Home

Korg M3 Musical Instrument User Manual

1. eere eee eese entes eene essen sensns 7 VOICE ASSON MOSS a een dt ee 7 jr Selecting the waVvefOFFTi deepest ids ies a tintin anni remet inst 7 M Filter ROULING ERN vat mn ENAA A a dt rte 8 Filter A Filter B Filter settings mean AE ENORA AKOA e 8 Drive Wave Sha s pr e E 9 AMP EVE erepto Wer M eee crop EUN PP CEE S ID c na cM UR MR Op DNE 9 EG Envelope Generator 4 eere eese esee esses eese ense enses sens sense ense ense ense enses sense enseensesssesssessess 10 Envelop settings ceo Roe ite ei e te iret ree an everest tt qu anc oca Lo fees 10 EG Eevel Time Mod latiori etti ett t eee tr etie nem ri see 10 L OMWAVE OM SELS adeat opta ee AER ee een ete ndo e la se A LA ct E ee 11 MIDI T MPO bir eite ID EE 11 MIFIT AM TOD Virtual Patch s ttings sente ne i Retired eet age eet tn tse reb reete eo te RSS 11 Controlling Volume tenir Ree ERA AR en er BEEN Sn RSR RR IS SERI E An rt re tt sens 11 Controlling eroe 11 Controlling bili 11 Modulation Sequencers creer eese eese tenete eese onse enses sense ense sos esos sons esses senseenseensesssesssesssessees 12 SEQ COMMON dhahania a na H 12 Editing the steps sssini nine a o i eE S Eae eoe isa el SE E Sa Bie SEEE EN TERE EN 12 Table of contents Edi
2. 29 1 7 Pads 1 4 Setup 1 8 Pads 5 8 Setups issisisscoiscccesestessecedsosivccstestussnceconeessccaveoctsevaseecensenttsedeeess 29 PROGP2 OSC PIHECh nee ete sen S DUUM dE ua to rid a OO 2 1 OSC Basic P LEE HO E E Deere DM DM RT EMT MO ME IE V VEU eig m 32 2 Tc ITE S OESE AIA icu ie t bris a eio E EE ede EEA AA M Ma bl d Med ie 33 2 2 OSC1 Pitch RR 33 2 24 dra sinna 33 22b Portamehto tet ER ee ge eue RESISTE RNA e NH dr Eas ose ee a e ege ten tn rene 33 PROGP3 EIlt r scssdessiasdeisvadesanassesbansessdecsgusansdeliosvepsinsebatanssasdoasussdavesqncsnuianessidoscescueasion DA 3 1 Filter teo tio tette tied lotos sens eto e eoo eua vos ovvero doni Tues vadunt Lob nettes ingen o OP SETS DINNER PNE EE 34 3 Ta Filter Routing 7 eoa aee e Me MeL LEM e e DAI i UE vida la Mee A 34 Ba NO LEE OR DTE 34 3 1chiltet s EELE EE Re A nn Le A en Se Se Te Te titer metes oe eise este 35 4 1 Amp WaveShape Driver sssssssceeeeeeneneeseseesssessssesesesese 36 4 Ta Driver Wave Shape 5 4 iei riais ES OEE EEEa ESER ETATE TEA ASEE iE E 36 4 1b Amp Level PROG P5 EG LFO MSEQ em OO 5 1 EG1 Filter 5 2 EG2 Amp 5 3 EG3 ssessesssossscesocesosesoesocesosesoseccscocssosesocesoesosesosesosesosesssesse 38 5 1 2 3Ja Envelope 2 eroe eben ra rtr ENE ise regitur sn N ee eese Pues ede dy eo gei 88 38 S T09 B EG Level Time M
3. On checked The LFO frequency will synchronize to the specified tempo MIDI clock Use the Base Note parameter below to specify the LFO speed The Frequency setting is ignored Off unchecked The LFO speed will be determined by the Frequency setting and will not be affected by the tempo setting A If MIDI Tempo Sync is On setting a virtual patch modulation destination Dst to LFO1 LFO1 Freq will have no effect Base Note Sync Base Note 8 1 h Specifies the LFO frequency as a note value based on the tempo This is shown and can be edited if MIDI TempoSync is On Relative to the tempo the length of the note value specified here will be one cycle of the LFO For example if this is set to J each cycle of the LFO will occupy one quarter note 5 6 MSEQ1 5 7 MSEQ2 5 8 MSESQ3 Here you can make settings for the modulation sequencer Here you can Specify the number of steps the type and playback method for a modulation sequence Select the parameter that will be modulated and specify the value of each step PROG P5 EG LFO MSEQ MOD SEQ1 v 2 5 6 ESEQ Common re MC m MOD SEQ On Last Step 16 5 6a Sequence Type Forward Run Mode Loop Key Sync Each Note Resolution 4 BD M d a Destination Param 3 OSC2 Semitone Motion Smooth 5 6 7 8 a SEQ Common These parameters are common to SEQ1 SEQ2 and SEQ3 MOD SEQ On Modulation Sequencer On Off On
4. EE Sea Type gt Equal Temperament Key 9 C Bl udio In 0SC amp Yocoder Source BEBEEEEEEEEEEEER Audio Inputs Send to RADIAS Analog Input 1 2 AUX Bust Send to RADIAS o Off Voice Assign Mode 1 Set the Voice Assign Mode to Mono Voice Assign Mode specifies how the oscillators will produce sound With the Mono setting only one note will be heard even if you play a chord on the keyboard This setting is suitable if you re performing a synth bass synth lead or other solo instrument sound 2 Set Trigger Mode to Multi Trigger Mode specifies how the sound will be triggered With the Multi setting the sound is retriggered each time you play a note 3 Set Priority to Last With the Last setting priority will be given to sounding the last played note if you ve held down two or more keys simultaneously 4 Set Unison On checked Unison selects whether multiple voices will be sounded in unison when you play a single note Note If you want to produce a richer sound turn Unison on so that multiple voices will be stacked The Number of Voices specifies the number of voices that will be stacked 5 Use Number of Voices to specify the number of voices that you want to sound simultaneously 6 Use Detune cents to specify the amount of detuning pitch difference between the voices that are sounded simultaneously The number of simultaneously sounded voices
5. X Y control settings SW1 2 and slider function settings Pad note and velocity settings rs M3 PG p 138 P2 EQ Option EQ settings for each timbre r M3 PG p 147 Settings for the EXB RADIAS option 5 p 50 P3 Timbre Param Various parameter settings for each timbre MIDI channel OSC selection Pitch setting etc M3 PG p 149 P4 Zone Delay Key split and layer settings Key zone and velocity zone Time delay from note on to beginning of sound M3 PG p 153 P5 1 MIDI Filter 1 MIDI transmit receive filter 1 settings rs M3 PG p 157 P5 2 MIDI Filter 2 MIDI transmit receive filter 2 settings rs M3 PG p 160 KARMA P7 1 KARMA1 GE Overall KARMA settings M3 PG p 161 P7 2 KARMA2 Module Settings for each KARMA module M3 PG p 169 P7 3 KARMA3 GE RTP KARMA GE realtime parameter settings v M3 PG p 171 P7 4 KARMA4 Perf KARMA performance parameter settings M3 PG p 173 EFFECT P8 1 IFX Route1 1 5 Oscillator output bus and master effect send level settings Insert effect routing selection and settings M3 PG p 177 P8 2 IFX Route2 Bus settings for oscillator output Common FX LFO 1 2 settings M3 PG p 181 P9 MFX TFX Master effect routing selection and settings Total effect selection and settings r amp M3 PG p 183 COMBI PO Play In this page you can select and play combinatio
6. Control 2 will depend on the waveform and the modulation type you ve selected For details on the oscillator parameters please see 2 1a OSC1 on page 30 Operation OSC2 Oscillator 2 1 Use the Waveform to select the waveform of oscillator 2 You can choose one of four different waveforms The most common way to use this is to select the same waveform as oscillator 1 and change its pitch slightly to create a rich sound 2 Use the OSC Mod to select the modulation type for oscillator 2 You can choose one of three modulation types 3 Use the Semitone to adjust the pitch of oscillator 2 in semitone steps Some of the more common ways to set this parameter is to lower the pitch by one octave 712 or two octaves 24 relative to the pitch of oscillator 1 Vintage analog synthesizer players would sometimes set the oscillators a fourth 5 or fifth 7 apart in pitch 4 Use the Tune to adjust the pitch of oscillator 2 You can produce a richer sound by slightly changing the pitch to create a detuned effect Mixer The mixer lets you adjust the output level of each oscillator This setting will determine the input level to the filters 1 Use the OSC1 Level to adjust the volume of oscillator 1 2 Usethe OSC2 Level to adjust the volume of oscillator 2 3 Use the Noise Level to adjust the volume of the noise generator You can use the noise generator to simulate the breath noise o
7. Controls the volume of the audio input This can be con trolled if the OSC1 Waveform is AudioIn OSC1 Control2 000 127 63 63 01 32 LPF63 CNT HPF63 01 641 L63 CNT R63 Absolute Controls a parameter appropriate for the modulation type of oscillator 1 LFO1 Modulation Int 000 127 Controls the amount of change in the oscillator 1 wave form This can be controlled if the OSC1 Mod is Wave form or Cross Unison Phase 000 127 Controls the relative phase of the oscillators at note on This can be controlled if OSC1 Mod is Unison VPM Harmonics 01 32 Controls the VPM modulator frequency This can be con trolled if OSC1 Mod is VPM Formant Offset 63 63 Shifts the frequency spectrum of all formants This can be controlled if OSC1 Waveform is Formant LPF HPF Mix LPF CNT HPF Controls the mix balance between the low pass filter and high pass filter inside the noise generator This can be controlled if Waveform is Noise Wave Select 00 63 Selects the DWGS waveform This can be selected if the OSC1 Waveform is DWGS Balance L001 C064 R127 Controls the left right channel balance of the input sig nal This can be controlled if the OSC1 Waveform is Audioln OSC2 Waveform Saw Sine Absolute Selects the oscillator 2 waveform OSC2 Mod Off Ring RingSync Absolute Selects the modulation type for the oscillator OSC2 Semitone 24 24 Absolute Controls the amount of detune
8. Step 16 PROG P5 EG LFO MSEQ 5 6 MSEQ1 5 7 MSEQ2 5 8 MSESQ3 Run Mode Specifies the loop setting for playback One Shot Loop One Shot The sequence will play for only one cycle and will maintain the value of the last step Loop The sequence will play as a loop using the sequence type specified by Seq Type Key Sync Off 1st Note Each Note Specifies how the sequence will be reset when note on occurs i e when a key is played Off The sequence will not be reset when note on occurs 1st Note The sequence will be reset only by the first note on that occurs from a state in which no keys are being played Each Note The sequence will be reset by each note on Note When using the KARMA function to play a phrase we recommend that you select Off or 1st Note If you select Each Note each note generated by the KARMA function will reset the sequence and you may not obtain the desired effect If you select 1st Note the sequence will be reset each time you play the keyboard and the sequence will be synchronized to the phrase generated by the KARMA function In this case if the phrase generated by the KARMA function consists of notes or is a phrase of non overlapping single notes or if Thru In Z Program 7 1 1 is Off and notes are not being input from the keyboard each note will cause a reset with the 1st Note setting so there will be no modulation sequence
9. channel of the oscillator and the input from the AUDIO INPUT 2 jack to the R channel S P DIF L R The signal coming directly from the S P DIF connector will be the input source FireWire L R This can be selected if the optional EXB FW is installed The input signal directly from the FireWire connector will be the input source Note If the P1 1 Basic Program page Unison parameter of the RADIAS program used by the timbre is Off the input will be mixed to monaural For more information see the diagram Combination Audio In OSC amp Vocoder Source on 51 page AUX Bus Send to RADIAS Off AUX 1 2 AUX 3 4 This selects the AUX buses that will be the input source to the EXB RADIAS AUX 1 2 The signal from AUX1 and AUX2 will be the input source AUX 3 4 The signal from AUX3 and AUX4 will be the input source Note If you want the AUX bus signal to be input to the EXB RADIAS you should first use the P8 2 1 2 Routing2 AUX FX Control Bus parameter AUX Bus to select the post IFX AUX This allows you to route the timbre of an EDS program via the AUX bus to an EXB RADIAS oscillator or vocoder A If you send the post IFX RADIAS oscillator output via the AUX bus back into the same RADIAS oscillator or vocoder a feedback loop will be created If this occurs the input signal will automatically be cut internally to prevent a loop from occurring Please be aware that if this occurs there will be no sound For more in
10. gt Agoa gt Agaa gt ABBA gt AGGA gt ABBD InitProar InitProgr InitProar InitProar InitProar En E73 LA E73 C73 1 7 LL x Prog Prog i Mixer PlyLoop I Asie re sts Use the ENABLE RADIAS setting to specify the tracks for which a RADIAS program can be used Enable RADIAS on page 50 Note You can turn on Enable RADIAS for up to four tracks Even if you select a RADIAS program for a track whose ENABLE RADIAS setting is turned off it will not sound SEQ P0 2 Play REC 0 2 1 KARMA GE Here you can make KARMA function settings for the Sequencer mode In Sequencer mode you can use four KARMA Modules Modules A B C and D For details on the available parameters and menu commands please see 0 2 1 KARMA GE on page 205 of the M3 parameter guide 0 2 2 KARMA RTC Here you can view the names and the stored parameter values for the KARMA Sliders 1 8 and KARMA switches 1 8 When you operate these the screen will show the number and value of the GE realtime parameters and performance realtime parameters being controlled For details on the available parameters and menu commands please see 0 2 2 KARMA RTC on page 206 of the M3 parameter guide 0 2 8 Control Surface The Control Surface is the set of 8 sliders and 8 switches to the left of the display It looks like a mixer but it can do other things as well including editing sounds controlling KARMA and
11. 127 000 127 63 63 2 0 2 0 Velocity Sens Velocity Sensitivity 63 63 These are the same as for FILTER A For details on these parameters please see 3 1b Filter A on page 34 Frequency Cutoff Frequency Resonance EG1 Intensity Keyboard Track 35 36 Parameter guide PROG P4 Amp EQ This page controls the settings for the Drive Wave Shape Amp 3 band EQ section Here you can Specify drive or wave shaping Specify the amp volume level and keyboard tracking Specify the pan stereo position Make settings for the three band EQ 4 1 Amp WaveShape Driver PROG P4 mp EQ mp WaveShape Driver uc M iDriver Wave Shape Drive Wave Shape J Pre Filter A Wave Shape Type 9 Hard Clip 4 1a Position Depth 121 Amp Level RE Amp Level 184 Punch Level 1000 4 lb Keyboard Track 18 4 1a Driver Wave Shape Drive Wave Shape Off Drive Wave Shape Activates the drive or wave shape functions This setting will affect the maximum number of voices Off Drive and wave shape functions will be off Drive Drive will be applied This produces a distinctive saturation or low frequency boost effect The depth of distortion is adjusted by Depth and by the output levels of each oscillator in the P2 1 OSC Basic page Mixer Wave Shape Applies wave shaping Wave shaping is applied with the wave shape type selected by Wave Shape Type Th
12. 24 voices The actual maximum polyphony will depend on the settings of the parameters that make up the sound Synthesizer section 2 oscillators noise generator Oscillator 1 eight basic waveforms Saw Square Tri Sine Formant Noise DWGS Audio In Oscillator Four types of modulation Waveform Cross Unison VPM Oscillator 2 four basic waveforms Saw Square Tri Sine Two types of modulation Ring Sync Four types of filter routing single serial parallel individual Two multi mode filters per voice Filter Filter 1 Variable 24 dB LPF 12 dB LPF HPF BPF Thru Filter 2 Switchable LPF HPF BPF Comb For each voice one non linear driver or wave shape 11 types can be Driver Wave shape ingerted EQ 3 band EQ adjustable frequency for the mid range For each voice three envelope generators two LFOs and three 16 step modulation sequencers Modulation Eight virtual patches Envelope generators LFOs and the M3 s selectors can modulate major parameters Vocoder section 16 band vocoder level and pan adjustable for each band Formant Motion function sixteen sets of formant motion data can be recorded Formant Shift function Formant Hold function Program Synth programs synthesizer section Vocoder programs synthesizer section vocoder section 128 preloaded LF bank l F bank dedicated RADIAS bank Structure U A U G banks assigna
13. 4 Y OSC1 Output PROG P2 OSC Pitch 2 1 OSC Basic VPM Variable Phase modulation VPM Variable Phase Modulation uses a sine wave at a harmonic integer multiple of the oscillator 1 fundamental to modulate the phase of oscillator 1 producing metallic sounding overtones In contrast to Cross Modulation which produces sounds that have a modulating character in the waveform VPM uses a sine wave at a harmonic multiple of oscillator 1 to modulate the phase of oscillator 1 meaning that the waveform will remain static while overtones are added The sine wave used for modulation is built into oscillator 1 so the waveform of oscillator 2 will not affect the sound of oscillator 1 Control1 Control2 Control1 and Control2 adjust parameters of the selected waveform The parameters and the available values will depend on the waveform that is selected A Some settings may produce noise When Waveform Saw Square Tri Sine OSC Mod Waveform Control1 Waveform Modulation 000 127 Adjusting the value will modify the waveform A setting of 0 produces a simple sawtooth wave and a setting of 127 produces a sawtooth wave one octave higher DDR Adjusts the pulse width A setting of 0 produces a simple square wave At a setting of 127 the pulse width will disappear completely and there will be no sound 0 63 127 A setting of 0 produces a simple triangle wave and a setting of 127 produces a triangle wave that i
14. COMMA ete epit te th teu ene A es n 61 3 1 MIDI T01 08 3 2 MIDI TO9 16 ce eeeeee ee eee eene ee een sena esee stet ts ossa esse eee to assesses eee etas sese seen 62 3 3 OSC TO1 08 3 4 OSC T09 16 ee eee Leere eese eee ee eee etes esee etna teet eo sse ees s sete en sees tense seen sese eaa 62 334a OSC rar ME LED c 62 3 5 Pitch T01 08 3 6 Pitch TO9 16 Ei s Mira RNC TR x 62 3 7 Other T01 08 3 8 Other T09 16 ccce eee eee ee eee eee eee esee esee eese eese esee esses esee eese e eee eese eese eese eee 63 3 7 8Ja KARMA SCIO suaves eco ne eire d i uu o ie venari PR Ul fot cel t i t a ur ed cota 63 SEQ P4 Zone Dela ee Oo SEO P5 MIDIFIIt r sisi sescssssacscvesicdasesaiscucesssescssavasecsseucdedascisssuaessszodssssseaicnansepitcassssiasss OS SEQ PG Track Edit ep EM OS SEQ P8 IFX Insert Effects cssccssscsvocaaninreshoanieoacssequswsusesautsdeascenvassesarscssbensunisaginensscssins OS SEQ P9 MFX TFX Master Total Effects eessoesoesssessosssosssoosoossoscsosesescoosssessosssessse OS SEQ P10 Pattern BPPR 5 oor ar NORRIS seeds assiettes D SEQPTT CUS List eec RR OA vii viii Table of contents Menu Command 44 n ooo ono naa is on eas a aao a Ua oa a ao aha rd aos sas asd pasa dao eO a Fo ae a aea aa dan u 64 Copy from PLOGFAM csiseiicrsscesicsssssscssscossontsoossesisessccas
15. Type Combi s Scale p 55 The Keyboard Zones Velocity Zones Top Slope and Bottom Slope settings will have no effect COMBI P4 Zone Delay Editing a song Sequencer mode MIDI track settings Editing a song Sequencer mode You can use RADIAS programs in MIDI tracks of a song As for a combination up to four RADIAS programs can be used in one song The maximum polyphony of the RADIAS programs will be 24 voices MIDI track settings The way in which to make settings the operation of the parameters and the points of caution are the same as for a combination For more information please see Editing a combination Combination mode on page 16 17 18 Operation Restoring the factory settings Global mode Here s how to restore the RADIAS programs and the RADIAS formant motion data to the state in which it was when the EXB RADIAS was installed You can restore the EXB RADIAS to its initially installed state by loading the preloaded data A Never turn off the power while the data is being loaded amp Before you load the preload data go to the Global mode P0 Basic Setup System Preference page and uncheck the Memory Protect settings for the data that you want to load If you execute this operation with these settings checked a message of Memory Protected will appear and the data will not be loaded A When you load a data the data in the M3 s internal memory will be overwritte
16. passes the frequencies in the region of the cutoff frequency and cuts all other frequency regions Use this when you want to emphasize just a specific portion of the sound Band Pass 12dB oct 24 Pie 24 168 tk 16k 24k HPF 12dB oct HPF High Pass Filter passes the frequencies above the cutoff frequency and cuts the region below Use this when you want to make the tone thinner However raising the cutoff frequency too far will drastically reduce the volume PROG P3 Filter 3 1 Filter High Pass 12dB oct e 24 168 tk ik 24k THRU The sound will output directly without passing through the filter Frequency Cutoff Frequency 000 127 Specifies the cutoff frequency Higher settings will raise the cutoff frequency Note Frequency can be modified by the time varying changes produced by EG1 position of the notes on the keyboard keyboard tracking or keyboard dynamics velocity The EG 1 Intensity Keyboard Track and Velocity Sens parameters specify the degree to which these will affect Frequency amp With some Frequency settings the volume may be extremely low or there may be no sound at all Resonance 000 127 Specifies the resonance This boosts the region near the Frequency frequency giving a distinctive character to the sound Increasing this value will produce a greater effect The effect of resonance A A A A LPF ll A A A A HPF H f i
17. please see 6 2a Filter on page 44 2 8b Band1 16 Pan and Level Band1 Band16 Pan LO0O C064 R127 Level 000 127 For details on these parameters please see 6 2b Band1 16 Pan and Level on page 44 WV 2 8 Menu Command e Write Formant Motion Data p 56 e Copy Vocoder 15p 56 53 54 COMBI P3 Timbre Parameters 3 1 MIDI T01 08 3 2 MIDI T09 16 Here you can make MIDI settings for each timbre 1 16 For details on the available parameters and menu commands please see 3 1 MIDI T01 08 3 2 MIDI T09 16 on page 149 of the M3 parameter guide 3 3 OSC TO1 08 3 4 OSCTO9 16 These settings specify how each timbre will be played COMBI P3 Timbre Param OSC 161 88 yl INT A GG InitCombi A888 J 1120 00 T81 I AGGGInitProgram 4288 Ch 01G 1 E E Es El 6 s User 16 User 16 User 16 User 16 User 16 User 16 User 16 User 16 Force OSC Mode ET e EO ree rr ere r5 prs ero prs OSC Select eO er er er er ETH e BH 3 3c OSC Timbre 01 16 Timbre Number Force OSC Mode PRG Poly MN LGT Specifies the Voice Assign Mode Program 1 1a of the RADIAS program selected PRG The Voice Assign Mode p 25 settings of the RADIAS program will be used Poly The timbre will play polyphonically regardless of the settings of the RADIAS program MN Mono The timbre will play using a Voice Assign Mode of Mono and a Trigger Mode of Multi regardle
18. semitone units relative to oscillator 1 OSC2 Tune 63 63 Absolute Controls the amount of detune relative to oscillator 1 OSC1 Level 000 127 Absolute Controls the output level of oscillator 1 OSC2 Level 000 127 Absolute Controls the output level of oscillator 2 Noise Level 000 127 Absolute Controls the output level of the noise generator FilterA Type Balance LPF24 LPF12 HPF BPF THRU Absolute Selects the filter type for filter A FilterA Cutoff 000 127 Absolute Controls the cutoff frequency of filter A FilterA Resonance 000 127 Absolute Controls the resonance of filter A FilterA EG1 Intensity 63 63 Absolute Controls the depth by which EG1 will modulate the cutoff frequency of filter A FilterA Velocity Sens 63 63 Absolute Controls the depth by which velocity will modulate the cutoff frequency of filter A FilterB Type LPF COMB Absolute Selects the filter type for filter B FilterB Cutoff 000 127 Absolute Controls the cutoff frequency of filter B FilterB Resonance 000 127 Absolute Controls the resonance of filter B FilterB EG1 Intensity 63 63 Absolute Controls the depth by which EG1 will modulate the cutoff frequency of filter B FilterB Velocity Sens 63 63 Absolute Controls the depth by which velocity will modulate the cutoff frequency of filter B Drive Wave Shape SW Off Drive Wave Shape Absolute
19. 1 The parameters controlled by the Control1 knob and Control2 knob will be different based on the waveform you select here and on the OSC Mod setting Saw This sawtooth wave is appropriate for creating a wide range of sounds typical of analog synthesizers including basses and pads Square This is a pulse wave suitable for electronic sounds and wind instruments By adjusting the pulse width you can produce sounds reminiscent of clavi or sax Tri Triangle wave has fewer overtones than sawtooth wave or square wave and is suitable for mild tone such as bass or pads Sine Sine wave is a mild tone that contains only the fundamental frequency with no overtones Formant The formant waveform has a tonal character reminiscent of a human voice Noise Generates noise Control1 boosts the pitched component within the noise and Control2 adjusts the brightness DWGS This provides various DWGS waveforms taken from acoustic instruments and digital synthesizers You can choose one of 64 different DWGS waveforms AudioIn This lets you use the input source specified by Audio In as the oscillator output Audio In Audio Input Source AUX Bus Source Selects the audio input source This is valid only if Waveform is set to AudioIn Use Control1 Gain to adjust the input volume and Control2 Balance to adjust the balance Audio Input Source The audio input source will be the signal from the input jack selected by Audio Inputs Send to
