to rise from zero to its maximum level after a note
Is played on the keyboard.
DECAY (Rate)
Determines how long it takes for the volume or cutoff fre-
quency to fail from its maximum attack level to the break
point level.
BREAK P. (Break Point Level)
Determines the level at which volume or cutoff frequency
i^ops dropping during the decay, if this Is set to the same
^ value as the sustain level, then the envelope becomes a
conventional ADSR type (as if It had no break point or
slope parameters).
SLOPE (Rate)
Determines how long it takes for volume or cutoff frequen-
cy to change from the break point level to the sustain
level. Note that if the break point is lower than the sustain
level, then the slope functions as a second attack. If the
break point Is higher than sustain, then slope functions as
a second decay.
f
<
o
c
3
\ /
s
3
\
o
\ /
o
\
o
o
^^
Time — •-
Time — -«-
Envelope generated by a
Piano-type envelope using
compressed guitar sound
ttie second decay-
using the second attack.
I SUSTAIN (Level)
Detemiines the level at which volume or cutoff frequency
is held after the attack, decay, and slope phases are com-
pleted, for as long as the note is held down on the
keyboard.
RELEASE (Rate)
This determines how long it takes for the sound to fade
away after you release the note on the keyboard.
VALUE
ATTACK
DECAY
BREAK P.
SLOPE
SUSTAIN
RELEASE
n
u
t
3 1
Short
I
Long
Short
t
Long
Low
I
High
Short
t
Long
Low
t
High
Short
I
Long
In VCF EG, these changes are equal to the timbre, or
brighttess, change over time.
3 CREATING SOUNDS
i
MG
£3
£';
This stands for Modulation Generator. The !VIG section
utilizes a low frequency osciilator to modutate the
DW-6000's oscillator pitch (creating vibrato effects)
and/or VCF cutoff frequ^icy (creattng filter mod or
"wah-wah'' effects).
i
FREQ
Determines the speed of the cyclic pitch or tonal variation.
The higher the value, the faster the speed.
VALVE
SPEED of vibrato or wah-wah
t
Slow
t
Fast
I DELAY
Determines the amount of delay following key depression
prior to the onset of vibrato or other modulation effects. At
0, there is no delay, and modulation begins immediately
when the first note is played. The higher the value, the
longer the delay.
VALUE
DELAY TIME
n
u
X
3(
None; modulation effect starts
immediately
:
Long delay
PITCH (vibrato depth)
Controls the amount of pitch variation in the vibrato effect
(that is, the depth of frequency modulation).
VALUE
VIBRATO DEPTH
n
u
X
31
No effect
X
Deep modulation
VCF (wah-wah depth)
Controls the depth of cyclic wah-wah effects (that is, the
depth of VCF cutoff frequency modulation).
VALUE
WAH-WAH DEPTH
n
t
3',
No effect
1
Deep modulation
f^.
3 CREATING SOUNDS
n
isay
tC
This module lets you determine the maximum change
In pitch produced by Ihe joystick, (t also Ifts you
choose whether or not ihe joysttck will affect the VCF
cutoff frequency. (See "Performance Features" for
details.)
PORTAMENTO
f
13 0- -31
This module lets you produce a polyphonic note
gliding effect at various rates, (See "Performance Fea-
tures" for details.)
I PITCH (bends)
'':ermines the maximum change in pitch produced by
Mioving the joystici< to the left or right, in exact semitone
steps. The higher the value, the greater the pitch change
{up to 1 octave).
TIWIE (Portamento)
Determines how gradual the change in pitch is.
Next to this note Play this note
VALUE
PITCH BEND
None
1 octave
(change in
semitone steps
according to
the vaiue)
Portament effect (change in pitch
from one note to the next.)
VCF
Enables or disables "sweeping" of the VCF cutoff frequen-
cy via the joysticl^. When this is on, you can use the joy-
stick to change the brightness of sounds while playing.
VALUE
PORTAMENTO TIME
n
u
t
3 1
No portamento effect
(instant change)
X
Slow change in pitch from one
note to the next.
VALUE
JOYSTICK VCF EFFECT
/
OFF
ON
When the VCF parameter value is 1 (ON) then moving the
joystick to the right produces a brighter sound; moving it
to the left oroduces a darker or duller sound.
3 CREATING SOUNDS
MIDI
SI
I
The DW-60Q0 is a MIDI equipped synthesiser, and thus
can control or be controlled by other MIDI equipped
synthesizers, sequencers, rhythm maichines and/or
computers. The MIDI control parameters (parameters
81, 82 and 83) are not stored in p rogram memor y for
each program. Rather they can be set once for all pro-
grams. Except for the OMNI parameter (see below),
the DW-6000's MIDI parameters retain their last value,
even when power is turned off. (See MIDI section for
further details.)
CHANNEL
This lets you choose the DW-6000's MIDI Receive channel,
that is, the channel on which the DW-6000 will receive and
obey information sent to it over MIDI. (When the DW-6000
is in the "OiyiNI" mode, as designated by parameter 83, it
will receive information sent to it on ALL channels,
regardless of the setting of the Channel parameter.)
VALUE
CHANNEL NO
1
t
15
CH 1
t
CH 16
ENABLE
This parameter determines what information received over
MIDI the DW-6000 will respond to. At Value = / , the
DW-6000 responds to MIDI "note" data only. At Value = E',
it responds to all MIDI commands within its capabilities
(such as Program change, modulation, etc.; see the MIDI
data list at the back of this manual for a full listing of MIDI
functions). The last setting of the ENABLE parameter is re-
tained when power is turned off.
VALUE
Possible Transmit/Receive Data
f
I
only note DATA
all DATA
^U OMNI
This parameter determines whether the DW-6000 will res-
pond to MIDI information on ail channels, or on the chan-
nel specified by its Channel parameter (81).
A value of turns off the OMNI mode so that the DW-6000
responds to data sent on its assigned channel only (as
selected by parameter 81). A value of 1 turns on the OMNI
mode so that the DW-6000 responds to data on all chan-
nels.
The OMNI ON mode (Value = •' ) is automatically selected
when the DW-6000 power is turned on. OMNI OFF mode
(Value = G) is automatically selected whenever the Chan-
nel Parameter (Parameter 81) is selected by the user.
VALUE
OMNI MODE
n
u
$
1
OFF
ON
1)
22
^.WKIIINU KHUUHAIVI5 lU IVILIVIUHY
^his section explains how to store a sound after you liave created It.
Features & Functions
— 3. PROGRAM NO. DISPLAY
^^
5 6 7 8
^
2 3 4
y ^ J
1 NUMBER Keys
Used to specify the program number
2 WRIT! Switch
Pressing this switch enables a memory write opera-
tion so that you can store the currently sounding pro-
gram in program memory.
K«J=I.M:H>,M!l.l.liBH
Shows presently selected program number.
1. NUMBER KEYS 2. WRITE SWITCH
Which sections' settings can be stored in memory?
^The key assign section.
P0LY1 POLYS UNISON
ffiQ
»i
KEY ASSIGN
#AII parameters except MIDI.
PARAMETER LIST
, 1
OCTAVE
IS' s' r
\E
WAVEFORM
t - - 3
LEVEL
^ 1
OCTAVE
!S' 8' •-!'
^^
WAVEFORM
LEVEL
23 u- ^31
^s'
.'"7
INTERVAL
3 '-1 S
^5
DETUNE
2B 0^
LEVEL
" 3 1
WE^W
CUTOFF
32
RESONANCE
u ^ " Zl 1
KBO TRACK
_ _ OfT HALf FULL
33 u ! ^
^v
A-v
POLARITY
-t
C
3S
EG INT
U -It
tiSS^S^
3 1
\3B G
ON
S'/
W ATTACK
U " "^ It 1
HR
DECAY
|1 ^ ^ D 1
BREAK P.
vv
u
SLOPE
"" D 1
vs
SUSTAIN
(-< ^ ^ -1 i
u _' t
HB 0-
RELEASE
" 3 t
1^113
W ATTACK
U ^ "-11
52
DECAY
a " " D t
BREAK P.
5^ 0^-31
sv
n
u
SLOPE
55
SUSTAIN
n ^ -1 1
U -II
SB £-
RELEASE
-31
s/
so 1
FREQUENCY
n ^ ^ ~i 1
S2
DELAY
OSC
6^ — 3i
5w
n
u
VCF
-I J
-I 1
1 1
OSC
12
VCF
OFF ON
f7 1
U 1
tM:\amt\M ™.
