Naja, "tone adjust" (unabhängiges Editieren und Speichern von Sounds im Combi-Modus ohne Überschreiben der zugrundeliegenden Programme) ist nicht gerade mickrig ausgefallen.
Ein User im Korg Forum hat mal ne hilfreiche Übersicht über die Möglichkeiten erstellt:
Zitat:
"based on pages 20 and 21 in the parameter guide...
you can select from a whole list of parameters....
I wanted so bad to list them all, but the list was junky looking....
oh what the heck.
THESE ARE THE COMMON PARAMETERS
Common Tone Adjust Parameters
These parameters affect both Oscillators 1 and 2. Unless otherwise noted, all of the Common Tone Adjust
parameters are Relative. Note: At the right of each parameter, the (value range and
CC#) are shown in parentheses. Off. This means that the Tone Adjust control has no effect.
Filter Cutoff. (-99...+99, CC#74)
This scales the cutoff frequency of all of the filters at once. It affects both Filters A and B.
Filter Resonance. (-99...+99, CC#71) This scales the resonance of all of the filters at once. It affects both Filters A and B.
Filter EG Intensity. (-99...+99, CC#79) This scales the effect of the Filter EG on the cutoff frequency. It affects both Filters A and B at once
-99 means no modulation. +99 means maximum modulation in the same direction, positive or negative, as the original Program. For instance, if the original Program's EG Intensity was set to -25, then setting the Tone Adjust to +99 moves the EG Intensity to -99.
Amp Velocity Intensity. (-99...+99) This scales the effect of velocity on the Amp level.
-99 removes the velocity modulation entirely. +99 means maximum modulation in the same direction, positive or negative, as the original Program.
F/A EG Attack Time. (-99...+99, CC#73) This scales the attack times of the Filter and Amp EGs, along with other related parameters.
When the value is +1 or more, this also affects the Amp EG's Start and Attack Levels, Start Level AMS, and Attack Time AMS, as described below:
Between values of +1 and +25, the Start Level, Start Level AMS, and Attack Time AMS will change from their programmed values to 0. Over the same range, the Attack Level will change from its programmed value to 99.
F/A EG Decay Time. (-99...+99, CC#75) This scales the decay and slope times of the Filter and Amp EGs. It interacts with CC# 75.
F/A EG Sustain Level. (-99...+99, CC#70) This scales the sustain levels of the Filter and Amp EGs.
F/A EG Release Time. (-99...+99, CC#72) This scales the release times of the Filter and Amp EGs.
Filter EG Attack Time. (-99...+99) This scales the attack times of the Filter EGs.
Filter EG Decay Time. (-99...+99) This scales the decay and slope times of the Filter EGs.
Filter EG Sustain Level. (-99...+99) This scales the sustain levels of the Filter EGs.
Filter EG Release Time. (-99...+99) This scales the release times of the Filter EGs.
Amp EG Attack Time. (-99...+99) This scales the attack times of the Amp EGs.
Amp EG Decay Time. (-99...+99) This scales the decay and slope times of the Amp EGs.
Amp EG Sustain Level. (-99...+99) This scales the sustain levels of the Amp EGs.
Amp EG Release Time. (-99...+99) This scales the release times of the Amp EGs.
Pitch EG Attack Time. (-99...+99) This scales the attack times of the Pitch EG (or EGs, in the case of some RADIAS instruments).
Pitch EG Decay Time. (-99...+99) This scales the decay and slope times of the Pitch EG (or EGs, in the case of some RADIAS instruments).
Pitch EG Sustain Level (N/A). (-99...+99) This scales the sustain levels of the Pitch EG (or EGs, in the case of some RADIAS instruments). (This does nothing for EDS programs.)
Pitch EG Release Time. (-99...+99) This scales the release times of the Pitch EG (or EGs, in the case of some RADIAS instruments).
Pitch LFO1 Intensity. (-99...+99, CC#77) This scales the effect of LFO1 on the Pitch.
-99 removes the LFO modulation entirely. +99 means maximum modulation in the same direction, positive or negative, as the original Program.
