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Karma GE
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Korg Karma GE User Manual

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KARMA™ (Kay Algorithmic Realtime Music Architec­ture) Technology has been licensed from Stephen Kay, and is protected by U.S. Patents 5,486,647, 6,084,171, 6,087,578, 6,103,964, 6,121,532, and 6,121,533. Other patents pending.
KARMA™, the KARMA Logo, Generated Effect™ (GE), Melodic Repeat™, Direct Index™, Manual Advance™, and SmartScan™ are trademarks of Stephen Kay, Karma Lab LLC, www.karma-lab.com. This manual copyright 2000-2001 by KORG Inc. and Stephen Kay. All rights reserved.
Screen shots from the KARMA software that appear throughout this guide are Karma Lab LLC. Used by permission. All rights reserved.
1994-2001 by Stephen Kay,
©
©
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About this manual
The “KARMA GE Guide” explains the GE parameters of the KARMA function built into this KARMA Music Workstation, organized according to the groups that make up the Generated Effects.
The KARMA Music Workstation provides more than one thousand preset GE’s (Generated Effects). For each GE, up to sixteen of the more than four hundred GE param­eters have been selected for optimal control from the KARMA Music Workstation. The GE parameters and ranges that can be controlled will differ for each GE.
Some GE parameters are related to other parameters, and are affected by them. In this case, the parameters that are producing the effect may not always be displayed, since they may already be preset for that GE. Furthermore, the KARMA-related parameters in pages
6.1–6.4 of each mode may also function differently or not at all, depending on the settings of these GE parameters. Some of the internal parameters of each GE are displayed in the Voice Name List. (☞VNL)
In order to explain the GE parameters, this document includes example settings using these parameters that cannot be viewed or set, and examples of pattern settings using pattern grids that cannot be displayed in the LCD screen of the KARMA Music Workstation.
How to read the “GE Guide”
The GE’s (Generated Effects) are organized into 14 groups. Each group has GE parameters. (☞p.3 diagram)
The 6.3: Ed-KARMA GE (or KARMA GE) page shows the group name, parameter name, and parameter value of the GE parameters.
You can use the 6.3: Ed-KARMA GE (or KARMA GE) page to check the group name and parameter name of the GE parameter you wish to look up, and then find it in the GE Guide.
Here’s an example from Program mode.
Access the PROG 6.3: Ed-KARMA GE page, and display the GE parameters in the LCD screen. (☞PG p.32 PROG
6.3: Ed-KARMA)
The GE parameters displayed in the LCD screen show the group name and parameter name.
Group name Parameter name Parameter value
Printing conventions in this document
Abbreviations for the owner’s manuals: PG, VNL
The included owner’s manuals are abbreviated as follows.
PG: Parameter Guide VNL: Voice Name List
Parameters “ ”
Parameters are enclosed in “double quotation marks.”
Bold type
Parameter values are printed in bold type. Bold type is also used for text that is being emphasized.
☞p. ■ ■, ☞PG p. ■ ■
These respectively indicate a GE Guide page or Parameter Guide page to which you can refer.
Symbols ,
These symbols respectively indicate cautions or advice.
Illustrations in this manual
Pattern grid screens etc. in this manual are provided to supplement the explanation. They are not displayed in the LCD screen of the KARMA Music Workstation.
For example in the case of 01. Rhythm: Swing %, the group is Rhythm Group and the parameter is “Swing %.”
The explanation for “Swing %” is given on p.13 “Rhythm Group”Swing %.” The parameter value is displayed by “Value” at the right of the parameter name. The default value and editing range of the parameter is preset for each GE. Depending on the selected GE, the same GE parameter may have a different default value and a different editing range.
For some GE parameters, the following information is displayed in addition to the parameter name.
• Parameter name [Phase]
This indicates the phase for which the parameter is valid. (For details refer to p.53)
Display example
[Phase]
• CCs: parameter name #No. #No.
Parameters of the CCs group also indicate the MIDI message that is controlled by the CCs. (For details refer to p.53)
Display example
[Phase]
#No. #No.
MIDI-related listings
CC# is an abbreviation for Control Change Number.
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• Env: parameter name [ENV] #No. #No. #No.
Parameters of the Env (Envelope) Group also indicate the envelope for which that GE parameter is valid, and indicate the parameter or MIDI message that is controlled by the Envelope. (For details refer to p.53)
Display example
[Env] #No.
• Drum: parameter name [Pat]
Parameters of the Drum group also indicate the drum pattern for which that GE parameter is valid. (Some parameters in the Drum Group that are not related to the individual Drum Patterns will not display this informa­tion.) (For details refer to p.53)
Display example
[Pat]
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Table of Contents

About KARMA................................. 2
Overview................................................. 2
Theory Of Operation.............................. 2
KARMA Architecture (Diagram) ........... 3
GE (Generated Effect) Group ............ 4
Overview................................................. 4
Octave Transpose ............................................. 11
Oct/5th Transpose ............................................ 11
Events............................................................... 11
TSig Numerator ................................................11
TSig Denominator ............................................ 11
Beginning Offset % .......................................... 11
End Offset % .................................................... 11
End Loop Parameters.......................... 11
End Loop On/Off .............................................. 11
End Loop Start Step ......................................... 11
End Loop Length ..............................................11
GE Global Parameters........................... 4
GE Type .............................................................. 4
Gate Type ........................................................... 4
Gate CC Number................................................ 5
Note Series Group........................... 6
Overview................................................. 6
Parameters ............................................. 6
Note Type............................................................ 6
Input Sort ............................................................6
Inversion ............................................................. 7
Replications ........................................................ 7
Max ..................................................................... 7
Symmetry ........................................................... 7
Interval ................................................................ 7
Chord Shift ......................................................... 7
Wrap Bottom ...................................................... 7
Wrap Top ............................................................ 7
Voicing ................................................................ 7
Filter Dupes ........................................................ 8
Filter Fixed .......................................................... 8
Filter Template .................................................... 8
Phase Group ................................... 9
Overview................................................. 9
About Phase Patterns ........................... 9
General Parameters............................... 9
Total Steps.......................................................... 9
Start % ................................................................ 9
Start Mode ..........................................................9
Length Mode ...................................................... 9
Cycle Mode ...................................................... 10
Phase Specific Parameters................. 10
Direction ........................................................... 10
Transpose .........................................................10
Pattern Parameters .............................. 12
Pattern Items ....................................................12
Pattern Step1…16 ............................................ 12
Template Parameters .......................................12
Template (All Steps) .........................................12
Template Steps 1…4 ........................................ 12
Template Steps 5…8 ........................................ 12
Template Steps 9…12 ...................................... 12
Template Steps 13…16 .................................... 12
Rhythm Group............................... 13
Overview............................................... 13
About Rhythm Patterns....................... 13
Global Parameters............................... 13
Humanize ......................................................... 13
Swing Note Value ............................................. 13
Swing %............................................................ 13
Swing Use Multiplier......................................... 13
Pattern Grid & Associated Parameters .....
Rhythm Pattern ........................................ 14
Random Weighting Parameters - Pools ....
Pools-Random Factor....................................... 14
Pools-WeightingCurve (Pools-Weighting Curve) .....
Random Weighting Parameters - Ties ...
Ties-Random Factor......................................... 15
Ties-Weighting Curve....................................... 15
Associated Parameters....................... 15
Rhythm Multiplier.............................................. 15
Straight Multipliers............................................ 15
Straight/Trip Mults ............................................ 15
Strt/Dot/Trip Mults ............................................ 16
Template ........................................................... 16
14
14
14
15
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Duration Group ............................. 17
Cluster Group................................ 22
Overview............................................... 17
About Duration Patterns ..................... 17
Pattern Grid & Associated Parameters .....
Duration Pattern....................................... 17
Associated Parameters ........................... 17
Duration Mode .................................................. 17
Duration Value .................................................. 18
Random Weighting Parameters - Pools ....
Pools-Randm Factor (Pools-Random Factor) ..........
Pools-Weight Curve (Pools-Weighting Curve) ....
Random Weighting Parameters - Ties .......
Ties-Randm Factor (Ties-Random Factor) ......18
Ties-Weight Curve (Ties-Weighting Curve) ..... 18
17
18
18 18
18
Associated Parameters....................... 18
Template ........................................................... 18
Index Group ................................. 19
Overview............................................... 19
About Index Patterns........................... 19
Pattern Grid & Associated Parameters .....
19
Overview............................................... 22
About Cluster Patterns........................ 22
Global Parameters............................... 22
Strum ................................................................ 22
Pattern Grid & Associated Parameters .....
Cluster Pattern ......................................... 22
22
Random Weighting Parameters.......... 22
Pools-Random Factor....................................... 22
Pools-Weight Curve (Pools-Weighting Curve).........
23
Associated Parameters....................... 23
Template ...........................................................23
Velocity Group .............................. 24
Overview............................................... 24
About Velocity Patterns....................... 24
Global Parameters............................... 24
Velocity Mode ................................................... 24
Velocity Value ................................................... 24
Randomize Bottom ........................................... 24
Randomize Top................................................. 24
Index Pattern ............................................ 19
Associated Parameters ........................... 19
Pattern Type ..................................................... 19
Random Walk Max Step ................................... 19
Random Weighting Parameters.......... 20
Pools-Random Factor....................................... 20
Pools-Weighting Curve ..................................... 20
Associated Parameters....................... 20
Cluster Mode ....................................................20
Invert ................................................................. 20
Double .............................................................. 21
Double Amount................................................. 21
Template ........................................................... 21
Pattern Grid & Associated Parameters .....
Velocity Pattern ........................................ 24
24
Random Weighting Parameters.......... 25
Pools-Randm Factor (Pools-Random Factor) ..........
Pools-Weight Curve (Pools-Weighting Curve) ....
25 25
Associated Parameters....................... 25
Cluster Mode ....................................................25
Scale ................................................................. 25
Template ...........................................................25
CCs Group .................................... 26
Overview............................................... 26
About CC Patterns............................... 26
Pattern Grid & Associated Parameters .....
CC Pattern ................................................ 26
Associated Parameters ........................... 26
Fixed/On ...........................................................26
Pattern Type .....................................................26
Polarity.............................................................. 26
26
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Random Weighting Parameters.......... 27
Pools-Rand Fact (Pools-Random Factor) ................
Pools-WeightCrv (Pools-Weighting Curve) ...... 27
27
Global Parameters............................... 27
CC-A .................................................................27
CC-B .................................................................27
Associated Parameters....................... 27
Cluster Mode ....................................................27
Template ...........................................................27
Env (Envelope) Group .................... 28
Overview............................................... 28
About Envelopes ................................. 28
Parameters ........................................... 28
Env On/Off (Envelope On/Off) ......................... 28
Env Type (Envelope Type) ................................ 28
Start Level ........................................................ 29
Attack Time .......................................................29
Attack Lvl (Attack Level) ................................... 29
Decay Time....................................................... 29
Sustain Lvl (Sustain Level)...............................29
Rel. Time (Release Time)................................. 29
Rel. Level (Release Level) ............................... 29
Amp Amount (Amplitude Amount) ................... 29
Time Scale ....................................................... 29
Att Smooth (Attack Smooth) ............................ 29
Loop Mode ....................................................... 29
Tempo Reltv (Tempo Relative) ......................... 30
Note Trig (Note Trigger) .................................... 30
Level Combinations............................. 30
Sta/Att Lvl (Start/Attack Level) .........................30
Sta/Sus Lvl (Start/Sustain Level) ..................... 30
Sta/Rel Lvl (Start/Release Level) ..................... 30
Att/Sus Lvl (Attack/Sustain Level).................... 30
Att/Rel Lvl (Attack/Release Level) ................... 30
Sus/Rel Lvl (Attack/Release Level)..................30
St/At/Su Lvl (Start/Attack/Sustain Level) ......... 30
St/At/Rl Lvl (Start/Attack/Release Level) .........30
St/Su/Rl Lvl (Start/Sustain/Release Level) ......31
At/Su/Rl Lvl (Attack/Sustain/Release Level) .... 31
All Levels .......................................................... 31
Time Combinations ............................. 31
Att/DecTime (Attack/Decay Time) .................... 31
Att/RelTime (Attack/Release Time)..................31
Dec/RelTime (Decay/Release Time)................ 31
All Times ........................................................... 31
Repeat Group (Melodic Repeat) ...... 32
Overview............................................... 32
General Parameters............................. 32
Rhythm Value ................................................... 32
Straight Rhythm Values .................................... 32
Dotted Rhythm Values...................................... 32
Triplet Rhythm Values....................................... 33
Selected Rhythm Values .................................. 33
Use Swing ........................................................ 33
Repetitions ....................................................... 33
Decay................................................................33
Initial Volume .................................................... 33
Transpose .........................................................33
Chord Shift ....................................................... 33
Stop Mode ........................................................ 33
Rebound ...........................................................34
Tempo Lock ...................................................... 34
Range Parameters ............................... 34
Range Mode .....................................................34
Wrap Bottom .................................................... 34
Wrap Top .......................................................... 34
Vel. Range Bottom............................................35
Vel. Range Top ................................................. 35
Real-Time Parameters......................... 35
Duration Mode (RT).......................................... 35
Duration Value (RT).......................................... 35
Key Mode (RT) ................................................. 35
Chord Quantize (RT) ........................................ 35
Bend Group .................................. 37
Overview............................................... 37
General Parameters............................. 37
On/Off ...............................................................37
Amount ............................................................. 37
Shape ............................................................... 37
Alternation ........................................................ 38
Step .................................................................. 38
Length............................................................... 38
Fixed-ms ...........................................................38
Start .................................................................. 38
End ................................................................... 38
Width ................................................................ 38
Drum Bend Mode ............................................. 39
Bend Range ..................................................... 39
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Real-Time Parameters......................... 39
Key Mode (RT) ................................................. 39
Direction (RT) ...................................................39
Rel. Delay Length (RT) ..................................... 39
Rel. Delay Damping (RT) ................................. 39
Drum Group.................................. 40
Overview............................................... 40
Direct Index Group ........................ 44
Overview............................................... 44
General Parameters............................. 44
Index Shift......................................................... 44
Trill Mode .......................................................... 44
Held Note Trig Mode ......................................... 44
Transpose .........................................................45
Vel. Sensitivity .................................................. 45
About Drum Patterns........................... 40
Pattern Editing Grid &
Associated Parameters...................... 40
Drum Pattern ............................................ 40
Associated Parameters ........................... 40
Play On/Off ....................................................... 40
On/Off Combinations........................................ 40
Row1…7 Note .................................................. 41
Row1…7 Vel. Offset ......................................... 41
Rhythm Multiplier.............................................. 41
Straight Multiplier ............................................. 41
Straight/Trip Mults ............................................ 41
Strt/Dot/Trip Mults ............................................ 41
Velocity Offset .................................................. 41
Velocity Scale ................................................... 41
Pattern Transpose ............................................ 41
Octave Transpose ............................................. 41
Oct/5th Transpose ............................................ 42
Use Riff Length................................................. 42
Random Weighting Parameters - Pools ....
Pools-Random Factor....................................... 42
Pools-WeightingCurve (Pools-Weighting Curve) .....
42
42
Duration Parameters ........................... 45
Duration Control ............................................... 45
Duration Mode .................................................. 45
Duration ms ...................................................... 45
Repeat Parameters .............................. 45
Melodic Rpt On/Off........................................... 45
Bend Parameters ................................. 46
Bend On/Off ..................................................... 46
Bend Amount .................................................... 46
Bend Shape ...................................................... 46
Bend Alternation ............................................... 46
Bend Step ......................................................... 46
Bend Length ..................................................... 47
Bend Fixed-ms ................................................. 47
Bend Start ........................................................ 47
Bend End .......................................................... 47
Bend Width ....................................................... 47
Appendices ................................... 48
Using Auto-Bend ................................. 48
Next Note/Previous Note Bends............. 48
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Random Weighting Parameters - Rests ....
Rests-Random Factor ...................................... 42
Rests-WeightingCurve (Rests-Weighting Curve) ....
42
42
Associated Parameters....................... 43
Pools/Poly ......................................................... 43
Track Keyboard ................................................. 43
NTT (Note Table Transposition) ........................43
Link To Next ...................................................... 43
Wrap Bottom .................................................... 43
Wrap Top .......................................................... 43
Template ........................................................... 43
Length Of Bends...................................... 48
The Different Bend Shapes..................... 49
Random Weighting Curves................. 50
Weighting Curve Shapes and
Their Effects ............................................ 50
Comparison of Exponential and
Logarithmic Curves ................................ 51
How GE parameter names are
displayed ............................................. 53
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About KARMA
GE Group
Note Series Group
Phase Group
Velocity Group
CCs Group
Env (Envelope) Group
Repeat Group
Rhythm Group
Duration Group
Index Group
Cluster Group
Bend Group
Drum Group
Direct Index Group
Appendices
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About KARMA