4 WRITING PROGRAMS TO MEMORY
Program Write
Procedure
[E Create a sound (as described in the previous section of
this manual).
USet the rear panel WRITE switch to the ENABLE posi-
tion.
WRITE
ENABLE DISABLE
n r
d Press the WRITE switch (button) on the front panel.
Q
At this point the display will show the originally selected
program number, flashing
°"^"doff- -Flashing
SUse the NUMBER keys to select the program location
where you want to store your sound.
Example:
^ Storing your sound at program number^S'.
3
Press [ ] KS^H Display will show
a dash in the right
digit.
I Mil ^m
L J
rr
Repositioning Sounds
in IVIemory
If you always use particular sounds in the same order In
a song or stage performance, then you can simplify your
life by storing the sounds in the same order in which they
will be used. That Is, store your first sound under pro-
gram number 1, the second sound under program num-
ber 2, and so on. You can then use a footswitch to ad-
vance from one sound to the next, as you need it. Sounds
are repositioned by copying them from their present pro-
gram number to a different program number.
[ESet the rear panel WRITE switch to the ENABLE posi-
tion.
WRITE
ENABLE DISABLE
n r
fT*
muse the NUIVIBER keys to select the program number
of the sound that you want to reposition.
Example:
Copying the sound in program number I I to another
program number.
©Turn on the PROGRAM switch.
a
LED is on.
©Press the NUMBER keys to select program number,' /.
'^
Press
y
ESZEl
Your sound now occupies the memory space called program
number^'-/. The previous contents of this space have been eras-
ed.
I 1
I Caution
[ Be sure to return the rear panel WRITE switch to the
I DISABLE position after completing this procedure. This
I helps protect against accidental overwriting (erasure) of
I memory contents.
I
3, Press the WRITE switch (button) on the front panel.
Flashing
Previously selected
program number
flashes on and off.
Q
a Use the NUMBER keys to select the program number
where you want the sound to be located. Note that
this erases the previous contents of the new program
number. But is does not erase the contents of the old
program number. That means that you now have the
same sound at the old and new program number.
il Follow steps m through H above, to rearrange your
sounds in the order that is most convenient for perfor-
mance.
-tt^
X rtKI-UKIVIANUt ht Al UI1t2»
TUNE
Used to tune the DW-6000 to match the pitch of other in-
struments.
&
KEY ASSIGN
ffiB
The DW-6000 has six separately ar-
ticulated "voices" or "synthesizer
modules." Different effects can be
achieved by changing the way
these are assigned to notes played
on the keyboard. The KEY ASSIGN section gives you a
choice of three ways of assigning voices to notes.
The KEY ASSIGN section controls which synth module is
used to generate the sound of which note,
^ynth module 1
When these notes are played on the keyboard..
Select from among the
six modules.
Four of these modules will be used.
POLY 1 Mode
This mode is used for normal polyphonic playing. The
DW-6000's six voices are assigned sequentially as notes
are played. If you play more than six notes, then the most
recent notes will cancel out the earliest notes still sound-
ing. In this mode, sounds using long release times wi!l
create an effect of "overlapping" notes, which will create a
spacious sound.
Synth module 1
2 --.3
4-5
'P0LY2 Mode
This is most useful for certain instrumental sounds, and
for sounds using polyphonic portamento effects. If a one
note passage is being played, one synth voice (out of six)
is used continuously, if two notes are played, two voices
are used continuously, and so forth.
Synth modules used.
When one note is played then the first module is
always used.
2 3 4 5 5
When two notes are played then the first and second
modules are always used.
•UNISON Mode
This mode assigns all six voices to each key depression,
following a "last note played" priority system, for mono-
phonic soloing capabilities. Because all six voices are
automatically detuned when this mode is selected, this
produces a very fat, rich sound.
5 ■ 6
r^
Synth modules used.
All modules are used for each note played.
- 2 , - . 3 - i k 5 - 6
When you write a sound program to memory, the selected
key assign mode is stored along with your other parame-
ter values. When you select that program number, the
stored key assign mode will be automatically selected.
You can, of course, temporarily change the Key Assign
mode at any time while playing. But that alone does not
change the stored Key Assign mode. Therefore, if you
change key assign mode, then change to a different pro-
gram number, then change back to the previous program
number, you will get the stored key assign mode, not your
latest key assign mode choice.
5 PERFORMANCE FEATURES
^■
JOYSTICK
The joystick can be used for
pitch bends and VCF cutoff
frequency modulation {left
and right movement). It can
also be used to change vi-
brato and cycifc wah-wah in-
tensity (up and down move-
ment).
The amount of pitch bend
during ieft-right joystick
movement depends on the
value of parameter number
VALUE
Change in pitch
D
None
{change in semitone
J steps according to the
value)
1 octave
The speed of vibrato and v\/ah-wah effects depends on the
value of parameter 5 / {iVlG FREQ)
-^^'i
VALUE
Vibrato or wah-wah speed
n
u
Slow
t
X
31
Fast
7^
Parameter IE (BEND VCF) determines whether left-right
joystick movement will affect the VCF cutoff frequency.
When the value is 1, then left movement lowers the cutoff
frequency, producing a "darker" sound. Moving it to the
right raises the cutoff frequency, giving a brighter sound.
To change the values of parameters, follow the steps described in the following section.
[Tl Depress the PARAMETER switch.
VALUE
Effect of L/R joystick movement on
VCF cutoff.
n
u
1
Disabled (no effect)
Enabled
^
IS Use the NUMBER Keys to select the parameter that you
want to adjust.
Examp/e: To select parameter number 7 ,'...
7 1
Press
Q Press Q
-Display shows selected parameter number.
JJi»tl:4Jd:i; [. )
m Use the edit slider and up/down keys (in the VALUE sec-
tion) to change the parameter value.
VALUE display shovi/s present
value for selected parameter.
H Depress PROGRAM switch and play keyboard.
LED is on
5 PERFORMANCE FEATURES
PROG UP (Program Up)
Connect a footswitch (such as the Korg PS-1) to this jack
to enable convenient incrementing of the program num-
ber. Every time you press the footswitch, the program
number advances one step. If BANK HOLD is on, then it
advances within the bank (that is, the left digit does not
change but the right digit goes in a loop from 1 up to 8 and
then starts over from 1 , etc.)
Rear panel
Korg footswitch
PS-] (optional)
PORTAMENTO
Portamento is a gradual change in pitch from one
note to the next.
T^Portamento effect
After
this note...
m
This note
is played.
4^
Gradual change in pitch.
3z:
-<s»-
V
This is the portamento time.
To set the value of this parameter, follow the usual proce-
dure of selecting the parameter number and your desired
value (as described in the previous section).
If a foot switch is connected to the PORTAIWENTO jack
on the rear penel, then the portamento effect will be turn-
ed on for as long as the switch is kept depressed. When
on, the portamento time will be the value selected in the
portamento parameter (13).
(Rear panel)
To use portamento, the PORTAMENTO parameter (IS)
value must be greater than 0.
13
3 1
VALUE PORTAMENTO TIME
a
I
3:
No effect
Maximum (most gradual pifcfi
change)
Korg footswitch
PS-1 (optional)
DAMPER
( Rear penel )
.hen a footswitch is connected to this jack, it can be us-
ed like a piano damper or "sustain" pedal. Depressing the
footswitch has the same effect as keeping keys depress-
ed on the keyboard.
Korg footswitch
PS-1 (optional)
xamp e. ^^ responds as shown here.
When the footswitch is pressed.
Key on
Key off
Time
Key on Key off
DAMPER ON-
DAMPER
OFF
Time
(The effect is the same as if the key had. been kept depressed.)
27
6.TAPE INTERRVCE
The DW-6000 is equipped with a tape interface that lets you SAVE all sound prc^
gram memory contents on cassette tape. Later you can LOAD the data from the
tape back into the DW-6000 intemal memory. The DW-6000 display keeps track of
tape interface operations to help assure successful data transfer and detect possible
problems. Operation is so fast (about 14 seconds) that you can even change your
programs during a performance.
Note: MIDI parameter values are not included in tape Interface operations. They cannot be saved on tape or loaded
from tape.
Features & Functions
5 DISPLAY
\
:-.M^;>
SZEE3
J\:fV'iii^ty
^\
5 6 7 8
&
^-L-L-LJ^
DOWN UP PR0GB4M PARAMETER
^
c
SiM E lOi
PROGRAMMER
1 SAVE
Press this key to write DW-6000 program memory
contents to your connected tape recorder.