20. 4 Use Depth to specify the depth of drive or wave shaping Amp Level 1 Use Amp Level to specify the basic volume level The volume level you specify here will be changed by EG2 and other modulation sources 2 Use Punch Level to adjust the mixing amount of the pulse waveform added to the oscillator output Higher settings will emphasize the attack 3 Use Keyboard Track to specify how keyboard tracking will affect the volume This lets you make the volume change as you play higher or lower on the keyboard Pan 1 Use Pan to specify the stereo position Note You can produce an auto pan effect by using a virtual patch to modulate this with an LFO For more information please see Virtual Patch on page 11 10 Operation EG Envelope Generator An EG envelope generator applies time varying change to a parameter of the sound EG is assigned as the envelope source for filter cutoff frequency and EG2 is assigned as the envelope source for the amp volume You can also use a virtual patch to assign an EG as an envelope source for another parameter For more information please see Virtual Patch on page 11 Level Sustain Level Note on Note off r Amp Level pog 1 l i 0 T i Time f l oi 1 NN 1 Attack Time Decay Time Release Time The five parameters attack time decay time release time sustain level and curve that make up each envelope can be edited in the PROG 5 1
21. A setting of 90 will begin at the highest point of the LFO wave With a setting of 180 modulation will start from the zero point and begin descending the negative portion of the LFO wave Shape 63 63 Modifies the shape of the waveform selected by Waveform t p 39 Fig LFO Waveform and Shape Frequency Hz 0 01 100 0Hz Specifies the frequency of the LFO This is shown and can be edited if TempoSync is Off Higher values will make the LFO faster Key Sync Off 1st Note Each Note Specifies whether the LFO will reset at each new note on message Off The phase of the LFO will not be reset when a note on Occurs Note on Triangle S amp H AN AN 40 Parameter guide 1st Note The phase of the LFO will be reset at the first note on that occurs when no other keys are being pressed and will continue to affect all the notes played by that timbre in the same way until once again no keys are being held down Note on Note on Note all off Each Note The phase of the LFO will be reset for each individual note on and each voice will be modulated at an independent phase Note on Voice 1 AAN Note on Voice 2 JAAN 5 4 5 b Frequency MIDI Tempo Sync MIDI Tempo Sync Off On Specifies the LFO frequency This lets you produce vibrato wah auto pan or tremolo effects that are synchronized to the modulation sequencer KARMA the internal sequencer or an external sequencer
22. EG1 P5 2 EG2 and P5 3 EG3 pages PROG P5 EG LFO MSEQ EG1 Filter wm Curve LogMid Sustain Level 888 Release Time 1020 Attack Time Decay Time 187 MEG Level Time Modulation Level Velocity Intensity 63 Decay Release Time Keyboard Track 88 Decay Release Time Velocity Intensity 88 Envelope settings 1 Edit the Attack Time Decay Time Release Time and Sustain Level Higher values for Attack Time Decay Time and Release Time will lengthen the time over which the tone or volume will change 2 Use Curve to select the curve by which the decay and release time will change You can choose linear logarithmic or exponential curve This will affect the way in which the envelope changes EG Level Time Modulation You can use velocity and keyboard tracking to modulate the EG 1 Use Level Velocity Intensity to specify how velocity will affect the amount of amplitude change produced by the EG Higher values will allow variations in your playing velocity to produce greater change in the amplitude 2 Use Decay Release Time Keyboard Track to specify how keyboard tracking will affect the decay time and release time Higher values allow keyboard tracking to affect the EG time settings more greatly 3 Use Decay Release Time Velocity Intensity to specify how velocity will affect decay time and release time Higher values will allow velocity to affect the EG t
23. If you decide to cancel press the Cancel button When you press the OK button a dialog box will ask you for confirmation Press the OK button to execute loading Parameter guide Program mode Page Select For details on how to select each page refer to the M3 operation guide PROG Page Select PLAY Pa Plau EDIT P1 P2 P3 Pd P5 P6 Rmp EG EG LFO MSEQ Vocoder KARMA P 1 P 2 KARMA GE Setup Module KARMA2 GE RTP Perf EFFECT Ps P3 IFX MFX TFX Page PLAY PO Play Main content Select and play RADIAS programs Simple KARMA editing Audio input settings and resampling settings Editing from the control surface v M3 PG p 2 P1 Basic DT Ctrls Basic RADIAS program settings such as voice assign mode t p 25 Drum track settings X Y control settings SW1 2 and slider function settings Pad note and velocity settings M3 PG p 25 P2 OSC Pitch Oscillator selection and pitch settings 5 p 30 EDIT P3 Filter Filter tone settings p 34 P4 Amp EQ Amp volume settings p 37 Drive Wave shape settings r p 36 3 band parametric EQ settings M3 PG p 58 P5 EG LFO M SEQ EG settings p 38 LFO settings r3 p 39 Modulation Sequencer settings 5 p 40 P6 Vocoder Vocoder settings p 42 P7 1 KARMAT GE Setup Module Overall settings for KARMA and settings for each module M3 PG p 77 P7 2 KARM
24. RADIAS Program 1 1c If the P1 Program Basic page Unison parameter is Off the signal will be mixed to mono AUX Bus Source The audio input source will be the signal from the AUX bus selected by AUX Bus Send to RADIAS Note In order to use the AUX buses you must first assign audio signals to the AUX buses using the audio in post IFX AUX setting Program 8 2 or the drum track AUX setting Program 1 4c AUX Bus Send to RADIAS on page 26 If the P1 Program Basic page Unison setting is Off the signal will be mixed to mono OSC Mod Oscillator Modulation Type Waveform Cross Unison VPM Selects the modulation type for oscillator 1 A The maximum number of voices will change depending on the combination of Waveform and OSC Mod settings You can t apply modulation if Waveform is set to Formant Noise DWGS or Audioln This field will be shown as Waveform Waveform Waveform Modulation Use Control1 to modify the waveform Cross Cross Modulation Cross Modulation uses the output waveform of oscillator 2 the modulator to modulate the frequency of oscillator 1 the carrier at high speed to produce a modulated sound The waveform selected by Waveform will be the carrier Cross Modulation Depth osci Output osci Freq Mod osc2 Output Unison Unison skews the pitch of five oscillators within a single oscillator and outputs them together to create a richer sound Unison Detune
25. Selects drive or wave shape Drive WS Position Pre Filter1 Pre Amp Absolute Selects the position at which drive or wave shaping will be applied Drive WS Depth 000 127 Absolute Controls the depth of drive or wave shaping Wave Shape Type Decimator Level Boost Absolute Controls the wave shape type Punch Level 000 127 Absolute Controls the mix amount of pulse wave added to the oscillator output LFO1 Waveform Saw Square Triangle S amp H Absolute Selects the LFO1 waveform LFO1 Shape 63 00 63 Absolute Controls the LFO1 waveform LFO2 Waveform Saw Square Sine S amp H Absolute Selects the LFO2 waveform LFO2 Shape 63 00 63 Absolute Controls the LFO2 waveform Mod SEQ SW Off On Absolute Controls the on off status of the modulation sequence MSEQ Seq Type Forward Reverse Alt1 A1t2 Absolute Selects the sequence type for the modulation sequence MSEQ Last Step 01 16 Absolute Controls the number of steps in the modulation sequence 23 24 Parameter guide MSEO Resolution Absolute Controls the playback speed of the modulation sequence as a timing resolution relative to the tempo Tone Adjust Default Settings Tone Adjust provides an elegant physical interface to the parameters Most of the factory sounds use the default layout as shown above You can also customize the layout for individual sounds if desired For more information about Tone
26. Selects the modulation source EG1 X Y Y Mod 88 EG1 EG2 EG3 EG1 EG2 EG3 LFO1 LFO2 LFO1 LFO2 Keyboard Track note number Velocity velocity JSX joystick X horizontal direction JS Y 01 joystick Y Vertical upward direction CC 01 JS Y 02 joystick Y Vertical downward direction CC 02 After Touch after touch channel after touch Foot Pedal 04 foot pedal CC 04 Ribbon 16 ribbon controller CC 16 Value Slider 18 value slider CC 18 Slider Mod5 17 realtime slider 5 Slider modulation CC 17 Slider Mod6 19 realtime slider 6 Slider modulation CC 19 Slider Mod7 20 realtime slider 7 Slider modulation CC 20 Slider Mod8 21 realtime slider8 Slider modulation CC 21 Slider Mod5 realtime slider 5 Slider Mod6 realtime slider6 Slider Mod7 realtime slider7 Slider Mod8 realtime slider8 Damper 64 damper pedal CC 64 i assignable panel switch 1 SW1 modulation SW1 Mod 80 CC 80 assignable panel switch 2 SW2modulation SW2 Mod 81 CC 81 Foot Switch 82 foot switch CC 82 Controller 83 MIDI Control Change CC 83 X Y X Mod 85 X Y mode X X Y modulation CC 85 X Y X Mod 86 X Y mode X X Y modulation CC 86 X Y Y Mod 87 X Y mode Y X Y modulation CC 87 X Y Y Mod 88 X Y mode Y X Y modulation CC 88 Note Keyboard tracking works according to the pitch as contr
27. Switches the modulation sequencer on off Last Step 01 16 Specifies the length of the sequence in steps i e the maximum number of steps Sequence Type Forward Reverse Alt1 Alt2 Specifies the sequence type the direction in which the sequence will play Forward Play from the first step Step01 Sequence Type Forward Run Mode Loop Last Step 16 C Step 01 Step 02 Step03 Step 14 Step 15 Step 16 Reverse Play from the last step the step number specified by Last Step in reverse Sequence Type Reverse Run Mode Loop Last Step 16 G Step 16 Step 15 Step 14 eeeeee Step 03 Step 02 Step 01 D Alt1 Alt2 Alternately play in Forward and Reverse directions Alt 1 immediately changes direction at the end points so the first step and last steps are played only once per loop Alt 2 plays the first step and the last step on both the way up and on the way down so these steps will be played twice per loop Sequence Type Alt1 Run Mode Loop Last Step 16 Step 01 Step 02 Step03 Step 14 Step 15 Step 16 D Step 01 Step 02 Step03 Step 14 Step 15 Step 16 Sequence Type Alt2 Run Mode Loop Last Step 16 a Step 01 Step 02 Step03 Step 14 Step 15 Step 16 D Step 01 Step 02 Step03 Step 14 Step 15
28. T81 In Source1 Level 12 7b In Source2 Select Audio Int In Source2 Level 000 Modul ator RE roar aT 2 7 Gate Sens 1 88 Select 9 88 Formant Motion 8 amp 8 Threshold 866 Play Mode gt Trigger Reset MOut Mix 2 7d Yocoder Output Level 12 Modulator Direct Mix 666 Modulator HPF Gate 3 Disable Modulator High Mix 668 RADIAS RADIA Vocot 2 7a Vocoder On Off Formant Motion REC On Off Vocoder Off On Formant Motion REC Off On For details on these parameters please see 6 1a Vocoder On Off Formant Motion REC On Off on page 42 2 7b Carrier Input In Source 1 Select Off TO1 T16 This selects the timbre of the RADIAS program that will be the input source to the carrier Timbres whose Enable RADIAS is on can be selected as input sources There will be no input if the program P0 Play Program of the timbre you select here is not a RADIAS program If you want the input to the carrier to bea timbre that s not using a RADIAS program or a timbre other than the one selected here you should use the AUX bus AUX Bus Send to RADIAS on page 50 For more information see the diagram Combination Audio In OSC amp Vocoder Source on 51 page In Source 1 Level 000 127 In Source 2 Select Audio In1 AUX Send L R AUX Send L AUX Send R 000 127 For details on these parameters please see 6 1b Carrier Input on page 42 In Source 2 Level 2 7
29. and a stronger fundamental than sawtooth wave or square wave It is suitable for mild bass sounds Sine This is a sine wave OSC Mod Oscillator Modulation Type Off Ring Sync RingSync Selects the oscillator modulation type Some settings may produce noise Off The sound will be output without any modulation being applied You can adjust Semitone and Tune to produce a spacious sounding detune effect For fuller synth bass sounds set the pitch of oscillator 1 and 2 one octave apart Ring This type of modulation generates frequencies at the sum and difference of oscillators 1 and 2 You can adjust Semitone and Tune to create metallic sounds with little sense of pitch This is useful for sound effects OSC2 Wave e gt OSC2 Output OSC1 Wave Sync This type of modulation synchronizes oscillator 2 to the phase of oscillator 1 forcibly resetting the phase of oscillator 2 This is effective on lead synth sounds Use Semitone and Tune to adjust the overtones OSC2 Wave gt OSC2 Output Sync gt OSC1 Output OSC1 Wave OSC1 Output PROG P2 OSC Pitch 2 2 OSC1 Pitch RingSync This applies Ring and Sync modulation simultaneously OSC2 Wave I Q wwh OSC2 Output Sync no OSC1 Wave L NAA OSC1 Output Semitone 24 24 Specifies the amount of detuning relative to oscillator 1 in semitone steps Values of 12 produce a pitch differe
30. ane nmel ane 58 0 2 8 Control Surface nee ne pen Posto eS oe ese eaae Use eto osen cetus a tot tre Ees aaao tetes 58 Tone rise 59 UA TOMS AJUS dte WOMEN E C 59 SEQ qa idbag Ca fimi cue SEQ P2 EQ ODTION em M 00 2 1 EQ Trim T01 08 2 2 EQ Trim T09 16 1 eee eese reete e eese eene eene ts stessa setas sense ess ens sess tes sense 60 2 3 EQ Gain TO1 08 2 4 EQ Gain T09 16 eee e eee e eee eee eee eee eee esee eee eee esee eese eese e esee eese eese eee eee 60 2 5 RADIAS T01 08 2 6 RADIAS T09 16 ceres eee e rete sees etes sae s aetas setas st eo sse ea setas setas setas senos 60 2 5 6 c Enable RADIAS Total Max 4 Tracks c ccccssssssssssssssssssessssssssssssssssssssssessessssssessasssssssssussssssessssssssssssassssssssssssssssssssssssssssssssssassesssssesesses 60 2 5 6 d Audio In OSG amp Vocoder Source satin its a te nt ni te ni its lens 60 2 7 RADIAS Vocoder1 sssenenennennenenennnnennsenennnsesnnnnnseneseeseenee 60 2 7a Vocoder On Off Formant Motion REC On Off nn 60 2 7b Carrier Input 2 7c Modulator 2 7d Out Mix 2 7 Menu Command cetera GREAT ne fenetre SA ARR eoe EN ENT eres pe fee IRR RT CI eene a ee IRAE 61 2 8 RADIAS DOLI 61 2 8a Filtet 3 25 RER nt TR EEE REP NT NT TETE 61 2 8b Band1 16 Pan andiL velz ee N En nn nn Ent ne 61 2 8 Men
31. back and forth between the different functions without losing any of your edits Tone Adjust SEQ P8 2 Play REC Trackat MIDI TRACK 81 Control Assign gt TENTE EXHoff N A Control Surface v J 128 88 RPPR Track amp 1 m Auto Load 1 H E E E i al El Oor Gore Corr Gore Qor or Gore Qor Qo Qo Qor Qo Qo Qo Hore Qor 0 2 8f Tone Adjust For details on the Tone Adjust function refer to M3 parameter guide Common Tone Adjust Parameters These are the same as the Common Tone Adjust Parameters in Program mode For more information please see Common Tone Adjust Parameters on page 22 RADIAS Tone Adjust Parameters These are the same as the RADIAS Tone Adjust Parameters in Program mode For more information please see RADIAS Tone Adjust Parameters on page 23 SEQ P1 DT X Y Ctrls Here you can select a pattern for the drum track and make settings for it as well as make settings for X Y control and pads 1 8 For details on the available parameters and menu commands please see SEQ P1 DT XY Ctrls on page 215 of the M3 parameter guide 59 60 SEQ P2 EQ Option 2 1 EQ Trim TO1 08 2 2 EQ Trim T09 16 Here you can adjust the volume level going into the EQ For details on the available parameters and menu commands please see 2 1 Trim T01 08 2 2 Trim T09 16 on page 224 of the M3 parameter guide 2 3 EQ Gain T01 08 2 4 EQ Gain T0
32. become shorter when you play softly PROG P5 EG LFO MSEQ 5 4 LFO1 5 5 LFO2 5 4 LFO1 5 5 LFO2 Here you can make settings for the LFO Low Frequency Oscillator LFO1 is internally connected as the oscillator 1 Control 1 modulation source LFO2 is internally connected as the modulation source for the oscillator pitch controlled by the joystick Y axis or MIDI control change message CC 01 received from a connected external MIDI device Here you can Select the LFO waveform and make settings such as its frequency Specify whether the LFO will be reset by note on Key Sync Make settings for synchronizing LFO to the tempo PROG P5 EG LFO MSEQ Triangle Phase Shape 8 5 4a Frequency Hz 1 88 Key Sync orf Frequency MIDI Tempo Sync 5 4b L MIDI Tempo Sync LFO Waveform and Shape Saw Square Shape 63 f Shape 0 Shape 63 7 Square 5 4 5 a LFO 1 LFO2 Waveform Saw Square Square Triangle Sine S amp H Selects the LFO waveform For LFO1 you can choose from Saw Square Triangle and S H For LFO2 you can choose from Saw Square Sine and S H Phase Initial Phase 000 180 Specifies the starting position of the LFO waveform This parameter is valid if KeySync is set to 1st Note or Each Note With a setting of 0 modulation will start from the zero point and begin ascending the positive portion of the LFO wave
33. f a A A A A BPF i f f A NN Low resonance setting High resonance setting amp High settings of Resonance may cause distortion for some cutoff frequencies or input sounds EG1 Intensity 63 63 Specifies the degree to which EG 1 will modulate the cutoff frequency This will cause the cutoff frequency to change over time Increasingly positive values will produce a greater effect Cutoff frequency Int 32 Int 63 Note on Note on Note off Note off Cutoff frequency specified by b Frequency Int 0 gt Time Increasingly negative values will produce a greater effect in the opposite direction Cutoff frequency Cutoff frequency specified by Frequency Int 0 Note off Note on Noteon Note off Time Keyboard Track 2 00 2 00 Specifies how keyboard tracking location on the keyboard will modulate the cutoff frequency With a setting of 0 keyboard tracking will have no effect Positive settings will cause the cutoff frequency to rise as you play above the C4 key or fall as you play below the C4 key With a setting of 1 0 the change in cutoff frequency will be proportional to the change in pitch Negative settings will cause the cutoff frequency to fall as you play above the C4 key or rise as you play below the C4 key Note Keyboard tracking is based on the pitch as controlled by pitch bend transpose and modulation sequencer It does no
34. guide 0 8g Tone Adjust Selected parameter information Switches 1 8 Sliders 1 8 For details on these parameters please see 0 8g Tone Adjust on page 20 of the M3 parameter guide 21 22 Parameter guide Common Tone Adjust Parameters Unless otherwise noted all of the Common Tone Adjust parameters are Relative Note In the list below the items in parentheses are value edit type respectively 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 For instance in the RADIAS program it affects both Filters A and B Filter Resonance 99 99 CC 71 This scales the resonance of all of the filters at once for instance in the RADIAS program it affects both Filters A and B Filter EG Intensity 99 99 CC 79 This scales the effect of the EG1 on the cutoff frequency It affects all of the filters at once for instance in the RADIAS program it affects both Filters A and B 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 EG1 Intensity was set to 25 then setting the Tone Adjust to 99 moves the EG1 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 modulati
35. parameters and menu commands please see 1 7 Pads 1 4 Setup 1 8 Pads 5 8 Setup on page 36 of the M3 parameter guide 29 30 Parameter guide PROG P2 OSC Pitch These pages control the first and most basic elements of RADIAS program s sounds the waveform that the oscillators play the pitch and output level at which it plays them For instance you can Select the oscillator 1 waveform and modulation type and specify waveform parameters according to the modulation type Select the oscillator 2 waveform and modulation type and specify the pitch Specify the output level of each oscillator including the noise generator Specify the oscillator pitch Specify the vibrato effect applied by the Y axis of the joystick Specify the pitch bend range Specify the portamento 2 1 OSC Basic PROG P2 0SC Pitch OSC Basic v mosci waveform ESA OSC Mod waveform 2 la Controli Waveform Modulation naa Control2 LFO1 Modulation Intensity mosc2 Waveform Sine Semitone 88 2 1b OSC Mod off Tune 86 mixer 2 1 OSC1 Level 127 Noise Level 000 1c OSC2 Level 111 These parameters affect the waveform and output of each oscillator You can create complex waveforms by using the two oscillators 1 and 2 2 1a OSC1 Waveform Oscillator1 Waveform Saw Square Tri Sine Formant Noise DWGS Audioln Selects the waveform of oscillator
36. programs and formant motion data For details on loading other data please see Load Preload Demo Data on page 382 of the M3 parameter guide Before you load this data uncheck Program in Memory Protect 1 M3 parameter guide p 359 If you execute with this item still checked a message of Memory Protected will appear and the data will not be loaded 1 Select Load Preload Demo Data to open the dialog box 2 Use Kind to select the type of data you want to load Loading RADIAS programs In the Kind field select Program If you specify Bank as the range to be loaded select I F as the load source data and I F or a user bank set to the RADIAS bank type as the load destination To rx M3 parameter guide p 66 Load Preload Demo Data Kind TT Q an Ban QC Single OF Q F Cancel OK If you specify Single as the range to be loaded select a program from bank I F as the load source and a program number in I F or a user bank set to the RADIAS bank type as the load destination To Loading formant motion data In the Kind field select RADIAS Formant Motion Data If you specify All as the range of data to be loaded all formant motion data will be loaded If you specify Single as the range of data to be loaded a single formant motion will be loaded In this case you ll need to specify the load source and load destination To Load Preload Demo Data Kind RADIAS Formant
37. sending MIDI messages to external devices This page shows you the current values for each of the sliders knobs and buttons along with information about what they are controlling For details on the control surface please see 0 2 8 Control Surface on page 207 of the M3 parameter guide In Sequencer mode you can select one of five different functions MIXER Mixer T1 8 T9 16 This lets you use the control surface to adjust the volume of tracks 1 16 and switch the Play Mute and Solo On Off status In Combination mode and Sequencer mode you can use this switch to alternate between timbres or tracks 1 8 and 9 16 MIXER Mixer Input The control surface will control the audio input volume Play Mute and Solo On Off status of the analog inputs S P DIF inputs and FireWire inputs if the EXB FW is installed REALTIME CONTROL RT Control Use the sliders to control the sound or effects Use the switches to turn effects on off EXTERNAL lets you send MIDI messages to external MIDI devices Use the GLOBAL P1 MIDI External Mode 1 2 page to specify the MIDI message that will be transmitted TONE ADJUST lets you edit Programs within the context of the Song and without making any changes to the original Program data You also get hands on access to these edits using the sliders and switches SEQ P1 DT X Y Ctrls Tone Adjust KARMA Use the sliders and switches to control the KARMA function You can freely change