Overview

KARMA stands for Kay Algorithmic Realtime Music
Architecture, named after its inventor, Stephen Kay. The KARMA function generates MIDI data, using many
different complex algorithms seamlessly integrated to provide a powerful “music generation engine”. Based on the notes and chords you play, KARMA generates phrases and patterns in real-time, generating not just notes but MIDI control data as well. The KARMA architecture allows the various algorithms to be reconfigured and varied in realtime, as you play them.
For example, you can create spectacular cascades of complex interweaving notes, techno arpeggios and effects, dense rhythmic and melodic textures, natural sounding glissandos for acoustic instrument programs, guitar strumming and finger-picking simulations, random effects, auto-accompaniment effects, gliding and swoop­ing portamento and pitch bend effects, and new sound design possibilities. KARMA lets you produce phrases and patterns far beyond the level provided by conventional arpeggiators or pattern playback functions.
randomized grooves and accompaniment backings. Up until now there have been two basic types of backing track generation. The traditional method used in all auto­accompaniment keyboards is a system which analyzes notes played on a keyboard (chord recognition) and then plays back patterns stored in memory through transposi­tion tables. The second method is the one used by some algorithmic software products that create new patterns each time the algorithm is called. In general, the first method is static and repetitive, while the second method cannot be modified in real-time.
KARMA combines the algorithmic diversity of the second method with the real-time control and immediate access of the first method to create a new form of interactive groove generation, where the user is in more direct control, since what is produced is directly related to which notes are pressed. Furthermore, extensive aspects of the rhythm, velocity, chord size and other parameters can be randomly varied in real-time to allow the user to control the complexity and density of the resulting performance.
The new KARMA function is the heart of the KARMA Music Workstation. Whether you are playing programs or combinations, performing with the KARMA Realtime Controls knobs, switches, and [CHORD TRIGGER] keys, giving a live performance, or recording new music using the onboard sequencer, you can take full advantage of the KARMA function at any time.

Theory Of Operation

A performance of a musical phrase can be thought of as having many different “attributes” which determine the overall effect of the resulting music. For example, a musical phrase has a “rhythm” attribute, which is the rhythm with which the notes are being played. The number of notes (“chords”) being played at the same time in various places of the musical phrase could be called a “cluster” attribute. The velocity (accent) with which the notes are played is a “velocity” attribute. The spatial location in a stereo field where the notes are played is a “pan” attribute, etc.
Typically, music that has been recorded or sequenced has all of these attributes predetermined and fixed in relation to each other. A specific note is to be played with a specific rhythmic value for a specific period of time, at a specific volume level, at a specific location in a stereo field, with the sound of a specific musical instrument, and these relationships remain fixed no matter how many times you play back the performance. For example, in most if not all auto-accompaniment instruments, to achieve a variation in the accompaniment pattern the instrument essentially switches to a different pre-recorded sequence of musical events (again with specific relationships that are fixed in the data).
In KARMA, every aspect of a musical phrase has been separated into independently controllable attributes. Each of these attributes is controlled by a separate group of parameters, which can be individually varied or changed in groups by the user in real-time as the music is being generated; or changed all at once with the selection of a program or combination.
KARMA can also be used to generate infinitely variable
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1
2
3
4
5
6
7
8
12
SCENE
1
2
ON/OFF LATCH
KARMA REALTIME CONTROLS
GE
Note Series
Phase
Rhythm
Duration
Index
Cluster
Velocity
CCs
Envelope
Repeat
Bend
Direct Index
Drum
Group / Parameters
GE Parameters
Env 2
Env 1
Env 3
Phase 1
Phase 1
Phase 1
Phase 1
Phase 1
Phase 1
Phase 2
Phase 2
Phase 2
Phase 2
Phase 2
Phase 2
Note
Series
Drum
Pattern 1
Drum
Pattern 2
Drum
Pattern 3
DATA to be read out of
GE (Generated Effect)
KARMA
Module A
KARMA
Module B
KARMA
Module C
KARMA
Module D
GE Parameters
KARMA Module Parameters
GE Number
KARMA Module
RT Parm (Realtime Parameters)
Dynamic MIDI
Program : KARMA Module A Combination/Song/Song Play Mode: KARMA Module A/B/C/D

KARMA Architecture (Diagram)

3
About
KARMA
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GE (Generated Effect) Group

Overview

The phrases and patterns produced by a KARMA module are generated by a GE (Generated Effect).
Based on note data from the keyboard or external MIDI device, the GE uses various internal parameters to control how the note data will be developed, and how rhythm, chord structure, and velocity etc. will be controlled to generate a phrase or pattern. MIDI control changes and pitch bend data can also be generated in synchronization with the phrase or pattern, making it possible to create phrases and patterns in which the tone color and note pitches change independently.
This instrument contains over 1000 preset GEs that can be used with a wide range of instruments, playing styles, and musical genres.

GE Global Parameters

GE Type [0…3]

0: Generated-Riff 2: Generated-Drum 1: Generated-Gated 3: Real-Time
Chooses one of several different overall algorithm configurations for the current Generated Effect. This setting determines some basic modes of operation, and also which parameters are available within the various GE Groups.
0: Generated-Riff
Produces riffs, arpeggios, and chord clusters based on the notes given as input source material. The notes are expanded, transposed, replicated, and otherwise altered to form a Note Series by the parameters in the Note Series Group. Effects are generated based on the Rhythm Pattern as it relates to the clock source or tempo envelope.
1: Generated-Gated
Retriggers the actual notes given as input source material according to the parameters. While the Note Series is still created, the generated notes do not extend beyond the actual notes played. Effects are generated based on the Rhythm Pattern as it relates to the clock source or tempo envelope. The notes themselves can be generated, or a sustained set of notes which is then “sliced and diced” by a selected controller value. This can be used to simulate several types of popular techno effects, such as gating a synth pad with a hi-hat track and an external audio gate/ compressor.
2: Generated-Drum
Uses special patterns of predetermined pitches rather than the Note Series to generate notes. These can be used not only to create Drum Patterns, but to create controlled musical patterns. Effects are generated based on the Rhythm Pattern as it relates to the clock source or tempo envelope. Riffs based on the notes in the Note Series can be applied as pitch bend, to create wave-sequence and other unique effects, and also to control other things such as the length of Phases.
3: Real-Time
Different from the previous types in that the actual notes given as input source material are used as a starting point, from which effects are generated over time according to time calculations. Examples include glissandos and arpeggios which start with the note(s) given as input (Melodic Repeat), and Auto-Bending an input note a certain amount or to another note.

Gate Type [0…4]

0: [Vel]-retrigger notes with velocity 1: CC [T]-sustain notes; retrigger only if Phase
Transpose is different
2:
CC [1]-sustain notes; retrigger when entering Phase1
3:
CC [2]-sustain notes; retrigger when entering Phase2
4:
CC [A]-sustain notes; retrigger when entering any Phase
Available only when “GE Type” (☞p.4)= 1: Gener­ated-Gated.
0: [Vel]-retrigger notes with velocity
The actual notes given as input source material are generated repetitiously as note-ons and note-offs accord­ing to the parameters. This produces a “gated” effect where each cluster of notes possesses the attack portion of the program being used, as if someone was repeatedly striking a keyboard very quickly.
CC - 4 different CC Gate Types
When one of the 4 “CC Gate Types” is chosen, “Gate CC Number” becomes available. The actual notes given as input source material are then generated as note-ons only once at the beginning of the effect; the rest of the note-ons are turned into the specified CC controller value with the same value as the velocity of the note-on; the note-offs are turned into CC values of 0. Essentially, this means that a pad will be sustained, having the attack portion triggered only once. For example, if the selected CC was #11 (Expression) or #07 (Volume), the pad will be repeatedly turned on and off, simulating the popular techno effect of gating a synth pad with a hi-hat track and an external audio gate/compressor. In KARMA however, the Velocity Pattern can be used to control the value of each CC that is generated for a note-on (the volume of each “slice”), and the Duration Pattern (☞p.17) can be used to control the duration of each “slice.” Other CCs can produce other interested stepped and wave-sequence like effects. For example, using a CC to control Filter Cutoff Frequency can produce interesting “Sample & Hold” effects.
1: CC [T]-sustain notes; retrigger only if Phase Trans-
pose is different
When this first CC option is chosen, the “pad” will only be triggered manually (i.e. when you strike the keyboard), or only if there is a Phase Change and the Phase Trans­pose (☞p.10) is different, requiring that the generated notes be transposed. Therefore, if the Phase Transposes are the same, the “pad” will never retrigger unless you trigger it manually.
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2:
CC [1]-sustain notes; retrigger when entering Phase1
Same as CC [T] above, with the exception that the “pad” will be retriggered when striking the keyboard, and every time that the Phase Pattern enters a step containing Phase
1. You can use this to have the notes retriggered occasion­ally while moving through the Phase Pattern.
3:
CC [2]-sustain notes; retrigger when entering Phase2
Same as CC [T] above, with the exception that the “pad” will be retriggered when striking the keyboard, and every time that the Phase Pattern enters a step containing Phase
2. You can use this to have the notes retriggered occasion­ally while moving through the Phase Pattern.
4:
CC [A]-sustain notes; retrigger when entering any Phase
Same as CC [T] above, with the exception that the “pad” will be retriggered when striking the keyboard, and every time that the Phase Pattern causes a Phase Change. You can use this to have the notes retriggered occasionally while moving through the Phase Pattern.

Gate CC Number [0…127]

Available only when “Gate Type” is one of the 4 CC options. Chooses which CC will be transmitted
instead of the note-ons and note-offs of the generated notes. For example, for “chopping” effects, set to 12 (CC#11).
0: Off 1…96: MIDI CC #00…95 97…127: N/A (Not available)
G E
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Note Series Group

Overview

The Note Series Group controls the creation of a “Note Series” in memory , which is the foundation of nearly all Generated Ef fects. The Note Series is a collection of pitches and corresponding velocities, created from initial notes coming from input source material (i.e. a keyboard). The various parameters control how these initial notes are replicated, shifted, sorted, filtered, and otherwise arranged into the Note Series. The Note Series is then used as the basic collection of pitches and velocities from which notes are generated, as controlled by most of the other parameters of the Generated Ef fect.
note
C9 C8 C7 C6 C5 C4 C3 C2 C1 C0
C-1
s
rie
S
te
o
N
note
C9 C8 C7 C6 C5 C4 C3 C2 C1 C0
C-1
step
Note Sries
2: Scalic 2
Same as 1: Scalic (above), except an attempt is made to keep a seven note scale for each chord type. In other words, there will be more passing tones, and it will sound more “modal” in nature. For a good example of the difference, play a 4 note diminished chord with each one. This can be of use for creating a bass line that is more predictable when changing chords, or jazzy soloing kinds of ef fects.
3: Chromatic
The 12 steps of a chromatic scale will be used as input source material. The first note of the Note Series is based on the lowest note received as input source material.
4: WholeTone
The 6 steps of a whole tone scale will be used as input source material. The first note of the Note Series is based on the lowest note received as input source material.
5: Diminished
The 4 steps of a diminished chord will be used as input source material. The first note of the Note Series is based on the lowest note received as input source material.
6: Augmented
The 3 steps of an augmented chord will be used as input source material. The first note of the Note Series is based on the lowest note received as input source material.
7: Fourths
step
3 steps of stacked fourths will be used as input source material. The first note of the Note Series is based on the lowest note received as input source material.

Parameters

When “GE Type” (☞p.4) = 2: Generated-Drum, the effect of changing most of these parameters is only apparent if the Note Series is being applied as pitch bend in the Phase Group/Bend Group, or riff length is being used in the Drum Group.

Note Type [0…9]

0: Regular 4: WholeTone 8: Tritones 1: Scalic 5: Diminished 9: Fifths 2: Scalic2 6: Augmented 3: Chromatic 7: Fourths
Selects one of several modes for supplying the initial notes from which the Note Series is created.
0: Regular
The Note Series created in memory will be produced based on the actual notes given as input source material (i.e. a keyboard).
1: Scalic
The Note Series created in memory will be produced based on chord analysis of the input source material; then a group of notes corresponding to the analyzed chord will be used instead of the actual notes. The initial octave is based on the lowest note received as input source material. This can be used so that one finger chords produce scalic rif fs, or to supply notes that are not present in the source material.
8: Tritones
2 steps of a tritone (augmented fourth) will be used as input source material. The first note of the Note Series is based on the lowest note received as input source material.
9: Fifths
2 steps (root and fifth) will be used as input source material. The first note of the Note Series is based on the lowest note received as input source material.
If “Root Position” is on (checked) in (☞ PG p.30), then the pitches of the Note Series will be shifted so that different inversions of the same chord produce the same set of pitches.

Input Sort

0: Up 1: Down 2: Actual 3: Random
How the notes (and corresponding velocities) from the input source material are arranged prior to creating the Note Series.
0: Up
notes are arranged from lowest to highest.
1: Down
notes are arranged from highest to lowest.
2: Actual
notes are left in the order received.
3: Random
notes are randomly arranged.
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Inversion [–24…+24]

Allows dif ferent “inversions” of the notes prior to creation of the Note Series. For example, if the notes {C, E, G, B} were received in that order as a chord and Inversion was 1, then the notes would be shifted to {E, G, B, C 8va} before creation of the Note Series (thus playing the 1st inversion). This is especially useful for setting multiple modules to play dif ferent inversions of the same ef fect, such as natural harp glissandos or rif fs in harmony . Normally used with Input Sort set to 0: Up or 1: Down. The ef fect of this parameter when Input Sort is 2: Actual or 3: Random is less predictable, although potentially useful for some ef fects.

Replications [0…4000]

0…4000: range 0.0…40.0
How many times the input notes will be replicated according to the Interval. For example, 3 “Replications” with an “Interval” of 12 will give you a 3 octave arpeggio. Can be a fraction to achieve only a portion of the last replication. The value is represented as being x100 - so 350 is 3.5, 475 is 4.75, etc. Note that if “GE T ype” (☞p.4) = 1: Generated-Gated, this has no audible ef fect on the pitches of the Generated Ef fect; however this still af fects the overall range of the available notes for Direct Indexing of the Note Series (described elsewhere).

Interval [–24…+24]

The number of semitones to offset each replication of the input notes by. For example, if set to +12 or -12, the Arpeggio will repeat in octaves (most normal). If set to 2, and “Replica­tions” to 3, then playing a CMaj {C, E, G} will produced a CMaj, then DMaj {D, F#, A}, then EMaj {E, G#, B} as each replication is shifted by a whole-tone. Settings other than multiples of 12 are extremely useful in conjunction with “Chord Shift,” described below, so that atonal notes are shifted to musically correct pitches.

Chord Shift [0…2]

0: Off 1: Scalic 2: Scalic2
0: Off
The Note Series is created with no further modification from this setting.
1: Scalic
Chord analysis is performed on the input source material, and as the Note Series is created, notes which may be “atonal” based on the analyzed chord (due to being shifted by non-octave values of “Interval”) are shifted to tonal notes. Especially useful when “Interval” (discussed above) is set to something other than multiples of 12. The note tables used to shift the notes are the same as the ones used in “Note Type” (☞p.6) : 1: Scalic, described above.
Note Series
Max [1…255]
Sets an overall “final place” in the Note Series, beyond which indexes will never be chosen during playback, even if other settings might allow it. This is a playback only parameter which does not affect the creation of the Note Series.