2 LOAD
Press this button to read data from your tape recorder
while playing baci< a tape.
3 VERIFY
This is used to check recorded data (immediately after
the SAVE procedure) to mal^e sure that it has been
properly recorded on the tape.
Jpaa
4 CANCEL
3 VERIFY
2 LOAD
1 SAVE
4 CANCEL
If an error occurs during SAVE or LOAD operations,
pressing this key !ets you start over again. If you press
the CANCEL key during SAVE, LOAD, or VERIFY^^
operations, it will immediately interrupt and cancel
the operation.
5 DISPLAY
This gives you messages to keep you informed of
tape Interface operations and possible problems.
The Three Basic Tape Interface Operations
1
/ SAVE
During a SAVE Operation, the
DW-eOOO sends ail oif its stored
sound program data (the Rg^
meter values for all 64 prog^W
numbers) out the TO TAPE jack
on the rear panel. The con-
nected tape recorder Is us ^^^
record this data during a Sw^
operation.
I
VERIFY
This should always be perform-
ed immediately after a SAVE
operation. VERIFY is used to
check whether or not the SAVE
operation has been successful.
You play back the tape (through
the FROM TAPE jack) that you
have just SAVED the data on,
and the DW-6000 checks to see
vi/hether it exactly matches the
DW-6(KX) memory contents.
3 . ■' LOAD
/ During a LOAD operation, you
play back a previously saved
data tape (through the FROM
TAPE jack), and the DW-6000
replaces the current program
data with the data on tape.
<>
28
6 Tape Interface
r^
Saving Program Data on Tape
Follow the procedures below to write DW-6000 program memory contents to your
connected tape recorder.
H Connect the DW-6000 rear panel TO TAPE jack to the
microphone (mic) input jaci^ on the tape recorder. (If the
recorder has no mic jack, use a "line in" or other input
jack.)
You may need a plug adaptor or special connection
cord If the input jack is not the usual "mini jack" size.
OQiO
USet the DW-6000 rear panel TAPE switch to the
^ENABLE (ENA) position.
.'ifT* TAPE
ENABLE DISABLE
1 r
The DISPLAY will now appear as shown here.
rthis shows the the DW-6000 is in the
, — I I tape interface mode.
m Prepare the tape recorder for recording. Begin record-
ing and let the tape advance until it is past the leader
tape (at the beginning of the cassette).
SlPress the recorder's pause key at the point from which
you will begin recording data.
At this point, the DW-6000 is sending out a test tone as
a reference for setting recording level (input level) on
the tape recorder. Adjust the tape recorder's recording
level as you would normally (refer to tape recorder's in-
struction manual).
SlAfter setting recording level, release the pause key so
that the recorder begins recording.
m Press the SAVE key on
the DW-6000.
,/M^
The DW-6000 will start sending data and the DISPLAY
will appear as shown here.
—This shows the
bank number (left
digit of program
number) /-^during
data output.
[ZlWhen the DISPLAY again shows IRPE , then you can
stop the tape recorder.
■;I.1iI;V,l-iiiMUa
This completes the SAVE procedure. However, it is
good practice to repeat the SAVE procedure several
times, as a hedge against the possibility of losing data
because of tape dropouts.
18J Reset the DW-6000 rear panel TAPE switch to the DIS-
ABLE poslton.
Do not change any settings on the DW-6000 until you complete the VERIFY procedure (In the following section).
A Word about Data Tones
If you listen to a tape of recorded data, you will hear the following tones:
,fBt tone ^ower pitched '^luu...'^ .
Data tone (medium-pitched "gaa...")
Ewltene (tii^-pitctied "pee™,'^
Level set tone (lower pitched "puu...")
Leader tone: indicates the start of VERIFY and LOAD
operations.
Data tone: The actual digital data from DW-6000 sound
program memory.
End tone: indicates the end of the operation.
29
6 Tape Interface
^.
VERIFY Procedure
The VERIFY procedure should always be used immediately after you finish a SAVE
operation. This is to make sure that data has been properly recorded. It is also useful
for determining the best playback level setting for your recorder.
H Connect the DW-6000 rear panel FROM TAPE jack to
the output jack (earphone, line out, etc.) of your
recorder. Set the LOW/HIGH switch to match your tape
recorder's output signal level.
rFROMTAPE"
LOW HIGH
ir
Recorder output jack
HfQH/LOW
AUX (line out)
LOW
Earphone or
headphone output
HIGH
From recorder
Ei Set the DW-6000 rear panel TAPE switch to the EN-
ABLE position. The DISPLAY will appear as shown
here.
1 r
rr*:^
13 Set the tape recorder's playback volume a bit higher
than usual. If the recorder has tone controls, set them
to the center positions.
gj Rewind the tape. Begin tape playback. Stop the tape
(using the stop or pause key) when you reach the begin-
ning of the leader tone.
m Press the VERIFY key on the DW-6000.
M Start the tape recorder (press the play key or release the
pause key).
The DISPLAY will show "VERIFY" to confirm the
VERIFY mode.
..,:>* j
The DISPLAY
will show the
bank number {,'
3) for the
VERIFY opera-
tion.
(7) If the recorded data match the DW-6000 internal
memory data then the DISPLAY will give a "Good" in-
dication. The DISPLAY will appear as shown here if
data is successfully verified.
I I^M Miiiiii I
• If you get an error (Err) message as shown here
Press the CANCEL Key, lower (or raise) the tape
recorder's output volume, and repeat steps 4-6.
I I ^— III Mill i|
D
If the DISPLAY does not change after ten seconds of
tape playback
Raise the tape recorder's output volume level and
repeat steps 4-6.
M When you get a "Good" message, you can stop the
tape recorder. Make a note of the recording level,
playback level, and HIGH/LOW switch setting that
resulted in the "Good" message.
H Set the DW-6000 rear panel TAPE switch to the
DISABLE position.
Note: You will not get a " Good " message if tlie recorded data is dilierent In any way from ttie data in the DW-6000's in- i
temal memory. If you change a single parameter value or the key assign mode and then try VERIFY, you will get an er^
ror "En^ message. , .-
If you still don't get a ' uood " message after trying many different output level settings on the tape recorder (and i
HIGH/LOW switch settings on the DW-6CIO0) then your recording level may be wrong. Try saving again at a different I
recording level. |
30
6 Tape Interface
LOAD Procedure
This procedure is used to put recorded
memory.
data bacl< into the DW-6000's internal
a] Connect the DW-6000 rear panel FROM TAPE jack to
the output jack (earphone, line out, etc.) of your
recorder. Set the LOW/HIGH switch to match your tape
recorder's output signal level.
# E
Recorder output jack
HIGH/LOW ";
AUX (line out)
LOW
Earphone or
headphone output
HIGH
From recorder
[2! Set the DW-6000 rear panel WRITE switch and TAPE
switch to the ENABLE (ENA) positions.
n r
'^^^
[31 Set the tape recorder's playback volume to the level
that produced a " Good " indication when you use the
VERIFY procedure, if the recorder has tone controls,
set them to the center positions.
I4l Rewind the tape. Begin tape playback. Stop the tape
(using the stop or pause key) when you reach the begin-
ning of the leader tone.
H Press the LOAD key.
I I I I 11^^ III I hi I
[6] Start tape playback (press the play key or release the
pause key). The Display will appear as shown here.
This shows the
bank nunnber (;
~g) if data is
loaded.
P4f the data is successfully loaded into internal memory
nen the DISPLAY will give a "Good" indication.
^ III Mil ^
The " Good " display Indicates the completion of loadint;
If you get an error (frr) message as shown here
Press teh CANCEL Key, lower (or raise) the tape
recoerder's output volume, and repeat steps 4-6.
» If the DISPLAY does not change after ten seconds
of tape playback
Raise the tape recorder's output volume level and re-
peat steps 2-6.
gl When you get a '' Good " message, you can stop the tape recorder.
iSi Set the DW-6000 rear panel WRITE switches to the
DISABLE positions.
1 r Follow the VERIFY procedure to check if
innn| the data from the tape is precisely loaded
— .► on the programmer or not.
, oet the DW-6000 rear pane! TAPE switches to the
DISABLE positions.
n r
31
6 Tape Interface
.•— ^,
Tape Interface Precautions
1
After a SAVE, LOAD, or VERIFY operation,
reset the rear panel TAPE switch to DISABLE.
If it remains set to ENABLE, the DW-6000 can-
not be played.