38. steps of one cent You can adjust this in a range of 50 50 cents Analog Tune 000 127 By adding a slight randomness to the pitch of each note as it is played this lets you simulate the pitch instability and oscillator drift that was characteristic of analog synthesizers Higher settings will produce greater variations in pitch JS Y Vibrato Int cents JS Y Vibrato Intensity 2400 2400 Moving the joystick up from the center detent position away from yourself produces the JS Y controller You can use this to scale the amount of the LFO2 applied to the pitch This parameter sets the maximum amount of LFO2 modulation added by JS Y in semitones As this value is increased moving the joystick in the Y direction will cause the LFO2 to produce deeper pitch modulation Bend Range 12 12 This sets the maximum amount of pitch bend in semitones when you move the joystick to the right For normal pitch bend set this to a positive value For example if you set this to 12 and move the joystick all the way to the right the pitch will rise one octave above the original pitch Note The RADIAS EXB Option is not capable of responding to KARMA Bend Range Messages outside of the range of 0 to 12 Semitones Values outside of that range will be limited to stay within that range 2 2b Portamento Time Portamento Time 000 127 Specifies the portamento time Portamento is a function tha
39. the depth of the modulation produced by the modulation source If this is set to 0 no modulation will occur PROG P1 Basic DT Ctrls 1 3 DrumTrk Pattern Drum Track Pattern 1 3 DrumTrk Pattern Drum Track Pattern Here you can select a drum track pattern and specify how it will sound For details on the available parameters and menu commands please see 1 3 DrumTrk Pattern DrumTrack Pattern on page 28 of the M3 parameter guide 1 4 DrumTrk Program Drum Track Program Here you can select the drum program that will be used by the drum track For details on the available parameters and menu commands please see 1 4 DrumTrk Program DrumTrack Program on page 29 of the M3 parameter guide 1 5 X Y Setup Here you can make settings for X Y control For details on the available parameters and menu commands please see 1 5 X Y Setup on page 31 of the M3 parameter guide 1 6 Controllers Setup Here you can specify the SW1 and SW2 switch and 5 8 slider functions of the program when Control Assign REALTIME CONTROL is selected For details on the available parameters and menu commands please see 1 6 Controllers Setup on page 35 of the M3 parameter guide 1 7 Pads 1 4 Setup 1 8 Pads 5 8 Setup There are eight velocity sensitive trigger pads below the display These look like drum machine pads and playing drum sounds is certainly one use for them For details on the available
40. the vocoder output 5 Use GateSens to adjust the gate sensitivity Adjust this so that the vocoder sound output is not interrupted in an unnatural way 6 Use Threshold to cut the noise when there is no input Raising this setting will make it easier for the sound to be cut Adjust this so that noise is not obtrusive when you re not speaking into the mic 7 Use Modulator HPF Gate and Modulator High Mix to adjust the high frequency portion of the input source that will be mixed into the vocoder output Use Modulator HPF Gate to specify whether the high frequency portion of the input source mixed into the vocoder output will be heard only while the internal sound generator is heard or whether it will always be heard as long as there is an input from Source Use Modulator High Mix to specify the amount of the high frequency portion of the input source that will be mixed into the vocoder output Raising this setting will emphasize the consonants of your voice Filter settings Here you ll make settings for the modulator s envelope follower and the carrier s band pass filters synthesis filters These settings are made in the PROG P6 2 Vocoder page PROG P6 Yocoder Yocoder 2 mFilter Formant Shift Frequency Offset 48 Mod Source 9 LFO1 Mod Intensity 46 Resonance 826 Env Follower Sens 38 LLL 16 Pan Ll Level E Es Li 1 su R12 ao R12 L G R127 La 4 n uis vc 11 H LE 14 15 16 R1
41. this will vary the brightness of the sound When Waveform DWGS Control1 Control2 Wave Select 01 64 This provides various DWGS waveforms taken from acoustic instruments and digital synthesizers You can choose one of 64 different DWGS waveforms No Name No Name No Name 0 SynSine1 22 Digi3 44 Bell1 1 SynSine2 23 Digi4 45 Bell2 2 SynSine3 24 Digi5 46 Bell3 3 SynSine4 25 Digi6 47 Endless 4 SynSine5 26 Digi7 48 SynVox1 5 SynSine6 27 Digi8 49 SynVox2 6 SynSine7 28 Digi9 50 VoxPad1 7 SynWave1 29 E Piano1 51 VoxPad2 8 SynWave2 30 E Piano2 52 VoxPad3 9 SynWave3 31 E Piano3 53 FlutePad 10 SynWave4 32 Organi 54 EP Pad1 11 SynWave5 33 Organ2 55 EP Pad2 12 SynWave6 34 Organ3 56 Noise1 13 SynWave7 35 Organ4 57 Noise2 14 SynWire1 36 Organ5 58 Noise3 15 SynWire2 37 Clav1 59 Noise4 16 SynWire3 38 Clav2 60 Noise5 17 SynWire4 39 Guitar1 61 Noise6 18 5thSaw 40 Guitar2 62 Noise7 19 5thSqu 41 E Bass1 63 Noise8 20 Digi 42 E Bass2 21 Digi2 43 E Bass3 The 48 Endless waveform simulates the infinite staircase sound which produces the same perceived pitch in each different octave The infinite staircase produces the sensation that you never get any higher no matter how long you continue playing the notes C D E F G A B C D E upward When Waveform Audioln Control1 Gain Adjusts the volume of the audio input Control2 Balan
42. unaffected Modulator HPF Gate Disable Enable If the high frequency portion of the modulator is mixed into the output of the vocoder this setting specifies whether this high frequency portion will be output only while the internal sound generator is producing sound or be output whenever there is an input to Source Disable Even when the internal sound generator is not producing sound the audio source being input to the modulator will be mixed into the output For example if you re using a guitar connected to the AUDIO INPUT 1 jack as the carrier you can use this setting so that the vocoder will be applied at all times even when you re not playing the keyboard The input source to the modulator will always be output Enable The audio source being input to the modulator will be mixed into the output only when the internal sound generator is producing sound Normally you will choose this setting if you re applying the vocoder to the internal sound generator being played from the keyboard or if the output of an external synthesizer etc connected to the AUDIO INPUT 1 jack is being input to the carrier mixed with the internal sound generator and processed by the vocoder Modulator High Mix 000 127 Sets the level at which the high frequency components of the input source will be mixed into the output of the vocoder Higher settings will emphasize the consonants in your voice WV 6 1 Menu Command e Write Formant Motio
43. vocoder program x Vocoder program on page 3 2 Adjust the mic input level wx Vocoder program on page 3 3 Access the PROG P6 1 Carrier Modulator page PROG P6 Yocoder Carrier Modulator Y m vocoder Formant Motion REC EM Carrier npu In Source1 Level Mn In Source2 Level 888 In Source2 Select Audio Int Modulator Modulator gt Audio Source Audio In2 Gate Sens 100 Threshold 668 mut Mix E Vocoder Output Level 664 Modulator HPF Gate 9 Enable Modulator Direct Mix 08 Modulator High Mix 1127 4 Turn Formant Motion REC On and speak into the mic Recording will begin when you turn Formant Motion REC On 5 Turn Formant Motion REC Off to stop recording Recording will stop automatically if the memory capacity assigned to the data becomes full approximately 7 5 seconds 6 Set Modulator to Formant Motion 7 Play the keyboard The vocoder will sound using the formant motion data you recorded If you want to keep the data you recorded you ll need to write the formant motion data For more information please see Write Formant Motion Data on page 46 Writing formant motion data Here s how the formant motion data you recorded can be written into internal memory The internal memory can hold sixteen sets of formant motion data amp We recommend that you write the formant motion data immediately after you ve recorded it The data will be lost if you pe
44. 1 16 For details on the available parameters and menu commands please see 0 3 Mixer T01 08 0 4 Mixer T09 16 on page 123 of the M3 parameter guide 47 48 0 5 KARMA GE Here you can make KARMA function settings for the Combination mode In Combination mode you can use four KARMA Modules Modules A B C and D For details on the available parameters and menu commands please see 0 5 KARMA GE on page 125 of the M3 parameter guide 0 6 KARMA RTC Here you can view the names and the stored parameter values for the KARMA Sliders 1 8 and KARMA switches 1 8 When you operate these the screen will show the number and value of the GE realtime parameters and performance realtime parameters being controlled For details on the available parameters and menu commands please see 0 6 KARMA RTC on page 126 of the M3 parameter guide 0 7 Sampling Audio In Here you can adjust the settings for the analog digital audio signal input AUDIO INPUT S P DIF and the sampling related settings for Combination mode As in Program mode sampling in Combination mode allows you to sample an incoming audio signal or to sample a M3 performance The M3 can also be used as a 4 in 6 out effect processor For details on the available parameters and menu commands please see 0 7 Sampling Audio In on page 128 of the M3 parameter guide 0 8 Control Surface The Control Surface is the set of 8 s
45. 2 2a of the RADIAS program used by the track However a RADIAS program cannot be detuned farther than 50 cents Values below 50 are treated as 50 and values above 50 are treated as 50 For more information please see Detune Use BPM Adjust in Menu on page 228 of the M3 parameter guide Bend Range PRG 24 00 24 Specifies the amount of pitch change that will occur when the pitch bender is operated in semitone units The actual bend range is determined by adding this value to the Bend Range Program 2 2a of the RADIAS program used by the MIDI track However a RADIAS program cannot have a bend range greater than 12 Values below 12 are treated as 12 and values above 12 are treated as 12 For more information please see Bend Range on page 55 SEQ P4 Zone Delay 3 7 Other T01 08 3 8 Other T09 16 Track 02 08 09 16 Track Number Here you can make pitch related settings for each MIDI track 2 16 The settings are the same as for track 1 See Track 01 Track Number 3 7 Other T01 08 3 8 Other T09 16 SEQ P3 Track Param Other 181 68 a 001 01 000 Meter 44 2 126008 Manu 000 NEW SONG Track81 MIDI TRACK 1 T81 l AGG0 X4100 4 Way Stereo Gra Ch 81 RPPR Nofissign a Ei 2 El Reso Hi RPPR 1 E El E 7 El Keyboar Keyboar Keyboar Keyboar Keyboar Keyboar Keyboar Keyboar KARMA Track Off Control fo Nrm o Nrm o Nem e Nem gt Nem Nem e N
46. 27 L ga R127 LOG R127 LOG R127 GP spp qp op psp ap Filter synthesis filter and envelope follower set tings 1 Use Formant Shift to change the shift amount for the band pass filters By shifting the filters you can produce dramatic changes in the character of the vocoder output 2 Use Frequency Offset to adjust the offset to the cutoff frequency of the band pass filters You can adjust the filter shift amount in a range of 2 steps In conjunction with Formant Shift this lets you shift the cutoff frequency in a range of 4 steps r p 44 3 Use Resonance to specify the amount of resonance for the band pass filters 4 Use Mod Source to select the modulation source that will be applied to the cutoff frequency offset Frequency Offset and use Mod Intensity to specify the depth of modulation 5 Use Env Follower Sens to adjust the sensitivity of the envelope follower Higher settings will produce a smoother rise in the vocoder output and a longer release sound Band 1 16 Pan and Level output level and pan setting for each band of the synthesis filter 1 Use Level to adjust the output level of each filter 2 Use Pan to adjust the pan of each filter 13 14 Operation Formant Motion function The formant motion function lets you use data such as a previously recorded voice as the input to the modulator causing the vocoder to produce sound This lets you play the vocoder wi
47. 8 AUX Bust Send to RADIAS o Off 2 5 6 c Enable RADIAS Total Max 4 Timbres Enable RADIAS Off On This specifies whether a RADIAS program selected in Program Select will sound Up to four RADIAS programs can be sounded in one combination On checked The RADIAS program selected in Program Select will sound Turn this setting on for each timbre in which you want to use a RADIAS program You can turn this on for up to four timbres Timbres for which this is on will show the E indication 1 R EXB RADIAS on page 47 Note You can turn Enable RADIAS on for up to four timbres Timbres for which this is off unchecked will not sound Off unchecked Even if a RADIAS program is selected in Program Select it will not sound If you used a timbre bank program change to switch to a RADIAS program from something other than a RADIAS program the RADIAS program will not sound if this setting is off for the corresponding timbre You must turn this on beforehand for timbres in which you intend to use a RADIAS program 2 5 6 d Audio In OSC amp Vocoder Source Audio Inputs Send to RADIAS Off S PDIF L R FireWire L R Here you can select the audio input that will be the input source to the EXB RADIAS AUX Bus Send to RADIAS on page 26 Analog Input 1 2 The signal coming directly from the AUDIO INPUT 17 jacks will be the input source The input from the AUDIO INPUT 1 jack will be input to the L
48. 9 16 Here you can make the Mid sweep EQ settings for MIDI tracks 1 16 For details on the available parameters and menu commands please see 2 3 EQ T01 08 2 4 EQ T09 16 on page 225 of the M3 parameter guide 2 5 RADIAS T01 08 2 6 RADIAS T09 16 Here you can make settings that specify how RADIAS programs will sound and how the audio will be routed SEQ P2 EQ 0Option Trackat MIDI TRACK 81 T81 I AGaGInitProgram AGGA 1 E E Es RADIAS T81 88 J 1128 68 LI RPPR Ch 1 RPPR HoRssian S 6 7 E User 16 User 16 User 16 User 16 User 16 User 16 User 16 User 16 Enable RADIAS Total Max 4 Tracks 2 57 im m m Audio In OSC amp Vocoder Source Audio Inputs Send to RADIAS Analog Input 1 2 AUX Bus Send to RADIAS D Off 2 5 6 c Enable RADIAS Total Max 4 Tracks Enable RADIAS Off On This specifies whether a RADIAS program selected in Program Select will sound Up to four RADIAS programs can be sounded in one combination For more information please see Enable RADIAS on page 50 2 5 6 d Audio In OSC amp Vocoder Source Audio Inputs Send to RADIAS Off S PDIF L R FireWire L R AUX Bus Send to RADIAS Off AUX 1 2 AUX 3 4 Here you can select the audio input and AUX buses that will be the input source to the EXB RADIAS For more information please see 1 1c AudioIn OSC amp Vocoder Source on page 26 2 7 RADIAS Vocoder1 Here you can make voc
49. A2 GE RTP Perf KARMA KARMA realtime parameter settings and performance parameter settings M3 PG p 90 P8 IFX EFFECT Oscillator output bus and master effect send level settings Insert effect routing selection and settings M3 PG p 98 P9 MFX TFX Master effect routing selection and settings Total effect selection and settings rx M3 PG p 103 PROG PO Play In this page you can select and play programs Here you can also perform simple editing of the drum track EQ and KARMA function make settings for the audio inputs and resampling and view the control surface 0 1 Main PROG P8 Play Bank INT F gt 60 keyboard J 22555 21000 RADIAS Program CD SW1 Octave Down CD sw2 Js amp Ribbon Lo Es C S RT Control 166 825 925 Pattern 9 Preset Poga Program 9 1 4000 Here you can select a program and specify the tempo You can also specify the drum track pattern program and EQ These settings are linked with the parameters shown in P1 3 4 and P4 8 The screen shows the settings for SW1 SW2 the control surface the filters and EG2 amp For details on the available parameters and menu commands refer to the M3 parameter guide 0 5 KARMA GE Here you can make settings for the KARMA function in Program mode A RADIAS program can use one KARMA module module A For details on the available parameters and
50. ADIAS program 1 Choose Copy Vocoder to access the dialog box Copy Yocoder From EE 2 I F888 RADIAS Program Cancel OK 2 In the From field choose the copy source Select the mode in the upper line and in the lower line select the program combination or song A When selecting a program you ll only be able to select from bank INT F and user program banks whose bank type is set to RADIAS The settings will not change if you execute this command after selecting a combination or song that does not use a RADIAS program 3 Press the OK button to execute the copy If you decide not to execute press the Cancel button Combi Page Select 0 1 Program T01 08 0 2 Program T09 16 Combination mode Combi Page Select For details on how to select each page refer to the M3 operation guide COMBI Page Select EDIT P1 P2 P3 Pd OT XvV Ctrls EQ Option Timbre Param Zone Delay P5 1 P5 2 MIDI Filter 1 MIDI Filter2 lt z KAI POST Freg P7 3 Pr d KARMA1 GESetup KRRMR2 Module KARMAS GE RTP KARMAd Perf EFF P8 1 P8 2 P3 IFX Route1 1 5 IFX Route2 MFX TFX PLAY Page PO Play Main content Select and play combinations Program selection for each timbre Pan and volume settings etc for each timbre Simple KARMA editing Audio input settings and resampling settings Editing from the control surface M3 PG p 120 EDIT P1 DT X Y Ctrls Drum track settings
51. Adjust please see 0 8g Tone Adjust on page 21 of the M3 parameter guide RADIAS Tone Adjust parameters The EXB RADIAS supports all of the Common Tone Adjust parameters as described under Common Tone Adjust Parameters on page 22 It also adds a number of its own original RADIAS Tone Adjust parameters RADIAS Tone Adjust default Settings OSC1 OSC2 Drive evel Level Unison WS Depth OSC1 OSC2 Filter Mod Seq Mod Mod Resonance Sw L MIX PLAY MU SOLO L 1 2 3 4 5 6 7 8 MIX VOLUMES WE resonance ES lc recense L_usent D user users users EELEE SEILLIBILF GN oMITIIGTITI SEIIIIRIIIIE GHIIIINIIIIN OmITIIGTITI FISNENSEEENE cONHEILLIBILT GN LLL LTD OSC1 OSC2 F A EG F A EG Control2 Tune Decay Time Release Time OSC1 OSC2 F A EG F A EG Control Semitone Attack Time Sustain Level PROG P1 Basic DT Ctrls 1 1 Program Basic PROG P1 Basic DT Ctrls Here you can make basic settings for RADIAS program Here you can Select the voice assign mode Specify unison and detune Select the basic scale for the program Select an audio input source for the vocoder or the RADIAS oscillator Make virtual patch settings Make drum track settings Make X Y mode settings Make controller and pad settings 1 1 Program Basic PROG P1 Basic D
52. DIAS program of timbre 1 is input to the carrier of the vocoder The EDS program of timbre 2 is input via AUX bus 2 mono to the carrier of the vocoder The mic connected to the AUDIO INPUT jack is processed by an insert effect and sent via AUX bus 1 mono to the modulator of the vocoder Audio Inputs Send to RADIAS 0 o Audio Input Source O O Off YR AUX AUX ELEC AUX Bus Send to RADIAS o AUX Bus 1771 O AUX Bus Source AUX 1 2 Insert Analog Input 1 2 C level Vocoder On re Timbre 01 In Sourcel Select TO1 i Wes Modulator Audio Source S P DIF L R 4 Tevel AUX Send L Carrier In Source2 AUX Send R FireWire R evel Carrier In Source RADIAS Program O1 Timbre 02 EDS Program Pan 1 Bus L R or IFX1 5 AUX Bus 2 3 52 2 7 RADIAS Vocoder1 Here you can make vocoder related settings for the combination A Only one instance of the vocoder function can be used in each combination It can be used on only one timbre Even if you ve selected a RADIAS vocoder program in four timbres it is not the case that all four vocoders will operate COMBI P2 EQ Option RADIAS Yocoder 1 ES 27 2 7a B vocoder Formant Motion REC BET MC M iCarrier Input A In Source Select
53. EG Release Time are named Pitch EG but are actually controlling EG3 RADIAS programs do not have a fixed EG that controls the pitch If you want to use EG3 to control the pitch set a virtual patch source Src to EG3 and set the destination Dst to Pitch Pitch LFO1 Intensity 99 99 CC 77 This scales the effect of LFO1 on the Pitch This is not valid for the RADIAS program LFO1 Speed 99 99 CC 76 This scales LFO1 s frequency When the LFO is in MIDI Tempo Sync is on this adjusts the Base Note For more information please see Frequency Hz on page 39 and Base Note Sync Base Note on page 40 LFO1 Fade 99 99 LFO1 Delay 99 99 CC 78 LFO1 Stop PROG Off On Absolute This is not valid for the RADIAS program 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 Frequency Hz on page 39 and Base Note Sync Base Note on page 40 LFO2 Fade 99 99 LFO2 Delay 99 99 CC 78 LFO2 Stop PROG Off On Absolute This is not valid for the RADIAS program Unison Off On Absolute This Absolute parameter turns Unison on and off For more information please see Unison on page 25 Number Of Voices 2 16 Absolute This Absolute parameter sets the number of Unison voices If Unison is not On this parameter has no effect For more information ple
54. KARMA Timbre Off Control Normal Timbre Off by KARMA Off Timbre Off by KARMA On Use Program s Scale Off On For details on these parameters please see 3 7 8 c KARMA Scale on page 152 of the M3 parameter guide Scale Specifies the scale that the combination will use Type Combi s Scale Equal Temperament User Octave Scale15 Selects the scale A If you select a scale that cannot be specified for a RADIAS program such as Stretch User All Notes Scale or User Octave Scale 01 15 the program will play using Equal Temperament Key C B Random 0 7 For more information please see 3 7 8 c KARMA Scale on page 152 of the M3 parameter guide COMBI P4 Zone Delay Here you can specify the key range and velocity range for which timbres 1 8 and 9 16 will sound and specify the delay time until the sound will be heard For details on the available parameters and menu commands please see COMBI P4 Zone Delay on page 153 of the M3 parameter guide The Keyboard Zones Velocity Zones Top Slope and Bottom Slope settings will have no effect for RADIAS program COMBI P5 MIDI Filter These settings allow you to apply filters to the MIDI data that will be transmitted and received by each timbre 1 16 For details on the available parameters and menu commands please see COMBI P5 MIDI Filter on page 157 of the M3 parameter guide COMBI P7 KARMA Here you can make KARMA function sett
55. MUSIC WORKSTATION SAMPLER EXB RADIAS for M3 Owner s manual About this manual About the EXB RADIAS for M3 operating manual This EXB RADIAS for M3 operating manual explains the RADIAS program functions and parameters that are available when the EXB RADIAS synthesizer board is installed in the M3 music workstation sampler For details about basic operation of the M3 and on the functions and parameters not related to the EXB RADIAS refer to the M3 operation guide and parameter guide Conventions in the operating manual Abbreviations in the operating manualOG PG When indicating reference pages the various operating manuals of the M3 may be abbreviated in the following ways M3 OG M3 Operating Guide M3 PG MG Parameter Guide u n Parameters in the LCD display screen Parameters displayed in the display are enclosed in double quotation marks Symbols 44 M Note Tips These symbols respectively indicate a caution a MIDI related explanation a supplementary note or a tip Example screen displays The values of the parameters shown in the example screens of this manual are only for explanatory purposes and may not necessary match the values that appear in the display of your instrument MIDI related explanations CC is an abbreviation for Control Change Number In explanations of MIDI messages numbers in square brackets always indicate hexadecimal numbers Company names pr
56. Motion Data Q an Single oe To 42 Formant Motion 82 Cancel OK 3 Press the OK button to execute or press the Cancel button to cancel 65 66 Set Program User Bank Type This specifies the bank type for Program mode program banks USER A through G If you ve set the bank type to RADIAS the RADIAS programs you create can be saved in the corresponding user bank As an example here s how to set the USER F bank type to RADIAS Before you execute uncheck Program in Memory Protect 1 M3 parameter guide p 359 If you execute with this item still checked a message of Memory Protected will appear and the data will not be loaded 1 Select Set Program User Bank Type to open the dialog box This indicates the current type for each user bank Set Program User Bank Type U 4 PCM No Change U B PCM 9 No Change U C PCM No Change U D PCM No Change U E PCM No Change U F PCM U G PCM No Change Cancel OK 2 Select RADIAS as the bank type for USER F Note If you execute with a setting other than No Change all data in that bank will be initialized even if you have specified the same bank type as before If you want to keep your data you must first use Save All or Save PCG to save it 3 Press the OK button to execute or press the Cancel button to cancel A dialog box will ask you to confirm 4 Verify the s