Symmetry [0, 1]

0: Off 1: On
When turned 1: On, additional notes are extrapolated at the end of the Note Series beyond the number specified by the “Replications” setting, which are accessed when clusters are generated in that area of the Note Series, or when the Index Group “Double/Invert” parameters (☞p.20, 21) are used. This primarily allows dif ferent cluster sizes to be used without af fecting the length and shape of the resulting rif f. This interacts with Cluster Patterns and the Index Pattern Cluster Advance Mode, discussed elsewhere. Note that when this is 0: Off, clusters will “wrap around” at the end of a phase, or cause Phase Changes or cycling. Doubled notes caused by the use of the “Double” parameter in the Index Group will also be wrapped around at the top of the Note Series when this is of f.
0: Off
The notes determined by the Repetitions setting (de­scribed above) are used as the range within which to generate notes.
1: On
Extra notes may be extrapolated at the end of the range depending on the cluster size at that point. The result will be a widening of the apparent range of the rif f.
2: Scalic2
Same as 1: Scalic (above), except that the note tables used to shift the notes are the same as the ones used in “Note Type”: 2: Scalic2, described above. Scalic2 is more modal in nature and has more passing tones than 1: Scalic.

Wrap Bottom [0…127] Wrap Top [0…127]

0…127: range C-1…G9
Sets an overall range for the pitches in the Note Series. Notes created beyond this range are wrapped around (dropped or raised an octave, depending on which end). Mainly intended to limit the Note Series to useable ranges, these settings can also be used creatively to force a riff to cycle around inside a certain range.

Voicing [0…8]

0: Closed 3: Open2A 6: Open3B 1: Open1A 4: Open2B 7: Open4A 2: Open1B 5: Open3A 8: Open4B
0: Closed
The Note Series is created with no further modification from this setting.
1…8: Open 1A…4B
The Note Series has certain notes shifted up by an octave as it is created, then may be re-ordered according to the setting of the “Input Sort” ( ☞p.6) . Can be used to create different types of wider voiced chords for simulating guitar or string section voicings.
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Filter Dupes [0…2]

0: Of 1: Adjacent 2: All
0: Off
The Note Series is created with no further modification from this setting.
1: Adjacent
As the Note Series is being created, notes which are the same as the immediately preceding note are discarded.
2: All
After the Note Series has been created, any notes which are duplicates of any others are removed.
Not available if “GE T ype” (☞p.4) = 1: Generated- Gated.

Filter Fixed [0, 1]

0: Off 1: On
When Filter Steps is used (described below), allows the resulting tonality of the Note Series to be “Filter Fixed” in relation to the key of C. For example, assume that “Note Type” (☞p.6) is set to Chromatic and “Chord Shift” is Off, so that the Note Series is essentially a chromatic scale. If you play a single C (and “Inversion” (☞p.7) is set to 0), you will get a chromatic scale starting with C. If you then set up Filter Steps so that you are filtering steps {1, 3, 6, 8, 10} you would have a C Major diatonic scale. With “Filter Fixed” set to Off, if you then play a D on the keyboard, the whole scale will shift to become a D Major diatonic scale. With “Filter Fixed” set to On, the scale stays fixed to the key of C, but you are starting on the D; essentially , you have a D minor scale. You will be playing dif ferent modal scales starting with different pitches. Note that this is always related to the key of C; so if you want to put the resulting filtered, fixed Note Series into another key , you can use the Transpose (6.2–1a) KARMA Module parameter to do so. For example, if you set the transpose to +4, you would still play notes in the key of C, but the resulting generated notes would be in the key of E. In the above example, playing a C would result in a E diatonic scale, playing a D results in an F# minor scale (F# Dorian mode) and so on.
if {C, E, G, B} was the input material, CMaj7 would be the analyzed chord; if step #4 “3rd” was selected on the grid, all occurrences of E would be removed from the Note Series. Useful for creating complex grooves where several modules are all supplied with the same source material, where for example you might not want the bass line to play the 3rd even if it is supplied from the keyboard, might want to remove all chance of 7ths from a comping guitar part, etc.
Selecting all steps to be filtered will result in a single note in the Note Series, determined by the settings of other parameters such as “Input Sort”, “Inver ­sion”, etc.
To “fix” the resulting filtered collection of notes with regards to a specific key , use “Filter Fixed” (de­scribed above).
Not available if “GE T ype” (☞p.4) = 1: Generated- Gated.
The following 3 parameters will have an ef fect on when Phases change if the Phase “Length Mode” (☞p.9) is set to 0: AC-Actual: “Replications” ( ☞ p.7) , “Filter Steps” (Filter T emplate), and “Filter Dupes”. See Phase Group.
Not available if “GE T ype”(☞p.4) = 1: Generated- Gated.

Filter Template [0…77]

Selects from 78 dif ferent combinations of preset “Filter Steps” settings.
Step #1 #2 #3 #4 #5 #6 #7 #8 #9 #10 #11 #12 Key: C C C# D D# E F F# G G# A A# B Key: E E F F# G G# A A# B C C# D D#
[Filter Steps]
A 12 step grid corresponds to the scale tones with regard to a current “key,” which is determined by Chord Analysis of the input source material. For example, if the key is determined to be C, then the steps 1 through 12 corre­spond to C, C#, D to B; if the key is determined to be “ E,” then steps 1 through 12 correspond to E, F, F# to D#. After the Note Series is created, notes belonging to the chosen steps are removed, thus “filtering” them out. For example,
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Phase Group

Overview

A Generated Effect has two different “Phases.” Each of them is a separate collection of certain parameters including Rhythm, Velocity, Cluster, Pan and Index Patterns, among others. As the effect is generated, a Phase Pattern controls switching between the two Phases, so that completely different collections of parameters can be used for a period of time. The Phase Group contains parameters which control the length, direction, and various other attributes of each Phase, the number of times and in what order the Phases will play, and whether or not a portion will be looped.

About Phase Patterns

Phase Pattern = 8
Step Phase1/2 1 1 1 1 1 1 1 2
The Phase Pattern allows a pattern of switching between the 2 Phases of a Generated Effect to be constructed. The resulting Phase Pattern may have a minimum of 1 step and a maximum of 16 steps. The example above shows an 8 step Phase Pattern: 7 times through Phase 1 followed by once through Phase 2. After completing the 8 steps, execution may loop back to Step 1. Note that the actual number of steps performed and whether it loops back at the end will be determined by other settings described in this chapter.

General Parameters

This group of parameters affects some overall characteris­tics of Phase performance.
1 2 3 4 5 6 7 8 9 10111213141516

Start Mode [0…3]

0: T-only when Triggered 1: 1-when entering Phase1 2: 2-when entering Phase2 3: A-when entering any Phase

Controls how the “Start %” described above is applied to the effect as it is being generated.

0: T-only when Triggered
The “Start %” is applied only when the effect is triggered, i.e. from the keyboard or through Dynamic MIDI. When other steps of the Phase Pattern are entered during subsequent playback, the Note Series will reset to either the top or bottom depending on the Phase “Direction” setting and Phase “Beginning/End Offset” settings.
1: 1-when entering Phase1
Each time that playback of a Phase Pattern step containing Phase 1 begins, the “Start %” will be applied. This can be used to start a phase somewhere in the middle of the Note Series from which the indexes can be chosen in either direction according to the Index Pattern.
2: 2-when entering Phase2
Each time that playback of a Phase Pattern step containing Phase 2 begins, the “Start %” will be applied. This can be used to start a phase somewhere in the middle of the Note Series from which the indexes can be chosen in either direction according to the Index Pattern.
3: A-when entering any Phase
Each time that playback of any Phase Pattern step begins, either Phase 1 or Phase 2, the “Start %” will be applied. This can be used to start a phase somewhere in the middle of the Note Series from which the indexes can be chosen in either direction according to the Index Pattern.
Not available when “GE Type” (☞p.4) = 1: Gener- ated-Gated . If 2: Generated-Drum , the Note Series can be applied as pitch bend, discussed elsewhere.

Length Mode [0…2]

Phase

Total Steps [0…32]

0: (infinity) 1...32: number of steps
Sets the total number of steps of the Phase Pattern that will be played before stopping. The infinity sign 0: (infinity) sets it to loop forever; otherwise the setting represents a number of steps of the selected Phase Pattern. For example, if the Phase Pattern is a simple 2-step pattern of {1, 2}, and the Total Steps menu is {4}, then 4 Phases would be played in the following order before stopping: {1, 2, 1, 2}.
Start % [0…100 (%)]
Controls the location in the Note Series at which the effect will start when it is triggered. Closer to 0% starts nearer the beginning while closer to 100% starts nearer the end; beginning/end relates to highest/lowest depending on the Phase “Direction” (☞p.10) setting. This can be applied just once when first triggering the effect, or as various steps of the Phase Pattern are entered, in conjunction with the Start Mode described below.
Not availabF when “GE Type” (☞p.4) = 1: Gener- ated-Gated . If 2: Generated-Drum , the Note Series can be applied as pitch bend, discussed elsewhere.
0: AC-Actual 1: TS-Time Signature 2: EV-Events
Determines when a Phase Change from the current step to the next step of the Phase Pattern will occur. Note that this has a certain interaction with the Cycle Mode parameter, described below.
0: AC-Actual
Causes the Phase Change to be completely dependent on the length of the Note Series and the Phase “Beginning/ End Offsets.” The portion of the Note Series to be used as specified by the Phase “Beginning/End Offsets” (de­scribed below) is referred to as the “playback portion” of the Note Series. The notes are generated by moving through the Note series according to the Index Group settings; when either end of the playback portion has been reached, a Phase Change occurs (depending on the setting of the “Cycle Mode” parameter (☞p.10) , described below). Therefore, if more or less notes are played, the Phases will change sooner or later and bear no relation to any time signatures or specific number of events. This is useful for GEs that model the behavior of most simple arpeggiators.
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Not available if “GE Type ” ( ☞p.4) = 1: Generated- Gated .
1: TS-Time Signature
Makes the Time Signature parameters (“Tsig Numerator/ Denominator” ☞p.11) available in the Phase Specific Parameter area of each Phase (described below). These allow setting each Phase to various time signatures, which cause the Phase to playback a certain number of beats regardless of any other circumstances which might trigger a Phase Change. When moving through the Note Series, if either end of the playback portion is reached (specified by the “Phase Beginning/End Of fsets” ☞p .11) before the amount of beats specified has occurred, then the movement either freezes and repeats at that point, or cycles back and continues (depending on the setting of the “Cycle Mode”parameter, described below). Useful for groove generation and constraining ef fects to certain time signa­tures.
2: EV-Events
Makes the "Events" parameter available in the Phase Specific Parameter area of each Phase (described below). This is used to set the Phase to perform a certain number of events before changing Phases (an event being a note or cluster). When moving through the Note Series, if either end of the playback portion is reached (specified by the “Phase Beginning/End Offsets” ☞p.11) before the number of events specified has occurred, then the movement either freezes and repeats at that point, or cycles back and continues (depending on the setting of the “Cycle Mode” parameter, described below). Useful for constraining effects to a certain number of specific events, such as 4 strums per Phase.

Cycle Mode [0…3]

0: OFF 1: B-Beginning Of Phase 2: E-End Of Phase 3: BE-Beginning & End Of Phase
Determines what will happen when either end of the playback portion of the Phase (specified by the “Phase Beginning/End Offsets”) is reached during note generation. This has a dif ferent ef fect depending on the setting of the Phase “Length Mode” (above). If 1: TS-Time Signature or 2:
EV-Events Mode, “cycling” can be allowed to occur; if 0: AC- Actual, an immediate Phase Change will occur .
Not available if “GE Type” ( ☞p.4) = 1: Generated- Gated . If 2: Generated-Drum , the Note Series can be
applied as pitch bend, discussed elsewhere.
0: OFF
If the Phase “Length Mode” is 1: TS-Time Signature or 2: EV-Events, when either end of the playback portion of the
Phase is reached, the movement freezes and repeats at that point until the specified number of events or beats of a time signature are generated; then a Phase Change occurs. Settings of the Index Pattern which would cause movement beyond that point have no effect. If the Phase “Length Mode” is 0: AC-Actual, then when the end of the playback portion is reached no Phase Change occurs. Note that this means the Phase will never change, and has mainly been allowed only for completeness with the more normal uses below.
1: B-Beginning Of Phase
If the Phase Length Mode is 1: TS-Time Signature or 2: EV­Events, allows “cycling” to occur at the beginning of the
playback portion of the Phase. For example, if the movement specified by the Index Pattern causes the index to go backwards beyond the beginning of the playback portion, “cycling” will occur (the index will automatically be jumped back into the playback portion by a calculated amount). If the Phase “Length Mode” is 0: AC-Actual, then if the movement specified by the Index Pattern causes the index to go backwards beyond the beginning of the playback portion, a Phase Change will immediately occur .
2: E-End Of Phase
If the Phase “Length Mode” is 1: TS-Time Signature or 2: EV-Events, allows “cycling” to occur at the end of the
playback portion of the Phase. For example, if the movement specified by the Index Pattern causes the index to go forwards beyond end of the playback portion, “cycling” will occur (the index will automatically be jumped back into the playback portion by a calculated amount). If the Phase “Length Mode” is 0: AC-Actual, then if the movement specified by the Index Pattern causes the index to go forwards beyond the end of the playback portion, a Phase Change will immediately occur . This is probably the most “normal” and easily understood setting.
3: BE-Beginning & End Of Phase
Allows the behaviour described above at both ends of the playback portion of the Phase.

Phase Specific Parameters

For each of the 2 Phases, a group of Phase Specific Parameters allow control of some performance character­istics within each Phase. If settings of the Phase Pattern indicate a particular Phase is not being used, the Phase Specific Parameters for that Phase will not be available.

Direction [0, 1]

0: Forward 1: Backward
Selects the direction for general movement through the Note Series in a particular phase. Works in conjunction with the parameters in the Index Group, which control how the index(es) move through the Note Series. For example, when the Direction is 0: Forward , the Index Pattern values are added to the index to move it through the Note Series from left to right; when Direction is 1: Backward , the Index Pattern values are subtracted to move the index through the Note Series from right to left.
Not available when “GE Type” (☞p.4) = 1: Gener- ated-Gated . If 2: Generated-Drum , the Note Series can be applied as pitch bend, discussed elsewhere.

Transpose [–36…+36 (semitones)]

Allows each Phase to be transposed individually. Has no effect on Direct Indexing effects, which have a separate Transpose parameter (see Direct Index Group).
Not available when “GE Type”(☞p.4) = 2: Generated- Drum .
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Octave Transpose [–36…+36]

Allows the Phase’s Transpose value to be quantized to the nearest octave, so that when being changed in real-time, only transposition by octaves is possible. In this case, the value of the parameter changes by semitones, but the actual transpose value will only change at certain points within the range:
-36 to -31 = -36 (-3 octaves)
-30 to -19 = -24 (-2 octaves)
-18 to -7 = -12 (-1 octave)
-6 to +5 = 0 (no transpose) +6 to +17 = +12 (+1 octave) +18 to +29 = +24 (+2 octaves) +30 to +36 = +36 (+3 octaves)

Oct/5th Transpose [–36…+36]

Allows the Phase’s Transpose value to be quantized to the nearest octave or fifth, so that when being changed in real­time, only transposition by octaves or fifths is possible. In this case, the value of the parameter changes by semitones, but the actual transpose value will only change at certain points within the range:
-36 to -33 = -36 (-3 octaves)
-32 to -27 = -29 (-3 octaves +5th)
-26 to -21 = -24 (-2 octaves)
-20 to -15 = -17 (-2 octaves +5th)
-14 to -9 = -12 (-1 octave)
-8 to -3 = -5 (-1 octave +5th)
-2 to +3 = 0 (no transpose) +4 to +9 = +7 (+5th) +10 to +15 = +12 (+1 octave) +16 to +21 = +19 (+1 octave +5th) +22 to +27 = +24 (+2 octaves) +28 to +33 = +31 (+2 octaves +5th) +34 to +36 = +36 (+3 octaves)

Events [1…96]

TSig Numerator [0…31]

0…31: 1…32

TSig Denominator [0…4]

0: 16 1: 12 2: 8 3: 6 4: 4
The availability of these parameters vary according to the setting of the Phase “Length Mode” (☞p.9), described in General Parameters above. When the Phase “Length Mode” is 1: TS-Time Signature, “TSig Numarator” and “TSig Denominator” are available which allow you to specify various time signatures for each Phase. A certain number of beats is then performed in the Phase, regard­less of any other circumstances which might trigger a Phase Change. When the Phase “Length Mode” is 2: EV- Events, a events is available which allows you to specify a certain number of events (an event being a note or cluster of notes). The specified number of events is then per­formed in each Phase, regardless of any other circum­stances which might trigger a Phase Change. When the Phase “Length Mode” is 0: AC-Actual , then these parameters are not available. The Phases will then change according to the movement through the Note Series.
0: AC-Actual not available when GE Type (☞p.4) = 1: Generated-Gated .