If the tape recorder head is dirty, wow and flut-
ter are excessive, or there are fluctuations in
output (due to weak batteries, etc.), SAVE,
LOAD, or VERIFY operation may not be cor-
rectly done.
3
4
When using a stereophonic tape recorder, use
the left channel only for the SAVE operation.
Otherwise, VERIFY and LOAD operations
may not be done.
Do not vibrate the tape recorder by moving it
or change the output level settings during
SAVE, LOAD, or VERIFY operation. Other-
wise, incorrect operation may result.
^
I IM'.
S2
7.MIDI
MID! (which stands for "Musical Instrument Digital Interface") is a "universal
language" adopted by most musical instrument manufacturers which allows MIDI
equipped instruments to communicate and control each other, regardless of what
company they are made by. The DW-6000 is MIDI equipped, so it can be connected
to other MIDI equipped synthesizers, sequencers, rhythm machines, and personal
computers.
HOW MIDI Works
(1) The MIDI Control System.
in the early days of electronic music, it was possible to "in-
terface" (ie, interconnect) older monophonic synthesizers
together by using two simple voltage signals. One was a
,''*^V (control voltage) signal tliat determined pitch. The
•other was a trigger signal that started and stopped each
note.
But such techniques are too cumbersome and unreliable
for today's computerized polyphonic synthesizers. So the
MIDI format was developed. In contrast to the older
CV/Gate voltage signals, MIDI uses 8-bit digital words
transmitted serially from instrument to instrument to com-
municate pitch, note on/off, and all kinds of information.
15
Sending Side
Item to be controlfed {Example: Note on)
Encoded as
a number.
I'': Digitalization (Example: lOOIOCKM^
Data is decoded so that it can be used by the
synthesizer's Internal computer system.
(2) MIDI Jacks and Connections.
All MIDI jacks are the same physically (using 5-pin DIN
connectors). However, there are three kinds of MIDI jacks
according to their purpose or application.
n
33
• MIDI IN: Receives MIDI data.
• MIDI OUT: Sends MIDI data.
• MIDI THRU: Retransmits MIDI data received by
the MIDI IN jack without any change. This is used
to allow 2-4 instruments to work off the same out-
put signal. (Some MIDI instruments do not have
MIDI THRU jacks.)
MIDI cables (5-pin DIN cords) used fof MtDf cor^
nectlons should be no longer than 15 meters {50
feet).
■j^
■1^^
7 MIDI
(3) MIDI Channels
If you are using more than two MIDI synths (or other MIDI
units), then you can assign them different channel num-
bers (sort of lil<e TV channels). There are 16 possible chan-
nels (designated as channel 1, channel 2, and so on} for
sending and receiving.
MIDI Channels
DATA
chl
DATA
ch2
MIDI OUT
Sequencer (send-
ing instructions
and data on
channel 1).
ch3
ch4
cJi5
ch6
ch7
ch8
ch9
chIO
chl I
chl 2
chl 3
chi4
chl 5
If assigned to a different
channel (and not in OMNI
mode) then the synth
wouid not respond to this
information.
MIDI IN
Synthesizer (set
up to receive only
channel 1).
If you are using a MIDI sequencer or computer then you
can assign particular instructions and data to particular
channels. By assigning the various receiving synthesizers
and drum machines to different channels, you can make
each instrument play a different part of your musical corn*
position. This kind of complex MIDI system is shown here.
Sending data on
channels 1-8.
MIDI OUT
Sequencer or
computer
THRU
THRU
Synthesizer A
(Set to receive
channeM)
Synthesizer B
(Set to receive
channel 2)
Synthesizer C
(Set to receive
channel 3)
THRU
Rhythm machine:
(or other synth) •
(Set to receiive ;
channe! 8)
Each receiving unit responds to instructions from the se-
quencer or computer sent on its assigned channel.
34
(l
(4) Kinds of MIDI Data.
MID! can be used to send many kinds of messages that
contain instructions and information to be used by tine
receiving syntliesizer and/or rhytlim macinines. Tlie main
kinds of MIDi data are described below.
CHANNEL A^OICe MESSAGES
Tliese te!i ttie receiving synthesizer(s) wliich sounds to
use, which notes to play, and when to start and stop
playing those notes. They may aiso include instructions
to use portamento, modulation, and other effects,
aWOTE DATA
This information includes the notes to be piayed and
when to start and stop playing them.
NOTE ON EVENT: This tells the receiving synth to start
■^ playing a note (equivalent to depressing a key on the
keyboard).
NOTE OFF EVENT: This teiis the receiving synth to
stop playing a note (equivalent to releasing the key on
the keyboard).
The NOTE DATA above aiso include the foiiowing infor-
mation.
• NOTE NUMBER:
Every note has a number (representing the keys on a
keyboard). This number tells the receiving synth which
note to piay.
VELOCITY: This determines how loud the note is
piayed. (Not all synths can send or receive this data;
however, no problems are created by mixing velocity
and non-velocity sensitive keyboards.) The relationship
between velocity value and "volume" is shown in the
chart below.
J
Fig. 2
1
I— #-
:^ p -"P
64
-4—
127
-1
«/ / M M
7 MIDI
@ PROG RAM CHAN G ES
This is used to select the sound program number to be
used. Therefore, the receiving synth(s) can be made to
change its sound by remote control.
©CONTROL CHANGES
This can be used to control pitch bends, modulation,
sustain (damper), portamento, and other effects.
O PITCH BEND
This is used to control pitch bend effect.
CHANNEL MODE MESSAGES
These determine the channel mode used for communica-
tions.
O OMNI MODE
When in the Omni mode, the receiving synths will re-
spond to all information regardless of which channel it
is sent on. When the Omni mode is off, a synth will re-
spond only to data sent on its particular specified
channel. If you turn off the Omni mode, then be sure
that the sending synth is set to the same channel
number as the receiving synth.
Q POLY MODE/MONO MODE
This determines whether note data will be handled as
polyphonic (chords) or monophonic (one note played at
a time).
In the poly mode, the receiving synth will, of course, be
limited by the number of voices that it has.
In the mono mode, only one note will be played at a
time, even if receiving multiple note data.
Fig. 1 Note number in piano range
63 66 68 70 73 75
80 82 85 87 90 92 91 97 99 102 104 106
35
7 MIDI
SYSTiM REAL tHWE MESSAGE
Used for synchronizing rliythm machines and sequencers.
Includes tempo and start/stop data.
SYSTEM COMMON MESSAGES
Used when there are many MIDI units in a complex
system. This can tell the units to start at the same time or
get in tune with each other.
iWlii IXCLUSIVE MESSAGES
Can be used for passing data partaining to one manufac-
turer's products {since each manufacturer has his own
particular ID number). Usually used for program SAVE/
LOAD and parameter-change operations.
All MIDI Synthesizers and other equipment use the same
language for communication. But this does not mean
that ail units can send or respond to all information. For
example, a synthesizer that does not have portamento
capability will simply ignore MiDi data conceming that
function. (The DW-6000, for example, ignores velocity
data, but sends and receives portamento on/off informa-
tion.)
DW-6000 MIDI Features
(1) Transmission/
Reception Received
The DW-6000 can send and receive tlie following
kinds of MIDI data
IrahSFnissidn
• Note data: note on/note off
• Program changes
• Pitch bend
• Pitch modulation
• VCF modulation
• Damper pedal On/Off
• Portamento On/Off
• System exclusive information
HR^epti
• Note data: note on/note off
• Program changes
• Pitch bend
• Pitch modulation
• VCF modulation
• Damper pedal On/Off
• Portamento On/Off
• Channel mode messages: (Omni-on, Omni-off, Poly,
Mono, all-note-off)
• System Exclusive information
(2) Features & Functions
MIDI
i
THRU
1
OUT
1
IN
©
©
©
3 MIDI THRU
2 MIDI
OUT
1 MIDI IN
1 MIDI IN
Receives MIDI data.
2 MIDI OUT
Transmits MIDI data pertaining to the DW-6000. ""
'3 MIDI THRU"~~~ "" j
Retransmits unchanged MIDI data received through the
MIDI IN jack.
See DW-6000 IMPLEMENTATION notes
details about system exclusive information.
for
■^
36
7 MIDI
(3) Parameter and Value for MIDI
liiiMIV
8^
^ 83
I CHANNEL
Selects the channel on which the DW-6000 will be able to
receive MIDI data (when not in the OMNI mode).
The most recently selected channel number is retained by
the DW-eOOO when power is turned on and off. The DW-
6000's Transmit channel is permanently set to CH-1.