57. RADIAS program will also be copied A This is invalid if you ve selected an EDS program as the copy source For the procedure and other settings please see Copy from Program on page 185 of the M3 parameter guide Write Formant Motion Data This command saves the recorded formant motion data into internal memory If you turn off the power before saving formant motion data you ve recorded the data cannot be recovered For the procedure please see Write Formant Motion Data on page 46 Copy Vocoder This command copies the vocoder settings from a specified program combination or song to the currently selected combination For the procedure please see Copy Vocoder on page 46 SEQ Page Select Sequencer mode For details on how to select each page refer to the M3 operation guide SEQ Page Select SEQ Page Select PLAY Pa 1 P8 2 Play REC Play REC Control EDIT P1 P2 P3 Pd DT XV Ctrls EQ Option Track Param Zone Delay P5 1 P5 2 P6 MIDI Filter 1 MIDI Filter2 Track Edit KARMA Rr Pr 2 Pr 3 Pr d KARMA1 GESetup KRRMR2 Module KARMAS GE RTP KARMAd Perf EFFECT P8 1 P8 2 P3 IF Route1 1 5 IFX Route2 MFX TFX PATTERN amp CUE P10 Pattern RPPR Pil Cue List Page Main content Oscillator output bus and master effect send P8 1 IFX level settings Routing Insert effect routing selection and settings M3 PG p 257 v P8 2 IFX Bu
58. T Ctrls Program Basic ES Moice Assign Mode SSSR Q Poly 1 1a M Mono Trigger Mode 9 Single Priority Last m Unison Number Of Voices 2 Detune cents 16 Spread MiScale 1b Type Equal Temperament Key 3 t Maudio In 0SC amp Yocoder Source BEEEEEEEEEEEEEER Audio Inputs Send to RADI45 Analog Input 1 2 1 1c AUX Bus Send to RADIAS o Off Peso Paton Pattern Prog J Setup lets J ind 5 6 Basic J iP 3 p Allers 1 1a Voice Assign Mode Voice Assign Mode Poly Mono Selects monophonic or polyphonic operation Poly The program will play polyphonically allowing you play chords Mono The program will play monophonically producing only one note at a time Trigger Mode Single Multi This specifies whether the EGs will retrigger when you play a second note before releasing a previously played note This parameter is shown if Voice Assign Mode is set to Mono Single The second and subsequent notes will not retrigger the EG Use this setting if you want to play legato Multi The EG will be retriggered each time a new key is pressed Note on Note on Priority Low High Last Priority is available when the Voice Assign Mode is set to Mono This parameter determines what happens when more than one note is being held down Low The lowest note will sound Many vintage monophonic analog synths work this way High The highest note will sound Last The
59. U oS SEES NES ESPERE SEP sena ene E PR ebE E dU 20 eie c 20 O 8C RADIAS Play MUte s este iie itle Du ique E itiecsptet im Dites need tiep EN nn T LIA DERE 20 O 8d RADIAS Volume mn M rende 21 Tone AdjUst cccccccsossccsccscscscscsccesccsccssccssccsscccsccssccsscsesccsscesscssccssccsscssscssecssesenesensccsccsscssccssessssenese 21 0 8g o aote Ur e M 21 Common Tone Adj st Paramieters u 1 iot otertasertcreiricieesl o aiai iu ert ee lod ais a a etie eei coke 22 RADIAS Tone Adjust Parameters tihi tuna veto cutter Seite iE o e CHE CHR eU ERE ER rhe eO Educa ive E CHEER REG 23 Tone Adjust Default Settings 24 PROG P1 Basic DT CEHs ssicsicstssacessenscascassanstaviassannsssvanssstanvepbanciainisheiveaninsvasinan 2D 1 1 Program Basic 25 T Ta Voice Assign MOde M 25 1 1b Scal M HG 25 1 1c AUCIOIN OSC amp Vocoder Source sn 26 TH Virtual Path me 28 IPLA IIDIEINT d 1 3 DrumTrk Pattern Drum Track Pattern 1 4 DrumTrk Program Drum Track Program eene ceres e eere eee en esten setas etas etas etas taa seno 29 PO elu nm 29 Ue diii
60. User 1 User 1 Useri User 1 User 1 Transpose T Fos pos Fos pos pos ras roo Detune Use BPM Adjust in Menu taaga anne o000 o000 franga raoga fogao fragas PRG PRG PRG PRG PRG PRG PRG PRG 3 5 6 a Combination Name Tempo 3 5 6 b Timbre Info For details on these parameters please see 3 5 6 a Combination Name Tempo 3 5 6 b Timbre Info on page 151 of the M3 parameter guide 3 5 6 c Pitch Timbre 01 Timbre Number Transpose 60 00 60 Adjusts the pitch in semitone steps for the RADIAS program used by the timbre A setting of 12 is one octave The actual pitch sounded by the program is determined by adding this value to the Transpose setting Program 2 2a of the RADIAS program used by the timbre However a RADIAS program cannot be transposed farther than 48 Values below 48 are treated as 48 and values above 48 are treated as 48 For more information please see Transpose on page 151 of the M3 parameter guide Detune Use BPM Adjust in Menu 1200 0000 1200 Adjusts the pitch in one cent units from the normal pitch for the RADIAS program used by the timbre The actual pitch sounded by the program is determined by adding this value to the Tune cents setting Program 2 2a COMBI P4 Zone Delay 3 7 Other T01 08 3 8 Other T09 16 of the RADIAS program used by the timbre However a RADIAS program cannot be detuned farth
61. V 6 2 Menu Command e Write Formant Motion Data p 46 e Copy Vocoder p 46 PROG P7 KARMA Initialize MOD SEQ PROG P7 KARMA Here you can make KARMA function settings for the RADIAS program For details on the available parameters and menu commands please see PROG P7 KARMA on page 45 of the M3 parameter guide PROG P8 IFX Here you can make settings for the insert effects You can use insert effects for RADIAS programs in the same way as for EDS programs For details on the available parameters and menu commands please see PROG P8 IFX on page 45 of the M3 parameter guide PROG P9 MFX TFX Here you can make settings for the master effects and total effects You can use insert effects for RADIAS programs in the same way as for EDS programs For details on the available parameters and menu commands please see PROG P9 MFX TFX on page 45 of the M3 parameter guide Menu Command The menu commands explained here are those that are displayed and available only if the EXB RADIAS is installed For details on the other commands refer to the M3 parameter guide Initialize MOD SEQ This command initializes the modulation sequence settings 1 Choose Initialize MOD SEQ to access the dialog box Initialize MOD SEQ Q an singe mov sea Cancel OK 2 Select the modulation sequence that you want to initialize All All modulation sequences 1 3 will be initialized Th
62. and1 Band16 Pan LOOO C064 R127 Level 000 127 For details on these parameters please see 6 2b Band1 16 Pan and Level on page 44 WV 2 8 Menu Command e Write Formant Motion Data p 64 e Copy Vocoder p 64 61 62 SEQ P3 Track Parameters 3 1 MIDI T01 08 3 2 MIDI T09 16 These settings specify how each track will be played For details on the available parameters and menu commands please see 3 1 MIDI ch T01 08 3 2 MIDI ch 109 16 on page 226 of the M3 parameter guide 3 3 OSC TO1 08 3 4 OSCTO9 16 vu 001 01 000 Meter 4 4 2 312608 Manu 6 000 NEW SONG Track MIDI TRACK 81 Reso Hi RPPR Tat a LE 4100 LE Way Stereo Dra Ch 81 SREER Nofssign _ Keyboar Keuboar Keuboar Keyboar Keyboar Kankaan Kayboar Reuboar Force OSC Mode ORO ree ree Fre ris prs reo ero 3 3a OSC Select 8th er eT ern sH era ETH STH Portamento 3 3 4 a OSC Track 01 16 Track Number Force OSC Mode PRG Poly MN LGT Selects the Voice Assign Mode Program 1 1a of the RADIAS program selected For more information please see Force OSC Mode on page 54 OSC Select BTH OS1 OS2 This has no effect for RADIAS programs used by a MIDI track For more information please see OSC Select on page 227 of the M3 parameter guide Portamento PRG Off 001 127 Specifies the portamento for the RADIAS programs used by the MIDI
63. as you play downward With negative settings the volume will decrease as you play upward from the C4 key and increase as you play downward If this value is 0 keyboard tracking will not affect the volume Note Keyboard tracking works according to the pitch as controlled by pitch bend transpose and modulation sequencer It does not reflect pitch changes produced by vibrato or virtual patching 4 1c Pan Pan LOOO CO64 R127 This controls the stereo pan of RADIAS oscillator A setting of L001 places the sound at the far left C064 in the center and R127 to the far right 4 8 EQ Here you can make the Mid sweep EQ settings For details on the available parameters and menu commands please see 4 8 EQ on page 65 of the M3 parameter guide 37 38 Parameter guide PROG P5 EG LFO MSEQ These parameters let you make EG Envelope Generator settings to produce time varying change in the oscillator pitch filter and amp make LFO settings to produce cyclic changes in the sound and make settings for the modulation sequencer which applies time varying change to sound parameters in ways typical of analog sequencers of the past 5 1 EG1 Filter 5 2 EG2 Amp 5 3 EG3 Here you can make settings for the EG Envelope Generator EG is internally connected as the envelope source that controls the cutoff frequency of filter EG2 is internally connected as the envelope source that controls the
64. ase see Number of Voices on page 25 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 cents on page 25 Thickness Off 01 09 Absolute This is not valid for the RADIAS program PROGPO Play Tone Adjust RADIAS Tone Adjust Parameters OSC1 Waveform Saw Square Tri Sine Formant Noise DWGS Audioln Absolute Selects the waveform for oscillator 1 OSC1 Mod Waveform Cross Unison VPM Absolute Selects the modulation type for oscillator 1 OSC1 Control1 000 127 63 63 Absolute Controls a parameter appropriate for the modulation type of oscillator 1 Waveform Modulation 000 127 Controls the oscillator 1 waveform when OSC1 Mod is Waveform Cross Modulation Depth 000 127 Controls the depth of cross modulation for oscillator 1 when OSC1 Mod is Cross Unison Detune 000 127 Controls the pitch difference between unison oscillators when OSC1 Mod is Unison VPM Depth 000 127 Controls the depth of the VPM effect This can be con trolled if OSC1 Mod is VPM Formant Width 000 127 Controls the frequency components of the formant This can be controlled if OSC1 Waveform is Formant Resonance 000 127 Controls the amount of resonance for the noise generator This can be controlled if the OSC1 Waveform is Noise Gain 63 63
65. ble to EDS RADIAS by bank Up to four synth programs vocoder section maximum 16 timbres tracks can be combined with Combination Sequencer EDS programs The M3 s effects X Y control KARMA drum track and controllers etc can be used in the same way as for the EDS system One stereo source can be routed from the M3 s audio input sources Audio input The audio inputs AUDIO INPUT 1 2 S P DIF L R and FireWire L R if the EXB FW is installed can be ES input to the RADIAS oscillators or vocoder Audio input m ER rA SS One stereo source from the M3 s AUX bus 1 2 or 3 4 can be routed AUX bus The audio input following an insert effect the drum track or an EDS timbre etc can be input to the RADIAS oscillator or vocoder Included items Owner s manual screws Appearance and specifications of this product are subject to change without notice January 07 69 IMPORTANT NOTICE TO CONSUMERS This product has been manufactured according to strict specifications and voltage requirements that are applicable in the country in which it is intended that this product should be used If you have purchased this product via the internet through mail order and or via a telephone sale you must verify that this product is intended to be used in the country in which you reside WARNING Use of this product in any country other than that for which it is intended could be dangerous and could invalidate the manufacturer s or distributo
66. c Modulator Modulator Modulator Select Audio Formant Motion Source Audio Source Audio In2 AUX Send L R AUX Send L AUX Send R Gate Sens Gate Sensitivity 000 127 Threshold 000 127 Select Formant Motion Select Formant Motion 00 Formant Motion 16 Play Mode Formant Motion Play Mode Free Run Trigger Reset For details on these parameters please see 6 1c Modulator on page 42 2 7d Out Mix Vocoder Output Level 000 127 Modulator Direct Mix 000 127 Modulator HPF Gate Disable Enable Modulator High Mix 000 127 For details on these parameters please see 6 1d Out Mix on page 43 V 2 7 Menu Command e Write Formant Motion Data p 56 e Copy Vocoder p 56 COMBI P2 EQ Option 2 8 RADIAS Vocoder2 2 8 RADIAS Vocoder2 COMBI P2 EQ ption RADIAS Yocoder2 M 2 2 8 Site ee AC Formant Shift 0 Frequency Offset 88 2 8a Resonance 828 Mod Source LFO1 Env Follower Sens 53 Mod Intensity 88 Bandi 16 Pan and Level 1 El E E3 A e e el A C864 C064 C064 C064 C064 C064 C06 r ao CO CO aao ao Gap Gz i i ns an md pa FE 2 8a Filter Formant Shift 2 2 Resonance 000 127 Env Follower Sens Envelope Follower Sensitivity 000 127 Frequency Offset 63 63 Mod Source Fc Modulation Source EG1 X Y Y Mod 88 Mod Intensity Fc Modulation Intensity 63 63 For details on these parameters
67. ce L001 CO64 R127 Adjusts the balance between the L channel e g AUDIO INPUT 1 jack and R channel e g AUDIO INPUT 2 jack of the input signal selected by Audio In Program 2 12 63 63 Note If the P1 Program Basic page Unison setting Program 1 1a is On certain parameters will automatically be set to allow the input audio to be handled in stereo In this case please note the following points Regardless of the Balance Control 2 setting the signal from AUX buses 1 3 or audio in 1 L will be fixed at Balance L001 and the signal from AUX buses 2 4 or audio in 2 R will be fixed at Balance R127 Regardless of the Number of Voices setting Program 1 1a it will be fixed at two voices Ifyou set Spread Program 1 1a to 0 the Balance for both the L ch and the R ch of the output will be C064 Center If you set Spread to 127 the L ch and R ch of the oscillator output will be set to Balance of L001 and R127 respectively 2 1b OSC2 These are the parameters for the oscillator 2 waveform Waveform Oscillator2 Waveform Saw Square Tri Sine Selects the waveform for oscillator 2 This setting will affect the maximum number of voices Saw Sawtooth wave is suitable for creating a broad range of typical analog synthesizer sounds such as synth bass and synth brass Square Square wave is suitable for electronic sounds or woodwind sounds such as clarinet Tri Triangle wave has fewer overtones
68. cesosesosesosecoceocesossccesocecccscocesosesossssesssesssesosessse 46 Copy VOCOAET ccescccsessccsccscccsccescccscccscscscssscscsccssccsscesscssccsccsecesscssecssesssescsesescsssccsscesscssccsscssscseoess 46 Table of contents Combination mode ecce ee eee eere eene eee eee eee eese esesss sss seeeeeees 47 Combi Page SEISCE HY d COMBIPO Play e 7 0 1 Program T01 08 0 2 Program T09 16 44 eee eee cete eese eese eee eee etnsss esses ee eessss sess sees toos 47 0 3 Mixer T01 08 0 4 Mixer TO9 16 eene enne noon noon nonno nones h senes s sse sese esee sees eene aano 47 0 5 KARMA GE q o Ssss 48 uHCcuLLN i om 48 0 7 Sampling Audio In 1 eese eese eese eese esee esee etse te setas senses stans teas eset setas seas tens es stas etas e tn seo 48 0 8 Control Surface eee oi rss ec no atus e Ie rash oP Yea cb Se SEE Se npe oa Eaa aoee Essa da pR o NER Een SUE eee Ss sss issii 48 Tone Adjust egre pjv de Co 49 COMBI P1 DT X Y Ctris 5uieessnsa ipa ina nd Sin cd pRUEKIMSAFe RARE KYMQR A KR Una OR S EFE RR SEVA A aRaza nO ns inca is 49 COMBI P2 EO Option iiec OE E REN MEN RER QU En SR I i Eo ERE NO M UN EO ra enin OU 2 1 EQ Trim T01 08 2 2 EQ Trim T09 16 e
69. cified program to the currently selected song If you select a RADIAS program from the INT F bank etc as the copy source the RADIAS Vocoder check box in the dialog box will be enabled If you check RADIAS Vocoder and execute the copy the vocoder parameter settings of the copy source RADIAS program will also be copied A This is invalid if you ve selected an EDS program as the copy source For the procedure and other settings please see Copy from Program on page 273 of the M3 parameter guide Write Formant Motion Data This command saves the recorded formant motion data into internal memory If you turn off the power before saving formant motion data you ve recorded the data cannot be recovered For the procedure please see Write Formant Motion Data on page 46 Copy Vocoder This command copies the vocoder settings from a specified program combination or song to the currently selected combination For the procedure please see Copy Vocoder on page 46 Menu Command Load Preload Demo Data Global mode Here we will explain only the menu commands Load Preload Demo Data and Set Program User Bank Type For details on the other parameters and menu commands refer to Global mode in the M3 parameter guide M3 parameter guide p 355 Menu Command Load Preload Demo Data This command loads the preload data and demo song data into the M3 Here we will explain only how to load RADIAS
70. connected by straight lines Steps Note If you set Destination Param to OSC1Ctrl2 OSC1 Control 2 when OSC1 Waveform is set to DWGS the operation will be the same as Step even if this parameter is set to Smooth Step The value recorded at each step will be held until the next step plays 1 2 3 4 5 6 rd 8 9 10 11 12 13 14 15 16 Steps Step01 Step16 Step Value 24 24 63 63 Specifies the value of the parameter that is assigned to the modulation sequence in each steps The value specified here will be an offset applied to the current value of the parameter that is assigned to the modulation sequence For example if the current value is 10 and the sequence data contains 10 10 20 starting at step 1 the resulting value of the parameter will change as 20 20 30 when playback begins V5 6 7 8 Menu Command e Initialize MOD SEQ p 45 e Copy MOD SEQ p 46 41 42 Parameter guide PROG P6 Vocoder The EXB RADIAS features a sophisticated vocoder that can be used not just to simulate the classic vocoder sounds of the past but also to take advantage of advanced possibilities such as shifting the filter frequencies of each band or adjusting their level and panning to create new and original vocoder sounds The Formant Motion function uses filter banks to analyze the input signal the modulator and records up to seven seconds of formant motion data By using the play back of thi
71. de Using controllers to vary the sound 1 Numerous controllers are located in the left side of the M3 s front panel While you play the keyboard operate the joystick ribbon controller and SW1 and SW2 switches to vary the sound The result will differ for each program so try them all out to see what each controller does for the particular program you ve selected For details on these controllers please see Using Controllers on page 41 of the M3 operation guide 2 Use the Realtime Controller function of the control surface to control the sound parameters Press the CONTROL ASSIGN REALTIME CONTROLLER switch the LED will light You can control the sound parameters that are assigned to the sliders and switches For details on Realtime Controller please see Using realtime control to edit sounds or effects on page 48 of the M3 operation guide 3 Use the Tone Adjust function of the control surface to control the sound programs of the RADIAS program Press the CONTROL ASSIGN TONE ADJUST switch the LED will light You can control the sound parameters that are assigned to the sliders and switches For details on the default Tone Adjust settings for a RADIAS program please see Tone Adjust Default Settings on page 24 Note You can use the switches and sliders to control the parameters assigned to Realtime Controller and Tone Adjust even when you re in the main page of the screen However since it s most convenient t
72. e following parameters will be initialized Last Step Program 5 6 7 8 a 16 Sequence Type Program 5 6 7 8 a Forward Run Mode Program 5 6 7 8 a Loop KeySync Program 5 6 7 8 a 1st Note Resolution Program 5 6 7 8 a Destination Param Program 5 6 7 8 b Pitch Motion Program 5 6 7 8 b Smooth Step Value Program 5 6 7 8 b 0 Single One modulation sequence will be initialized You can specify the modulation sequence that you want to initialize The following parameters of the specified modulation sequence will be initialized Destination Param Program 5 6 7 8 b None Motion Program 5 6 7 8 b Smooth Step Value Program 5 6 7 8 b 0 3 Press the OK button to execute the initialization If you decide not to execute press the Cancel button 45 46 Parameter guide Copy MOD SEQ This command copies modulation sequence settings from another RADIAS program to the currently selected RADIAS program 1 Choose Copy MOD SEQ to access the dialog box Copy MOD SEQ Program gt sis EBD PES E mop seat mop seat Cancel OK 2 Use the Program field to choose the copy source program and modulation sequence Choose the program in the upper line and in the lower line choose the modulation sequence that you want to copy A When selecting a program you ll only be able to select from bank INT F and user program banks whose bank type is set to RADIAS 3 Use th
73. e To field to select the copy destination modulation sequence 4 Press the OK button to execute the copy If you decide not to execute press the Cancel button Write Formant Motion Data This command saves your recorded formant motion data into internal memory Be sure to save important data that you want to keep Formant motion data you ve recorded will be lost if you select other formant motion data or turn off the power before you ve saved it 1 Choose Write Formant Motion Data to access the dialog box Write Formant Motion Data T Formant Motion 88 o 0G Formant Motion 46 2 The upper line shows the formant motion name If you want to change the formant motion name press the text edit button to access the text edit dialog box and enter the desired name 3 In the To field select the save destination 4 Press the OK button to write the formant motion data If you decide not to execute press the Cancel button A If you want to save the formant motion data you recorded you must write it If you perform any of the following actions before writing it the formant motion data you recorded will be lost Select other formant motion data Select another program Turn off the power Receive a MIDI dump of the corresponding data from an external connected device Copy Vocoder This command copies the vocoder setting from the specified program combination or song into the currently selected R
74. e Bus L R Trigger Note On Am Save to RAM Mode Stereo i T Sample Time 88 min 18 923 sec 387 6 While vocalizing into your mic use the AUDIO INPUT LEVEL knob to adjust the input level The optimum input level is a point slightly below the level where the ADC OVER AD converter input overload indication appears When you ve finished adjusting the level turn Input 2 BUS Select Off 7 While vocalizing into your mic play the keyboard You ll hear the vocoder sound Using controllers to vary the sound For vocoder programs as well various sound parameters are assigned to the Realtime Controller and Tone Adjust functions of the control surface Try operating the switches and sliders and see how they affect the sound Operation Editing a program In the PROG P0 Play page you can select and play RADIAS programs use the control surface to perform quick editing and adjust the KARMA settings in the same way as for EDS programs In other pages you can make more detailed edits to the sound Basic settings for the program To edit a RADIAS program you ll start in the PROG P1 1 Program Basic page where you can specify settings such as scale type and audio input source Here we ll explain how to make a RADIAS program play monophonically PROG P1 Basic DT Ctris Program Basic Mono Trigger Mode Single Priority Last m Unison Number Of Voices 4 Detune cents 1 Spread
75. e a RADIAS program When you play the keyboard you ll hear the RADIAS program Note You can turn up to four Enable RADIAS settings on Timbres for which this is off unchecked will not sound 4 Access the COMBI P0 1 Combination Select T01 08 or P0 2 Combination Select T09 16 page An indication of E is shown above the category for timbres whose Enable RADIAS On checked COMB P8 Play Program 161 68 Sn Bank USER A 260 Keuboard 21000 InitCombi UAOO00 T 1 AGGE InitProgram ABOA Ch 01G E x EF E Category gt 16 deer 16 i 16 16 16 16 16 16 User 16 User ser 16 User liser 16 User 16 User 16 User ser 16 User 16 User 16 Bank Program INT INT INT INT INT 2 Agaa 2 Agaa 2 ABB gt Agaa gt BBD INT INT INT gt Agga gt RBBB gt ABBA InitProgs InitProgr InitProar InitProar InitProgr InitProgr InitProgr InitProar wD GED GE GE 73 CG Ga GE C Jene 1e J 3 16 ce J RTC atom surtacs 5 Use Program Select to select a bank INT F program 6 Edit the parameters of each timbre make arpeggiator settings and make settings for routing insert effects master effects and total effects However the following parameters will operate in a different way than when you re using an EDS program Refer to the parameter guide e COMBI P3 3 4 c Force OSC Mode OSC Select Portamento p 54 COMBI P3 5 6 c Pitch Transpose Detune Use BPM Adjust in Menu p 54 e COMBI P3 7 8 c
