KORG Digital Piano Concert NC-300 - Manuel (Page 18)

18
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Adjusting the Volume Balance of the Layered Sounds
1. While holding down the SOUND button of the sound you wish to
make relatively softer, press the SOUND button of the other sound
(the one you want to make louder) several times in succession.
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Returning to the Single Mode
1. Press any one of the SOUND buttons.
The button lights up and the piano returns to single mode.
Using the Reverb and Chorus Effects
The piano offers two built-in effects: reverb and chorus . The reverb effect adds
reverberation and depth, emulating the acoustic ambience of a concert hall. The
chorus effect adds modulation that gives the sound a richer, fatter tone.
The effect settings are stored separately for each sound.
1. To add a reverb, press REVERB. To add a chorus effect, press CHORUS.
The corresponding buttons (REVERB and/or CHORUS) light up to
indicate that the effect is selected.
2. You can set each effect to any of three different depths: Light,
Standard, or Deep. To change the depth setting, hold down the
corresponding effect button (REVERB or CHORUS) and press the
appropriate SOUND button. Press E.PIANO 1 (LOW) to set the depth
to Light, PIANO 1 (MID) to set the depth to Standard, or PIANO 2
(HIGH) to set the depth to Deep.
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The above illustration shows how to set the reverb depth to High.
Standard
Light
Deep
SOUND Button Reverb Depth Chorus Depth
E.PIANO 1 (LOW) Light Light
PIANO 1 (MID) Standard Standard
PIANO 2 (HIGH) Deep Deep
3. To turn the reverb or chorus effect off, press the REVERB button or
CHORUS button.
The button goes dark to indicate that the effect is off.
The piano remembers the effect settings that you make in the Single mode.
When you enter Layered mode, the piano will use the most recent settings
from the Single mode. If you wish you may change the settings while
playing in Layered mode, but these changes will be lost and the prior
settings restored when you return to the Single mode.
Use of these effects reduces the maximum available polyphony. For
infomation, see “Maximum Polyphony” on page 48.