Beginning Offset % [0…100 (%)] End Offset % [0…100 (%)]

Sets an overall beginning and end range in the Note Series for note generation within the Phase. Even though settings in the Note Series Group may have created a very long Note Series, these can be used to select just a portion of the Note Series from which to generate notes over the length of a particular Phase. For example, if the “Beginning Offset” is 25% and the “End Offset” is 75% , note generation within the Phase would be restricted to coming from the portion of the Note Series 1/4 to 3/4 of the way from the beginning.
Not available when “GE Type” (☞p.4) = 1: Gener- ated-Gated . If 2: Generated-Drum , the Note Series can be applied as pitch bend, discussed elsewhere.

End Loop Parameters

Determines whether a portion of the effect will loop, after a certain number of steps of the Phase Pattern have been completed. Note that once the loop has started, it continues using the Phase Pattern, and current Phase “Length Mode”.

End Loop On/Off [0, 1]

0: Off 1: On
Enables/disables this feature, and the following two parameters.

End Loop Start Step [1…17]

Chooses a step of the Phase Pattern after which looping begins. For example, if the Phase Pattern was set to a 2 step pattern of {1, 2} and the Start Step menu to 4 , the loop would be entered after the 2nd time through the Phase Pattern, at the end of the 4th step in total. Not available if the “End Loop On/Off” is set to 0: Off .

End Loop Length [1…96]

1…96: events
Determines how many events (notes or clusters) will be moved forward/backward while looping, according to various other parameters such as the Index Pattern. Not available if the “End Loop On/Off” is set to 0: Off .
Phase
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Pattern Parameters

Pattern Items [1…16 (steps)]

Sets the number of steps in the Phase Pattern.
Pattern Step1…16 [0, 1]
0: Phase1 1: Phase2
Sets which phase (Phase 1 or Phase 2) will be used for generating data when a specific step of the Phase Pattern is entered during playback. For each step that is enabled, the step may be set to either Phase 1 or Phase 2.
Note that if the number of steps in the Phase Pattern (Pattern Items) is less than the step being edited, this will produce no audible results.

Template Parameters [0…15]

The following 5 parameters select 1 of 16 templates (each having 4 steps) that can be applied to all or parts of the Phase Pattern. They specify 16 different combinations of Phase 1 and Phase 2 within a 4 step section:
0: 1-1-1-1 6: 1-2-1-1 12: 1-2-2-2 1: 2-2-2-2 7: 2-1-1-1 13: 2-2-2-1 2: 1-2-1-2 8: 1-1-2-2 14: 2-2-1-2 3: 2-1-2-1 9: 1-2-2-1 15: 2-1-2-2 4: 1-1-1-2 10: 2-2-1-1 5: 1-1-2-1 11: 2-1-1-2

Template (All Steps)

The chosen template is applied to all steps of the Phase Pattern, regardless of how many there are. For example, if you selected 6: 1-2-1-1 (Template 6), then the following would happen to the Phase Pattern:
If the Phase Pattern had 1 step: 1 If the Phase Pattern had 2 steps: If the Phase Pattern had 4 steps: If the Phase Pattern had 7 steps: If the Phase Pattern had 16 steps:
1-2 1-2-1-1 1-2-1-1 1-2-1 1-2-1-1 1-2-1-1 1-2-1-1 1-2-1-1

Template Steps 1…4

Applies the selected template only to the first 4 steps of the Phase Pattern. If there are more steps, they will remain unchanged.

Template Steps 5…8

Applies the selected template only to steps 5-8 of the Phase Pattern. If there are more steps, they will remain unchanged. Steps 1–4 will remain unchanged.

Template Steps 9…12

Same as above, except for steps 9–12.

Template Steps 13…16

Same as above, except for steps 13–16. Note that if the number of steps in the Phase Pattern (Pattern Items) is less than the steps for which Templates are being changed, these will produce no audible results.
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Rhythm Group

Overview

The Rhythm Group controls the rhythmic characteristics of the Generated Ef fect. It can also have an influence on when “Auto Bend” pitch bending ef fects (set up on the Bend Group) are generated.

About Rhythm Patterns

Rhythm Patterns control how often and when exactly notes will be generated. A value derived from a Rhythm Pattern is the size of the step between each generated note. Choices can be made from “Random Pools” ( ☞p.14) of values as described in detail later on. Furthermore, values can be tied to each other; the ties can be absolute or random.
Rhythm Patterns may be multiplied by the “Rhythm Multiplier ,” which gives them many more variations, in addition to providing easy ways to experiment with fractal and poly-rhythmic ef fects. A Rhythm Pattern of
{8th, 16th, 16th} with a “Rhythm Multiplier” ( ☞p.15) of 200% will play {Quarter, 8th, 8th}.
A Rhythm Pattern will loop as long as note generation continues. It normally will not reset to the beginning of the Pattern unless a new T rigger is received, or the Phase Pattern has been configured to restart it at the beginning of certain Phases. That means that a 4 step Rhythm Pattern can be looping while an 8 step V elocity Pattern and a 12 step Cluster Pattern are also independently looping, for example.

Global Parameters

Humanize [0…255 (ms)]

Sets a range in milliseconds within which each note/ cluster may be randomly shifted in time. For example, if set to 10 ms, then each cluster or note as it is generated has a possibility of a random of fset in time of between 0 to 10 ms. This af fects all of the notes in the cluster at the same time. This can be used to impart a more “human,” less machine-like precision to generated notes. This can also be used to totally destroy the timing!

Swing % [0…100 (%)]

Percentage of swing/hip-hop feeling to be applied. 0% = no swing, 50% = triplets, while 100% pushes the swung notes all the way to the next value of half the note length set by the “Swing Note V alue”. For example, if swinging straight 1: 16th notes, 100% would push the swung notes to 32nds. Note that triplet rhythm values are not af fected by swing.

Swing Use Multiplier [0…3]

0: Off 2: P1-Phase1 1: Ind-Independently 3: P2-Phase2
The “Rhythm Multiplier” (explained later on in this chapter) causes the values in the Rhythm Pattern to be increased or decreased by a percentage. The “Swing Use Multiplier” specifies several options for selectively applying (or not applying) the Rhythm Multiplier(s) to the “Swing Note V alue” also, thereby af fecting the resulting swing feel.
0: Off-do not use Multipliers for Swing
The “Rhythm Multipliers” in each Phase do not have any affect on the “Swing Note Value”. For example, if generating 16th notes with a “Rhythm Multiplier” of 100% and “Swing Note Value” set to 1: 16th note, the resulting 16th notes will be swung with a 16th note feel. If the “Rhythm Multiplier” is changed to 50%, the resulting 32nd notes will still be swung with a 16th note feel. If the “Rhythm Multiplier” is changed to 200%, the resulting 8th notes will also be swung with a 16th note feel, resulting in no perceptible swing (unless the rhythm is syncopated).
1: Ind-independently use each Phase’s Multiplier
Each Phase’s “Rhythm Multiplier” ( ☞p.15) will indepen­dently af fect swing calculations while generating rhythms within that Phase. In other words, the “Swing Note V alue” will also have the “Rhythm Multiplier” applied to it. For example, if generating 16th notes with a “Rhythm Multiplier” of 100% and “Swing Note V alue” set to 1: 16th
note, the resulting 16th notes will be swung with a 16th note feel. If the “Rhythm Multiplier” is changed to 50%, the resulting 32nd notes will be swung with a 32nd note feel. If the “Rhythm Multiplier” is changed to 200%, the
resulting 8th notes will be swung with an 8th note feel. With this setting, it is possible to swing with dif ferent note values in the two Phases, such as swinging with an 8th note feel in one phase and swinging with a 16th note feel in the other .
Rhythm

Swing Note Value [0…3]

0: 32th note 2: 8th note 1: 16th note 3: 4th note
The base note value to be used in calculating swing. For example, if you want to add a swing feel to a steady string of 16th notes, you would select a 1: 16th note. Straight 8th notes would exhibit no change with this setting, since they do not swing in such a feel unless they are syncopated. On the other hand, if you swing 16th notes with a 2: 8th note Swing Note selected, the 16th notes are swung in an 8th note feel. While this is not necessarily natural “swing,” interesting shiftings of timings can be produced. Note that the setting of this parameter can be modified by the “Swing Use Multiplier” parameter , explained below .
2: P1-always use Phase1’s Multiplier
Same as 1: Ind above, except that Phase 1’s “Rhythm Multiplier” will always be used, regardless of which Phase is currently generating rhythms. This allows the Rhythm Multiplier to be varied in Phase 1 while af fecting the overall swing settings for the whole ef fect. For example, if generating 16th notes in both phases with both Phase’s “Rhythm Multipliers” set to 100% and “Swing Note Value” set to 1: 16th note, the resulting 16th notes will be swung with a 16th note feel. If Phase 1’s “Rhythm Multiplier” is changed to 200%, the resulting 8th notes in Phase 1 and 16th notes in Phase 2 will all be swung with an 8th note feel. If the “Rhythm Multiplier” in Phase 1 is
100% and changed to 50% in Phase 2, the resulting 16th notes in Phase 1 and 32nd notes in Phase 2 will all be
swung with a 16th note feel.
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3: P2-always use Phase2’s Multiplier
Same as 2: P1 described above, except utilizing Phase 2’s “Rhythm Multiplier .”

Pattern Grid & Associated Parameters

Rhythm Pattern

A Rhythm Pattern controls the rhythm that the notes are generated with according to a grid of rhythmic values. It has any number of steps up to 32, with each step being represented by one column on the grid. The first column always contains at least one value; unused columns appear disabled. The top part of the grid corresponds to 18 different rhythmic values; the bottom 3 rows are special purpose rows:
[ties: rand] - Random Tie: randomly ties the rhythmic value in the same column to the previous column’ s rhythmic value. For example, a 16th note in the first column followed by a 16th note and a random tie in the 2nd column yields either an 8th note or two 16th notes. When at least one random tie has been selected, a weighting curve is available which allows choices to be slanted towards more ties or less ties, as described later .
[ties: abs] - Absolute T ie: always ties the rhythmic value in same column to the previous column’ s rhythmic value. For example, a 16th note in the first column followed by a 16th note and an absolute tie in the 2nd column yields an 8th note. The 2 tie rows are mutually exclusive; only one at a time can be used in any given column.
[no bend] - No Bend: af fects when Automatic Pitch Bending ef fects can occur , as set up in the Bend Group. These ef fects will normally be triggered with every single generated note or cluster; by using the “no bend” row , bends can be prevented from occurring on various steps of the Rhythm Pattern.
Pattern grids cannot viewed and edited in the KARMA Music Workstation.

Random Weighting Parameters - Pools

The Random W eighting Parameters - Pools are made available when at least one step (column) in the Rhythm Pattern has multiple rhythmic values selected (constitut­ing a “random pool” of values).
Whenever a random pool is encountered in playing through the pattern, a random choice is made from the rhythmic values in that step. Certain areas of the random pool can be favored by the use of a weighting table, with various shaped curves. Using the curves, you can influence certain choices to be made more or less often than others, allowing very musical real-time control of the randomness.
Whether or not a certain random sequence will repeat for a number of times is controlled by settings in the Phase Pattern.

Pools-Random Factor [–99…+99]

Controls the degree of slope to the W eighting Curve. 0 = a Linear Curve with any Weighting Curve. Negative values not only invert but rotate the curve. When the value is either +99 or -99, the choices are “locked” to the highest or lowest values in the columns, and there are no random choices at all. (The only exception to this is an S-shaped curve with a value of -99. In this case, a random choice will be made between the highest and lowest values only .) For more information, see the Appendices: “Random Weighting Curves.” ( ☞p.50)

Pools-WeightingCurve (Pools-Weighting Curve)

[0…3]
0: Exponential 2: Exp-S 1: Logarithmic 3: Log-S
4 different shapes are available, which act to favor certain areas of the pool over others when each random choice is made. For more information, see the “Appendices Random Weighting Curves.” ( ☞p.50)
0: Exponential
With a positive Factor (+), choices will be exponentially weighted towards the shorter rhythms. W ith a negative Factor (-), choices will be exponentially weighted towards the longer rhythms.
1: Logarithmic
With a positive Factor (+), choices will be logarithmically weighted towards the shorter rhythms . W ith a negative Factor (-), choices will be logarithmically weighted towards the longer rhythms.
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2: Exp-S (Exponential S)
With a positive Factor (+), choices will be exponentially weighted towards the middle rhythms , and away from the shorter and longer rhythms. W ith a negative Factor (-), choices will be exponentially weighted towards the shorter and longer rhythms , and away from the middle rhythms.
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3: Log-S (Logarithmic S)
With a positive Factor (+), choices will be logarithmically weighted towards the middle rhythms , and away from the shorter and longer rhythms. W ith a negative Factor (-), choices will be logarithmically weighted towards the shorter and longer rhythms, and away from the middle rhythms.
A Factor of 0 with any shaped curve yields a linear table (straight diagonal line), and each of the values in the pool will have an equal chance of getting chosen.
While exponential and logarithmic curves may seem to have a similar shape, they have slight dif ferences which can af fect the outcome of the random choices. For more information, see the Appendices: “Random Weighting Curves.” ( ☞p.50)
The following table summarizes the ef fect of the various Weighting Curves and the Factor field on the choices from the Rhythm Pools:
Rhythm Pool values that receive priority: Weighting Factor Curve + (Positive) - (Negative) Exp/Log longer shorter Exp-S/Log-S middle shorter/longer
0: Exponential
With a positive Factor (+), choices will be exponentially weighted towards rhythm values more often. W ith a negative Factor (-), choices will be exponentially weighted towards ties more often.
1: Logarithmic
With a positive Factor (+), choices will be logarithmically weighted towards the rhythm values more often. W ith a negative Factor (-), choices will be logarithmically weighted towards the ties more often.
While exponential and logarithmic curves may seem to have a similar shape, they have slight dif ferences which can af fect the outcome of the random choices. For more information, see the Appendices: “Random Weighting Curves.” ( ☞p.50)
A Factor of 0 with any shaped curve yields a linear table (straight diagonal line), and a random tie or a rhythm value in the pool will have an equal chance of getting chosen.
The following table summarizes the ef fect of the various Weighting Curves and the Factor field on random ties:
Values that receive priority: Weighting Factor Curve + (Positive) - (Negative) Exp/Log less ties more ties

Random Weighting Parameters - Ties

The Random W eighting Parameters - T ies are made available when at least one step in the Rhythm Pattern contains a Random T ie. Whenever this step is encountered in playing through the pattern and a random choice must be made, the likelihood of a tie occurring can be favored by the use of a weighting table.

Ties-Random Factor [–99…+99]

Controls the degree of slope to the W eighting Curve. 0 = a Linear Curve with any W eighting Curve. Negative values not only invert but rotate the curve. When the value is +99, the choices are “locked” to no ties whatsoever; when the value is -99, the choices are “locked” to ties always (and the ef fect is the same as if absolute ties were selected). For more information, see the Appendices: “Random Weighting Curves.” ( ☞p.50)

Ties-Weighting Curve [0, 1]

0: Exponential 1: Logarithmic
2 different shapes are available, which affect the likelihood of a tie occurring when a random choice is made. For more information, see the Appendices: “Random Weighting Curves.” (☞p.50)

Associated Parameters

Rhythm Multiplier [1…800 (%)]

Multiplies the selected Rhythm Pattern by the percentage. Useful for poly-rhythmic and fractal effects, such as using the same Rhythm Pattern at different multiplications. For example, if a Pattern is {16th, 8th, 8th}, then using a “Rhythm Multiplier” of 50% changes it to {32nd, 16th, 16th}; using a “Multiplier” of 200% changes it to {8th, Quarter, Quarter}.