76. ecassanssosssenveosssessacssesscasesocssedssosesosueasesssetessessesses 64 Write Formant Motion Data eere ee eee e eee eere enean aee teet enne esee e eese senses see esee senses ee eese e enne esee eS 64 pA Dens E 64 Global mode ceci reo eee vv sais dense GS Menu Command ROTER 65 Load ISI PSERHPITUCRPBEU RTT 65 Set Program User Bank Type 4 eeee cete eese e esee e estes etse tn setas senses stas etse toss ease ea senses stas stas etn seo 66 Media mode e eeeeeeee eee eee ene rne enne esee eese see eeeeeeeeeseeeeeess OF Menu Command ee ee eee eee ee eee eee sees eee ses tees e sese esee eese eese esee esee esses eese esee e ees sen ee 67 Load SCO CEO BREITER Es 67 Appendices EQY EXB RADIAS Specifications s spsdsacsccossseunsescnssausnvsswsasnasesuscesnssvsunsayscanesedecsebsensainesseesnaes 69 Introduction Overview The EXB RADIAS is a synthesizer vocoder option board that uses Korg MMT Multiple Modeling Technology to provide a wide range of tonal variety and 24 voices of polyphony When the EXB RADIAS is installed you ll be able to use 128 RADIAS programs in program bank INT F You ll also be able to save original RADIAS programs you ve created in bank INT F or user banks that you ve assigned as bank type RADIAS Up to four RADIAS programs can be assigned to timbres
77. effect Thus you should use the Off setting see the illustration below MOD SEQ KARMA performance example 1 Key Sync Each Note Key Sync 1st Note KARMA performance t example 2 DEN t EE Key Sync 1st Note 1 2 3 1 2 3 1 2 3 Lao Specifies the playback speed of the sequence relative to the tempo MIDI clock The sequence will advance by one step for each note value you specify here relative to the tempo For example if you set this to J the sequence will advance one step for each quarter note Resolution 5 6 7 8 b SEQ1 SEQ2 SEQ3 Destination Param Destination Parameter None Pitch Patch8 Int Selects the modulation sequence destination parameter None The modulation sequence will do nothing Pitch The modulation sequence will modify the overall pitch of the sounding oscillators over a range of 24 semitones Other The modulation sequence will modify the parameter assigned to a specific panel knob over a range of 63 24 for OSC2 Sem Note If you ve specified the same parameter for more than one sequence the setting of the higher numbered sequence will be used in the order of SEQ 3 SEO 2 and SEO 1 Motion Smooth Step Specifies how the recorded values will change when the sequence is played Smooth The change will be continuous with the values recorded at each step
78. em 3 7a Use Program s Scale m mg eis 0 0 8 p Scale Type o Equal Temperament Key 3 C Random 8 3 7 8 a KARMA Scale Track 01 16 Track Number KARMA Track Off Control Normal Track Off by KARMA Off Track Off by KARMA On Use Program s Scale Off On Type Song s Scale Equal Temperament User Octave Scale15 Key C B Random 0 7 For details on the available parameters and menu commands please see 3 7 Other T01 08 3 8 Other T09 16 on page 229 of the M3 parameter guide SEQ P4 Zone Delay Here you can specify the key range and velocity range for which MIDI tracks 1 16 will sound and specify the delay time until the sound will be heard For details on the available parameters and menu commands please see SEQ P4 Zones Delay on page 231 of the M3 parameter guide The Keyboard Zones Velocity Zones Top Slope and Bottom Slope settings will have no effect for RADIAS program SEQ P5 MIDI Filter Here you can select whether or not to apply filtering to the MIDI data received by MIDI tracks 1 16 For details on the available parameters and menu commands please see SEQ P5 MIDI Filter on page 235 of the M3 parameter guide SEQ P6 Track Edit Here you can edit MIDI tracks and the master track For details on the available parameters and menu commands please see SEQ P6 Track Edit on page 241 of the M3 parameter guide SEQ P7 KARMA Here you can
79. enes using the sliders and switches Edit sounds using Tone Adjust Assign sliders and switches to different Tone Adjust parameters Control Assign Switches and parameters You can switch the Control Surface between its different functions using Control Assign on the display or the front panel Control Assign switches The parameters on the display and the front panel switches mirror one another when you change one of them the other changes as well In Program mode you can select one of five different functions MIXER OSC Mix The control surface will control the volume Play Mute and Solo On Off status for RADIAS oscillators and the drum track In Combination mode and Sequencer mode you can use this switch to alternate between timbres or tracks 1 8 and 9 16 MIXER Mixer Input The control surface will control the audio input volume Play Mute and Solo On Off status of the analog inputs S P DIF inputs and FireWire inputs if the EXB FW is installed REALTIME CONTROL RT Control Use the sliders to control the sound or effects Use the switches to turn effects on off EXTERNAL lets you send MIDI messages to external MIDI devices Use the GLOBAL P1 MIDI External Mode 1 2 page to specify the MIDI message that will be transmitted TONE ADJUST gives you hands on access to sound editing using the sliders and switches KARMA Use the sliders and switches to control the KARMA function You can freely change bac
80. epth 127 NW Multi Sin Sending a sawtooth wave through this will produce a sine wave Depth 000 Depth 064 Depth 127 NL Sub OSC Saw Sub OSC Squ Sub OSC Tri Sub OSC Sin The selected waveform will sound one octave below oscillator 1 Depth adjusts the mix amount relative to oscillator 1 PROGP4 Amp EQ 4 8 EQ Pickup This simulates an electromagnetic pickup Depth adjusts the depth Depth 000 Depth 064 Depth 127 JL AA Note The above illustration for Pickup shows differences in the output waveform when a sine wave at C4 is input The transformation will vary depending on the input pitch Level Boost Boosts the output level Depth adjusts the amount of boost Depth 000 Depth 064 Depth 127 A This may produce high output volumes than other wave shape types 4 1b Amp Level Amp Level 000 127 This controls the basic volume level of Oscillator 1 before keyboard tracking velocity and other modulation 000 127 Creates a more snappy attack by adjusting the amount of pulse waveform that is added to the oscillator output only during the attack Increasing this value will emphasize the attack If the attack is slowed down by the EG etc this will have no effect Keyboard Track 63 63 Specifies how keyboard tracking will affect the volume Punch Level With positive settings the volume will increase as you play upward from the C4 key and decrease
81. er is applied to each synthesis filter to modulate the sound producing the impression that the carrier sound is talking the typical vocoder effect You can use the Formant Shift and Frequency Offset parameters to shift the frequencies of the carrier bandpass filters This will raise or lower the frequency response while preserving the character of the modulator creating major changes in the sound OO Env Follower sens Analysis Filter Resonance To Mixer Effect Modulator Direct Mix Modulator High Mix Formant Motion data Carrier CARRIER A sawtooth wave SAW or other waveform rich in overtones is the best choice for the carrier As the carrier you can use a combination of two sources In Sourcel and In Source 2 As the In Sourcel you can use the mono mixed signal from the output of the amp section the signal before it is sent to the insert effects In Program mode the synth sound of the program is fixed as In Source 1 As the In Source 2 you can use an external input e g AUDIO INPUT 1 jack or the AUX bus insert effect output Modulator MODULATOR Most commonly you will input your voice as the modulator but interesting results can also be obtained by inputting a rhythm sound as the modulator waveform You can use either an external input AUDIO INPUT 2 jack or AUX bus an external input processed by an insert effect or a program sound such as rhyt
82. er than 50 cents Values below 50 are treated as 50 and values above 50 are treated as 50 For more information please see Detune Use BPM Adjust in Menu on page 151 of the M3 parameter guide Bend Range PRG 24 00 24 Specifies the amount of pitch change that will occur when the pitch bender is operated in semitone units PRG The pitch range specified by the program will be used 24 24 This setting will be used regardless of the setting in the program The actual bend range is determined by adding this value to the Bend Range Program 2 2a of the RADIAS program used by the timbre However a RADIAS program cannot have a bend range greater than 12 Values below 12 are treated as 12 and values above 12 are treated as 12 Timbre 02 08 09 16 Timbre Number Here you can make pitch related settings for each timbre 2 16 The settings are the same as for timbre 1 See Timbre 01 Timbre Number 3 7 Other T01 08 3 8 Other T09 16 COMBI P3 Timbre Param Other 161 68 v INT A GGG InitCombi A888 J 126 66 T81 I AGGGInitProgram AGOA Ch 81G User 16 User 16 User 16 User 16 User 16 User 16 User 16 User 16 KARMA Timbre Off Control omo Nrm Nem Nem irm Nem Nrm e Nem 3 3c Use Program s Scale B mj mj up imb m ium uj Scale Type Equal Temperament Key C Random 8 3 7 8 c KARMA Scale Timbre 01 16 Timbre Number
83. ere eese esee eee es etes e tenete setas senses sts stas stas sense snseo 50 2 3 EQ Gain T01 08 2 4 EQ Gain T09 16 ccccccccccscccccccscccscccscccscccsccccccssccscscscccssccscccssccssssscccssees 50 2 5 RADIAS T01 08 2 6 RADIAS T09 16 2 5 6 c Enable RADIAS Total Max 4 Timbres rennes 2 5 6 d Audio In OSC amp Vocoder Source sms 50 2 7 RADIAS Vocoder1 2 7a Vocoder On Off Formant Motion REC On Off iiuuususesucuccitt esce stt tacta tci eei tct GrH ROREM UI CER UHR CU ERE 52 PI HEAT OLE EEA E E E AE ER EA 52 DSTO AU ON RE EE ARN E 52 Py o BOT GUT aana E TEE TEE EE ENE A 52 27 MENU Command eanna E er rte 52 2 8 RADIAS Vocoder2 c E 53 D gt Seas MON E A E A EE A A E E A E E A E 53 2 85 Bandi 16 Pam and LEVE scott entries ANa E RAR A E 53 2 8 Men Command 54 citroen UE Rer EUISEN EAA EEEE NEEE 53 COMBI P3 Timbre Parameters eee eee ee eee ee ene ese esee e esa eese sese eesesessseeeesessessssseeeess DA 3 1 MIDI T01 08 3 2 MIDI T09 16 ssccccssccccssscccsscccccccsccccscssccsccccccscccccccsscccsscccccesccsesssscoseccccoes 54 3 3 OSG T01 08 3 4 OSCTO9 1G ss eeeeree ee se eoo r ana ona o Poe eaa e sn a ase ansa a sse apes aes e ena ooa p oae aseo UNE 54 3 5 6 a Combination Name Tempo 3 5 6 b Timbre INFO rennes 54 3 55 6 C PIECI 2525 nucis icit et ia etie itii dtr cu cara is remit venei nio oet te isse AE ise toe esce CER Costos tie
84. ereo field The RADIAS program provides additional features to add more tonal complexity and edge to the sound including Drive Wave Shape control DRIVE WS and Punch Level Drive Wave Shape does not simply apply an effect to the oscillator waveform it modifies the waveform itself to create hard edged tones By adjusting the filter cutoff or resonance you can create even more dramatic effects By default envelope generator 2 EG2 is set to vary the volume level over time Envelope generators EG1 EG2 EG3 Envelope generators EG are used to apply time varying change to the sound parameters You can create the desired envelope by using the four basic parameters attack time delay time sustain level and release time You can also choose linear logarithmic or exponential curves EGt is assigned to control the filter cutoff frequency and EG2 is assigned to control the volume of the amp You can also use virtual patching VIRTUAL PATCH to assign these EGs as envelope sources for other parameters LFO LFO1 LFO2 LFO Low Frequency Oscillator is used to apply cyclic change to the sound parameters RADIAS program contains two LFOs and for each LFO you can choose one of four waveforms Shape control key sync and phase controls extend well beyond traditional LFO offerings LFOI is assigned to the oscillator 1 waveform depending on the selected waveform and LFO2 is assigned as a pitch modulation source controlled b
85. es 0 5 1 2 3 b EG Level Time Modulation Level Velocity Intensity 63 63 This allows the amplitude of the EG to be controlled by the velocity of the note on Greater values allow velocity to have more of an effect on the amplitude With positive settings When you play softly the EG amplitude will decrease when you play strongly the EG amplitude will increase With negative settings When you play strongly the EG amplitude will decrease when you play softly the EG amplitude will increase Decay Release Time Keyboard Track 63 63 This allows keyboard tracking to affect the EG s decay time and release time As you increase this value keyboard position will make a greater difference in the EG times The keyboard position is relative to the C4 key With positive settings EG time parameters will become shorter as you play above C4 and longer as you play below C4 With negative settings EG time parameters will become shorter as you play below C4 and longer as you play above C4 Decay Release Time Velocity Intensity 63 63 This allows velocity to affect the EG s decay time and release time As you increase this value velocity will make a greater difference in the EG times With positive settings EG times will become longer when you play softly and will become shorter when you play strongly With negative settings EG times will become longer when you play strongly and will
86. ettings Then press the OK button to execute or press the Cancel button to cancel Media mode Here we will explain only the menu commands Load RADIAS Formant Motions and Load a RADIAS Formant Motion For details on the other parameters and menu commands refer to Media mode in the M3 parameter guide M3 parameter guide p 389 Menu Command Load selected 11 Load RADIAS Formant Motions All formant motion data from a PCG file will be loaded Load RADIAS Formant Motions Cancel OK 1 To load the data press the OK button To cancel without loading press the Cancel button 12 Load a RADIAS Formant Motion imi Data for the selected formant motion will be loaded into the number you specify Load a RADIAS Formant Motion Formant Motion gt 66 Formant Motion 0A To Formant Motion gt B8 Formant Motion 00 Cancel OK 1 If you wish to load a formant motion data other than the one already selected use Formant Motion upper line to select the formant motion data that you wish to load 2 In Formant Motion lower line select formant motion data into which the data will be loaded 3 To load the data press the OK button To cancel without loading press the Cancel button Menu Command Load selected 67 68 Appendices EXB RADIAS Specifications System EXB RADIAS RADIAS synthesizer board MMT Multiple Modeling Technology Sound generator Polyphony
87. f a wind or brass instrument or to create sound effects The oscillator waveform you select here can be processed by the filters drive waveshaping EG and LFO etc to create the sound you want Filter The filters allows you to diminish or emphasize specified frequency areas of the sound The tone of the sound will depend significantly on the filter settings RADIAS programs provide the three basic filter types low pass filter high pass filter and band pass filter as well as intermediate types that interpolate between the characters of adjacent filters The basic filter settings including the filter routing filter type cutoff frequency and resonance are set on the PROG P3 Filter page PROG P3 Filter BiFilter Routing Q Single Parallel Q Serial Q Individual te SFiS Type Balance 9o UZE Type HPF C1 Link Frequency 028 Frequency aan Resonance 646 Resonance naa EG1 Intensity 34 EG1 Intensity 88 Keyboard Track Keyboard Track 6 76 Velocity Sens Velocity Sens 60 Filter Filter Routing 1 Use Filter Routing to select the filter routing RADIAS programs provide two filters filter A and filter B You can choose to use one or both filters and how the two will be connected if both are used For more information please see Filter Routing on page 34 Filter A Filter B Filter settings 1 Use the Type Balance select the type of filter You can adjust the knob to obta
88. formation see the diagram Combination Audio In OSC amp Vocoder Source on 51 page COMBI P2 EQ Option 2 5 RADIAS T01 08 2 6 RADIAS TO9 16 Combination Audio In OSC amp Vocoder Source An example of using the AUX bus to input an EDS program into the RADIAS vocoder The RADIAS program of timbre 1 is input to the carrier of the vocoder The EDS program of timbre 2 is sent via the AUX bus to the carrier of the vocoder The mic connected to the AUDIO INPUT 2 jack is sent to the modulator of the vocoder Audio Inputs Send to RADIAS Oo Z9 O Audio Input Source gt O Analog Input 1 2 n 4547 us ES AUX Bus Send to RADIAS o AUX Bus 1 27 7 7 O AUX Bus Source i i AUX 1 2 i insert Effects 1 T sa ry Level EN Analog Input 1 2 Pan Analog Vocoder On 0 i Timbre 01 Input In Sourcel Select TO1 1 i ee B Modulator Audio Source S P DIF L R i level O Audio in2 E P fee 1 BEN Carrier In Source i AUX Send L R A Tevel DE FireWire L R t eL RADIAS Program Q Carter In Source 1 i 1 i 1 i i Timbre 02 mm EDS Program EV TEE t 1 i Bus L R or IFX1 5 Pan An example of using the AUX bus to input an EDS program and mic input to the RADIAS vocoder s carrier and modulator The RA
89. function on page 14 Source Audio Source Audio In2 AUX Send L R AUX Send L AUX Send R Selects the source that is input to the modulator Note You must first assign the input source using the P1 Program Basic page Audio In OSC amp Vocoder Source parameter Program 1 1c For more information please see 1 1c AudioIn OSC amp Vocoder Source on page 26 Audio In2 The signal of audio input 2 R specified by Audio Inputs Send to RADIAS such as the AUDIO INPUT 2 jack PROG P6 Vocoder 6 1 Carrier Modulator AUX Send L R The mono mixed signal of AUX buses 1 2 or 3 4 specified by Audio Inputs Send to RADIAS AUX Send L The signal of AUX bus 1 or 3 AUX Send R The signal of AUX bus 2 or 4 Gate S7ens Gate Sensitivity 000 127 Specifies how fast the gate will respond to the input source Decreasing this setting will make the gate respond more quickly and the vocoder sound will decay faster Increasing this setting will make the gate operate more slowly and the vocoder sound will have a longer decay Note Gate operation is affected by the Threshold setting The effect will be more apparent if the Threshold value is high and there will be no effect if the value is zero Threshold 000 127 Sets the level at which the input source will be cut By setting this to an appropriate level you can cut the noise that might be present during times of no input Higher settings will make it more
90. he pitch distance between the unison oscillators Higher settings produce a greater spread between oscillators giving a richer sound Control2 Unison Phase 000 127 Specifies the phase of each oscillator at note on This will affect the tone of the attack A setting of 127 will change the pitch and volume 0 0 63 90 127 1802 When Waveform Saw Square Tri Sine OSC Mod VPM Control1 VPM Depth 000 127 Adjusts the depth of the VPM effect Control2 VPM Harmonics 01 32 Specifies the frequency of the VPM modulator as a multiple harmonic of the oscillator 1 fundamental When Waveform Formant Control1 Formant Width 000 127 Adjusts the frequency components that are characteristic of vocal formants This is equivalent to changing the shape of your mouth i e changing the vowel sound 31 32 Parameter guide Control2 Formant Offset 63 63 Moves the entire formant frequency spectrum upward or downward This is equivalent to changing the size of your mouth A setting of 0 produces the standard formant locations When Waveform Noise Control1 Resonance 000 127 Adjusts the amount of resonance for the filter provided within the noise oscillator Higher values will emphasize the frequency points for the pitched component within the noise Control2 LPF HPF Mix LPF 002 063 CNT 065 126 HPF Adjusts the mix balance between the low pass and high pass filters
91. hm as the modulator There is also a Formant Motion function that lets you record Formant Motion Data to capture the moving characteristics of a voice or other sound and use this data to drive the vocoder Introduction Combination structure You can combine RADIAS programs and EDS programs to create more complex sounds RADIAS programs can be used in four timbres simultaneously The structure of a combination and the functionality in Combination mode is the same as for combinations that use EDS programs Combination Song Timbre Track 01 Timbre Track 02 Timbre Track 03 Timbre Track 04 Analog Input 1 2 OSC S P DIF UR Audio Input FireWire L R option Source AUX 1 2 AUX 3 4 Song structure Sequencer mode You can use RADIAS programs in the MIDI tracks of a song RADIAS programs can be used in up to four MIDI tracks simultaneously The structure of a song and the functionality in Sequencer mode is the same as for songs that use EDS programs About the vocoder function in combinations and songs You can use the vocoder in each combination or song Only one instance of the vocoder variation can be used in each combination or song If you want to use a vocoder program in a combination or song you ll need to use the menu command Copy from program or Copy Vocoder to copy the vocoder settings of the program You can use this for the timbre or song of one RADIAS program A Even if you ve as
92. ill depend on the Waveform you ve selected 4 Use Frequency Hz to specify the frequency of the formant motion This parameter is valid if MIDI Tempo Sync is Off unchecked MIDI Tempo Sync 1 Use MIDI Tempo Sync to specify how the LFO will synchronize If this is On checked the LFO will synchronize to the system tempo specified by the TEMPO knob or TAP TEMPO switch or to the MIDI Clock from an external device 2 Use Base Note to specify the LFO cycle This specifies the ratio of the LFO cycle relative to the system tempo or external MIDI clock This parameter is valid if MIDI Tempo Sync is On checked Virtual Patch These are the parameters for the Virtual Patch function Virtual Patch is a function that lets you assign modulation sources such as EG or LFO to a variety of parameters For each timbre you can create up to eight of these combinations Make these settings in the PROG P1 2 Virtual Patch page PROG P1 Basic DT Ctris Yirtual Patch I 1 Src ETES Ost 0Sc1 Control 2 5rc E61 Dst 9 05C1 Control 3 Src Ec3 Dst Pitch 4 Sre J5 482 Dst Filter A Freq Dst amp Pan Dst D 05C1 Control Dst LF02 Freq Dst Amp Level Basic P N g p lers 5 Src LFo2 6 Src Ribbon 16 Sre JS v 81 8 Src Ribbon 16 Virtual Patch settings 1 Use Src Source to select a modulation source You can select EG LFO or var
93. ilter A is used Y Serial This uses both Filter A and Filter B The oscillator first goes through Filter A and then the output of Filter A is processed through Filter B a Lie E LFF yi Parallel This also uses both Filter A and Filter B The oscillator feeds both filters directly and the outputs of the two filters are then summed together uU Individual Filter A and filter B will be used The oscillator 1 output is sent to filter A the oscillator 2 and noise output is sent to filter B and the outputs of both filters are summed 3 1b Filter A Type Balance Filter Type Balance LPF24 LPF12 HPF BPF THRU Selects the filter type for filter A The effect that you obtain will depend on the filter type Intermediate values other than LPF24 LPF12 HPF BPF and THRU will provide a response that is interpolated between the two filters LPF12 12dB oct LPF24 24dB oct LPF Low Pass Filter is the most common type of filter it passes the frequencies below the cutoff frequency and cuts the region above Raising the cutoff frequency Frequency value will produce a brighter tone The 24dB octave filter also known as 4 pole versus the 12dB octave also known as a 2 pole filter cuts the sound below the cutoff frequency at steeper curve and is useful for bass sounds with more punch Low Pass 12dB oct Low Pass 24dB oct BPF 12dB oct BPF Band Pass Filter