LFO1 Speed. (-99...+99, CC#76) This scales LFO1's frequency. When the LFO is in MIDI/ Tempo mode, this adjusts the Base Note. For more information, please see "Freq (Frequency)"; on page 66.
LFO1 Fade. (-99...+99) This scales LFO1's fade-in time. For more information, please see "Fade"; on page 67.
LFO1 Delay. (-99...+99, CC# 78 ) This scales LFO1's delay time - the time between note-on and the onset of the LFO. For more information, please see "Delay"; on page 67.
This parameter interacts with CC# 78.
LFO1 Stop. (PROG/Off/On, Absolute) This Absolute parameter controls whether LFO1 is stopped or running. For more information, please see "Stop"; on page 66.
The PROG setting restores the Program's original values. For example if you set this to PROG when the oscillator 1 LFO is stopped and oscillator 2 is not stopped, the setting of the parameter will be used.
LFO2 Speed. (-99...+99) This scales LFO2's frequency. When the LFO is in MIDI/ Tempo mode, this adjusts the Base Note. For more information, please see "Freq (Frequency)"; on page 66.
LFO2 Fade. (-99...+99) This scales LFO2's fade-in time. For more information, please see "Fade"; on page 67.
LFO2 Delay. (-99...+99) This scales LFO2's delay time - the time between note-on and the onset of the LFO. For more information, please see "Delay"; on page 67.
LFO2 Stop. (PROG/Off/On, Absolute) This Absolute parameter controls whether LFO2 is stopped or running. For more information, please see "Stop"; on page 66.
Common LFO Speed. (-99...+99) This scales the Common LFO's frequency. When the LFO is in MIDI/Tempo mode, this adjusts the Base Note.
Unison. (Off/On, Absolute) This Absolute parameter turns Unison on and off. For more information, please see "Unison"; on page 26.
Number Of Voices. (2...6, Absolute) This Absolute parameter sets the number of Unison voices. If Unison is not On, this parameter has no effect. For more information, please see "Number of Voices"; on page 26.
Detune. (00...99, Absolute) This Absolute parameter sets amount of detuning between the Unison voices. If Unison is not On, this parameter has no effect. For more information, please see "Detune"; on page 26.
Thickness. (Off/01...09, Absolute) This Absolute parameter sets the pattern of detuning between the Unison voices. If Unison is not On, or if Detune is set to 0, this parameter has no effect. For more information, please see "Thickness"; on page 26.
THESE ARE THE MACRO PARAMETERS
Pitch Stretch. (-12...+12, Relative) This special control increases the Oscillator Tune parameter while lowering the Transpose parameter. The result is that the pitch stays the same, but the mapping of the samples to the keys changes. You can use this to create interesting shifts in timbre.
Hold. (Off/On, Absolute) This lets you turn Hold on and off. For more information, please see "Hold"; on page 27.
Reverse. (PROG/Off/On, Absolute) This provides a quick way to turn Reverse on or off for all Multisamples in both Oscillators. PROG restores the Program's original settings.
THESE ARE THE PER-OSCILLATOR PARAMETERS
Tune. (-1200...+1200, Relative) This Relative parameter adds to or subtracts from the Oscillator's Tune setting, as described under "Tune"; on page 39.
Transpose. (-60...+60, Relative) This Relative parameter adds to or subtracts from the Oscillator's Transpose setting, as described under "Transpose"; on page 39.
Note: as with Transpose, below, this is a simple addition or subtraction, as opposed to the more complex "scaling"; function.
MS/DKit Select. (PROG/0...1027, Absolute) In Single or Double Programs, this lets you select a new Multisample for the Oscillator. In Drum Programs, it lets you select a different Drum Kit.
In general, it's best to use this in conjunction with the MS Type and MS/DKit Bank parameters, as described below.
PROG restores the Program's original Multisamples (or the Drum Kit, for a Drum Program), including all velocity ranges and Rev (Reverse) and Ofs (Start Offset) settings.
The list of Multisamples, or Drum Kits can be quite long. The sliders will let you sweep through the entire range, but it may not be possible to select all of the intermediate values. You can always select any individual item by using select the on-screen parameter and use the standard data entry controls, such as the Inc q and Dec u switches.
