Kaoss pad entrancer manual

If liquid gets into the equipment, it could cause a breakdown, fire, or electrical shock. If something does slip into the equipment, unplug the AC adaptor from the wall outlet.

Then contact your nearest Korg dealer or the store where the equipment was purchased. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation.

If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:.

Welcome to ManualMachine. We have sent a verification link to to complete your registration. Log In Sign Up. Forgot password? Enter your email address and check your inbox. Please check your email for further instructions. Enter a new password. Adjust the knob so that the peak indicator does not light red. HOLD switch When this switch is ON, the current state of the effect will be maintained even if you remove your finger from the touch panel.

Touch panel You can control the sound by using your finger to rub or tap strike lightly this panel. Affix the included protective label. By resampling, you can create a sample that combines multiple existing samples, or create a new sample from an existing sample processed by an effect.

You can resample to create both loop and one-shot samples. Remember that with resampling, the output of the KP3 is being recorded, so all of the effects created using the touch pad will be recorded as part of the sample data. From here, follow the same instructions for loop and one shot sampling in the previous section. Use the following procedure to access any of the Function settings and to edit their various parameters.

Repeat steps 2—5 to edit additional parameters. You can use the included editor software to edit this text string. Scrl: Specifies the speed at which the text will scroll. NOTE You can't change the speed of the illumination display. The effects will not function in this mode. For the touch pad, you. If the card was formatted on a different device, it may not work correctly with the KP3. It must be purchased separately. Power-off the KP3 and wait for the card to cool before removing it.

Do not bend them, drop them, or subject them to physical shock. If the contacts should become soiled, gently wipe them off using a dry cloth. SD cards have a write protect switch that prevents the data from being overwritten. If you need to save edited data on the card, move the switch back to its original unprotected setting.

Write protect switch. Insert the card, making sure that it is oriented correctly. The gold contacts should be facing down, and the angled corner to your right.

The card may not work if it was formatted on another device. NOTE The entire contents of the card will be lost when you format it. You must use the KP3 to perform the formatting operation. You can save sample data, program memory, global settings, or all settings to the card. When saving is complete, the display will indi-. Never turn off the power or remove the SD card while saving or formatting.

Doing so may render the SD card unusable. If both. You can resample a loop sample and capture it as a one-shot sample by stopping the recording before it stops automatically. Then you can save the one-shot loop as a KP3 sample and always use it as a one-shot. MIDI stands for Musical Instrument Digital Interface, and is a world-wide standard for exchanging a variety of performancerelated information between electronic musical instruments and computers. By playing back the recorded MIDI messages you can reproduce your touch pad operations.

The currently-speci- fied MIDI channel is shown. If you select a control number that has already been assigned to another controller, the decimal point will light. If you assign this value, the corresponding controller will transmit and receive the same control change messages as the other controller. E transmission and reception. Choose either diS disable or EnA enable.

For the Clock setting, choose Int, Ext, Auto. NOTE If you turn off the power without saving your settings, they will revert to the previous state. The KP3 is equipped with a USB connector, and by connecting it directly to your computer you can transfer sample data and settings files saved on the card into your computer for backup.

NOTE Before you continue, power-on your computer and start up the operating system. Make sure that the connector is oriented correctly, and insert it as far as it will go. The drive name of the card in the card slot will appear on your computer. Doing so may damage the data. Copy the desired data onto your computer. You can also copy data from your computer onto the card. While this screen is shown, you must not disconnect the USB cable, remove the card from the slot, or switch the power of your computer on or off.

The following files and folders will be created in the root directory of the card. If the data has a bit depth other than 16 it will be truncated to bit data starting from the most significant bits, and if the bit depth is less the data will be packed with zeros.

Place the files in the root directory of the card. If you want the pitch to be correct, use the included PC editor software to convert your audio file into KP3 format. If the actual data is shorter than this, the missing region will be handled as silence. You must read this license agreement before you install the software. Your installation of the software will be taken as indicating your acceptance of this license agreement.

An Intel CPU is recommended. As mentioned earlier, you can use the same Sample memories to sample up to six seconds of motion video in both memories, and re-effect and manipulate them with the X-Y pad if desired. If you sample two different 'micro-movies' into these sample memory locations, you can use them to build interesting visual rhythms in an interactive way, and you can sample both audio and video, which is great for combined DJ and VJ work. Whether you use the Sample memories for stills or motion video, they are very 'temporary' and meant to be used as part of a live performance.