ENABLE
This selects which kinds of received MIDI data the
DW-6000 will send and receive {respond to). At value '
(NOTE DATA), the DW-6000 sends and receives only "note
data." At value 2 (All), it sends and receives afl MIDI data
specified in the DW-6000 MIDI specifications (implementa-
tion notes).
For example, if you don't want program numbers to be
changed by some external device through MIDI, then set
this value to/ .
VALUE
CHANNEL
/
CH-1
:
:
ts
CH-16
VALUE
Kind of Data Sent/Received
/ (NOTE DATA)
c' (ALL)
note data only
All data
The most recently selected ENABLE value is retained
when power is turned on and off.
OMNI
The Omni mode (value 1) is selected by default when the
power Is turned on. When the Omni mode is on, the DW-
6000 receives MIDI data on all channels (regardless of the
parameters/ setting). However, the Omni mode can also
be turned on and off from the controiling (sending) device,
^hen the Omni mode is off, then the DW-6000 receives
Dl data sent only on the MIDI channel specified by para-
meter 81.
VALUE
OMNI MODE
n
u
1
OFF
ON
To change parameter values, follow the usual procedure as reviewed below.
Q] Press the parameter switch so that its LED illuminates.
LED is on.
(2 Use the NUMBER iteys to select the desired parameter
number.
Selected parameter number shown here.
■JJ.I:Uh4H:IJI.
O Use the Edit Slider and/or Up/Down keys (in the VALUE
^section) to set the parameter value.
ffi
37
7 MIDI
n
(4) Typical MIDI Setups
Using another MIDI synthesizer (PoIy-800) to control the
DW-6000.
MIDI OUT M
'■■'■''" MIDI !N
POLY-800 etc.
DW^OOO J
Connect Poly-800 (or other MIDI keyboard) MIDI OUT to
DW-eOOO MIDI IN jack using a MIDI cable (5-pin DIN cord).
Connect the audio signal outputs of both units to amp or
mixer inputs.
Notes played on thie Poiy-800 will also be sounded on the
DW-6000. Joystick movement and program number
changes will cause corresponding changes on the DW-
6000 (if the ENABLE #82- parameter is set to ALL).
Experiment with different combinations of sounds (and
detuning) on the two synths.
Using a Remote Keyboard.
MIDI OUTp
^MIDI IN
\ 1
DW-6000
Remote keyboard
Connect remote keyboard (Korg RK-100, for example) MIDI
OUT to DW-6000 MIDI IN jack. In this case you will want to
use the remote keyboard to control everything including
program number changes and joystick effects.
2-Way Control.
OUT
POLY-800 etc.
DW-6000
Here you need two MIDI cables to connect each synth .
MIDI OUT to the MIDI IN of the other. The synth being
played becomes the controlling (sending) synth.
lUsfng a MIDI sequencer to control the DW-6000.
MIDI !N
Digital Sequencer
DW-6000
Use the DW-6000 to write note data to the se-
quencer.
Sequencer uses
stored data to
contro! the
DW-BOOO.
OUT m W MIDI IN
Digital Sequencer
DW-6000
If using a digital sequencer, it is usually possible to pro-
gram it in real time by simply playing on the DW-6000.
O The DW-6000 sends note data to the sequencer. This
stored note data can then be played back, reproducing
the original note sequence on the DW-6C)00. (Refer to
sequencer's instruction manual for details.)
Note that for programming, you have the DW-6000's
MIDI OUT connected to the sequencer's MIDI IN. For
playback, you have the sequencer's MIDI OUT cori^
nected to the synth's MIDI IN.
Q If using a multi-track digital sequencer, you can set
the DW-6000 to receive on a particular channel and
have it play a different part from other synth.
38
I
7 MIDI
Using a Computer for Automated Performance.
I
Computer
Display Disk drive
(with appropriate software)
MiDI INf* THRU
MiDi interface
DW-6000
EX-800etc.
To MID! IN jack of other synth or rhythm machine
Software, such as Korg's new KSQ-800 4 Track MIDI Se-
quencer, is available for some computers to enable
automated control of MIDI synths and drum machines.
Tfie interface is necessary to convert the computer output
to the proper MIDI signal format.
By using the MIDI THRU jack you can connect additional
synths and rhythm machines.
■ The number of synths (and/or rliythm machines) con-
^nected in series using MIDI THRU jacks should be
limited to two or three. Results may be unpredictable
If more units are used. The solution is to use a parallel
MIDI connection device such as the Korg KMT-60 MIDI
THRU Box.
■ Be sure to read and follow the instructions for opera-
tion of all other equipment to be connected.
If the DW-6000 is being used in a MIDI connected
system and starts producing erratic results (making a
continuous sound, going out of tune, producing erratic
modulation, etc.) press the front panel WRITE button.
This resets the circuitry.
•
39
SPECIFICATIONS
Keyboard
61 keys (C ~ C) ^
Voice
6 Voice
oscr
Octave (16', 8', 4'), Waveform (1 ~8), Level adjustment
0SC2*
Octave (16', 8', 4'), Waveform(1 ~8), Interval (Unison, Minor 3rd, Major 3rd, Perfect 4th, Perfect 5tfi),
Detune (24 cents MAX), Level adjustment
Noise* : Level adjustment (White noise)
VCF* : Cutoff Frequency, Resonance Keyboard Track (OFF, HALF, FULL), EG Pciarity {/^,V-J), EG In-
tensity
Chorus*
ON/OFF
VCF EG*
Attack time, Decay time, Break Point level, Slope time, Sustain level, Release time
VCA EG*
Attack time, Decay time, Break Point level, Slope time. Sustain level, Release time
MG*
Frequency, Delay time, CSC intensity, VCF intensity
Bend*
Maximum OSC Bend (±1 Octave MAX), VCF Bend ON/OFF
Portamtnto*
Portamento time
MIDI
Receive Channel (ch 1 ~ 16), ENABLE (NOTE DATA/ALL), OMNI (ON/OFF)
Volume
Adjustable
TUNE
±50 cents
Joystick
X asix (OSC Bend, VCF Bend) +Y axis (OSC modulation) -Y axis (VCF modulation) )
Key assign mode
POLY 1, POLY 2, UNISON
Programmer
Value (edit slider, UP/DOWN switches), PROGRAM/PARAMETER switches. Number select but-
tons (1 ~ 8), WRITE switch, BANK HOLD switch
Display
Program Number, Parameter Number, Parameter Value, Bank hold indicator
Tape interface
Save, Load, Verify, Cancel
Input jacks
FROM TAPE (HIGH LOW), DAMPER (iGND) PORTAMENTO (iGND)
Program up (^GND)
Output jacks
Output (R, UMONO, HIGH/LOW), PHONES, TO TAPE
Tape switch
ENABLE/DISABLE
Write switch
ENABLE/DISABLE
MIDI jacks
IN, OUT, THRU
Power supply
Local voltage
Power consumption
34W
Weight
9.3kg
Dimensions
998 (W) X 338 (D) X 101 (H) mm _
Accessories
AC power cord, Connection cord, Data Cassette '
(* Programmable)
OPTIONS
MIDI CABLE, LIGHT BAG, HARD CASE,
STAND SHB, PEDAL SWITCH PS-1 , DYNAMIC STEREO HEADPHONES
40
MIDI IMPLEMENTATION
Q
TRANSMITTED DATA
CHANNEL MESSAGE
STATUS
SECOND
THIRD
DESCRIPTION
10
10 1
oil
k k k k k k k
k k k k k k k
1
10
10
10
10 1
10 1
10
10
Ovvv vvOO
Ovvv vvOO
1 M II II
0000 0000
II 1 1 II 1
NOTE OFF (NOTE l)
NOTE ON (NOTE I)
OSC MODULATION (NOTE 2)
VCF MODULATION (NOTE 3)
DAMPER PEDAL OFF
DAMPER PEDAL ON
PORTAMENTO OFF
PORTAMENTO ON
I 1
Oppp PPPP
PROGRAM CHANGE
ppppppp = 0-63 (NOTE 4) ~-
1110
0000 0000
b b b b b b b
PITCH BEND
LSB 0-0-0
MSB 0-40H-7Ftt (NOTE 5)
1. NOTE NUMBER (Okkkkkkk) =36-96.
2. PITCH MODULATION range has 5 bits resolution (OvwwOO)
3. VCF MODULATION range has 5 bits resolution (OwvwOO)
4. PROGRAM NUMBER (Oppppppp) correspond to DISPLAY NUMBER on the PANEL which will be the
following:
DISPLAY NUMBER
#11
#12
PROGRAM NUMBER
^
^ 1
#87-
#86-
-♦62
^-63
5. PITCH BENDER range has 7 bits resolution (Obbbbbbb) only by MSB.
3
2. SYSTEM EXCLUSIVE MESSAGE
©DEVICE ID
BYTE
MM
DESCRIPTION
EXCLUSIVE
10 10
KORG ID 42H
M
FORMAT ID 30H
10
DW-6000 ID 04H
1 II 1 M 1
EOX
-N
IJfTtlisi 6. If receive DEVICE ID REQUEST DEVICE ID message will be sent.