94. ime settings more greatly Editing a program LFO LFO These are the parameters for the LFOs Low Frequency Oscillators An LFO can apply cyclic change to the sound LFO1 is internally connected as the modulation source for oscillator 1 waveform LFO2 is internally connected as the modulation source for the oscillator pitch modulation controlled by the joy stick You can also use a virtual patch to assign an LFO as a modulation source for other parameters For more information please see Virtual Patch on page 11 Waveform speed frequency and tempo synchronization can be edited in the PROG P5 4 LFO1 or P5 5 LFO2 pages PROG P5 EG LFO MSEQ LFO1 vus SL mE c A aal Triangle Phase 118 Shape Frequency Hz 11 00 Key sync 1st Note Frequency MIDI Tempo Sync C MIDI Tempo Sunc LFO waveform 1 Use Waveform to select the basic waveform of the LFO The change produced by the LFO depends on the waveform Select various waveforms and notice the difference in how they affect the sound 2 Use Phase to specify the starting position of the waveform Notice that this setting moves the waveform to left or right You can create interesting effects by offsetting the phase of one LFO relative to the other LFO This parameter is available when Key Sync is 1st Note or Each Note 3 Use Shape to modify the basic waveform of the LFO The change produced by this parameter w
95. in a combination or MIDI tracks in a song allowing you to create combinations or songs that use them in conjunction with the programs of banks INT A E INT G and USER A G Synth program Analog Input 1 2 S P DIF L R FireWire L R option AUX 1 2 AUX 3 4 Synth Filter Routing Individual Analog Input 1 2 S P DIF L R FireWire L R option A Program structure RADIAS programs can be synth programs that are based mainly on an oscillator algorithm or vocoder programs that use the vocoder function Synth programs A synth program uses three oscillators including a noise generator to produce waveforms which are then processed by filters amp EGs LFOs and modulation sequencer to create sounds with a wide range of expressive character Oscillators OSC1 OSC2 NOISE Oscillator 1 OSC1 lets you choose from eight types of oscillator algorithm ranging from basic analog synthesizer waveforms such as sawtooth and triangle to DWGS digital synthesizer waveforms as well as the signals from the AUDIO INPUT S P DIF and EXB FW separately sold option jacks or signals from the AUX bus You can also apply cross modulation unison or VPM Variable Phase Modulation to basic analog synthesizer waveforms such as sawtooth or triangle wave Oscillator 2 OSC2 lets you choose from four different oscillator waves sine triangle square and sawtooth Oscillator 2 can be used as the modulating oscillator for
96. in intermediate characters between these filter types The filter type will have a major effect on the character of the sound If Filter Routing is Serial Parallel or Individual you can adjust this independently for filters A and B For more information please see 3 1 Filter on page 34 2 Use the Frequency to adjust the cutoff frequency of filter Higher settings will make the sound brighter The result will depend on the filter type For more information please see Frequency Cutoff Frequency on page 35 3 Use the Resonance to adjust the resonance of filter 1 Higher settings will increasingly emphasize the region around the cutoff frequency producing a nasal tone or a whistle 4 Use the EG1 Intensity to adjust the depth of the effect that EG1 will have on the cutoff frequency of filter You can adjust this independently for filters A and B If you turn the knob toward the right of the center position values the EG will move the filter in the positive direction i e if the filter type is LPF the sound will become brighter If you turn the knob toward the left of the center position values the EG will move the filter in the negative Editing a program Amp direction i e if the filter type is LPF the sound will become darker Note EG1 envelope settings are made in the PROG P5 EG LFO SEQ page p 38 5 1 EG1 Filter 5 2 EG2 Amp 5 3 EG3 5 Use Keyb
97. ings for the Combination mode For details on the available parameters and menu commands please see COMBI P7 KARMA on page 161 of the M3 parameter guide COMBI P8 IFX Insert Effects Here you can specify the bus and insert effect for timbres 1 16 For details on the available parameters and menu commands please see COMBI P8 IFX Insert Effect on page 177 of the M3 parameter guide COMBI P9 MFX TFX Master Total Effects Here you can make settings for the master effects and total effects For details on the available parameters and menu commands please see COMBI P9 MFX TFX Master Total Effect on page 183 of the M3 parameter guide 55 56 Menu Command The menu commands explained here are the commands that are displayed and available if the EXB RADIAS option is installed For details on other commands refer to the M3 parameter guide Copy from Program This command copies settings from a specified program to the currently selected combination If you select a RADIAS program from the INT F bank etc as the copy source the RADIAS Vocoder check box in the dialog box will be enabled Copy from Program Program gt 28 RADIAS Program m FXs m MFxs m TFX m KARMA m with Drum Track B RADIAS Yocoder OTimbreai Module Ga Drum Track Q Timbre1 Cancel OK If you check RADIAS Vocoder and execute the copy the vocoder parameter settings of the copy source
98. ious controllers as a modulation source For more information please see Src Source on page 28 2 Use Dst Destination to select the parameter that will be modulated For more information please see Dst Destination on page 28 3 Use Int Intensity to specify the depth of modulation Controlling volume If you set Src Source to LFO2 Dst Destination to Amp Level and adjust Int Intensity as desired LFO2 will produce a tremolo effect Controlling pan If you set Src Source to LFO2 Dst Destination to Pan and adjust Int Intensity as desired LFO2 will move the sound between left and right to produce an auto pan effect Controlling filter If you set Src Source to LFO2 Dst Destination to Filter A Frequency and adjust Int Intensity as desired LFO2 will vary the filter cutoff frequency to produce an auto wah effect You can use an LFO to modulate a wide range of parameters in addition to those listed above Source and Destination settings and their effect Src Source Dst Destination Modulation effect LFO2 Amp Level Tremolo effect LFG2 Pan Auto pan effect LFO2 Filter A Frequency Auto wah effect 11 12 Operation Modulation Sequencers The Modulation Sequencers let you apply time varying change to sound parameters in a way similar to analog sequencers of the past A modulation sequencer stores a discreet value for each of sixteen individual s
99. is deforms the input waveform to generate numerous overtones that were not present in the original signal Position PreFiltA PreAmp Pre Filter A Drive or wave shaping will be applied to the oscillator waveform before filter A This setting is typically used to directly modify the waveform by applying wave shaping to the oscillator waveform esc Javes uk J AMe Pre Amp Drive or wave shaping will be applied to the oscillator waveform before the amp This setting is typically used to apply drive to the output of the filter in which the resonance has been boosted producing a distinctive distortion Cae Depth 000 127 Specifies the depth at which the drive or wave shape functions will be applied Wave Shape Type Decimator Level Boost Selects the type of wave shape This is shown and can be edited if Drive WS is set to Wave Shape This setting will affect the maximum number of voices Some settings may produce noise Decimator Lowers the sampling frequency Depth 000 Depth 064 Depth 127 dns Hard Clip Flattens any portion of the waveform above the limit Depth 000 Depth 064 Depth 127 KI Et Oct Saw Cuts the portion of the waveform above the threshold level and moves it within the limits to the inverse position upward or downward Depth 000 Depth 064 Depth 127 KES Multi Tri Sending a sawtooth wave through this will produce a triangle wave Depth 000 Depth 064 D
100. itches to turn effects on off EXTERNAL lets you send MIDI messages to external MIDI devices Use the GLOBAL P1 MIDI External Mode 1 2 page to specify the MIDI message that will be transmitted TONE ADJUST lets you edit Programs within the context of the Combi and without making any changes to the original Program data You also get hands on access to these edits using the sliders and switches KARMA Use the sliders and switches to control the KARMA function You can freely change back and forth between the different functions without losing any of your edits Tone Adjust COMBI P Play Control Surface I A gt GGG InitCombi 4866 J 128 88 Control Assign Tone Adjust Timbre D amp 1 m Auto Load QU FilterA Type Balance THRU Abs LPF24 E a Ei T E m pej pend sers e sem see afee mn emm mer mms pd eg Fit A DSC2 Fit A OSC 1 Uni Fitr LFO1gS M SO Type Way Lvl son Reso Wav Reso aw 2 CD us um Wis wu THRU Sine i27 i27 O52 0SC2g OSCZ hoi ew FR EFA EYFA os OO O0 OR OE OES Le Lee 0 8g Tone Adjust For details on the Tone Adjust function refer to M3 parameter guide Common Tone Adjust Parameters These are the same as the Common Tone Adjust Parameters in Program mode For more information please see Common Tone Adjust Parameters on page 22 RADIAS Tone Adjust Parameters These are the same as the RADIAS Tone Adjust Parameters in Program mode For more info
101. k and forth between the different functions without losing any of your edits For control surface functionality other than MIXER OSC Mix and TONE ADJUST please see 0 8 Control Surface on page 20 of the M3 parameter guide OSC Mix In OSC Mix you can switch the Play Mute and Solo On Off status of the RADIAS oscillators and the drum track PROG P8 Play Control Surface VAE 42 225 55 I F gt 888 RADIAS Program Control Assign gt CEE i LJ RADIAS Play Mute RADIAS DrumTrk 0 8c GE Gy RARMA T KARMA Sampling Control 0 8c RADIAS Play Mute OSC Play Mute MIX PLAY MUTE 1 3 switches The MIX PLAY MUTE 1 switch will mute RADIAS oscillator This is convenient when you re editing a RADIAS program The 3 switch mutes the drum track The switch LED will light to indicate Play status or be dark to indicate Mute status RADIAS Play Mute When this switch is on LED on RADIAS oscillator will play When the switch is off LED off RADIAS oscillator will be muted DrumTrk Play Mute When this switch is on LED on Drum Track will play When the switch is off LED off Drum Track will be muted OSC Solo If the menu command Panel SW Solo Mode On is checked the switches will control Solo for the respective item Solo operation applies to the RADIAS drum track and mixer inputs Panel Switch Solo Mode On and MIX PLAY MUTE 1 3 switches Use the menu c
102. liders and 8 switches to the left of the display It looks like a mixer but it can do other things as well including editing sounds controlling KARMA and sending MIDI messages to external devices This page shows you the current values for each of the sliders knobs and buttons along with information about what they are controlling For instance you can e Adjust the volume and pan for all 16 Timbres Control each Timbre s EQ settings and Master Effects Send levels Modulate sounds and effects using the Real Time Knobs Control KARMA and select KARMA scenes using the sliders and switches Edit sounds using Tone Adjust Assign sliders knobs and switches to different Tone Adjust parameters For details on the control surface please see 0 8 Control Surface on page 130 of the M3 parameter guide In Combi mode you can select one of five different functions MIXER Mixer T1 8 T9 16 This lets you use the control surface to adjust the volume of timbres 1 16 and switch the Play Mute and Solo On Off status In Combination mode and Sequencer mode you can use this switch to alternate between timbres or tracks 1 8 and 9 16 MIXER Mixer Input The control surface will control the audio input volume Play Mute and Solo On Off status of the analog inputs S P DIF inputs and FireWire inputs if the EXB FW is installed REALTIME CONTROL RT Control Use the sliders to control the sound or effects Use the sw
103. likely that the input source will be cut With excessively high settings there will be more chance that the audio input signal itself will be cut making it difficult for you to apply the vocoder effect as intended Select Formant Motion Select Formant Motion 00 Formant Motion 16 Selects the formant motion data This is available for editing only if Modulator is set to Formant Motion A If you select other formant motion data without writing any formant motion data you had been editing will be lost rs Writing formant motion data on page 14 Note If you use the To field of the dialog box to change the data number when writing formant data the Formant will also change to the number you specified in the dialog box Writing formant motion data on page 14 Play Mode Formant Motion Play Mode Free Run Trigger Reset Specifies how the formant motion data will be played back This is shown and can be edited if Modulator is set to Formant Motion Free Run The formant motion data will play as a loop from the beginning to the end Trigger Reset The formant motion data will play from the beginning to the end each time you press a note m The formant motion data can be triggered by the Global MIDI channel 6 1d Out Mix Vocoder Output Level 000 127 Sets the output level of the vocoder Modulator Direct Mix 000 127 Sets the volume level at which the modulator input source will be output directly
104. make settings for the KARMA functions used in Sequencer mode For details on the available parameters and menu commands please see SEQ P7 KARMA on page 243 of the M3 parameter guide SEQ P8 IFX Insert Effects Here you can specify the bus and insert effect for MIDI tracks 1 16 For details on the available parameters and menu commands please see SEQ P8 IFX Insert Effect on page 257 of the M3 parameter guide SEQ P9 MFX TFX Master Total Effects Here you can make settings for the master effects and total effects For details on the available parameters and menu commands please see SEQ P9 MFX TFX Master Total Effect on page 263 of the M3 parameter guide 63 64 SEQ P10 Pattern RPPR Here you can record patterns edit them assign them to song tracks and make RPPR Realtime Pattern Play Recording settings For details on the available parameters and menu commands please see SEQ P10 Pattern RPPR on page 265 of the M3 parameter guide SEQ P11 Cue List Here you can create cue lists For details on the available parameters and menu commands please see SEQ P11 Cue List on page 269 of the M3 parameter guide Menu Command The menu commands explained here are the commands that are displayed and available if the EXB RADIAS option is installed For details on other commands refer to the M3 parameter guide Copy from Program This command copies settings from a spe
105. me of input source 1 to the carrier In Program mode input source 1 is fixed as the mono mixed signal of the amp section output the signal before entering the EQ In Source 1 Level In Source 2 Select Audio In1 AUX Send L R AUX Send L AUX Send R Selects input source 2 Note You must first assign the input source using the P1 Program Basic page Audio In OSC amp Vocoder Source parameter For more information please see 1 1c AudioIn OSC amp Vocoder Source on page 26 Audio In1 The signal of audio input 1 L specified by Audio Inputs Send to RADIAS Program 1 1c such as the AUDIO INPUT 1 jack AUX Send L R The mono mixed signal of AUX buses 1 2 or 3 4 specified by Audio Inputs Send to RADIAS Program 1 1c AUX Send L The signal of AUX bus 1 or 3 AUX Send R The signal of AUX bus 2 or 4 In Source 2 Level 000 127 Sets the volume of input source 2 6 1c Modulator These are the parameters for the modulator The most popular way to use a vocoder is to use a voice as the modulator creating the impression that an instrument is speaking Modulator Modulator Select Audio Formant Motion This setting will affect the maximum number of voices Audio The input source selected by Source will be the modulator Formant Motion Formant motion data recorded by the formant motion function will be the modulator For details on recording formant motion data please see Formant Motion
106. menu commands please see 0 5 KARMA GE on page 4 of the M3 parameter guide 0 6 KARMA RTC Here you can view the names of the KARMA Sliders 1 8 and KARMA Switches 1 8 and the values that are written to the parameters The number and value of the GE realtime parameters and performance realtime parameters controlled when you operate these controllers is also shown For details on the available parameters and menu commands please see 0 6 KARMA RTC on page 6 of the M3 parameter guide 19 20 Parameter guide 0 7 Sampling Audio In Here you can make settings for analog digital audio signal input Analog S P DIF and make settings for sampling in Program mode For details on the available parameters and menu commands please see 0 7 Sampling Audio In on page 8 of the M3 parameter guide 0 8 Control Surface The Control Surface is the set of 8 sliders and 8 switches to the left of the display It looks like a mixer but it can do other things as well including editing sounds controlling KARMA and sending MIDI messages to external devices This page shows you the current values for each of the sliders and switches along with information about what they are controlling For instance you can Control the volume Play Mute and Solo On Off settings for RADIAS oscillators and the drum track e Modulate sounds and effects using the sliders and switches Control KARMA and select KARMA sc
107. monious Pure Minor Pure minor scale Minor chords in the key specified by Scale Key will be completely harmonious Arabic Arabic scale It includes the quarter tone scale characteristic of Arabian music Pythagoras Pythagorean scale a scale based on ancient Greek musical theory It is particularly effective when playing melodies Werkmeister Werckmeister scale an equal tempered scale used in the late Baroque period Kirnberger Kirnberger scale created in the 18th century and used mainly for tuning harpsichords Slendro Slendro scale an Indonesian gamelan scale that divides the octave into five notes If the Scale Key is C use the C D F G and A keys Pelog Pelog scale an Indonesian gamelan scale that divides the octave into seven notes If the Scale Key is C use the C D E F G A and B keys 25 26 Parameter guide User Octave Scale The scale you created in the User Octave Scale Global P3 3 1a Key Scale Key C B Selects the key of the specified scale This setting does not apply to the Equal Temperament scale EA If you re using a scale other than Equal Temperament the combination of the selected scale and the Key setting may skew the tuning of the note For example A above middle C might become 442 Hz instead of the normal 440 Hz You can use the Global Mode s Master Tune parameter Global P0 0 1a to correct this if necessary 1 1c Audioln OSC amp Vocoder Source Note In o
108. most recently played note will sound Unison On Off Switches unison on off On checked When Unison is on the Program still plays only one note at a time but uses two or more stacked detuned voices to create a thick sound Use the Number of Voices and Detune cents parameters to set the number of voices and amount of detuning Off unchecked The Program plays normally Number of Voices 2 6 Specifies the number of voices that are stacked when using the Unison function When you play a note the specified number of voices will be heard producing a richer tone Depending on other voice related settings the number of voices you specify here may not actually sound Detune cents 00 99 Specifies the amount of detuning pitch spread that will be applied between each stacked voice when using the Unison function Spread 000 127 Specifies how far the panning of the voices is spread apart when using the Unison function The panning of each stacked voice will be spread by the amount you specify here 1 1b Scale Scale Equal Temperament User Octave Scale15 Selects the type of scale that the current program will use You can choose one of ten different scale types Equal Temperament Equal temperament which is the most commonly used scale Every semitone is spaced an equal pitch distance from the next Pure Major Pure major scale Major chords in the key specified by Scale Key will be completely har
109. n If you want to keep the data that is currently in internal memory use Save All or Save PCG to save it before you continue Restoring the RADIAS program data to the factory set state 1 Access the Global mode P0 Basic Setup Basic page Press the GLOBAL switch to enter Global mode If the Global PO Basic Setup Basic page is not shown press the EXIT switch and then press the Basic tab 2 Press the menu button and choose Load Preload Demo Data A dialog box will appear 3 Specify the Kind and bank Set Kind Program and Bank I F To I F see the illustration Load Preload Demo Data kr TT Q an Bank Q Single F O F Cancel OK Note RADIAS programs can be saved in bank INT F and in user banks whose bank type is set to RADIAS wx Set Program User Bank Type on page 66 4 Press the OK button to execute loading If you decide to cancel press the Cancel button When you press the OK button a dialog box will ask you for confirmation Press the OK button to execute loading Restoring the formant motion data to the factory set state 1 Perform steps 1 and 2 of Restoring RADIAS programs to the factory settings to access the Load Preload Demo Data dialog box 2 Set Kind to RADIAS Formant Motion Data and specify All as the range of data to be loaded Load Preload Demo Data Kind RADIAS Formant Motion Data Q Single 3 Press the OK button to execute loading
110. n 0 PROG P1 Basic DT Ctrls 1 1 Program Basic RADIAS program Audio In OSC amp Vocoder Source Audio Inputs Send to RADIAS o T0 O Audio Input Source OSC p mEm Audio Input gt O Source L R Aux AX CE AUX Bus Send to RADIAS Vacodar fe Carrier Modulator AUX Bus 1 2 TT ie e AUX Bus Source Source Analog Input 1 2 S P DIF L R FireWire L R J x J 4 Drum Track EDS Bus L R or IFX1 5 28 Parameter guide 1 2 Virtual Patch These are the parameters for the Virtual Patch function Virtual Patch is a function that lets you assign modulation sources such as EG or LFO to a variety of parameters For each program you can create up to eight of these combinations PROG P1 Basic DT Ctrls Yirtual Patch vj Yirtual Patch RER 1 Sr TTE Ost 0501 Control int 07 2 Src EG1 Dst 05C1 Control Int 14 3 Src E63 Dst Pitch nt 88 1 29 14 Src Js Y 62 Dst Filter A Freg Int 45 5 Src LFo2 Dst Pan Int 19 6 Src Ribbon 16 Dst OSC1 Control int 26 Src JS 01 Dst LFO2 Freq Int 39 8 Src Ribbon 16 Dst Amp Level nt 14 1 2a Virtual Patch Src Source
111. n Data p 46 e Copy Vocoder p 46 43 44 Parameter guide 6 2 Vocoder Here you can edit the parameters for all the band pass filters of the carrier and the envelope follower of the modulator PROG P6 Yocoder 6 2 BFilter MC Formant Shift Frequency Offset 88 6 2a 4 Resonance 426 Mod Source LFO1 Env Follower Sens 838 Mod Intensity 88 Bandi 16 Pan and Level 1 E 3 4 5 6 ave E Lama R12 LGGG R12 LOG R127 LGGG R12 127 J n 127 127 J Lier J 127 127 127 J 6 2a Filter Formant Shift 2 4 2 Shifts the cutoff frequencies of each of the carrier s band pass filters This will significantly change the character of the vocoder output Resonance 000 127 Sets the amount of resonance for each band pass filter Higher values will boost the region near the cutoff frequency Env Follower Sens Envelope Follower Sensitivity 000 127 Sets the envelope follower sensitivity for the modulator Lower values will allow the rise and fall of the input signal specified by Source Program 6 1c to be detected more quickly Higher values will produce slower change creating a sound with a slow attack and a long release With a setting of 127 the tonal response of the first signal that is input will be held and the sound will continue with this character regardless of whether there is an input signal If you set this to a value of 127 when there is no input there will be no output eve
112. n en pee ERO 54 3 7 Other T01 08 3 8 Other TO09 16 sssssssssssssssssssssssssssssssssssssssesssssssesssesssesssosesesssesssssssesssesssss 55 23 7106 KARI SOOO isos IEEE RR eee ed ae ee 55 COMBI P4 Zone Delay ss P COMBI P5 MIDI Filter sessoossoesosossessosssoessosssossosesosesesssossseosoossoesooseseesossssesssssssessossse DD COMBI P8 IFX Insert Effects M COMBI P9 MFX TFX Master Total Effects ses DD Menu Command seossseosssecsssocsssoscesocossocceseccsssoceseossssoceseoecesososeossesosssssosessossesssessssssss DO Copy from PKOGFAM issssccssesccssesssscssescseensesssesasocssessccsscasssosssonssasdecssccssecssesscesssesssonssonssesidcdocssecsssesssece 56 Write Formant Motion Data sesseesosesossscssccesccesocesccsocesocescsesosesoscsocessecossosseseseoessosecossosssosesosesssssose 56 Copy VOCOdEL M sss 56 vi Sequencer mode oce tenuis a ede T dr en A SEQ Page Select nena ERMIR PREMISE REVENUE M FARE NER EQ RN MEER D INI rise onlxs DD SEQ 204 dram SEQ PO 1 Play REC 4 eere ee eene eene n enne neta sesta sense seasons enses sas ens sees enses es sessees DO SEQ P0 2 Play REC 55 vasis b n p iX FebR Y bo Y PiTE EO RESERVE POM YEAR een eesis Five duin DO 0 2 1 KARMA GE t s eetess 58 0 2 2 KARMARTG