Straight Multipliers [0…5]

0: 25% 2: 100% 4: 400% 1: 50% 3: 200% 5: 800%
Selects from a quantized set of “straight” values for the Rhythm Multiplier field. In other words, when applied to a Rhythm Pattern containing values such as 16th notes, the resulting rhythmic values will be straight values such as 8th notes, quarter notes, etc.

Straight/Trip Mults [0…10]

0: 25% 4: 100% 8: 400% 1: 34% 5: 136% 9: 544% 2: 50% 6: 200% 10: 800% 3: 68% 7: 272%
Selects from a quantized set of “straight & triplet” values for the Rhythm Multiplier field. In other words, when applied to a Rhythm Pattern containing values such as 16th notes, the resulting rhythmic values will be straight values such as 8th notes, quarter notes, etc. or various triplet values.
Rhythm
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Strt/Dot/Trip Mults [0…15]

0: 25% 4: 68% 8: 150% 12: 400% 1: 34% 5: 75% 9: 200% 13: 544% 2: 37% 6: 100% 10: 272% 14: 600% 3: 50% 7: 136% 11: 300% 15: 800%
Selects from a quantized set of “straight, triplet & dotted” values for the Rhythm Multiplier field. In other words, when applied to a Rhythm Pattern containing values such as 16th notes, the resulting rhythmic values will be straight values such as 8th notes, quarter notes, etc., various triplet values, or various dotted values.

Template [0…63]

Selects from 64 dif ferent Rhythm Pattern T emplates (shared by both Phase 1 and 2), and loads the parameters into the current Phase’ s Pattern Grid and associated parameters.
A Rhythm Pattern T emplate consists of:
• the configuration of the Rhythm Pattern Grid;
• Random Weighting Parameters - Pools
• Random Weighting Parameters - T ies
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Duration Group

Overview

The Duration Group contains the parameters that control the duration of the notes in a Generated Ef fect.

About Duration Patterns

Duration Patterns control the duration of notes for each “rhythm event” that is generated according to the settings in the Rhythm Group. Choices can be made from “Random Pools” of values as described in detail later on. Furthermore, values can be tied to each other; such ties can be absolute or random.
A Duration Pattern will loop as long as note generation continues. It normally will not reset to the beginning of the Pattern unless a new T rigger is received, or the Phase Pattern has been configured to restart it at the beginning of certain Phases. That means that a 4 step Duration Pattern can be looping while an 8 step V elocity Pattern and a 12 step Cluster Pattern are also independently looping, for example.

Pattern Grid & Associated Parameters

The 2 tie rows are mutually exclusive; only one at a time can be used in any given column.
If the “Duration Mode” is 3: Timed, 4: Rhythm Overlap, or 5: Rhythm %, the Duration Pattern Grid is not utilized.
Pattern grids cannot viewed and edited in the KARMA Music Workstation.

Associated Parameters

Duration Mode [0…7]
0: Poly Extend 4: Rhythm Overlap 1: Poly Extend/Damped 5: Rhythm % 2: Mono Extend 6: Pattern Overlap 3: Timed 7: Pattern %
Selects one of several modes of operation for generating durations in the current Phase:
Based on the current setting, Duration V alue, Duration Pattern Grid, and Random W eighting Parameters may not be available.
0: Poly Extend
Each note will sustain until the next generation of the same note, or until that note is no longer a part of the Note Series (caused by playing a new chord, for example). For example, if the notes to a CMaj chord are sustaining and the chord is changed to a CMinor , only the Es will be damped. Especially useful for finger -picked and strummed guitar ef fects. Certain steps may be “damped” by using the Duration Pattern to indicate a duration value shorter than the current Rhythm Pattern value. For example, if the Rhythm Pattern is generating quarter notes, any step in the Duration Pattern shorter than a quarter note will cause the notes (and all sustaining notes at that time) to have the selected duration. This is useful for simulating the technique of strumming and damping certain chords within the progression. Any value in a Duration Pattern step that is longer than the current Rhythm Pattern value will be ignored, and the notes will sustain as described above.
Duration

Duration Pattern

A Duration Pattern controls the durations that the notes are generated with according to a grid of rhythmic values. It has any number of steps up to 32, with each step being represented by one column on the grid. The first column always contains at least one value; unused columns appear disabled. The top part of the grid corresponds to 18 different rhythmic values; the bottom 2 rows are special purpose rows:
[ties: rand] - Random Tie: randomly ties the rhythmic value in the same column to the previous column’ s rhythmic value. For example, a 16th note in the first column followed by a 16th note and a random tie in the 2nd column yields either an 8th note or two 16th notes. When at least one random tie has been selected, a weighting curve is available which allows choices to be slanted towards more ties or less ties, as described later .
[ties: abs] - Absolute T ie: always ties the rhythmic value in same column to the previous column’ s rhythmic value. For example, a 16th note in the first column followed by a 16th note and an absolute tie in the 2nd column yields an 8th note.
1: Poly Extend/Damped
The same as above, except all sustaining notes will be damped when the chord changes, not just notes that are no longer in the Note Series.
2: Mono Extend
Each note or cluster is sustained until the next note or cluster (of any pitch or pitches) is generated.
3: Timed [“Duration Value”: 1…5000 (ms)]
Makes available the “Duration Value” parameter, (☞p.18) where you specify in milliseconds the duration of the generated notes. All notes will therefore have the same length. Note that this is independent of the current tempo - if it is set to 50 ms, it will always be 50 ms, regardless of tempo.
4: Rhythm Overlap [“Duration Value”: –500…+500 (ms)]
Makes available the "Duration V alue" parameter, where you specify in milliseconds an amount by which each note or cluster will overlap or be separated from the next note or cluster. Note that this relates to the Rhythm Pattern values. Positive values cause overlapping; negative values cause separation. For example, a setting of -20
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18
ensures that all notes will extend and be separated from the next notes by 20 ms regardless of the actual rhythm the notes are generated with, or the current tempo. Note that while the Rhythm Pattern values themselves are relative to tempo, the value specified here is not. Using the example setting of -20, there will always be a gap of 20 ms between notes regardless of the tempo.
5: Rhythm % [“Duration Value”: 1…800 (%)]
Makes available the “Duration V alue” parameter , where you specify a percentage of the rhythmic value a note is generated with to use as a duration. Note that this relates to the Rhythm Pattern values. The actual time is then calculated on the fly , taking into account the current tempo. For example, with a setting of 50%, if the Rhythm Pattern specifies a string of 8th notes, they will appear to be generated as a string of 16th notes separated by 16th note rests (each 8th note will have the duration of a 16th note, or 50%). Note that this value is therefore relative to tempo.
6: Pattern Overlap [“Duration Value”: –500…+500 (ms)]
The Duration Pattern is used to construct a Duration Pattern, in a similar fashion to the Rhythm Pattern. Each step in the pattern indicates the duration for notes that are currently to be generated. Makes available the “Duration Value” parameter, where you specify in milliseconds an amount by which to increase or decrease the pattern values. This can be used to set up a certain Duration Pattern, and then vary in real-time the “gate-time” of each note in the pattern simultaneously . For example, if the Duration Pattern is generating 16th - 8th at a tempo of 120
BPM, the notes would have the durations of 125 ms, 250 ms, etc. If the “Duration V alue” parameter , (☞p.17 ) is -20,
they would be generated as 105 ms, 230 ms, etc. Note that while the Duration Pattern values themselves are relative to tempo, the value specified here is not. Using the example setting of -20, the notes will always be 20 ms shorter regardless of the tempo.
7: Pattern % [“Duration Value”: 1…800 (%)]
The Duration Pattern is used to construct a Duration Pattern, in a similar fashion to the Rhythm Pattern. Each step in the pattern indicates the duration for notes that are currently to be generated. Makes available the “Duration Value” parameter, where you specify a percentage by which to increase or decrease the pattern values. This can be also be used to set up a certain Duration Pattern, and then vary in real-time the “gate-time” of each note in the pattern simultaneously , similar to the previous option. For example, if the Duration Pattern is generating 16th - 8th at a tempo of 120 BPM, the notes would have the durations of 125 ms, 250 ms, etc. If the “Duration V alue” is 80%, they would be generated as 100 ms, 200 ms, etc. Note that this value is therefore relative to tempo.
Duration Value [–500…+5000]
The range and function of this parameter depend on the setting of Duration Mode. See the descriptions above under “Duration Mode”. When the Duration Mode menu is changed, this value will be set to a default value appropriate for the mode (if it is out of range).
Not available if “Duration Mode” = 0: Poly Extend, 1: Poly Extend/Damped, or 2: Mono Extend.

Random Weighting Parameters - Pools

The Random W eighting Parameters - Pools are made available when at least one step (column) in the Duration Pattern has multiple rhythmic values selected (constitut­ing a “random pool” of values).
☞ p.14 Rhythm Group: Random W eighting Parameters -
Pools

Pools-Randm Factor (Pools-Random Factor)

[–99…+99]
☞ p.14 Rhythm Group: “Pools-Random Factor”

Pools-Weight Curve (Pools-Weighting Curve)

0: Exponential 2: Exp-S 1: Logarithmic 3: Log-S
☞ p. 14 Rhythm Group: “Pools-W eightingCurve”
The following table summarizes the ef fect of the various Weighting Curves and the Factor field on the choices from the Duration Pools:
Duration Pool values that receive priority: Weighting Factor Curve + (Positive) - (Negative) Exp/Log longer shorter Exp-S/Log-S middle shorter/longer
[0…3]

Random Weighting Parameters - Ties

☞ p.15 Rhythm Group: Random W eighting Parameters -
Ties

Ties-Randm Factor (Ties-Random Factor)

☞ p.15 Rhythm Group: “T ies-Random Factor”
[–99…+99]

Ties-Weight Curve (Ties-Weighting Curve) [0, 1]

0: Exponential 1: Logarithmic
☞ p.15 Rhythm Group: “T ies-Weighting Curve”
The following table summarizes the ef fect of the various Weighting Curves and the Factor field on random ties:
Values that receive priority: Weighting Factor Curve + (Positive) - (Negative) Exp/Log less ties more ties

Associated Parameters

Template [0…63]

Selects from 64 dif ferent Duration Pattern T emplates (shared by both Phase 1 and 2), and loads the parameters into the current Phase’ s Pattern Grid and associated parameters.
A Duration Pattern T emplate consists of:
• the configuration of the Duration Pattern Grid;
• Random Weighting Parameters - Pools
• Random Weighting Parameters - T ies
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Index Group

Overview

The Index Group controls the order of the pitches as they are generated, and some other characteristics which can affect the number of notes generated at a time.

About Index Patterns

Pattern Grid & Associated Parameters

Index Patterns describe a way of moving through the Note Series in memory and consequently controls the order of the pitches as they are generated. The Note Series has an index associated with it that indicates the current position, and the next Index to be generated. The Index Pattern values indicate how the index will be moved after generating the Index at the current position. A positive value moves forward from the current position; a negative value moves backwards; a value of 0 repeats a Index. Choices can be made from “Random Pools” of values as described in detail later on. When the Phase “Direction” is set to 1: Backwards, the values operate in inverted fashion.
Since the first value in the Index Pattern is not used until after the first Index has been generated, a Index Pattern of {1, 1, 1, -2} will cause the generation of the first 4 notes in the Notes Series, after which it jumps back to the 2nd note in the Note Series and so on.
Note Series: C4 → E4 → G4 → B4 ....
Index Pattern: → 1 → 1 → 1 →
←←-2 ←←
Note : C4 → E4 → G4 → B4 → E4 ...
Note that it is possible to create Index Patterns that will not move ahead or will actually move backwards, given that you can start from a position that is somewhere in the middle of a Note Series by using either the “Start %” (☞P.9) or “Beginning/End Offset %” parameters (☞p.11) in the Phase Group. If you do create a Index Pattern that simply stays in one place (i.e. {1, -1}, or {0}), a Phase Change will only occur if the Phase “Length Mode” (☞p.9) is not set to 0: AC-Actual, since in this mode it waits for the end of the Note Series to be reached, and this will never happen if there is no forward movement.
A Index Pattern will loop as long as note generation continues. It normally will not reset to the beginning of the Pattern unless a new Trigger is received, or the Phase Pattern has been configured to restart it at the beginning of certain Phases. That means that a 4 step Index Pattern can be looping while an 8 step Velocity Pattern and a 12 step Cluster Pattern are also independently looping, for example.
Besides using Index Patterns, several other means of moving through the Note Series are provided. These options are controlled by the Index Pattern Type param­eter, as described below.

Index Pattern

A Index Pattern has any number of steps up to 32, with each step being represented by one column on the grid. The first column always contains at least one value; unused columns appear disabled. The 15 rows represent forward and backward movement from the current index as each note or cluster of notes is generated.
Pattern grids cannot viewed and edited in the KARMA Music Workstation.

Associated Parameters

Pattern Type [0…2]
0: Pattern 1: Random Walk 2: Random
0: Pattern
Movement through the Note Series will be controlled by a Index Pattern constructed in the pattern grid.
1: Random Walk [“Random Walk Max Step”: 1...9]
Makes available the “Random Walk Max Step” parameter. Causes the pitches to meander from the start pitch in a random fashion, with the largest step that can be taken in any direction controlled by the “Random Walk Max Step” parameter. For example, if “Random Walk Max Step” is set to 2, then the “pool” of possible choices for movement from the current Index is {-2, -1, 1, 2}. Note that {0} is not allowed as a possible choice. This is good for creating riffs which sound a bit like improvisation, especially when you use the Phase Group to ensure that random phrases will be repeated a number of times before new ones are chosen.
2: Random
Causes the pitches to be chosen at random from the applicable portion of the Note Series. Unlike most arpeggiators, the random algorithm used here does not allow notes to happen twice in a row, which sounds less machine-like and more musical.
Random Walk Max Step [1...9]
Sets the largest step that can be taken when Index Pattern Type is set to 1: Random Walk, as described above.
Not available unless Index “Pattern Type” is 1: Random Walk.
Index
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Random Weighting Parameters

The Random Weighting Parameters are made available when at least one step in the Index Pattern has multiple values selected (constituting a “random pool” of values).
☞ p.14 Rhythm Group: Random Weighting Parameters -
Pools

Pools-Random Factor [–99…+99]

☞ p.14 Rhythm Group: “Pools-Random Factor”

Pools-Weighting Curve [0…3]

0: Exponential 2: Exp-S 1: Logarithmic 3: Log-S
☞ p.14 Rhythm Group: “Pools-WeightingCurve”
p.50 Appendices: “Random Weighting Curves”
The following table summarizes the effect of the various Weighting Curves and the Factor field on the choices from the Index Pattern Pools:
Index Pool values that receive priority: Weighting Factor Curve + (Positive) - (Negative) Exp/Log higher in grid lower in grid Exp-S/Log-S middle higher/lower

Associated Parameters

Cluster Mode [0, 1]

Index pattern= 2, Cluster size = 6 Note Series : C2 E2 G2 B2 C3 E3 G3 B3 C4 E4 G4 B4
Step1 : C2 E2 G2 B2 C3 E3 Step2 : G2 B2 C3 E3 G3 B3 Step3 : C3 E3 G3 B3 C4 E4 Step4 : G3 B3 C4 E4 G4 B4
1: Multi-1 Step For Each Note In Cluster
For every note in a cluster or group of drum notes generated simultaneously, a separate Index Pattern Value will be chosen after which the Index Pattern advances to the next value. For example, a cluster of 6 notes will be generated with the next 6 Index Pattern Values (with a net advance of 6 steps). This means that each note in the cluster will not necessarily be the adjacent note in the Note Series (or Drum Pattern), but a certain distance from the previous note as specified by the pattern value. This is useful for creating clusters of notes with different voicings, or randomizing Drum Patterns in a manner different than above. Another effect of this is that after each cluster, the next cluster starts where the previous cluster left off, in effect advancing through the Phase and the Note Series (or Drum Pattern) much more quickly.
Index pattern= 2, Cluster size = 6 Note Series:
C2 E2 G2 B2 C3E3 G3 B3 C4 E4 G4 B4 C5 E5 G5 B5 C6 E6G6 B6 ...
Step1 :
C2 G2 C3 G3 C4 G4
Step2 :
When the “GE T ype” (☞p.4) is 0: Generated - Riff, setting this to 1: Multi will have no ef fect unless there is a Cluster Pattern containing values of more than just 1.
When the “GE Type” is 2: Generated-Drum, setting this to 1: Multi will have no effect unless at least one Drum Pattern has the “[c] (clusters)” button turned on in the Phase Pattern and there is a Cluster Pattern containing values of more than just 1.
C5 G5 C6 G6
..
0: Single 1: Multi
0: Single-1 Step Per Cluster
Each time a note, cluster of notes, or group of drum notes is generated one Index Pattern Value will be chosen for the resulting note or cluster of notes, after which the Index Pattern advances to the next value. For example, a cluster of 6 notes will all be generated from the next 6 adjacent notes in the Note Series (or Drum Pattern) and advance the pattern by 1 to the next step. In other words, when a cluster is about to be generated, the index in the Note Series will first move an amount determined by the previous Step’s Index Pattern Value; then all the notes in the cluster will be generated from adjacent indexes, after which the Pattern will again advance by 1. This is useful for creating clusters of notes which jump around follow­ing the Index Pattern exactly; the bottom note of each cluster essentially follows the path that would be taken by a cluster size of 1, with the effect that cluster size has no effect on how quickly the Index Pattern moves through the Note Series and Phase (or Drum Pattern). Also useful for randomizing Drum Patterns, since it will cause the index into the Drum Pattern to jump around and not move forward in a linear fashion.