42
MIDI IMPLEMENTATION
©WRITE COMPLETED
BYTE
DESCRIPTION
MM
EXCLUSIVE
10 10
KORG ID 42H
M
FORMAT ID 30H
10
DW-6000 ID 04H
G 1 1
WRITE COMPLETED 21 H
Ml! 1 II
EOX
l^ltlilfi 7. If receive WRITE REQUEST and program write complete, WRITE COMPLETED message will be sent.
^WRITE ERROR
' BYTE ,', ■
, DESCRIPTION
\ \ \ \
10 10
M
10
10 10
MM 1 M
EXCLUSIVE
KORG ID 42H
FORMAT ID 30H ■■
DW-6000 ID 04H
WRITE ERROR 22H
EOX
;Oi=l 8. If received WRITE REQUEST and program v^rite incomplete (when WRITE DISABLE is chosen on the
rear panel ), WRITE ERROR will be sent.
^^DATE SAVE (DATA DUMP)
BYTE DESCRIPTION
■•■ ' ' 1 -• ;:' iK.' '-:i. -f^r """r ', '; = ^
MM
EXCLUSIVE
10 10
KORG ID 42H
11
FORMAT ID 30H
10
DW-6000 ID 04H
10
DATA DUMP 40H
Ovvv vvvv
DATA 26bytes (SEE DW-6000 BIT MAP)
Ovvv vvvv
1 II 1 M 1
EOX
iL^Mia 9. If receive DATA SAVE REQUEST, DATA SAVE (DATA DUMP) vwill be sent.
43
MIDI IMPLEMENTATION
RECOGNIZED RECEIVE DATA
'i
I.CHANNEL MESSAGE
STATUS
SECOND
TMfRD
DESCRIPTION
10 n n n n
k k k
k k k k
X X X
X X X X
NOTE OFF (NOTE 1 1)
velocity will be ignored.
10 1 n n n n
k k k
k k k k
V V V
V V V V
NOTE ON (Ovvvvvvv>0)(NOTE 11)
velocity will be ignored.
k k k
k k k k
NOTE OFF (NOTE 1 1)
1 1 1 n n n n
1
V V V
V V X X
OSC MODULATION (NOTE 12)
10
V V V
V V X X
VCF MODULATION (NOTE 13)
II 1
V V V
V V V V
VOLUME (NOTE 14)
i
DAMPER PEDAL OFF
10
1 1 1
1 1 1 1
DAMPER PEDAL ON -^
10
1
PORTAMENTO OFF
1 D
1
111
MM
PORTAMENTO ON
1 1 1 n n n n
111
1 1 1
ALL NOTES OFF
DIM
110
OMNI OFF (ALL NOTES OFF)
111
1 1 1
OMNI ON (ALL NOTES OFF)
111
1 1 1
X X X
X X X X
(ALL NOTES OFF)
I 1 1
1 1 1 1
(ALL NOTES OFF) -
110 n n n n
p p p
p p p p
PROGRAM CHANGE (NOTE 15)
1 1 1 n n n n
X X X
X X X X
b b b
b b b b
PITCH BEND
LSB will be ignored.
MSB will be recognized. (NOTE 16)
10. nnnn: 0-15. When the mode is OMNI ON, all the data will be received. When the mode is OMNI OFF,
only data of the channel designated by Parameter #81 will be received. As to MODE MESSAGE,
however, designated channel data only will be received even if the mode Is OMNI ON.
11. NOTE NUMBER (Okkkkkkk) = 24-108. If the data except above range were received, the data will be
transposed to the same note on the nearest octave.
12. PITCH MODULATION range has 5 bits resolutions (Ovwwxx) bit - bit 1 will be ignored.
13. VCF MODULATION range has 5 bits resolution (Ovwwxx) bit - bit 1 will be ignored.
14. VOLUME range has 7 bits resolution (Ovwww). p^ |_,;
15. PROGRAM NUMBER {Oppppppp} = 0-63. If the data is larger than 63, it will be recognized as a
number which is taken 64 from it
16. PITCH BENDER range has 7 bits resolution (Obbbbbbb) only by MSB.
44
MIDI IIVIPLEMENTATION
'SYSTEM EXCLUSIVE MESSAGE
IDEVICE ID REQUEST
BYTE ^
PESCRIPTiON
I I I I
10
10
1 I I I
G
10
I I 1
EXCLUSIVE
KORG ID 42H
FORMAT ID 40H
EOX
©WRITE REQUEST
BYTE
DESCRIPTION
I I I I
jO I
COM
1
p p p
1 I I I
10
10
1
p p p p
I I I
EXCLUSIVE
KORG ID 42H
FORMAT ID 30H
DW-6Q00 ID 04H
WRITE REQUEST I I H
PROGRAM NUMBER ppppppp = 0-63
EOX
©DATA SAVE REQUEST
BYTE .
DESCRIPTiON
I I I
10
11
'o I
1 I I I
10
10
oil!
EXCLUSIVE
KORG ID 42H
FORMAT ID 30H
DW-6000 ID 04H
DATA SAVE REQUEST I OH
EOX
45
MIDI IMPLEMENTATION
O
©DATA LOAD (DATA DUMP)
BYTE-
!m,.i. , ■ ' ■ ., ■ J ....
DESCRIPTION
1 1 1 1
EXCLUSIVE
10 10
KORG ID 42H
11
FORMAT ID 30H
10
DW-6000 ID 04H
10
DATA DUMP 40H
Ovvv vvvv
DATA 25bytes (See DW-
6000 BIT MAP)
Ovvv vvvv
Ml! 1 1 1
EOX
@ PARAMETER CHANGE
BYTE
n
Mil
10
M
10
Ovvv
Ovvv
Mil
10
10
0!
vvvv
vvvv
Oil!
DESCRIPTION
EXCLUSIVE
KORG ID 42H
FORMAT ID 30H
DW-6000 ID 04H
PARAMETER CHANGE 41 H
PARAMETER OFFSET (See DW-6000 BIT MAP)
PARAMETER VALUE (See DW-6000 BIT MAP)
EOX
o
^_
46
DATA DUMP REFERENCE
DW-6000 BIT MAP
PARAMETER
OFFSET
PARAMETER- vKlUE ''^'^i'^
f* \3i ■ ^ ■; be ■ .. bg ■ .^4 ■ ■■ , fe. '^ ■ 62 b
1 ' bo
ASSIGN MODE BEND DSC
1
PORTAMENTO TIME
2
OSCI LEVEL
3
0SC2 LEVEL
4
NOISE LEVEL
5
CUTOFF
L 6
RESONANCE
7
VCF EG INT
8
VCF EG ATTACK
9
VCF EG DECAY
10
VCF EG BREAK P.
1 1
VCF EG SLOPE
12
VCF EG SUSTAIN
13
VCF EG RELEASE
14
VCA EG ATTACK
(5
VCA EG DECAY
16
VCA EG BREAK P.
^■i 17
VCA EG SLOPE
18
BEND
VCF
VCA EG SUSTAIN
19
OSCI OCT
VCA EG RELEASE
20
0SC2 OCT
MG FREQ
21
KBD TRACK
MG DELAY
22
POU\RITY
MG OSC
23
CHORUS
MG VCF
24
OSCI WF
0SC2 WF
25
0SC2 INTERVAL
0SC2 DETUNE
f^
47
DA1A DUMP REFERENCE
iDW-6000 BIT MAP AND CORRESPONDING PARAMETER
VALUES
PARAMETER NAME
PARAMETER
OFFSET
BIT CORRESPONDING PANEL DISPLAY
ASSIGN MODE
bs-b.