Once you switch the unit off, the samples are lost. The Korg Krossfour is a very useful stand-alone four-channel vision mixer. Its solid aluminium construction, colour and size indicate that it's been designed to complement the Kaoss Pad Entrancer, but it is equally usable in its own right. The idea is that you allocate each of the four sources to fader positions labelled A and B.

For example, you could have a DVD player connected to Input 1 and routed to position A, and a live video camera plugged into Input 2 and routed to position B.

By moving the KF4's main fader between A and B you can visually crossfade from one source to another, or position the Fader mid-way and blend the two images together. There are four different fader curves associated with the transition from fader position A to B selected via a switch on the front of the Krossfour , and these range from the normal smooth crossfade to faster curves which result in a more instant fade from one image to another.

It's important to mention that all of the Input selection buttons have two functions. Pressing a button once selects the input to be assigned to A or B, but pressing the button twice causes that input to ignore the source and set itself to one of four Modes, either Black, White, Chroma-key or Luminance-key, as determined by a switch on the front edge of the unit.

The Mode function is very useful in a live performance context, as you can instantly 'kill' a video image by making the screen black or white. Alternatively, you can assign any Input to the fader position which is not currently live and fade across to it for example when fading to black at the end of a performance. The Chroma and Luminance Key features are great for superimposing one image onto another, allowing you to mix one image into either the chroma or luminance part of the video signal of another image.

There's even a small adjustment knob to allow you to fine-tune the extent of the superimposition. It's not really going to give you broadcast-quality back-projection type superimposition, but it's still very usable for effecting the overall image, and a worthy inclusion.

The last button to mention around the Input select buttons is marked Hold. As the name suggests, pressing this button will freeze the current image. Finally, a set of buttons along the top of the unit allows you to select any of the four input sources or the currently live output for viewing on an optional external monitor. This feature is very useful for cueing up a source before you bring it into the vision mix.

Thankfully, all of the buttons and the A-B fader are backlit, which is exactly what you want when you're fumbling around in a live venue in the dark! My only reservation about the KF4 is the same one I have for the KPE1 — the power cable and connector are so flimsy for a unit otherwise so well designed for live use.

In a nutshell, the Krossfour is a simple little unit that does its job perfectly well. Inputs 2, 3, and 4 accept only composite video via phono, and input 4 is on the front of the unit.

Monitor output : One on the front edge of the KF4, on phono jack only as a composite video signal. Switches : Fader Curve four crossfade types , Mode offering instant black or white backgrounds, and Chroma-key and Luminance-key image-superimposition effects , plus a Fine control knob for adjusting the 'Keying' level. The overall construction of the KPE1 is very solid and sports connectors on both the rear and front edges sensibly, the included headphones socket and associated volume control are located at the front.

This is fair enough, though, as the chances are that you'll be plugging in the outputs from a VHS, DVD or a video camera as well as standard stereo audio. Video Input 1 provides a video and audio input whereas Input 2 only provides video.

Only one of these inputs can be in use at any point in time, so a switch on the front edge of the KPE1 allows you to select between the two.

If you want to choose between more than two sources, this is where the separate Krossfour vision mixer would be useful; there's more on this in the box on using the KPE1 live below.

Finally, if I have a moan about any of the connectors on this unit it must be the power adaptor socket. In this day and age, we all seem to have to live with the 'wall-wart' adaptor; an understandable but often hated short cut which allows manufacturers to make the same basic unit for use worldwide and then make separate external power supplies with the correct voltage for different territories. However, in a live context, where a unit such as the KPE1 is being handled all the time, and is certainly subject to lots of vibration, the simple push-in power adaptor plug is a poor choice.

Whilst I realise it would be impractical to manufacture the unit with a fixed power lead, the use of a better 'screw-on'-type chassis socket and line plug would have put me at ease. You can think of the KPE1 as a kind of 'video synthesizer'. This website uses cookies to improve your experience while you navigate through the website. Out of these cookies, the cookies that are categorized as necessary are stored on your browser as they are as essential for the working of basic functionalities of the website.

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