Invert [0, 1]

0: Off 1: On
When On, the index will be inverted with regards to the overall Note Series (taking into consideration the “Beginning and End Offsets” in the Phase Group) and used to generate an additional note, thereby generating twice as many notes at a time. This will also cause any clusters to be inverted.
0: Off
Index pattern = 2, Cluster size= 2 Note Series: C2 E2 G2 B2 C3 E3 G3 B3
Step1 : C2 E2 Step2 : G2 B2 Step3 : C3 E3 Step4 : G3 B3
1: On
Index pattern = 2, Cluster size= 2 Note Series: C2 E2 G2 B2 C3 E3 G3 B3
Step1 : C2 E2 G3 B3 Step2 : G2 B2 C3 E3 Step3 : G2 B2 C3 E3 Step4 : C2 E2 G3 B3
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Double [0, 1]

0: Off 1: On
When 1: On, the “Double Amount” parameter becomes available, and the index will be doubled by the interval indicated and generated again, thereby generating twice as many notes at a time. This will also cause any clusters to be doubled.
When using “Double” and “Invert” (☞p.19) at the same time, 4 times as many notes will be generated.

Double Amount [0…12]

0: Auto 1…12: indexes
When “Double” is 1: On, the “Double Amount” parameter becomes available, and the index will be doubled as explained above. When set to 0: Auto, a pleasing interval is automatically calculated depending on the number of notes in the Note Series. The other settings specify exact distances from the current index (forward) within the Note Series, at which to generate the additional note.
“Double”: 1: On, ”Double Amount”: 2 Note Series: C2 E2 G2 B2 C3 E3 G3 B3 C4 E4 G4 B4
Step1: C2 G2 Step2: E2 B2 Step3: G2 C3 Step4: B2 E3

Template [0…63]

Selects from 64 different Index Pattern Templates. (shared by both Phase 1 and 2), and loads the parameters into the current Phase’s Pattern Grid and associated parameters.
An Index Pattern Template consists of:
• the configuration of the Index Pattern Grid;
• Random Weighting Parameters
Index
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Cluster Group

Overview

The Cluster Group contains the parameters that control the “clustering” characteristics of the Generated Ef fect (the number of notes to generate simultaneously each time a rhythm event occurs).

About Cluster Patterns

A “cluster” is a group of notes that will be generated at the same time, with a size ranging from 1 to 10. Cluster Patterns control how many notes at a time will be generated each time the Rhythm Pattern determines that it is time to produce some notes (each “rhythm event”). This can be used to cause chords to be generated at certain times; the resulting chords may optionally be strummed. Random choices of cluster sizes can be made from “Random Pools” of values as described in detail later on.
If the Cluster Pattern is 1, then single notes are produced (when “GE Type” (☞p.4) = 0: Generated-Riff). A CMaj7 as input source material might produced the following Rif f:

Global Parameters

Strum [0…1000 (ms)]

Sets the value in milliseconds that each cluster will be “strummed.” Note that a single note cannot be strummed, so this only has an ef fect on cluster sizes greater than 1. This is the total time for each cluster , so each note in a cluster of 5 notes will be closer together than a cluster of 3 notes with the same strum value. This maintains a proper degree of “looseness” while changing cluster sizes. Strums are presently alternated in the up and down direction. By setting this to high values (so there are not really strums, but arpeggiations happening), interesting overlappings of each cluster over subsequent clusters can be made to occur.
Not available if “GE T ype” (☞p.4) = 2: Generated-
Drum. Not available if “GE T ype” = 1: Generated­Gated and “Gate Type” = Expression.

Pattern Grid & Associated Parameters

Cluster Pattern [1]
Input 1 1 1 1 1 1 1
If the Cluster Pattern was {3, 1, 1, 3, 1, 2} (and the Index Pattern “Cluster Mode” 0: Single ☞p.20), then the following result wouldbe produced by the same input notes:
Cluster Pattern {3, 1, 1, 3, 1, 2}
Input 3 1 1 3 1 2 3 etc.
Note that the number of notes in a cluster can be ef fec­tively doubled or quadrupled if “Invert,” “Double” (☞p.19, 20) or both are being used in the Index Group.
A Cluster Pattern will loop as long as note generation continues. It normally will not reset to the beginning of the Pattern unless a new T rigger is received, or unless the Phase Pattern has been configured to restart it at the beginning of certain Phases. That means that a 4 step Rhythm Pattern can be looping while an 8 step V elocity Pattern and a 12 step Cluster Pattern are also indepen­dently looping, for example.
etc.

Cluster Pattern

A Cluster Pattern represents a series of values indicating the size of clusters of notes to be generated (chords). It has any number of steps up to 32, with each step being represented by one column on the grid. The first column always contains at least one value; unused columns appear disabled. The 10 rows represent the number of notes to be generated at a time, from 1 to 10.
Pattern grids cannot viewed and edited in the KARMA Music Workstation.

Random Weighting Parameters

The Random W eighting Parameters are made available when at least one step (column) in the Cluster Pattern has multiple values selected (constituting a “random pool” of values).
☞ p.14 Rhythm Group: Random W eighting Parameters -
Pools

Pools-Random Factor [–99…+99]

☞ p.14 Rhythm Group: “Pools-Random Factor”
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Pools-Weight Curve (Pools-Weighting Curve)

[0…3]
0: Exponential 2: Exp-S 1: Logarithmic 3: Log-S
☞ p.14 Rhythm Group: “Pools-W eightingCurve”
p.50 Appendices: “Random W eighting Curves”
The following table summarizes the ef fect of the various Weighting Curves and the Factor field on the choices from the Cluster Pattern Pools:
Cluster Pool values that receive priority: Weighting Factor Curve + (Positive) - (Negative) Exp/Log larger smaller Exp-S/Log-S middle smaller/larger

Associated Parameters

Template [0…63]

Selects from 64 dif ferent Cluster Pattern T emplates (shared by both Phase 1 and 2), and loads the parameters into the current Phase’ s Pattern Grid and associated parameters.
A Cluster Pattern Template consists of:
• the configuration of the Cluster Pattern Grid;
• Random Weighting Parameters
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Cluster
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Velocity Group

Overview

The Velocity Group controls most of the aspects that affect the velocities of the notes in the Generated Ef fect.

About Velocity Patterns

A Velocity Pattern represents amounts to be subtracted from the initial velocities of notes as they are about to be generated. This can therefore be used to provide patterns of accents in the generated notes, while retaining some of the original velocity information if desired. Choices can be made from “Random Pools” of values as described in detail later on.
Initial velocity is determined by the setting of the “Velocity Mode,” and how hard the notes are played when providing input notes. If “V elocity Mode” was set to Constant - 124, then all of the generated notes would have an Initial V elocity of 124. Playing them with a V elocity Pattern of {0, - 20, - 40} would produce the following accented velocities:
124, 104, 84, 124, 104, 84 etc... Velocity Patterns are additive to V elocity Envelopes, and
are compressed to the degree that the envelope ap­proaches zero. In other words, a wide V elocity Pattern will become less wide as the envelope approaches zero to prevent notes from disappearing.
A Velocity Pattern will loop as long as note generation continues. It normally will not reset to the beginning of the Pattern unless a new T rigger is received, or the Phase Pattern has been configured to restart it at the beginning of certain Phases. That means that a 4 step Note Pattern can be looping while an 8 step V elocity Pattern and a 12 step Cluster Pattern are also independently looping, for example.
1: Average
The notes received as input have their velocities averaged, and this is then used as the initial velocity at which to generate notes. (The “V elocity Value” parameter) allows you to scale the amount of sensitivity , where the value entered is the bottom of the range and the top of the range is 127. For example, if the value is 1, then the velocity average would be calculated exactly as played. If the value is 64, the velocities would be half as sensitive, because the calculated velocity average 1–127 will be scaled into the range of 64–127.
Using this mode allows the velocities received as input to control the overall volume of the resulting ef fect. For example, you might use this mode so that playing chords hard make the strumming of a guitar a bit louder overall, but where the resulting velocities in each note of a cluster are the same.
2: Constant
The velocities of the notes received as input are ignored; the initial velocity value at which to generate notes is directly entered in the number field. For example, entering 124 will generate all notes with an initial velocity of 124.

Velocity Value [1…127]

Controls how the actual velocities of the notes received as input source material af fect the velocities of the notes as they are generated. This parameter has dif ferent functions depending on which “V elocity Mode” is selected, as described above.

Randomize Bottom [–12…+12] Randomize Top [–12…+12]

Sets a range of randomization to be applied to each note’s velocity as it is generated. Note that this can be used to make the velocity of each note in a cluster slightly different, while using the V elocity Pattern to generate random velocities applies to each cluster as a whole. Useful for more human-sounding ef fects, with less machine-like precision.
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Global Parameters

Velocity Mode [0…2]

0: Actual 1: Average 2: Constant
0: Actual
The actual velocities received are used as the “initial velocity” for each note as they are generated. Loud notes (and their generated counterparts) will play loud, and vice versa. (The “V elocity Value” parameter) allows you to scale the amount of sensitivity , where the value entered is the bottom of the range and the top of the range is 127. For example, if the value is 1, then the velocities would be exactly as played. If the value is 64, the velocities would be half as sensitive, because any velocity received from 1– 127 will be scaled into the range of 64–127.

Pattern Grid & Associated Parameters

Velocity Pattern

A Velocity Pattern has any number of steps up to 32, with each step being represented by one column on the grid. The first column always contains at least one value; unused columns appear disabled. The 16 rows represent increasing amounts of velocity of fsets to be subtracted from the initial velocity specified by the V elocity Mode,
Page 33
starting from the top. It is important to note that the reason the pattern operates with negative, subtractive values rather than absolute positive values is so that it can be applied to the actual initial velocities of the input source material, thereby superimposing a pattern of accents while not destroying already existing velocity nuances (if desired).
Pattern grids cannot viewed and edited in the KARMA Music Workstation.
1: Multi-1 Step For Each Note In Cluster
For every note in a cluster or group of drum notes generated simultaneously, a separate Velocity Pattern Value will be chosen after which the Velocity Pattern advances to the next value. For example, a cluster of 6 notes will be generated with the next 6 Velocities indicated by the pattern, with a net advance of 6 steps. This means that each note in a cluster or each note of a drum pattern that is generated simultaneously can be given its own velocity. This is useful for more subtly shifting accents within clusters of notes, and adding more human-like velocity randomness to drum patterns.
Velocity

Random Weighting Parameters

The Random W eighting Parameters are made available when at least one step (column) in the V elocity Pattern has multiple values selected (constituting a “random pool” of values).
☞ p.14 Rhythm Group: Random W eighting Parameters -
Pools

Pools-Randm Factor (Pools-Random Factor)

[–99…+99]
☞ p.14 Rhythm Group: “Pools-Random Factor”
p.50 Appendices: “Random W eighting Curves”

Pools-Weight Curve (Pools-Weighting Curve)

0: Exponential 2: Exp-S 1: Logarithmic 3: Log-S
☞ p.14 Rhythm Group: “Pools-W eightingCurve”
The following table summarizes the ef fect of the various Weighting Curves and the Factor field on the choices from the Velocity Pools:
Velocities that receive priority: Weighting Factor Curve + (Positive) - (Negative) Exp/Log louder softer Exp-S/Log-S middle louder/softer
[0…3]

Associated Parameters

Cluster Mode [0, 1]

0: Single-1 Step Per Cluster 1: Multi-1 Step For Each Note In Cluster
0: Single-1 Step Per Cluster
Each time a note, cluster of notes, or group of drum notes is generated one V elocity Pattern Value will be chosen for the current step, after which the V elocity Pattern advances to the next step. For example, a cluster of 6 notes will all be generated with the same velocity and advance the Velocity Pattern by 1 to the next step. This is useful for creating very noticeable “accented patterns” within ef fects using large clusters of notes such as gated techno ef fects.
When the “GE T ype” (☞p.4) is 0: Generated-Riff, setting this to 1: Multi will have no ef fect unless there is a Cluster Pattern containing values of more than just 1.
When the“ GE T ype” is 1: Generated-Gated, the number of notes being generated is considered the Cluster Size, and setting this to 1: Multi will cause the pattern to advance by the number of notes being generated.
When the“ GE T ype” is 2: Generated-Drum, setting this to 1: Multi will have no ef fect unless at least one Drum Pattern has the “[c] (clusters)” button turned on in the Phase Pattern and there is a Cluster Pattern containing values of more than just 1, or more than one drum note is being generated at a time (by using Drum Patterns in “Poly” mode).

Scale [–999…+999 (%)]

Sets a percentage by which the chosen V elocity Pattern is scaled before being applied. Notes can be made to disappear or drop out using large positive values; large negative values with a very soft initial velocity can create interesting “reversed” ef fects.
Note that this can be used to “increase the resolution” of the Velocity Pattern Grid; for example, at +100% the offsets match the values displayed on the vertical axis; at
+50% the offsets would be divided by 2, for a dif ference of 4 between each value rather than 8 and an overall range of 0 to -60; at +25% the offsets would be divided by 4 for a difference of 2 between each value and an overall range of 0 to -30. Conversely, at +200% the offsets would be
multiplied by 2, for a dif ference of 16 between each value and an overall range of 0 to -240, meaning that some notes will drop out and leave “holes” in the sequence of notes (since any note with a velocity less than 1 is ignored).
Not available if “GE T ype” (☞p.4) = 2: Generated- Drum; each pattern in the Drum Group has a separate Velocity Scaling parameter .

Template [0…63]

Selects from 64 dif ferent V elocity Pattern Templates (shared by both Phase 1 and 2), and loads the parameters into the current Phase’ s Pattern Grid and associated parameters.
An Velocity Pattern T emplate consists of:
• the configuration of the V elocity Pattern Grid;
• Random Weighting Parameters
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CCs Group

Overview

The CCs Group allows the editing of parameters that control generation of CC (Control Change) messages. For example, this can control the panning (CC #10) of the notes in the Generated Ef fect (stereo placement left to right). Any other CC data may also be generated to control any MIDI controllable characteristic of your synthesizer , such as resonance, filter frequency , vibrato, etc. You may also use the CC Pattern to generate stepped Pitch Bend messages, technically not a “CC.”

About CC Patterns

A value derived from a CC Pattern is a MIDI Control Change value from 0–127 (or Pitch Bend, if selected). The values are sent out as each note or cluster of notes is generated. Choices can be made from “Random Pools” of values as described in detail later on.
If the selected CC is 10 (Pan), a CC Pattern such as {0, 127} would cause every other note to pan to the opposite side of the stereo spectrum. A CC Pattern of {0, 0, 0, 0, 127, 127, 127, 127} would play 4 notes left, then 4 notes right. A CC Pattern may be nverted at any time (causing the values to “flip around,” 127–0) by using the “Polarity” Parameter, which is an easy way to invert the direction of the pattern.
A CC Pattern will loop as long as note generation continues. It normally will not reset to the beginning of the Pattern unless a new T rigger is received, or unless the Phase Group has been configured to restart it at the beginning of certain Phases. That means that a 4 step CC Pattern can be looping while an 8 step V elocity Pattern and a 12 step Cluster Pattern are also independently looping, for example.
columns appear disabled. Each row represents a CC or Pitch Bend value in multiples of 4 (0, 4, 8, 12 etc.). The special bottom row (“inv”) indicates whether or not to invert the Random W eighting Curve (discussed later on) for any pools within that column.
Pattern grids cannot viewed and edited in the KARMA Music Workstation.