00 = POLY1 0l=POLY2 IO = UNISON ll=INH!BIT
PARAMETER NAME
P™^^"^^*^ BIT CORRESPONDING PANEL VALUE
PARAR8ETER
NUMBER •
BEND OSC
Q
bj-bo
0000-1100 = 0-12 I10l~l 1 1 1 =!NHIBIT
71
PORTAMENTO TIME
1
bj — bo
00000- 1 1 1 1 1 =0-31
73
OSCI LEVEL
2
bj — bo
00000-1 1 1 1 l=0~3l
13
0SC2 LEVEL
3
b^-bo
00000- 1 1 1 1 1=0-3
23
NOISE LEVEL
4
b4-ba
00000-1 1 1 1 i=0-3
26
CUTOFF
5
bs — bo
000000-1 1 1 1 1 1=0-63
31
RESONANCE
6
bfl-bo
00000-111 11-0-3
32
VCF EG INT
7
b4-bo
00000-1 [ 1 1 1=0-31
35
VCF EG ATTACK
8
b4~ bo
00000- 1 1 1 1 1=0-31
41
VCF EG DECAY
9
b4^ bo
00000-1 1 1 1 1=0-31
42
VCF EG BREAK P.
10
b4-bo
00000-1 1 1 1 l=-0-3l
43
VCF EG SLOPE
1 1
b4-bo
00000-1 1 II 1=0-31
44
VCF EG SUSTAIN
12
b4-bo
00000-1 1 1 1 1=0-31
45
VCF EG RELEASE
13
b4-bo
00000-1 1 1 1 1=0-31
46
VGA EG ATTACK
4
b4-bo
00000- 1 1 1 1 1=0-31
51
VGA EG DECAY
5
b4-bo
00000-1 1 1 1 1=0-31
52
VGA EG BREAK P.
6
b4~ bo
00000-1 1 1 1 1=0-31
53
VCA EG SLOPE
7
b4-bo
00000-111 11=0-3
54
BEND VCF
8
bs
= (OFF) l = l(0N)
72
VCA EG SUSTAIN
8
b4-bo
00000- 1 1 1 1 1=0-31
55'^ V
OSCI OCT
9
b6-b5
00= IB 01=8 10 = 4 i 1 =1NHIBIT
1 1
VCA EG RELEASE
9
b4-bo
00000-1 IN 1-0-31
56
0SC2 OCT
20
bs-bs
00= 15 01 =8 10 = 4 11 =INHIBIT
2!
MG FREQ
20
b4-bo
00000- 1 1 1 1 1=0-31
6f
KBD TRACK
21
be" bs
00 = 0(OFF) OI=l(HALF) I0 = 2(FULL) II=INHIB!T
33
MG DELAY
21
b4-bo
00000-1 1 1 1 1=0-31
62
EG POLARITY
22
b.
0=l(Ar^) l=2(\M)
34
MG OSC
22
b4~bo
00000-11111=0-31
63
CHORUS
23
b.
= 0(OFF) I = I(0N)
36
MG VCF
23
b4~bo
00000-1 1 1 1 1=0-3
64
OSCI WF
24
b5-b3
000-1 11=1-8
2
0SC2 WF
24
bz — bo
000-111 = 1-8
22 ^.
0SC2 INTERVAL
25
bs-bs
000=1 00l = -3 010 = 3 011=4 100 = 5 lOI-l 11 = INHIBIT
24
0SC2 DETUNE
25
b; — bo
000-1 10 = 0-6 1 1 l = INHIBIT
25
48
DA1A DUMP REFERENCE
IINTERFACE WITH PERSONAL COMPUTER
When using a computer for DW-6000 control and communications, a system exclusive message and the following data types are
employed.
DEVICE ID
WRITE COMPLETED
WRITE ERROR
: Identifies tiie equipment. Sent upon
receiving a DEVICE ID REQUEST.
: Sent in response to a WRITE REQUEST,
this indicates that the PROGRAM WRITE
task has been successfully completed.
: Sent in response to a WRITE REQUEST,
this means that the synth is set to the
WRITE DISABLE mode so PROGRAM
WRITE task cannot be completed.
DATA SAVE (DATA DUMP): In response to a DATA SAVE REQUEST,
this sends the data for the sound
^ — s^ presently being produced.
The above examples require that the DW-6000 and com-
puter interface be connected via their respective MIDI IN
and MIDI OUT Jacks as shown here.
Rte^iKS;;
DEVICE ID REQUEST : A request for the equipment's MIDI iden-
tification number.
WRITE REQUEST : A request for the DW-6000 to write data
for the present sound to program
memory.
DATA SAVE REQUEST : A request for the DW-6000 to send data
for the present sound.
PARAMETER CHANGE : Used to change parameters of the cur-
rent sound.
CompulGr
I
niiT
Interface
IM
^
MiDi DW-6000
■■OUT .
*
The above data types are used for communication in the
following ways.
O To find the ID number for equipment connected to
ttie computer.
DEVICE ID REQUEST
„ . Sending
Corr,puter p^^^.^.^g
PW-60OO
Receiving
Sending
DEVICE ID
@To edit sound data within the DW-6000.
PROGRAM DATA SAVE
CHANGE REQUEST
Or-Co;rt;uter' Sending
>• :.. ^ Receivm
PARAMETER
CHANGE
DW-6000
Receiving
Sending
DATA SAVE
Note: PROGRAM CHANGE is not a SYSTEM EXCLUSIVE message.
®To edit data already available in the computer.
WRITE COMPLETED
OR
WRITE ERROR
Computer |^"^.'^.9
•^ Receiving
DATA LOAD
PARAMETER WRITE
CHANGE REQUEST
DW-6000
Receiving
Sending
WRITE COMPLETED
OR
WRITE ERROR
49
■^
DA1A DUMP REFERENCE
O To load all 64 sound programs from the computer to the
DW-6000.
Computer
Sending
Receiving
PROGRAM DATA SAVE
CHANGE REQUEST
DW-8t)00
Sending .
Receiving -
Repeated 64 times.
lli^l
DATA SAVE
0To save all 64 sound programs from the DW-6000 to
the computer.
~)
Computer
DW-6000
Sending
Receiving —1
Sending
Receiving
WRITE
DATA LOAD REQUEST
Repeated 64 tinnes.
WRITE COMPLETED
OR
WRITE ERROR
^1
o
50
KORG Distributors List-
N
Avinguda Meriixell, 25, ANDORRA lA VELU\
(Prinoipatd'Andorra)
Phone: Z0132.?2115
AUSTRALIA
Billy Hyde Music Pty., LW.
P.O. Box 472, 7 Union Street. South Melboumi
Victoria 3205
Phone: (03) 690 6022
AUSTRJA
Weiss & Kadlec
TrlesierStrasse261, 1232 Wien
Phone: 0222/674539
BAHRAIN
Marshall Boutique
P.O. Box Ho 925. Government Road
Phone: 251 SB4
BARBADOS
A & B Music Supplies Ltd.
Handle/ House, Prince Alfred St., Bridgetown
Phone, (809) 427-5384/429-5217
BELGIUM
Coninx Music import
Grote Markt 5. 3600 Qenk
Phone: (011)357736
BERMUDA
Riihiluoma'sThe Music Markers
Queen St. Black Stone 1617 Hamilton
Phone: {809-29) 5OS90
BRASIL
F. Purwin
Caijia Postal P.O. Box 14.475
22412 Hiode Janeiro
Phone: (021)267-1939
CANADA
Erikson (A IDivision of Jam Industries Ud.)
37B Isabay Street. St-Laurent Qaetec. H4T
1W1
Phone: 514-738-3000
CANARY ISLANDS
Mus^canarias S.L.
Posl code 38004, Rambia de Pulido 60. Santa
Gru£ de Tenerite
Phone: 27 06 00
CHILE
Induslrias Muslcales Arriagada
MoneOa 720 Of 110 EP. Santjago
Piione, 331819
COSTA RICA
Almacen J,M. AcunaV.
Apanado 926. San Jose
CYPRUS
Leon's Music Stores
P.O. Box 1440, Limassoj
Phone: 051 -73 1 1 1 . 05 1 -66079
DENMARK
Hagstrom MUSIK EN GROS
Bresundsvej 148, DK-2300 Kebenhavn S
Phone: 01/554812
ECUADOR
Casa Musical Victor Freire
Aguirre No. 1.107 y Seis de UarzD Guayaouil
P.O. Box 8521
Phone: 522572
EGYPT
Abdailah George Youssef
P.O. Box 2904, El Horrieh, Heliopolls, Cairo
Phone 875618
EL SALVADOR
Almacenes Siman S.A. de C.v.
P.O. Box (06) SOO, San Salvador
Phone: 22-0555
ENGLAND
Rose Morris & Co., Ltd.