113. n if you subsequently input an audio signal Frequency Offset 63 63 Adjusts the cutoff frequency of each of the carrier s band pass filters How Formant Shift and Frequency Offset are related When Formant Shift 0 and Frequency Offset 0 the response of the carrier filters will match the cutoff frequency of the modulator filters The filter response is shifted upward or downward in two discrete steps by the Formant Shift This can be adjusted upward or downward another two steps by using Frequency Offset giving you a total of four steps of adjustment upward or downward Frequency 63 gt 0 63 Cutoff range in which BPF 8 will change Formant SANN 8er BPF geri 77 7 8 9r Frequency 63 0 lt gt 463 Cutoff range in which BPF 8 will change Mod Source Fc Modulation Source EG1 X Y Y Mod 88 Selects the modulation source that will be applied to Frequency Offset The available modulation sources are the same as the modulation sources for program parameter virtual patches Src Source on page 28 Mod Intensity Fc Modulation Intensity 63 63 Sets the depth of modulation that is applied to Frequency Offset 6 2b Band1 16 Pan and Level Selects the filter whose output level or panning you will edit Band1 Band16 Pan L001 C064 R127 Sets the panning of the filter Level 000 127 Sets the output level of the filter
114. nals the mono mixed signal output from the amp section the signal before entering the EQ and the audio signal from an external input or the AUX bus 1 Use In Source 1 Level to specify the volume of the oscillator input to the carrier Input source 1 is the mono mixed signal from the amp section output the signal before entering the EQ 2 Use In Source 2 Select to select input source 2 to the carrier 3 Use In Source 2 Level to specify the volume of input source 2 to the carrier Modulator Out Mix modulator and vocoder output settings As the modulator of the vocoder you can use the external input from the AUDIO INPUT 2 jack the R channel of the S P DIF or FireWire if the EXB FW option is installed the audio signal from the AUX bus or formant motion data In this example we ll explain how to use a mic connected to the AUDIO INPUT 2 jack as the modulator 1 Set Modulator to Audio 2 Set Source to Audio In2 The mic or other device connected to the AUDIO INPUT 2 jack will be the modulator Note If you re using a signal from the AUDIO INPUT jack as an input source make sure that the PROG P1 Program Basic page Audio In OSC amp Vocoder Source Audio Inputs Send to RADIAS parameter is set to Analog Input 1 2 3 Use Vocoder Output Level to specify the volume of the vocoder output 4 Use Modulator Direct Mix to adjust the level of the modulator input source that is mixed into
115. nce of one octave and values of 24 produce a pitch difference of two octaves At a value of 0 the pitch will be the same as oscillator 1 Tune 63 63 Specifies the amount of detuning relative to oscillator 1 Values of 63 produce a pitch difference of 2 octaves and values of 48 produce a pitch difference of 1 octave Values near 0 produce fine adjustments in the pitch Note If OSC Mod is set to Sync adjusting the Semitone or Tune parameters will change the pitch of the overtones The pitch of the fundamental will not change 2 1c Mixer These parameters specify the output level of each oscillator The settings you make here will determine the input level to the filter OSC1 Level 000 127 Specifies the output level of oscillator 1 OSC2 Level 000 127 Specifies the output level of oscillator 2 Noise Level 000 127 Specifies the output level of the noise generator 2 2 OSC1 Pitch These are the pitch related parameters PROG P2 0SC Pitch OSC Pitch TA mPitch Transpose 2 2a l Tune cents 04 Analog Tune 1003 JS Vibrato Int cents 8848 Bend Range 02 BlPortamento BEEN Time gag 2 2b L m Curve Linear 2 2a Pitch Transpose 48 48 Shifts the pitch produced by the oscillators in steps of a semitone 100 cents You can adjust this in a range of four octaves upward or downward Tune cents 50 50 Adjusts the pitch produced by the oscillators in
116. nformation see the diagram RADIAS program Audio In OSC amp Vocoder Source on 27 page AUX1 2 The signal from AUX1 and AU will be the input source AUX3 4 The signal from AUX3 and AUX4 will be the input source Note The AUX buses specified by the AUX setting following the insert effect Program 8 2 or specified by the drum track AUX setting Program 1 4c will be input to the EXB RADIAS if you select them here amp If the EXB RADIAS oscillator output Bus Select Program 8 1 or the oscillator output following the insert effect is sent via the AUX buses back to the RADIAS oscillator or vocoder a feedback loop will be created If this occurs the input signal will automatically be disconnected internally so that a loop does not occur Be aware that there will be no sound if this occurs If the RADIAS oscillator output passes through the insert effects and is sent both to the AUX buses and the FX Control Bus a feedback loop will be created by these settings and the effects listed below potentially producing loud noise Please use caution When using 002 Stereo Limiter if this effect s Envelope Source is FX Control 1 or FX Control 2 and Trigger Monitor is On When using 005 Stereo Gate if this effect s Envelope Source is FX Control 1 or FX Control 2 and Trigger Monitor is On When using 150 Vocoder if this effect s Modulator Source is FX Control 1 or FX Control 2 and Modulator High Mix is other tha
117. ns In Combination mode you can use four RADIAS programs 0 1 Program T01 08 0 2 Program T09 16 Here you can specify the program Play Mute and Solo On off settings for timbres 1 8 and 9 16 For details on selecting combinations selecting programs the editable parameters and the display refer to the M3 operation guide and parameter guide R EXB RADIAS Timbres for which a RADIAS program can be used are indicated by E If you select a program from bank INT F etc for a timbre indicated by El 7 a RADIAS program played by the EXB RADIAS will sound T81 AGGG InitProgram AGaa El E 4 Ej R EXB RADIAS Ef E E z Category U ER EE ee ee pecu pexmp wx em l Ir 16 gt 16 gt 16 gt 16 gt 16 User 16 User 16 User 16 User 16 User 16 Bank Program X INT INT INT INT INT 2JjR800 gt ReaD gt ABAD gt AGGA gt AGED InitProgr InitProar InitProar InitProar InitProgr G3 E73 GP E73 a EXE EN TT EN EN g Prog 1 8 Prog u ed T Miser A 9 16 1 9 A 9 16 Use the ENABLE RADIAS setting to specify the timbres for which a RADIAS program can be used Enable RADIAS on page 50 Note You can turn on Enable RADIAS for up to four timbres Even if you select a RADIAS program for a timbre whose ENABLE RADIAS setting is turned off it will not sound 0 3 Mixer TO1 08 0 4 Mixer T09 16 Here you can adjust the volume and pan settings for Timbres
118. o be able to see the values change in the display while you adjust them you ll probably want to be viewing the PROG P08 Control Surface page Press the Control Surface tab located in the lower right of the display When you operate the eight switches and sliders they will perform the functions assigned to them and the sound will change The objects in the display will also change accordingly Quick Start Vocoder programs Let s select a vocoder program and try out the vocoder function You ll need to connect a mic to the AUDIO INPUT 2 jack Before you connect the mic set the AUDIO INPUT LEVEL knob to MIN Selecting and playing 1 Connect your mic to the rear panel AUDIO INPUT 2 jack 2 Set the MIC LINE switch to MIC 3 Select vocoder program 127 from program bank INT F 4 Access the PROG P0 7 Sampling Audio In page PROG P8 Play Sampling Audio In VE Input B Use Global Setting Input Level Pan Bus Select FX Bus AUM Bus Sendi Send2 mi Sampling EE Source Bus LZR Recording Level a Trigger Note On en Lj E Save to RAM Mode Stereo 244 JT Sample Time 88 min 18 923 sec 364 5 Set the following parameters e Use Global setting Off unchecked Input Analog Input 2 BUS Select L R PROG P8 Play Sampling Audio Lv v D Input Use Global Setting Analog Input Level Pan J Input 1 Eu 127 Laaa Qor Eo or Input2 x 12 R12 OE or or Sampling Setup Sourc
119. oard Track to specify how keyboard tracking the keyboard position on which you play will affect the cutoff frequency For more information please see Keyboard Track on page 35 6 Use Velocity Sens to specify how velocity the force with which you play the keys will affect the cutoff frequency For more information please see Velocity Sens Velocity Sensitivity on page 35 Amp Amp is where you specify drive and wave shape adjust the volume and set the pan These settings are made in the PROG P4 1 Amp WaveShape Driver page PROG P4 Amp EQ Amp WaveShape Driver YJ Drive Wave Shape F Position e Pre Filter Depth 1121 Wave Shape Type 9 Hard Clip Amp Level RE Amp Level Punch Level 1000 Keyboard Track 18 Drive Wave Shape Drive Wave Shape modifies the waveform itself it is not an effect that is applied to the oscillator waveform Here s how to select the wave shape 1 Set Drive Wave Shape to Wave Shape 2 Use Wave Shape Type to select the type of wave shaping This choice is available if Drive Wave Shape is set to Wave Shape You can choose from a wide variety of wave shape types For more information please see Wave Shape Type on page 36 3 Use Position to select the position at which wave shaping will be applied You can apply drive and wave shaping before filter A or before the amp section For more information please see Position on page 36
120. oder related settings for the song A Only one instance of the vocoder function can be used in each song It can be used on only one track Even if you ve selected a RADIAS vocoder program in four tracks it is not the case that all four vocoders will operate v 4 27 2 7a B Yocoder Formant Motion REC BET MC MCarrier Input BEBE 2 75 A1 Source Select T01 In Source Level 127 In Source2 Select Audio Int In Source2 Level G86 M Modulator Modulator REN Source audio nz 2 7c Gate Sens 10 Threshold 668 MOut Mix 2 74 Ma Output Level 127 Modulator Direct Mix 646 Modulator HPF Gate Disable Modulator High Mix 868 we Leie 1 8 J ote ie 16 J Vocot J oes 2 7a Vocoder On Off Formant Motion REC On Off Vocoder Off On Formant Motion REC Off On For details on these parameters please see 6 1a Vocoder On Off Formant Motion REC On Off on page 42 2 7b Carrier Input In Source 1 Select Off TO1 T16 This selects the MIDI track of the RADIAS program that will be the input source to the carrier Tracks whose Enable RADIAS is on can be selected as input sources In Source 1 Level 000 127 In Source 2 Select Audio In1 AUX Send L R AUX Send L AUX Send R In Source 2 Level 000 127 For details on these parameters please see 6 1b Carrier Input on page 42 2 7c Modulator Modulator Modulator Select Audio Formant Motion Source Audio Source A
121. oduct names and names of formats etc are the trademarks or registered trademarks of their respective owners Table of contents Int FOdU CIO B over er Cove Vene sua VR CE Eee E ea even Y av ove tarder Overview 00000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000 1 Program structure 90900000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000000 1 Synth programs Vocoder program Combination Structure eeeeee eese eee e een eee tete eese eee eeeeeeeeeeessosososssssssss ese seeeseeeeeeeees Song structure Sequencer MOE eee eere eee eee ee ee een ee een sse ee sense ees sssseessseees Le V dide dr a NIRE S Selecting and playing programs ce eee eee ee eerte sette eere seen s sense ensssensssenssses D Synth programs D Selecting and playing eon 5 Using ntr llers to vary the Sound ttt tette E NE AAA a N E A aa 5 Vocoder programs sesseseseroesssesoesesocoeseeocsesosoesesocceseeoroesesoroeeoroeseeocoeseeosoesesocoesesoesesoroesesoroesesosoesesosssseese O Selecting amd Fol Vile e itai ES Set reis SEa e a iieri IEE a eTa Veni ESTERE SE 6 Using controllers to vary the SoUnd rene 6 Op rations Editing 4 Program ah niannnaiinuaiiuoataadiiaaliousT Basic settings for the program
122. odulation ss anna ananas pc Rec oe INVE RO 38 5 4 LFO1 5 5 39 5 4 5 asbFO TJEEO2 A A A E EIE EN IEAA EA E T E E EEEE E gnc 39 5 b Frequency MIDIZTEMpPO Sync EA a aai ne O NN 40 5 6 MSEQ1 5 7 MSEQ2 5 8 MSESQ3 se ssessoessoessoesooesoossoessoesooesosesosesoessosssoccoocsoessoesoossoossoossoossse 40 7 5 6 7 B a SEO Gener UU U 40 5 6C Y 8 b SEQT SEQ2 SEQ3 nn neo n RR ERRARE E de RS Nee eed toes ba eo Re 41 m NAE Sd Menu Command nn RD En on E 41 PROG PG Vocoder mI lr 6 1 Carrier MOCUIAtON Pec 42 6 1a Vocoder On Off Formant Motion REC On Off inner 42 6 1b Gabe A o1 Gears os6 A E EERE TE EAE E ITS AAPEA edes rer ee e te end 42 6 16 Modulator oo ettet De EAO deri test stents MR ieu uisa eq ede coasted deese ese Ud 42 GT Ut MIR am M 43 G1 MISTI CONN TVA NG EE TR I GEAR ER NUI nes 8 RR Dr RN A EE 43 G2 VOCOCE N pee P L M 44 622a Filter steam O E AAT AEE AS E SESE ESSE ER EA ES sa ES aa NN EOE EOE EE M 44 6 2b Band1 16 Pan and Level 6 2 MENU Command sere EAN E E E EE E O E EEE AA AEE Men Comma d sind AD Initialize MOD SEQ visas ccscddesecsssscascsesadsccsscavecasscusececoescccccnccdoccesccceececccecesccnesececccesccocccesccecccbscuscccescsecses 45 Copy MOD 46 Write Formant Motion Data eesoecsosssossccssocesocesocsoceso
123. olled by pitch bend transpose and modulation sequencer It does not reflect pitch changes produced by vibrato or virtual patching Dst Destination Pitch LFO2 Freq Selects the parameter that will be the modulation destination Pitch The pitch of the entire timbre will be modulated OSC2 Pitch The P2 OSC Basic page OSC2 Tune parameter will be modulated OSC1 Control The P2 OSC Basic page OSC1 Control1 parameter will be modulated OSC1 Level OSC2 Level Noise Level The P2 OSC Basic page Mixer OSC1 Level OSC2 Level or Noise Level parameter will be modulated Filter A Type The P3 FILTER page Filter A Type Balance parameter will be modulated Filter A Freq The P3 FILTER page Filter A Frequency parameter will be modulated Filter A Reso The P3 FILTER page Filter A Resonance parameter will be modulated Filter B Freq The P3 FILTER page Filter B Frequency parameter will be modulated Drive WS Dep The P4 Amp WaveShape Driver page Driver WaveShape Depth parameter will be modulated Amp Level The P4 Amp WaveShape Driver page Amp Level Amp Level parameter will be modulated Pan The P4 Amp WaveShape Driver page Pan parameter will be modulated LFO1 Freq LFO2 Freq The P5 LFO1 LFO2 page LFO1 LFO2 Frequency Hz parameter will be modulated Note If MIDI TempoSync is turned On for LFO1 or LFO2 selecting LFO1 Freq or LFO2 Freq respectively will have no effect Int Intensity 63 63 Specifies
124. ommand Panel Switch Solo Mode On to specify whether the MIX PLAY MUTE 1 3switches will control Play Mute or the Solo On Off If Panel Switch Solo Mode On is on checked the switches will control Solo On Off Tip You can turn Panel Switch Solo Mode On on off by holding down the ENTER switch and pressing numeric switch 1 RADIAS Solo Off On Switches the Solo status on off for RADIAS oscillator Drum Trk Solo Off On Switches the Solo status on off for the drum track Note Solo applies to oscillators 1 and 2 the drum track and the audio inputs Note OSC2 Solo cannot be set for a program whose Oscillator Mode is Single or Drums The Solo On Off setting is not saved when you write the program Exclusive Solo menu parameter The menu s Exclusive Solo parameter also affects the way that Solo works When Exclusive Solo is Off unchecked you can solo RADIAS oscillator Drum Track and audio inputs at once When Exclusive Solo is On checked only RADIAS oscillator or Drum Track can be soloed at a time In this mode pressing a Solo switch automatically disables any previous solos Tips You can also toggle Exclusive Solo by holding ENTER and pressing 2 on the numeric keypad 0 8d RADIAS Volume OSC Volume MIX VOLUMES slider 1 3 Here you can adjust the output level of RADIAS oscillator This is a volume control that is independent of the Amp Level parameter You can also adjust the output level of the drum
125. on 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 EG1 and EG2 F A EG Decay Time 99 99 CC 75 This scales the decay and slope times of the EG1 and EG2 F A EG Sustain Level 99 99 CC 70 This scales the sustain levels of the EG1 and EG2 F A EG Release Time 99 99 CC 72 This scales the release times of the EG1 and EG2 Filter EG Attack Time 99 99 This scales the attack times of the EG1 Filter EG Decay Time 99 99 This scales the decay and slope times of the EG1 Filter EG Sustain Level 99 99 This scales the sustain levels of the EG1 Filter EG Release Time 99 99 This scales the release times of the EG1 Amp EG Attack Time 99 99 This scales the attack times of the EG2 Amp EG Decay Time 99 99 This scales the decay and slope times of the EG2 Amp EG Sustain Level 99 99 This scales the sustain levels of the EG2 Amp EG Release Time 99 99 This scales the release times of the EG2 Pitch EG EG3 Attack Time 99 99 This scales the attack times of the EG3 Pitch EG EG3 Decay Time 99 99 This scales the decay and slope times of the EG3 Pitch EG EG3 Sustain Level 99 99 This scales the sustain levels of the EG3 Pitch EG EG3 Release Time 99 99 This scales the release times of the EG3 Pitch EG Attack Time Pitch
126. or e g a signal received from the AUDIO INPUT 2 jack to the carrier e g a signal received from the AUDIO INPUT 1 jack The most popular way to use this is to input your voice from a mic connected to the AUDIO INPUT 2 jack creating the impression that an instrumental sound is talking Vocoder program Analog Input 1 2 S P DIF UR FireWire L R option Audio In 1 Audio In 2 AUX 1 2 AUX 3 4 Vocoder Band1 Audio Source AUX Bus 0 Modulator LEVEL TTL Carrier Frequency Offset Formant Shift Vocoder section VOCODER The vocoder divides the audio spectrum into bands In the RADIAS program the vocoder uses 16 bands There are actually two sets of 16 bands the first is used to analyze the tonal characteristics of one sound the Modulator and the second set is used to apply the same characteristics to another sound the Carrier Each analysis band contains a bandpass filter and an envelope follower Each synthesis band contains a band pass filter whose output is controlled by the matching envelope follower in the analysis band The modulator s audio signal is sent through the sixteen bandpass filters the analysis filters and the envelope follower detects the volume envelope change over time for each of these frequency bands The carrier s audio signal is sent through the other set of sixteen bandpass filters the synthesis filters and the envelope detected from each analysis filt
127. r s warranty Please also retain your receipt as proof of purchase otherwise your product may be disqualified from the manufacturer s or distributor s warranty 2007 KORG INC KORG INC 4015 2 Yanokuchi Inagi city Tokyo 206 0812 Japan
128. rder to use the AUX buses you ll need to first assign a signal to the AUX buses by editing the AUX setting for an audio input following the insert effect AUX 8 2 or the AUX setting for the drum track 1 4 For more information see the diagram RADIAS program Audio In OSC amp Vocoder Source on 27 page Audio Inputs Send to RADIAS Off Analog Input 1 2 S P DIF L R Firewire L R Selects the audio in that will be the input source to the EXB RADIAS The signal of the selected source will be routed to the following e OSC 1 Waveform Audio In Program 2 1a e Vocoder Carrier In Source 2 Program 6 1b Vocoder Modulator Source Audio Source 6 1c Analog Input1 2 The signal from the AUDIO INPUT 1 2 jacks will directly be the input source The input from the AUDIO INPUT1 jack will be sent to the L channel of the oscillator and the input from the AUDIO INPUT 2 jack will be sent to the R channel S P DIF L R The signal from the S P DIF jack will directly be the input source FireWire L R The signal from the FireWire connector will directly be the input source This can be selected if the EXB FW option is installed For more information see the diagram RADIAS program Audio In OSC amp Vocoder Source on 27 page Note The signals will be mixed to monaural if the Unison parameter is Off AUX Bus Send to RADIAS Off AUX1 2 AUX3 4 Selects the AUX bus that will be the input source to the EXB RADIAS For more i
129. rform any of the following operations before writing Selecting other formant data Selecting another program Turning off the power Receiving a MIDI dump of the corresponding data from an external connected device 1 In the PROG P6 Vocoder page choose the menu command Write Formant Motion Data to access the dialog box Write Formant Motion Data T Formant Motion 88 88 Formant Motion 0A Cancel OK 2 The upper line shows the name of the formant motion data If you want to edit the name of the formant motion data press the text edit button to access the text edit dialog box and enter the desired name 3 Use the To field to select the writing destination 4 Press the OK button to write the formant motion data or press the Cancel button if you decide not to write the data amp Never turn off the power while the data is being written Doing so may damage the data Note The data that is written will be held in internal memory even when the power is off You can also use the Media mode menu command Save PCG to save it on an external memory device The data is saved as part of the PCG file Editing a program Creating your own program Creating your own program You can create original sounds by editing a preloaded program or by editing an initialized program from scratch These programs you create can be saved written to bank INT F or to a user bank that has been assigned for sa
130. rmation please see RADIAS Tone Adjust Parameters on page 23 COMBI P1 DT X Y Ctrls Tone Adjust COMBI P1 DT X Y Ctrls Here you can select a pattern for the drum track and make settings for it as well as make settings for X Y control and pads 1 8 For details on the available parameters and menu commands please see COMBI P1 DT XY Ctrls on page 138 of the M3 parameter guide 49 50 COMBI P2 EQ Option 2 1 EQ Trim TO1 08 2 2 EQ Trim T09 16 Here you can adjust the volume level going into the EQ For details on the available parameters and menu commands please see 2 1 EQ Trim T01 08 2 2 EQ Trim 109 16 on page 147 of the M3 parameter guide 2 3 EQ Gain T01 08 2 4 EQ Gain T09 16 Here you can make the Mid sweep EQ settings for Timbres 1 16 For details on the available parameters and menu commands please see 2 3 EQ Gain T01 08 2 4 EQ Gain T09 16 on page 148 of the M3 parameter guide 2 5 RADIAS T01 08 2 6 RADIAS T09 16 Here you can make settings that specify how RADIAS programs will sound and how the audio will be routed COMBI P2 EQ Option RADIAS T81 88 v INT A 0 InitCombi A888 T81 I AGGG InitProgram ABOA Ch 01G E E Es S 7 1 7 E User 16 User 16 User 16 User 16 User 16 User 16 User 16 User 16 Enable RADIAS Total Max 4 Timbres sf m m Audio In OSC amp Vocoder Source 2 5d audio Inputs Send to RADIAS Analog Input 1 2 2 120 0
131. s one octave and a fifth higher i e the third harmonic Ay Me Sine wave is a mild tone that contains only the fundamental frequency with no overtones AW Control2 LFO1 Modulation Intensity 000 127 LFOI will vary the Control1 effect Waveform Modulation Control2 adjusts the depth of this change By setting the LFO1 waveform Program 5 4a Waveform to Triangle and applying this effect you can produce a result similar to detuning the waveform producing a richer sound By setting the LFO1 waveform to Triangle and applying this effect you can create a pulse width modulation effect giving the sound more depth When Waveform Saw Square Tri Sine OSC Mod Cross When you re using cross modulation the waveform selected by Waveform will be the carrier Control1 Cross Modulation Depth 000 127 Adjusts the depth of cross modulation Control2 LFO1 Modulation Intensity 000 127 LFO1 will vary the depth of cross modulation Control2 adjusts the depth of this change Pitch Modulation varies the pitch from the basic pitch for an equal distance up down in terms of musical notes In contrast Cross Modulation varies the pitch from the basic pitch for an equal distance up down in terms of frequency When Waveform Saw Square Tri Sine OSC Mod Unison Unison detunes the pitch of five oscillators within oscillator 1 and outputs them together to create a richer sound Control1 Unison Detune 000 127 Adjusts t