Associated Parameters

Fixed/On [0…128]
0…127: fixed CC value 128: Pattern
When set to 128, the Pattern Grid becomes operative, and the Pattern is sent out. When set to any other value, a single CC or Pitch Bend value corresponding to the fixed value is sent, and the Pattern Grid becomes inoperative. This allows you to override the Pattern with a fixed value.
Pattern Type
0: Pattern 3: Note# 32…96 1: Note# 0…127 4: Note# 0…64 2: Note# 24…108 5: Note# 64…127
0: Pattern
The Pattern Grid will be operative.
Note Number
The pitch of a note (about to be generated) is compared to the minimum and maximum notes in the Note Series, and scaled into a value from 0–127 so that low notes generate 0 and high notes generate 127, with notes in between being scaled accordingly. The “Polarity” prameter can invert this for the opposite ef fect (127–0). Can be useful for simulat­ing stereo miking of an instrument like a piano or harp (with Pan data), or for simply tracking the pitch of the notes with any other CC data. The Pattern Grid will not be operative.
26

Pattern Grid & Associated Parameters

CC Pattern

A CC Pattern represents a series of values indicating a MIDI Control Change (or Pitch Bend) value to be generated. It has any number of steps up to 64, with each step being represented by one column on the grid. The first column always contains at least one value; unused
1: Note# 0…127
Scales generated notes into CC or Pitch Bend values 0–127.
2: Note# 24…108
Scales generated notes into CC or Pitch Bend values 24–108.
3: Note# 32…96
Scales generated notes into CC or Pitch Bend values 32–96.
4: Note# 0…64
Scales generated notes into CC or Pitch Bend values 0–64.
5: Note# 64…127
Scales generated notes into CC or Pitch Bend values 64–127.
Polarity [0, 1]
0: Regular (+) 1: Inverted (–)
0: Regular (+)
The CC Pattern is sent out as originally created.
1: Inverted (–)
The CC Pattern is inverted; i.e. 0 is sent out as 127, 127 is sent out as 0, 96 is sent out as 32, etc. This allows the same pattern to be used in two dif ferent directions.
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Random Weighting Parameters

The Random W eighting Parameters are made available when at least one step (column) in the CC Pattern has multiple values selected (constituting a “random pool” of values).
☞ p.14 Rhythm Group: Random W eighting Parameters -
Pools”

Pools-Rand Fact (Pools-Random Factor)

[–99…+99]
☞ p.14 Rhythm Group: “Pools-Random Factor”
Pools-WeightCrv (Pools-Weighting Curve) [0…3]
0: Exponential 2: Exp-S 1: Logarithmic 3: Log-S
☞ p.14 Rhythm Group: “Pools-W eightingCurve”
p.50 Appendices: “Random W eighting Curves”
The following table summarizes the ef fect of the various Weighting Curves and the Factor field on the choices from the CC Pools:
CC Pool values that receive priority: Weighting Factor Curve + (Positive) - (Negative) Exp/Log higher in grid lower in grid Exp-S/Log-S middle higher/lower
Note: turning on the W eighting Curve Inversion Row button causes the opposite behavior specified above (in that step).

Global Parameters

CC-A [–1…126] CC-B [–1…126]

–1: Off 96…125: [N/A] 0…95: CC#00…CC#95 126: Pitch Bend
Selects one of the supported Control Change messages, in addition to 126: Pitch Bend.
CC-A and CC-B may be generated simultaneously , with the same or dif ferent values, in alternation, and other variations depending on internal settings of the GE.
Even if CC-A or CC-B are properly activated, you may not be hearing any ef fects if the “TxFilter: GE CC-A/CC-B” parameters (☞PG p.29) have been set to filter out the data that KARMA is generating.

Associated Parameters

Cluster Mode [0, 1]

0: Single 1: Multi
0: Single-1 Step Per Cluster
Each time a note, cluster of notes, or group of drum notes is generated one CC Pattern V alue will be chosen for the current step, after which the CC Pattern advances to the next value. For example, a cluster of 6 notes will be generated with a single CC value preceding it, and advance the pattern by 1 to the next step.
1: Multi-1 Step For Each Note In Cluster
For every note in a cluster or group of drum notes generated simultaneously , a separate CC Pattern V alue will be chosen after which the CC Pattern advances to the next value. For example, a cluster of 6 notes will be generated with each note preceded by the next 6 CC values indicated by the pattern, with a net advance of 6 steps. This means that each note in a cluster or each note of a drum pattern that is generated simultaneously can be given its own CC value - but only if your synth supports this type of behaviour .
This will also af fecting the “Note Number” Pattern T ype options. If 0: Single, a cluster of notes will be preceded by one CC value according to the pitch of the first note; if 1: Multi, each note will get a corresponding CC value. For example, if generating pan data, this can be used to pan each note of a cluster across the selected range according to its pitch (but only if your synth supports this type of behavior).
When the “GE T ype” (☞p.4) is 1: Generated-Gated, the number of notes being generated is considered the Cluster Size.
When the “GE T ype” is 0: Generated-Riff, setting this to 1: Multi will have no ef fect unless there is a Cluster Pattern containing values of more than just 1.
When the “GE T ype” is 2: Generated-Drum, setting this to 1: Multi will have no ef fect unless at least one Drum Pattern has the “[c] (clusters)” button turned on in the Phase Pattern and there is a Cluster Pattern containing values of more than just 1, or more than one drum note is being generated at a time (by using more than one Drum Pattern, or by using a single Drum Pattern in “Poly” mode).

Template [0…63]

Selects from 64 dif ferent CC Pattern T emplates (shared by both Phase 1 and 2), and loads the parameters into the current Phase’ s Pattern Grid and associated parameters.
An CC Pattern Template consists of:
• the configuration of the CC Pattern Grid;
• Random Weighting Parameters
• “Polarity”.
CCs
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Env (Envelope) Group

Parameters

The parameters are the same for all three of the envelopes, and are discussed below.

Overview

Each Generated Effect has 3 envelopes which can be applied to various options such as Velocity, Tempo, Pitch Bend, Duration, and any CC (Control Change).

About Envelopes

For those of you familiar with synthesizer envelopes, these are standard ADSR Envelopes, with the addition of a Start Level. For those who are not, ADSR stands for “Attack, Decay, Sustain, Release”. When the envelope is triggered in some fashion like a key being depressed, the envelope starts at the Start Level and moves to the Attack Level in the amount of time specified by Attack Time. This is the “Attack Phase” of the envelope. Once the envelope reaches the Attack Level, it then immediately continues to the Sustain Level in the amount of time specified by Decay Time. This is the “Decay Phase”. When it reaches the Sustain Level, it will remain there until some event causes it to enter the “Release Phase”, typically a key being released. The envelope then moves to the Release Level in the amount of time specified by Release Time.
An envelope simply describes the shape of some function, and the time that it takes. In the case of KARMA GE, the function is either a crescendo/decrescendo of the velocity levels of the notes in the phrase, an accelerando/ritard of the speed at which the notes are generated, an overall sweeping of the pitch, a continuous varying of a selected CC (Control Change), etc.
Note that in the case of Velocity Envelopes, the envelope’s shape is subtractive to the Initial Velocity Level generated according to the “Velocity Mode” Parameter. (☞p.24) The loudest value the envelope will produce is the Initial Velocity received. However, when low Initial Velocities are received, the Envelope is automatically scaled so that a consistent shape is maintained regardless of the value. In other words, the Envelope will be compressed to the degree that the Initial Velocity is less than 127. For more information on Initial Velocity, see Velocity Group/ “Velocity Mode.”
When and how the Envelopes will be triggered is determined by the Envelope Trigger Parameters (“Env1 Trigger/Env2 Trigger/Env3 Trigger”) in the KARMA Module parameters. (☞PG p.31 6.2–2a) In addition to being triggered by the keyboard, the envelopes can also be selectively triggered at Phase Changes according to settings in the Phase Group.

Env On/Off (Envelope On/Off) [0, 1]

0: Off 1: On
Turns on the corresponding envelope, and makes its parameters operative. Note that even if the envelope is properly activated, you may not be hearing any effect if the “TxFilter: GE Env.1/ Env.2/Env.3” parameters (☞PG p.29)have been set to filter out the data that KARMA is generating.

Env Type (Envelope Type) [0…127]

0: [VE] Velocity 1: [TA] Tempo-Absolute 2: [TR] Tempo-Relative 3: [PB] Pitch Bend 4: [DU] Duration 5…100: [#00…#95] CCs (Control Changes) 101…127: [N/A]
0: [VE] Velocity
Controls the crescendo and decrescendo of the phrase, much like an Amplitude Envelope controls the volume on a synthesizer . The envelope’s range of 0–99 is scaled into 0 – 127, which is then combined with the actual velocities of the notes being generated, to impart an overall velocity shape while maintaining the accents within the individual notes.
1: [TA] Tempo-Absolute
Controls the speed of the phrase, for accelerando and ritard effects. When active, the effect does not sync to the Internal Master Clock or External Sync, but runs on its own clock, controlled by the Tempo Envelope. This means that the envelope is in absolute control of the tempo, and changing the KARMA Tempo has no effect.
2: [TR] Tempo-Relative
Controls the speed of the Riff, for accelerando and ritard effects. When active, the effect does not sync to Internal or External MIDI Clock, but runs on its own clock, controlled by the Tempo Envelope. However, this option takes into account the KARMA Tempo, so if the tempo is slower the Tempo Range of the envelope will also be slower. Note that this does not mean the time over which the envelope operates, which is a different option discussed below under the “Tempo Relative” parameter. (☞p.30)
3: [PB] Pitch Bend
Controls an overall pitch bend on the entire effect. Note that the overall range of the Pitch Bend is set in the Bend Group.
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4: [DU] Duration
Controls an overall shortening of durations of generated notes. In other words, the normal calculated duration of the note becomes the maximum duration length, and the shape of the envelope scales the durations between 0 –100% of the minimum duration length and that value. The minimum and maximum duration values depend on the “Duration Mode” setting in the Duration Group. ( ☞p.17)
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5…100: [#00…#95] CCs (Control Change)
Send the selected CC value according to the shape of the envelope - the envelope’s range of 0–99 is scaled into 0– 127 and sent as the selected controller. This is especially useful when you loop the envelopes to get slow, sweeping LFO effects, for controlling various tone generation characteristics on synthesizers and effects devices that support this type of control. Note that for looping to work, you must set the Loop On and Envelope Latch modes (6.2–2a: “Env1 Latch/Env2 Latch/Env3 Latch” ☞PG p.31) properly - see the “Loop Mode” parameter below.
The following Level and Time parameters may also be controlled in various combinations by parameters discussed later on in this section.

Start Level [0…99]

The level at which the envelope begins.

Attack Time [0…99]

The time it will take to reach the “Attack Lvl (Attack Level).” The overall time for each segment is specified by the “Time Scale” parameter described below.

Time Scale [0…10]

0: R-Riff Length 1…10: 1 to 10 seconds in 1 second increments
Specifies the overall amount of time that each segment will take when set to its maximum value. The envelopes in KARMA GE are 3 segment envelopes; they have an attack segment, decay segment, and release segment. For example, if the attack segment time (“Attack time”) was set to 99 and the “Time Scale” to 1 second, the attack segment will take 1000 ms; if “Attack time” was set to 50, then the attack segment will take 500 ms. If the times of all 3 segments were set to 99, the total time of the envelope would be approximately 3 seconds (not taking into account any time spent at the sustain level). When set to 0: R-Riff Length, the Time Scale is automatically scaled to the length of the Generated Effect. This can be useful for such things as harp glissandos, where supplying more/ less notes as input will cause the resulting envelopes to be slower/faster. Note that if the Phase “Length Mode” is set to 1: TS-Time Signature, then the length of a Phase is determined by the Time Signature and not the number of notes played, so the results of setting this to 0: R-Riff Length may not be noticeable in that case.
Envelope

Attack Lvl (Attack Level) [0…99]

The first level which the envelope reaches in the amount of time specified by “Attack Time.”

Decay Time [0…99]

The time it will take to reach the “Sustain Lvl (Sustain Level).” The overall time for each segment is specified by the “Time Scale” parameter described below.

Sustain Lvl (Sustain Level) [0…99]

The second level which the envelope reaches in the amount of time specified by “Decay Time.” The envelope will remain at this level until the keys depressed on the keyboard are released, or some other function causes the envelope to enter the Release Phase.

Rel. Time (Release Time) [0…99]

The time it will take to reach the “Rel. Level (Release Level).” The overall time for each segment is specified by the “Time Scale” parameter described below.

Rel. Level (Release Level) [0…99]

The final level the envelope reaches in the amount of time specified by “Rel. Time (Release Level).”

Amp Amount (Amplitude Amount) [0…99]

Represents the maximum level that the envelope will reach. The rest of the envelope is scaled accordingly.

Att Smooth (Attack Smooth) [0, 1]

0: Off 1: On
When set to 0: Off, retriggering an envelope will start it at its preset Start Level regardless of its current position. When set to 1: On, the envelope will restart from its current position, not the Start Level. This can be used to “smooth” the repeated retriggerings of the envelope.

Loop Mode [0…3]

0: Off 1: S-Start Level 2: R-Start Level 3: A-Attack Level
0: Off
Envelope will proceed through all its segments in a normal fashion.
1: S-Start Level ↔ Sustain Level
Upon reaching the Sustain Level, the envelope will loop back to the Start Level and start over . Requires Envelope Latch Mode (“Env1 Latch/Env2 Latch/Env3 Latch” in the KARMA Module parameters) to be set to Off, Sus1, or Sus2. For continuous looping after key release, you must have Sus2 selected - see the table below . (☞PG 6.2–2a)
2: R-Start Level ↔ Release Level
Upon reaching the Release Level, the envelope will loop back to the Start Level and start over . Requires Envelope Latch Mode (“Env1 Latch/Env2 Latch/Env3 Latch” in the KARMA Module parameters) to be set to Rel1 or Rel2. For continuous looping after key release, you must have Rel2 selected - see the table below . (☞PG 6.2–2a)
↔ Sustain Level ↔ Release Level
↔ Release Level
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3: A-Attack Level ↔ Release Level
Upon reaching the Release Level, the envelope will loop back to the Attack Level and start over . Requires Envelope Latch Mode (“Env1 Latch/Env2 Latch/Env3 Latch” in the KARMA Module parameters ☞PG p.31) to be set to Rel1 or Rel2. For continuous looping after key release, you must have Rel2 selected - see the table below . (☞PG 6.2–2a)
The following table illustrates the relationship between the 3 Envelope Loop Modes described above, and the Envelope Latch Modes (set in the KARMA Module parameters ☞PG 6.2–2a)

Tempo Reltv (Tempo Relative) [0, 1]

0: Off 1: On
Makes the selected envelope’s time scale relative to tempo. This means that the envelope can “track” the notes being generated, or a particular length of time. If you have it set to make a particular shape over 1 bar of 4/4, then changing the tempo will maintain this relationship by scaling the tempo range of the envelope accordingly.
For example, assume you have an envelope timed to produce a sweep over 1 bar of 4/4 at 120 BPM. If you change the tempo to 60 and the “Tempo Reltv“ parameter is 0: Off, the envelope will still operate for the same length of time, therefore sweeping over 1/2 of the bar of 4/4. If you set tempo to 240, it would sweep over 2 measures of 4/4.
With “Tempo Reltve” 1: On, the time scale of the envelope is changed according to the tempo. Therefore, it will always sweep over 1 bar of 4/4 regardless of the tempo.
Note that you can use this with the 2: [TR] Tempo - Relative Envelope Type (described above), so that it not only has a range that is influenced by the tempo, but its “Time Scale” is also influenced by the tempo.
The following parameters control various combinations of the Levels or Times for a selected Envelope.