You can also limit the range of the control by using the Min # and Max # parameters, described below.
For Single and Double Programs:
MS/DKit Select overrides all of the Multisample Velocity zones, so that the newly selected Multisample plays over the entire velocity range.
By default, you can select from the same Bank as the original Program's MS1.
You can use the MS/DKit Bank parameter, described below, to change these defaults as desired.
For Multisamples only:
You can use the Tone Adjust Rev (Reverse) and Ofs (Start Offset) parameters to modify the newly selected Multisample. By default, the Rev (Reverse) is set to Off, and its Ofs (Start Offset) is set to 0.
For Drum Programs:
By default, you can select from the same Bank as the original Program's DrumKit. You can use the MS Bank parameter, described below, to select a different Bank.
MS Bank. (ROM Mono..., Meta) This Meta-parameter modifies the MS/Dkit Select parameter, so that you can select Multisamples from any Bank you like.
MS/DKit Min #. (0...1027, Meta) This Meta-parameter sets a minimum value for the MS/Dkit Select parameter. You can use this in conjunction with the
MS/DKit Max # parameter, below, so that slider selects only from a small set of choices. This is particularly convenient with the internal ROM, in which similar Multisamples are grouped together. For instance, this makes it easy to select between a group of bells, or a set of electric basses.
MS/DKit Max #. (0...1027, Meta) This Meta-parameter sets a maximum value for the MS/ Dkit Select parameter. Please see MS/DKit Min #, above, for more information.
Start Offset. (0...8, Absolute) This allows you to change the Start Offset of the Multisample specified by the MS Select parameter. It applies only when:
The Program is a Single or Double (not a Drum Kit)
For more information, please see "Ofs (Start Offset)"; on page 38.
Drive. (0...99, Absolute) This controls the Oscillator's Drive parameter, as described under "Drive"; on page 58.
Low Boost. (0...99, Absolute) This controls the Oscillator's Low Boost parameter, as described under "Low Boost"; on page 58.
Pitch Slope. (-1.0...2.0, Absolute) This controls the Oscillator's Pitch Slope parameter, as described under "Pitch Slope"; on page 40.
LFO 1 Waveform. (Triangle...Rad6, Absolute) This selects the waveform for the Oscillator's LFO 1, as described under "Waveform"; on page 66.
LFO 2 Waveform. (Triangle...Rnd6, Absolute) This selects the waveform for the Oscillator's LFO 2, as described under "Waveform"; on page 66.
Amp LFO 1 Intensity. (-99...+99, Absolute) This controls the depth and direction of Amp modulation from LFO1, as described under "Intensity (LFO1)"; on page 61.
Amp LFO 2 Intensity. (-99...+99, Absolute) This controls the depth and direction of Amp modulation from LFO2, as described under "Intensity (LFO1)"; on page 61.
Filter LFO 1 Intensity to A. (-99...+99, Absolute) This controls the depth and direction of Filter A cutoff modulation from LFO1, as described under "Intensity to A"; on page 53.
Filter LFO 1 Intensity to B. (-99...+99, Absolute) This controls the depth and direction of Filter B cutoff modulation from LFO1, as described under "Intensity to B"; on page 53.
Filter LFO 2 Intensity to A. (-99...+99, Absolute) This controls the depth and direction of Filter A cutoff modulation from LFO2, as described under "Intensity to A"; on page 53.
Filter LFO 2 Intensity to B. (-99...+99, Absolute) This controls the depth and direction of Filter B cutoff modulation from LFO2, as described under "Intensity to B"; on page 53.
Pitch LFO 1 AMS Intensity. (-12.00...+12.00, Absolute) You can use an AMS source, such as aftertouch, to modulate the depth of pitch modulation (vibrato) from LFO1. This controls the intensity of that AMS modulation. For more information, please see "Intensity"; on page 40.
Pitch LFO 2 AMS Intensity. (-12.00...+12.00, Absolute) This is similar to
Pitch LFO 1 AMS Intensity, above."
Lustig zu sehen ist, wie viele Beiträge schon vorher waren 