132. s recorded formant motion data you can create complex moving or even talking vocoder programs that don t require any mic input Here you can Turn the vocoder on off and record formant motion data Editthe carrier parameters Editthe modulator parameters Editthe vocoder output parameters Editthe bandpass filter of the carrier and the envelope follower of the modulator 6 1 Carrier Modulator PROG P6 Yocoder 6 1a B vocoder MiCarrier Input 6 lb Carrier Modulator v 5 6 1 Formant Motion REC BIS MC In Source1 Level Eg In Source2 Level 668 In Source2 Select Audio Int Modulator Modulator gt Audio 6 1c bate Sens 108 Threshold 688 mut Mix Vocoder Output Level 664 Modulator HPF Gate gt Enable Source Audio In2 Modulator Direct Mix Modulator High Mix 666 6 1a Vocoder On Off Formant Motion REC On Off Vocoder Vocoder On Off Switches the vocoder function on off On checked Vocoder function is on The RADIAS program will use the vocoder Off On Formant Motion REC Off On This records format motion data for use with the Formant Motion function 6 1b Carrier Input These are the parameters that relate to the vocoder carrier signal You can input two sources to the carrier Normally you will raise In Source 1 Level so that the program s oscillator output will be the input 000 127 Sets the volu
133. s settings for oscillator output Ira n Common FX LFO 1 2 settings r amp M3 PG ui Routing2 p 261 Master effect routing selection and settings P9 MFX TFX Total effect selection and settings M3 PG p 263 Pattern recording and editing 5 RPPR settings 5 S3 PIOrBatterm RPER Converting a pattern to a drum track pattern Fa M3 PG p 265 E Cue list settings amp P11 Cue List Consecutive playback of multiple songs Converting to a song rs M3 PG p 269 PLAY Page P0 1 Play REC Main content Song selection playback and recording Program selection for each track Pan and volume settings etc for each track Track playback loop settings Audio input settings and resampling settings Recording method selection v M3 PG p 195 P0 2 Play REC Control Simple KARMA editing Editing from the control surface s M3 PG p 205 EDIT P1 DT X Y Ctrls Drum track settings X Y control settings SW1 2 and slider function settings Pad note and velocity settings M3 PG p 215 P2 EQ Option EQ settings for each track M3 PG p 224 Settings for the EXB RADIAS option p 60 P3 Track Param Various parameter settings for each track MIDI channel OSC selection Pitch setting etc M3 PG p 226 P4 Zone Delay Key split and layer settings Key zone and velocity zone Time delay from note on to beginning of sound s M3 PG p 231 P5 1 MIDI Filter MIDI
134. signed four timbres or MIDI tracks to play programs in which the RADIAS vocoder is turned on it is not the case that four vocoders are operating Note Timbres or MIDI tracks using multiple RADIAS programs or timbres or MIDI tracks using EDS programs can be used via the AUX bus as the carrier and modulator of the vocoder Vocoder ON Carrier Input Source1 TO2 To Mixer Effect To Mixer Effect gt To Mixer Effect gt To Mixer Effect Vocoder Carrier Modulator Source Selecting and playing programs For details on connecting external devices and setting up refer to M3 operation guide Synth programs Here s how to select synth programs and try out various sounds Selecting and playing 1 Press the PROG switch to enter Program mode PROG P Play J 1225 55 Bank INT F gt 60 keyboard 11000 RADIAS Program C3 SW Octave Down CJ sw2 Js amp Ribbon Loc Es C S RT Control 100 625 625 Pattern Preset Pona Program 1 4000 2 Press the BANK SELECT I F switch to select programs from bank INT F 3 Use the and V switches the VALUE dial or the numeric switches to select a program 4 Play the keyboard or pads to hear the sound of the program There are also other ways to select programs such as by category For more about other ways to select programs please see Selecting Programs on page 37 of the M3 operation gui
135. specified by Number of Voices will be equally spread apart in pitch by the specified Detune cents amount 7 Use Spread to specify the stereo position of the simultaneously sounded voices The simultaneously sounded voices specified by Number of Voices will be evenly spread across the stereo field according to the Spread setting Oscillators RADIAS programs consist of three oscillators oscillator 1 oscillator 2 and a noise generator Here s how to select the oscillator waveform and adjust the output level Selecting the waveform PROG P2 0SC Pitch OSC Basic mosci Waveform Saw OSC Mod Unison Control Unison Detune Control2 Unison Phase mosc2 Waveform gt Sine OSC Mod off Tune 2 DES LLLA OSC1 Level 127 Noise Level 966 OSC2 Level T11 OSC1 Oscillator 1 1 Use the Waveform to select the waveform for oscillator 1 You can choose one of nine different waveforms including an external audio input Audio In 2 Use the OSC Mod to select the type of modulation being applied to oscillator 1 You can choose one of four modulation types A If you ve selected Formant Noise DWGS or Audioln as the waveform the only available modulation type will be Waveform Waveform modulation 3 Use the Control 1 and Control 2 to specify the waveform parameters The parameters that are controlled by the Control 1 and
136. ss of the settings of the RADIAS program LGT Legato The timbre will play using a Voice Assign Mode of Mono and a Trigger Mode of Single p 25 regardless of the settings of the RADIAS program If you ve selected MN or LGT the note priority order when you play two or more keys will be according to the Priority Program 1 1a setting of the program OSC Select BTH OS1 OS2 This has no effect for RADIAS programs used by a timbre For more information please see OSC Select on page 54 of the M3 parameter guide Portamento PRG Off 001 127 Specifies the portamento for the RADIAS program used by the timbre PRG Portamento will be applied as specified by the program settings Off Portamento will be off even if the original program settings specified for it to be on 001 127 Portamento will be applied with the portamento time you specify here even if it is turned off by the program settings mn If the Status Combination 3 1a is set to INT CC 05 portamento time message will be received and will control and change these settings These messages will be received on the MIDI channel specified for each timbre by MIDI Channel Combination 2 1a 3 5 Pitch T01 08 3 6 Pitch T09 16 Here you can make pitch related settings for each timbre 1 16 COMBI P3 Timbre Param Pitch T81 88 3 5a Bank INT A 888 InitCombi AGGA J 120 00 se ABBO Ch 01G 1 E cy Ss 1 El User 1 User 1 User 1
137. t creates a smooth transition in pitch between one note and the next With a setting of 000 there will be no portamento With higher settings it will take longer to reach the pitch of the next note played Curve Portamento Curve LogHard LogMid LogSoft Linear Expo Specifies the curve used by the portamento effect First note on Second note on Pitch 1 LogHard 2 LogMid 3 LogSoft 4 Linear 5 Expo Time Portamento Time 33 34 Parameter guide PROG P3 Filter Here you can make the basic settings for RADIAS oscillator s Filter A and Filter B Here you can Specify the filter routing select the filter type and set the cutoff frequency and resonance Specify filter modulation by keyboard tracking velocity and EGIT 3 1 Filter PROG P3 Filter 3 1a L1 Q Single Parallel Q serial Q Individual ite AE Filter p Tupe Balance oU Tupe o HPF C2 Link Frequency 828 Frequency ET Resonance 888 Resonance aga 3 lb EG1 Intensity 34 EG1 Intensity 00 Keyboard Track 0 33 Keyboard Track 8 78 Velocity Sens 88 Velocity Sens 88 Filter 3 1a Filter Routing Filter Routing Single Serial Parallel Individual RADIAS oscillator has two filters Filter A and Filter B This parameter controls whether one or both of the filters are used and if both are used it controls how they are connected to each other Single Only f
138. t reflect pitch changes produced by vibrato or virtual patching Velocity Sens Velocity Sensitivity 63 63 Specifies how velocity keyboard playing dynamics will affect the cutoff frequency Positive values will cause the cutoff frequency to rise as you play more strongly Negative values will cause the cutoff frequency to fall as you play more strongly 3 1c Filter B These are the parameters for filter B These parameters are available if filter A Routing is Serial Parallel or Individual Type Filter B Type LPF HPF BPF COMB Selects the filter type A This setting will affect the maximum number of voices LPE HPE BPF These are the same 12 dB oct type filters as for filter A For more information please see Type Balance Filter Type Balance on page 34 COMB In a comb filter so named for its resemblance to the teeth of a comb alternating bands pass and cut the signal giving a unique character to the sound Increasing the cutoff frequency Frequency value will space the teeth of the comb farther apart so that more regions are cut COMB Comb Filter l l Frequency Cutoff frequency Link Off On Causes filter B to operate using the settings of filter A parameters Off Filter A and filter B parameters can be set independently On Filter B will operate using the settings of the filter A parameters Parameters following Frequency will use the filter A settings 000
139. teps and consecutively applies these values to vary the sound over time Since three modulation sequencers are provided for each program you can create sounds that change in very complex ways Make these settings in the PROG P5 6 MOD SEQ1 P5 7 MOD SEQ2 and P5 8 MOD SEQ3 pages PROG P5 EG LFO0 MSEQ EISEQ Common m MOD SEQ On Sequence Type ait Each Note MOD SEQ1 WESS Last Step 15 Run Mode Loop Resolution 3J Key Sync MSEQ1 Destination Param 05C2 Semitone Motion 9 Smooth Here we ll explain how to use modulation sequencer 1 to modulate the oscillator pitch SEQ Common Before we specify each step of the actual sequence data itself we ll need to specify the number of steps in the sequence and the playback method These parameters are common to all three modulation sequencers 1 Access the PROG P5 6 MOD SEO page 2 Turn on MOD SEQ On checked If this is On checked the three modulation sequencers will be on and the values stored in each step of each modulation sequencer will modulate the sound parameters 3 Set LastStep to 16 The sequence will begin playing when a note on occurs and will proceed for sixteen steps 4 Set Sequence Type to Alt wx Sequence Type on page 40 5 Set Run Mode to Loop iz Run Mode on page 41 6 Set KeySync to 1st Note tx Key Sync on page 41 7 Set Resolution to J The sequencer will advance one step for each note val
140. the sync modulation SYNC or ring modulation RING that are such classic analog synthesizer techniques The best elements of SYNC and RING modulation can be combined using a third option RING SYNC The noise generator NOISE generates white noise You can use this for a variety of sound shaping situations such as To Mixer Effect Drive WS Position AUX 1 2 Keyboard Track AUX 3 4 To OSC1 Control2 Free Assign SEQ1 SEQ2 SEQ3 MOD SEQUENCER VIRTUAL PATCH To Filter To Amp Keyboard Track Velocity JSX Free Assign etc Introduction adding breath noise for a wind instrument sound or as part of a special effect sound Mixer MIXER The mixer adjusts the volume levels of oscillator 1 OSC1 oscillator 2 OSC2 and the noise generator NOISE and sends the combined signal to the filter FILTER Filter FILTER A FILTER B The filter section consists of two multi mode resonant filters The two filters can be routed in series or parallel or even side by side in a one oscillator per filter arrangement The filters adjust the tone of the sound coming from the oscillators by boosting or cutting specific frequency regions Filter settings will have a major impact on the sound By default envelope generator 1 EG1 is set to vary the cutoff frequency of the filters over time Amp AMP Traditionally the amp section controls the output volume AMP and the panning PAN or the position in the st
141. thout having to vocalize into the mic The EXB RADIAS contains preloaded data for sixteen formant motions Assigning a formant motion to the modulator Here s how to play the vocoder by using the factory set formant motion data 1 In Program mode select a vocoder program wx Vocoder program on page 3 2 Access the PROG P1 Carrier Modulator page PROG P6 ocoder Carrier Modulator Y m Vocoder Formant Motion REC BITS Carrier Input Sn In Source Level 127 In Source Level 868 In Source2 Select Audio Int TE eee restr ea Gate Sens 188 Select 88 Formant Motion 48 Threshold 888 Play Mode gt Trigger Reset mut Mix Vocoder Output Level 664 Modulator HPF Gate 9 Enable Modulator Direct Mix 08 Modulator High Mix 1127 3 Set Modulator to Formant Motion 4 Use Select to select the desired formant motion data You can select from sixteen choices Formant Motion 00 15 5 Use Play Mode to specify how the formant motion data will play back If you select Trigger Reset the formant motion data will reset to its beginning each time you play a note 6 Play the keyboard The vocoder will sound using the formant motion data Recording your own formant motion data Here s how you can connect a mic to the rear panel AUDIO INPUT 2 jack and record your own formant motion data 1 Connect a mic to the rear panel AUDIO INPUT 2 jack and use Program Select to select a
142. ting a vocoder program WO GOCE On Off ec M Carner MULLER a aE imminent ions 13 Modulator Out Mix modulator and vocoder output settings sn 13 glue E 13 Formant Motion TANCOM sssrinin M Creating your own program SAVING a Progra EE EET ETE Editing a combination Combination mode see 16 TMM FE Settings C I 16 Editing a song Sequencer mode eee e eere eere eee ee eene esee essseeesssseessseees 17 lisent M 17 Restoring the factory settings Global mode see 18 Restoring the RADIAS program data to the factory set state esse 18 Restoring the formant motion data to the factory set state eese ee eeee eee ee etes stent 18 Parameter quide siscisisissscsetsctedevecssadeassisessesoiereetdansncdtexsisedesdssseseuse 19 Prograii mbd6 ni re a LD Page Select Ae NO PROG PO Play dee HI HUE 19 0 5 Clinics 19 Clg de 19 0 7 Sampling Audio In eee eeee eee e eene e esee eee en stent s etos etas tn senses sts etos etos esos esas enata setas etn ses 20 0 8 Control Surface eter retento osos essa sata thao nE Ep en s S AIR Sn ER
143. track For more information please see Portamento on page 54 3 5 Pitch T01 08 3 6 Pitch T09 16 Here you can make pitch related settings for each MIDI track 1 16 SEQ P3 Track Param Pitch 161 68 aay 001 01 000 Meter 44 2 126060 Manu 000 NEW SONG Track81 MIDI TRACK 81 Reso Hi RPPR LUE E OC 41 08 4 Way Stereo CS Ch 81 TREER Nofssign _ TSSS ao Keuboar FE asc ETS Keuboar Ravers Transpose 00 00 00 68 00 00 00 Detune Use BPM Adjust in Menu 6006 6000 0000 0000 8006 6006 0000 0000 Bend Range 3 5a 02 92 82 92 Pitch P 1 3 3 5 6 a Pitch Track 01 Track Number Transpose 60 00 60 Adjusts the pitch in semitone steps for the RADIAS program used by the MIDI track A setting of 12 is one octave The actual pitch sounded by the program is determined by adding this value to the Transpose setting Program 2 2a of the RADIAS program used by the track However a RADIAS program cannot be transposed farther than 48 Values below 48 are treated as 48 and values above 48 are treated as 48 For more information please see Transpose on page 54 Detune Use BPM Adjust in Menu 1200 0000 1200 Adjusts the pitch in one cent units from the normal pitch for the RADIAS program used by the MIDI track The actual pitch sounded by the program is determined by adding this value to the Tune cents setting Program
144. track RADIAS Volume 000 127 This slider adjusts the volume of RADIAS oscillator Drum Trk Volume 000 127 Adjusts the volume of the drum track PROGPO Play Tone Adjust Tone Adjust PROG P Play I F gt 888 RADIAS Program Control Surface 20 J 1225 55 Control Assign Tone Adjust BI Filter Type Balance THRU Abs 1 2 Ei 6 7 E E E Fit A Osce Ft A OSC 1 Uni Fitr LFO1 M Sa e Type Wav o Fc Lvl son Reso Wav Reso CD CD CD CD CD CD CD CD O 8f U THRU Sine 127 127 39 amp H gt On sen O17 Se OES OES OES OES ap Gea BE Ca Gas Co 86 on w d i RudioInJ Tone Adjust lets you use all of the sliders and switches on the Control Surface to edit Program parameters like the knobs on an analog synth Each physical control can be assigned to any one of a number of Program parameters Absolute Relative and Meta parameters For more information please see Absolute Relative and Meta parameters on page 21 of the M3 parameter guide Saving Tone Adjust Edits For more information please see Saving Tone Adjust Edits on page 21 of the M3 parameter guide Tone Adjust and MIDI SysEx For more information please see Tone Adjust and MIDI SysEx on page 21 of the M3 parameter guide Interaction between Tone Adjust and MIDI CCs For more information please see Interaction between Tone Adjust and MIDI CCs on page 21 of the M3 parameter
145. transmit receive filter 1 settings rs M3 PG p 235 P5 2 MIDI Filter2 MIDI transmit receive filter 2 settings rs M3 PG p 239 P6 Track Edit Step recording Event recording Copy delete and other track editing rs M3 PG p 241 KARMA P7 1 KARMA1 GE Overall KARMA settings M3 PG p 243 P7 2 KARMA2 Module Settings for each KARMA module M3 PG p 250 P7 3 KARMA3 GE RTP KARMA GE realtime parameter settings v M3 PG p 252 P7 4 KARMA4 Perf KARMA performance parameter settings M3 PG p 254 57 58 SEQ PO Play SEQ P0 1 Play REC Here you can make basic settings for MIDI track recording and playing back in the song and can select the program that will be used by each track In Sequencer mode you can use four RADIAS programs For details on selecting a song selecting the program used by each track and the editable parameters and the display please see SEQ P0 1 Play REC on page 195 of the M3 parameter guide R EXB RADIAS MIDI tracks for which a RADIAS program can be used are indicated by E If you select a program from bank INT F etc for a track indicated by E RADIAS program played by the EXB RADIAS will sound T81 l AGa868 InitProgram AGaa Ch a 5 R EXB RADIAS E R EE Category gt 16 gt 16 gt 16 gt 16 gt 16 User 16 User 16 User 16 User 16 User 16 Bank Program INT INT INT INT INT
146. udio In2 AUX Send L R AUX Send L AUX Send R Gate Sens Gate Sensitivity 000 127 Threshold 000 127 Select Formant Motion Select Formant Motion 00 Formant Motion 16 Play Mode Formant Motion Play Mode Free Run Trigger Reset For details on these parameters please see 6 1c Modulator on page 42 2 7d Out Mix Vocoder Output Level 000 127 Modulator Direct Mix 000 127 Modulator HPF Gate Disable Enable Modulator High Mix 000 127 For details on these parameters please see 6 1d Out Mix on page 43 V 2 7 Menu Command e Write Formant Motion Data p 64 e Copy Vocoder p 64 SEQ P2 EQ Option 2 8 RADIAS Vocoder2 2 8 RADIAS Vocoder2 SEQ P2 EQ Option RADIAS ocoder2 v RA J Formant Shift 0 Frequency Offset 00 2 8a Resonance 928 Mod Source 3 LFO1 Env Follower Sens 453 Mod Intensity 88 Band1 16 Pan and Level 1 E E a rA o SI EN 5 C064 Ca54 C064 C064 CB54 CHb4 COE D ROTE A TT Le 2 8b 4 2 8a Filter Formant Shift 2 2 Resonance 000 127 Env Follower Sens Envelope Follower Sensitivity 000 127 Frequency Offset 63 63 Mod Source Fc Modulation Source EG1 X Y Y Mod 88 Mod Intensity Fc Modulation Intensity 63 63 For details on these parameters please see 6 2a Filter on page 44 2 8b Band1 16 Pan and Level B
147. ue you specify here relative to the tempo If this is set to J the sequencer will advance one step for each quarter note beat Editing the steps 1 Set Destination Param to Pitch 2 Use Motion to specify how the values stored in each step will change when the modulation sequencer plays For this example choose Smooth 3 While playing the keyboard so that you can hear the sound specify the sequence data for each step If you want to adjust the value in detail use the VALUE dial etc The value of each step is applied as an amount of relative change to the parameter s assigned value Editing a program Editing a vocoder program Editing a vocoder program Here s how to make settings for the vocoder s carrier modulator and output These settings are made in the PROG P6 1 Carrier Modulator page PROG P6 Yocoder m vocoder M iCarrier Input Carrier Modulator xz Form nt Motion REC of In Source1 Level In Source2 Level 688 In Source2 Select Audio Int Modulator Modulator Audio Source Audio In2 Gate Sens 1688 Threshold 668 mout Mix Vocoder Output Level G64 Modulator HPF Gate gt Enable Modulator Direct Mix 668 Modulator High Mix 1127 Carrier lodultr Vocoder on off 1 Use Vocoder to turn the vocoder on off If this is on checked the vocoder will be on Carrier Input As the vocoder s carrier you can use two audio sig
148. ving RADIAS programs Saving a program RADIAS programs can be saved in bank INT F and in user banks whose bank type has been set to RADIAS by the Global mode menu command Set Program User Bank Type For more information please see Set Program User Bank Type on page 66 The save procedure is the same as for EDS programs For more information please see Saving your edits on page 50 of the M3 operation guide 15 16 Operation Editing a combination Combination mode You can use RADIAS programs in the timbres of a combination and create combinations that use them together with the programs of banks INT A E INT G and USER A G Up to four RADIAS programs can be used in one combination The maximum polyphony of the RADIAS programs will be 24 voices Timbre settings Here we ll explain how to select bank INT F programs so they can be played 1 Select the combination that you want to edit 2 Access the COMBI P2 5 RADIAS T01 08 or P2 6 RADIAS T09 16 page COMBI P2 EQ Option RADIAS T81 88 J 120 00 USER A 886 InitCombi UABaa UE I AGGG slicer a Bet Ch 816 5 User 16 User 16 User 16 User 16 User 16 User 16 User 16 TG 16 Enable RADIAS Total Max 4 Timbres m m m im Audio In OSC amp Vocoder Source Audio Inputs Send to RADIAS Analog Input 1 2 AUX Bus Send to RADIAS o9 Off 3 In Program Select turn Enable RADIAS on checked for the timbres in which you want to us
149. volume of the amp Note You can also use virtual patching VIRTUAL PATCH to assign these EGs as envelope sources for other parameters Here you can Specify the envelope curve Select the curve for the decay and release segments of the envelope Make modulation settings PROG P5 EG LFO MSEQ EG1 lt Filter VY J pom Curve LogMid 5 la Attack Time EEE Decay Time 187 Release Time 820 WEG Level Time Modulation BEER Level Velocity Intensity 63 Sustain Level 608 5 1b Decay Release Time Keyboard Track 88 Decay Release Time Velocity Intensity 68 5 1 2 3 a Envelope These parameters specify how the EG will change over time Level Sustain level Note on Note off r Attack level 1 Amp Level y c 0 ERU f i Time 1 1 I p l Attack time Decay time Release time Curve LogHard Expo Selects the curve for the decay and release segments of the envelope EG Curve Type 1 Log Hard 2 Log Mid 1 3 Log Soft 1 4 Linear 5 Expo Attack Decay Release Attack Time 000 127 Specifies the time from note on until the attack level the maximum value of the envelope is reached Decay Time 000 127 Specifies the time from when the attack level is reached until the sustain level is reached Sustain Level 000 127 Specifies the sustain level Release Time 000 127 Specifies the time from note off until the level reach
150. y the joystick Y axis You can also make virtual patch settings VIRTUAL PATCH to assign the LFOs as modulation sources for other parameters Virtual Patch VIRTUAL PATCH The virtual patch section lets you freely assign modulation sources to modulate able parameters giving you even more flexibility for creating sounds You can make eight virtual patch assignments in each RADIAS program Modulation Sequencer MOD SEQUENCER Using a modulation sequencer you can apply up to sixteen discrete values steps to a modulate able parameter over time in a manner similar to vintage analog synthesizers The modulation sequence can play once repeat loop front to back etc providing movement and complexity to the sound The value can change abruptly at each step or it can smoothly transition from value to value Each RADIAS program provides three sequencers allowing you to create extremely complex tonal changes Equalizer EQ You can use a three band equalizer with sweepable mid range Mixer Effects The signal that has passed through the EQ can be processed by effects via a highly flexible mixer As with EDS programs you can use five insert effects IFX two master effects MFX and one total effect TFX KARMA Drum Track X Y Mode Controllers You can use this functionality in the same way as you can with EDS programs Program structure Vocoder program A vocoder applies the spectral character of the modulat

Korg M3 Musical Instrument User Manual

Contents

Download Pdf Manuals

Related Search

Related Contents