32-34, Gordon House Road, London NWS 1NE
Phone: 01-267 5151
FIJI ISLANDS
CiNEPHOTO ELECTRONICS v
Dev of South Sea Suvenirs
P.O. Box 268, Suva City
Phone: 315356
FINLAND
Kaukorjiarkkinal Oy
Kutojantie 4, SF-02630, ESPOO S3
Phone: 358-0-623711
FRANCE
Gaffarel Musique SA
12. Av.. Alsace-Lorraine, Z, i des Bethunes,
Salnt-0uen-l"Aum6ne, 95310 Cergy
Phone: 13) 037 28 65
FRENCH POLYNESIA
COMSCSENCE MUSIC SHOP
Rua Jeanne d'Arc, PC Box 1850, Papeete
Tahili
Plmne 2 85 63
PEDRON MUSIC HOUSE
B-P- 2725. Papeete Tahiti
Prone. 3 71 S9
GREECE
Bon Studio
6 Z5i~;Str , Athens 10683
=-:- = : 3633.572
HONG KONG
Tom Lee Piano Co., Ltd.
9 Cameron Lane, Kowloon
Phcne: 3-7221098
HUNGARY
KONSUMEX
Hungarian Foreign Trade Company
1441 Budapest, P.O. Box 58
Phone: 530-511
ICELAND
TonkvisI
Laufasvegi 17. 101 Reykjavik
Phone: 25336
ITALY
CGD Messaggerie Musicali spa
via Mf. Quintiliano, 40, 20138 Milano
Phone; 02/60841
ISRAEL
Sommerfeld Music Centre
8, Ben-Yehuda Road, Tel-AvIv
Phone: 286775
JORDAN
Sonatina For Trade & Art Production
PC. BOJ 3152, Jabal Amman, Amman
Phone: 44591
Twang filusic Center
PO, Box 35034, Amman
Phone: 44201
KOREA
White Tiger Enterprise Co.
ai-2 Vunhi-Dong, Sudaemoon-ku. Seoul
Phone: 322-5557
KUWAIT
Technicp Trading Co., Ltd.
P.O. Box 5032, KUWAIT, Arabian Gulf
Phone: 423917
LEBANON
Antoun's
Sadat St Ras Seirul
Phone: 803244
MALTA
Audio a Auto Sound
61 Vrllambrosa Street, Hamrun
Phone: 606457
MEXICO
Casa de Musica, S.A. de C.V.
Bolivar Mo, 75, cod Postal 06080 Mexico, DP
Phone: 512-73-37. 747-23-17
Casa Veerkamp, S.A.
Grandes Almacenes de Musica
Mesones 21 col. Centre de La Cuidad
Deieg Cuauhtemoc 06OBO Mexico D F
Phone, (91-5)585-33-i1
Casa Wagner de Guadalajara, S,A.
Corona 202. Guadaia ara, Jal
Phone: 13-14-14
NEW CALEDONIA
SOUNDS PACIFIC
29 Rue de L'Alma. Noumea
Phone: 27 23. 93
NEW ZEALAND
Custom Music Limited
PO. Box 4331, (16B ST MARKS RD,
t^eyiTMARKET) Auckland l
Phone: 600-272. 500-535
NORWAY
Hagslronn Musikk A/S
Nadderudvn 63. 1347 Hosie
Phone 248090
PANAMA
Compania Alfaro, S.A.
Apartado 200, Panama 1
Phone. 23 0292
PARAGUAY
Music HallSAIC
Paima 567, Asuncion
PHILIPPINES
Tretiel industries Inc.
261-267, J S, L Building Edsa, Mandaluyom
G.A. Vupangco 4 Co., Inc.
339 Suendia Av Extension Makati, Metro
fvlanila
Phone: 85-97-26
POLAND
Centrala Handlowa Przemyslu Muzycznego
ul. DIuga 5, 00-2B3 Warszawa
Phone: 31.15-73, 31-32-31
R.O.C
Hal Kuo Mtjsical trstrument Co., Ltd,
2nd Fl , No, 23, Sec. 1, Chung Hsiao-West
Road, Taipei, Taiwan
Phone: 02-314-3113
REP. OF SOUTH AFRICA
Hohner [South Africa) (PTY) LTD.
2nd Floor, Mayveen House, 160 President
Street, {cor. Nuggel Street) 2001 Johannesburg
Phone: 402-3726
SINGAPORE
City Music Co., Ptd., Ltd.
1 Sophia Road, « 02-1 2)13 Peace Centre,
Singapore 0922
Phone, 337 7058. 337 7545, 337 3549
Yamaha Mas\o (Asia) Pte., Ltd.
80 Tannery Lane. Singapore 1334
Phone: 747 4374
SPAIN
Letusa S.A.
Las Fraguas s/n, Apartado de Correos 1 25,
Alcorcon (Madrid)
Phone' 612 3376
SWEDEN
MUSITECH AB
Malmborgsgatan 4, S-21 1 38 Malmo
Phone: 040 706 25
SWITZERLAND
Musik-Meyer AG
Spitalslr. 74, 6952 Schileren
Phone: 01 730 55 05
SYRIA
Meka Music House
MQRDITCH KAZANJIAN
P.O. Box No. 340, Shouhada St Azizieh Alecpo
Phone: 20861
Sarkis Kalaydjian
102 Maternite St. (Meydan). Aleppo
Phone: 43357
THAILAND
Beh Ngiep Seng Ltd.. Part.
No 110 Nakorn Kasem Soi 1 Bangkok
Phone: 222-5281
THE NETHERLANDS
Milestone B.V.
Gildenweg 16. Zwi|ndreoht. P.O. Box 207
Phone: (07S) 10 0044
UAE.
Abdulla Sultan Al-Sharhan
PO Box 1675, Deira-Dubsi
Phone 221509
U^A
Jnlcord
89 Frost St.. Westbury, New York 1 1590
Phone: 516-333-91 DO
URUGUAY
Man/Pizzo Internacional
Casllla de Correo 6243, Montevideo
WEST GERMANY
Wustk-Meyer GmbH
Postlach 1729, 3550 Marburg/Lahn
Phone: O6421/B10S1
1
I
I
i
i
r
M
i
}. v**"'
^r%
^ ;
KEIO ELECTRONIC LABORATORY CORPORATION
15-12, Shimotakaido l-chome, Suginami-ku, Tokyo, Japan.
-%
©KEIO ELECTRONIC LABORATORY CtiRP 1935
6005 ETH PRINTED IN JrPAN
V
K
DW-6000
6 VOICE POLYPHON
C SYNTHESIZER MIDI IMPLEMENTATION CHART
Function
Transmitted
ENABtE: DISABLE
Recognized
ENABLE: DISABLE
Remarks
Basic Default
Channel Changed
X
Back up Last Number
-16
Defalt
Mode Messages
Altered
1
X
OMNI ON/OFF
ignored
Note
Number : True voice
36-96
D -127
24-108
If the data except these range were
received, the data wiil be transposed
to same note on the nearest octave.
Velocity Note ON
Note OFF
X 90 V =64 : X
X 80 V =64 : X
X : X
X : X
After Key's
Touch Channel
X : X
X : X
X : X
X : X
Pitch Bender
O : X
O : X
1
2
7
Control
64
65
Change
O : X
O : X
X : X
: X
O : X
O ■ X
O : X
O : X
O : X
O : X
Pitch Modulation
VCF Modulation
Volume
Damper Pedal
Portamento Switch
Program
Change : True #
O 0-63 : X
O - 1 27 : X
0-63
0=11, 7 = [8, 8 =21
56=81, 63 = 88
System Exclusive
O : X
O ■ X
System : Song Position
: Song Select
Common : Tune
X ; X
X r X
X : X
X ; X
X ; X
X : X
System : Clock
Real Time : Commands
X : X
X : X
X : X
X : X
Aux : Local ON/OFF
: All notes OFF
Messages : Active Sensing
: Reset
X
X
X
X
X
O 123-127
X
X
Mode messages
will be received
always.
.Notes
When "NOTE DATA" designated by Parameter #82, all the recognized message except
NOTE ON, NOTE OFF and Mode messages will be not received/transmitted.
DISABLE; "NOTE DATA" designated by Parameter #82.
ENABLE: "ALL" designated by Parameter #82. U
Mode 1: OMNI ON, POLY
Mode 2: OMNI ON, MONO
Mode 3: OMNI OFF, POLY
Mode 4: OMNI OF, MONO
O: Yes
X : No
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