Level Combinations

Sta/Att Lvl (Start/Attack Level) [0…99]

Controls an Envelope’s Start and Attack Levels at the same time - both will be set to the same value.

Sta/Sus Lvl (Start/Sustain Level) [0…99]

Controls an Envelope’s Start and Sustain Levels at the same time - both will be set to the same value.

Sta/Rel Lvl (Start/Release Level) [0…99]

Controls an Envelope’s Start and Release Levels at the same time - both will be set to the same value.

Att/Sus Lvl (Attack/Sustain Level) [0…99]

Controls an Envelope’s Attack and Sustain Levels at the same time - both will be set to the same value.
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Note Trig (Note Trigger) [0, 1]

0: Off 1: On
When set to 0: Off, the envelope is triggered normally as specified by the settings of the Envelope Trigger (“Env1 Trigger/Env2 Trigger/Env3 Trigger” ☞PG p.31) in the KARMA Module parameters, Dynamic MIDI, and the Envelope Triggering settings of the Phase Pattern. When set to 1: On, every single note that is generated will retrigger the selected envelope. For example, this can be useful for adding Vibrato to individual notes (using an envelope set to CC #01 (Mod Wheel)), or fading in/out individual notes (using an envelope Type of CC #07 (Volume) or CC #11 (Expression)).

Att/Rel Lvl (Attack/Release Level) [0…99]

Controls an Envelope’s Attack and Release Levels at the same time - both will be set to the same value.

Sus/Rel Lvl (Attack/Release Level) [0…99]

Controls an Envelope’s Sustain and Release Levels at the same time - both will be set to the same value.
St/At/Su Lvl (Start/Attack/Sustain Level) [0…99]
Controls an Envelope’s Start, Attack and Sustain Levels at the same time - all will be set to the same value.
St/At/Rl Lvl (Start/Attack/Release Level) [0…99]
Controls an Envelope’s Start, Attack and Release Levels at the same time - all will be set to the same value.
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St/Su/Rl Lvl (Start/Sustain/Release Level) [0…99]
Controls an Envelope’s Start, Sustain and Release Levels at the same time - all will be set to the same value.

At/Su/Rl Lvl (Attack/Sustain/Release Level)

Controls an Envelope’s Attack, Sustain and Release Levels at the same time - all will be set to the same value.
[0…99]

All Levels [0…99]

Controls an Envelope’s Start, Attack, Sustain and Release Levels at the same time - all will be set to the same value.

Time Combinations

Att/DecTime (Attack/Decay Time) [0…99]

Controls an Envelope’s Attack and Decay Times at the same time - both will be set to the same value.

Att/RelTime (Attack/Release Time) [0…99]

Controls an Envelope’s Attack and Release Times at the same time - both will be set to the same value.

Dec/RelTime (Decay/Release Time) [0…99]

Controls an Envelope’s Decay and Release Times at the same time - both will be set to the same value.

All Times [0…99]

Controls an Envelope’s Attack, Decay and Release Times at the same time - all will be set to the same value.
Envelope
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Repeat Group (Melodic Repeat)

Overview

Melodic Repeat allows any note to be repeated in a delay­like fashion, with many additional features and enhance­ments. Melodic Repeat allows any note to be repeated in a delay­like fashion, with many additional features and enhance­ments. Based on a familiar technique know as “MIDI Delay,” MIDI notes are repeated at certain time intervals while their velocities decrease, thus imitating the effect of delay in an external effects processor. However, as typically implemented, this causes severe polyphony problems, and the creative options are few. In KARMA, many sophisticated enhancements and improvements have been added, including:
• Slow down the Master Tempo and the repeated notes can remain in time with the original notes.
• Use a Tempo envelope to create drastic accelerandos and ritards and then lock the repeated notes to the envelope.
• Unique “Duration Modes” not only save polyphony, but create interesting performance options.
• Delayed pitches may be transposed and melodically shifted using Chord Recognition.
• Transposed notes may be rebounded or wrapped around within a range. The range may be an absolute range, or a “sliding” range that tracks the input notes.
• Only notes within certain a certain velocity range can trigger repeated notes, while others will not.
• The Rhythm Patterns, Index Patterns, Velocity Patterns, etc. may be used to control when and how the repeated notes are generated.
When the “GE Type” (☞p.4) is one of the Generated types (i.e. 0: Generated-Riff), the notes as they are generated may each start strings of repeating notes. When the “GE Type” is 3: Real-Time, the actual input notes may each start strings of repeating notes.
Repeats can not be generated when “GE Type” = 1: Generated-Gated and “Gate Type” (☞p.4) is one of the CC Types, since notes are not actually generated in this mode, but a sustained set of notes is manipulated by a selected CC, i.e. “chopped” by CC #11 (Expression).

General Parameters

Rhythm Value [0…25]

0:
None (Instant) 1: 64th triplet 11: 8th 21: Whole dotted 2: 64th 12: 8th dotted 22: 2 bars 3: 64th dotted 13: 4: 32th triplet 5: 32th 15: 6: 32th dotted 16: Half triplet 7: 16th triplet 17: Half 8: 16th 18: Half dotted 9: 16th dotted 19: Whole triplet
Sets the rhythm (repeat time) for each repeated note (16th note, dotted 16th, etc.). When one of the note rhythms is chosen, the same rhythmic value is used for each repeated note. When 25: Pattern is selected, the Rhythm Pattern in the Rhythm Group is used, so that repeated notes can have different rhythms. All rhythms chosen here lock to the Global Tempo, or to the Tempo Envelope if “Te mp o Lock” (☞p.34) is 1: On, described below. When the first item in the menu is chosen (0: None), the repeated notes are put out simultaneously with the generated/input notes, without any delay. This can be used to generate clusters of repeated notes, while using Repeat “Trans­pose” (☞p.33) to change the pitch intervals between them, for creating harmonies and other effects.

Straight Rhythm Values [0…11]

0:
None (Instant) 1: 64th 5: Quarter 9: 3 Wholes 2: 32nd 6: Half 10: 4 Wholes 3: 16th 7: Whole 11:
Selects a setting for the “Rhythm Value” parameter from a subset of the entire range. The subset consists of the straight values (no triplets or dotted values) along with 0: None and 11: Rhythm Pattern. This is used to provide real-time control of the “Rhythm Value” parameter while excluding certain of the in-between values.

Dotted Rhythm Values [0…8]

0:
None (Instant) 1: 64th Dotted 4: 8th Dotted 7: Whole Dotted 2: 32nd Dotted 5:
Selects a value for the “Rhythm Value” parameter from a subset of the entire range. The subset consists of the dotted values along with 0: None and 8: Rhythm Pattern. This is used to provide real-time control of the “Rhythm Value” parameter while excluding certain of the in­between values.
10: 8th triplet 20: Whole
Quarter triplet
14: Quarter
Quarter dotted
23: 3 bars 24: 4 bars 25: Pattern
4: 8th 8: 2 Wholes
Rhythm Pattern
3: 16th Dotted 6: Half Dotted
Quarter Dotted
8: Rhythm Pattern
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Triplet Rhythm Values [0…8]

0:
None (Instant)
3: 16th Triplet 6: Half Triplet 1: 64th Triplet 4: 8th Triplet 7: Whole Triplet 2: 32nd Triplet 5:
Selects a setting for the “Rhythm Value” parameter from a subset of the entire range. The subset consists of the triplet values along with 0: None and 8: Rhythm Pattern. This is used to provide real-time control of the “Rhythm Value” parameter while excluding certain of the in-between values.
Quarter Triplet
8: Rhythm Pattern

Selected Rhythm Values [0…13]

0:
None (Instant)
5: 8th dotted 10: 2 Wholes 1: 64th 6: Quarter 11: 3 Wholes 2: 32nd 7:
Quarter dotted
12: 4 Wholes 3: 16th 8: Half 13: Rhythm Pattern 4: 8th 9: Whole
Same as “Straight Rhythm Values,” except adds the two most musically useful dotted values also.

Use Swing [0, 1]

0: Off 1: On
Sets whether the repeated notes will take on the swing feel that is set in the Rhythm Group. If 0: Off, the generated notes may be swung but the repeated notes will not be. Note that triplet rhythm values are not affected by swing.
When the Rhythm Group “Swing %” parameter (☞p.13) is 0, this parameter has no effect.

Repetitions [0…100, 101: ]

The maximum number of repeated notes to generate. Note that due to other settings and circumstances, not all of them may actually be generated. A setting of 101: causes the notes to repeat indefinitely, unless something else stops them.

Decay [–126…+126]

The amount by which each successive repeated note changes in velocity. Negative numbers cause the delayed notes to decrease in volume (more common), while positive numbers cause the delayed notes to increase in volume. Interesting effects can be created by a combina­tion of a high negative “Initial Velocity” (i.e. -120) and a small positive “Decay” (i.e. +4). Note that this operates in conjunction with the Velocity Pattern specified in the Velocity Group.

Initial Volume [–126…+126]

The velocity above or below the original note that the first repeated note is generated at, after which the “Decay” parameter is added to them with each successive repeti­tion. Note that this operates in conjunction with the Velocity Pattern specified in the Velocity Group.

Transpose [–24…25]

–24...24: –24...+24 semitones
25: Index Pattern
The amount by which each successive repeated note is transposed in pitch. When one of the semitone values is selected, the same value is used for each repeated note. When the Pattern option is selected, the 25: Index Pattern in the Index Group is used, so that each repeated note can transpose a different amount from the previous repeated note. Depending on the input notes, anything other than 0 or multiples of 12 may produce atonal results; these can be shifted to tonal results using “Chord Shift,” described below.

Chord Shift [0…2]

0: Off 1: Scalic 2: Scalic2
When repeated notes are being transposed in pitch, atonal results may occur depending on the “Transpose” setting. When “Chord Shift” is 0: Off, no change occurs in the transposition. Setting "Chord Shift" to 1: Scalic or 2: Scalic2 causes chord recognition algorithms to shift the notes to musically correct ones, even in pending repeated notes that haven’t yet sounded. Note that a certain area of the keyboard may need to be assigned as a Control Area for Chord Scan (in the Dynamic MIDI) to produce the desired results.
0: Off
The transposed notes are repeated with no further modification from this setting.
1: Scalic
As the notes are repeated, notes which may be “atonal” based on the analyzed chord (due to being transposed) are shifted to tonal notes. Especially useful when “Transpose” (discussed above) is set to something other than 0 or multiples of 12. The note tables used to shift the notes have fewer passing tones than 2: Scalic2 (described below), and therefore, may produce more pleasing results.
2: Scalic2
Same as 1: Scalic (above), except that the note tables used to shift the notes have more passing tones for each chord; therefore, 2: Scalic2 sounds more modal in nature.

Stop Mode [0…3]

0: Off 1: Any-Any Note 2: AKR-1st Note After Key Release
Allows pending repeated notes which haven’t sounded yet to be discarded (stopped) by various actions, such as playing the keyboard.
0: Off
Playing new chords or notes do not affect pending repeated notes - they will continue repeating as the parameters specify. This allows previously started repeats to overlap newly started repeats.
1: Any-Any Note
Playing any new chords or notes will cause all pending repeated notes to be discarded, and only the new notes will be repeated.
Repeat
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2: AKR-1st Note After Key Release
Playing any new notes while still sustaining at least one note will not cause any repeats to be discarded; all keys must first be released, and then the next chord/note will discard any pending repeated notes.
A MIDI Controller can also be assigned to perform the stopping of Repeats by using the “Repeat Stop” Dynamic MIDI Destination (☞PG p.237) When a Dynamic MIDI destination (6.4–3: “Destination”) is set to “Trig Notes” or “Trig Nt&Env”, Stop Mode also applies to whether the repeats will be stopped when triggered by the Dynamic MIDI action.

Rebound [0…2]

0: Off 1: Wrap 2: Rebound
When using “Transpose” (☞p.33) with repeated notes and many repetitions, eventually the pitches of the repeated notes may go beyond a certain range. This can be an absolute overall range, or a small range designed to track the hands around the keyboard. The range and function­ing of it is determined by the settings of the “Range Mode” and “Range Bottom/Top” parameters described above. When the pitches of the repeated notes go beyond the selected range, one of several options may be selected:
0: Off
When repeated notes go beyond the specified range, they will cease to repeat, regardless of the number of repeti­tions left.
1: Wrap
When repeated notes go beyond the specified range, they will drop up or down an algorithmiclly determined interval (depending on which end of the range they exceed) and continue until the required number of repetitions have been generated. This will cause an up/ down back-and-forth “cycling” effect over the entire range.
2: Rebound
When repeated notes go beyond the specified range, they will reverse their direction (essentially by inverting the current Transpose values) and continue in the opposite direction until the required number of repetitions have been generated. This will cause an up/down back-and­forth “cycling” effect over the entire range.

Tempo Lock [0, 1]

0: Off 1: Lock
When a Tempo Envelope is being used (in the Env (Envelope) Group), setting this to 1: Lock causes the repeated notes to lock their rhythms to the Tempo Envelope; i.e. as the Tempo Envelope speeds up the times between them get smaller. Setting this to 0: Off causes the size to remain relative to the KARMA Tempo; even though the Tempo Envelope may be speeding up or slowing down the effect, the repeat times remain the same.
When a Tempo Envelope is “Off” or not in use, this parameter has no effect.

Range Parameters

Range Mode [0…3]

0: Absolute
Lowest Note Relative
1: 2: Highest Note Relative
Lowest/Highest Note Relative
3:
Selects one of several options for how the “W rap Bottom” and “Wrap Top” values are used, which specify a range within which repeated notes will be maintained. This can be either an “absolute range,” or a “sliding range” that tracks your hands around the keyboard. When notes go beyond this range, they will either stop repeating, wrap around or rebound, as determined by the “Rebound” setting.
0: Absolute

The “Wrap Bottom” and “Wrap Top” parameters are Note Number values that specify the absolute bottom and top of the pitch range for repeated notes. For example, 36 is C2 and 72 is C5.

1: Lowest Note Relative
The “Wrap Bottom” and “Wrap Top” parameters define a “sliding range” with regards to the lowest noteplayed,
represented as +/- semitones. For example, if you set bottom to -12 and top to +12, this means that the notes will be kept in range from an octave below the lowest note played to an octave above the lowest note played.
2: Highest Note Relative
The same as above, but relates to the highest note played.
3: Lowest/Highest Note Relative
The “Wrap Bottom” parameter relates to the lowest note played, and the “Wrap Top” parameter relates to the highest note played. Therefore, you control the overall range according to the spread of the notes that are played. For example, if you set both “Wrap Bottom” and “Wrap To p” to 0 in this mode, then repeated notes would never be generated outside of the range of the lowest to highest note that were provided as input.

Wrap Bottom [0…127/–64…+63] Wrap Top [0…127/–64…+63]

0…127: C-1…G7 when Range Mode is 0: Absolute –64…+63: otherwise
Chooses a pitch range within which to keep repeated notes which are being transposed. The values selected here have different meanings depending on the Range Mode described above. When the pitches of repeated notes exceed this range, the setting of the “Rebound” comes into effect.
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Vel. Range Bottom [1…127] Vel. Range Top [1…127]

When “GE Type” (☞p.4) is 3: Real-Time, these specify a velocity range within which input notes will trigger the generation of repeated notes. Notes outside of the velocity range will not generate repeats. This is an easy way to allow the velocity with which you play to control the triggering of repeated notes.
When “GE Type” is any of the other options, these specify a velocity range within which generated notes (such as notes from the Note Series, or Drum Pattern notes) will trigger the generation of repeated notes. Notes outside of the velocity range will not generate repeats. This allows only certain notes within certain velocity ranges to trigger the generation of repeated notes, while others will not.
Repeats can not be generated when “GE Type” (☞p.4) = 1: Generated-Gated and “Gate Type” (☞p.4) is one of the CC Types, since notes are not actually gener­ated in this mode, but a sustained set of notes is manipulated by a selected CC, i.e. “chopped” by CC#11 (Expression).

Real-Time Parameters

If the“ GE Type” is 3: Real-Time, these additional parameters are also available.

Duration Mode (RT) [0…4]

3: Fixed-No Overlap

If the original note is longer than the repeat time, it will be cut-off by the first repeated note. Furthermore, each repeated note will have a fixed value in milliseconds, set by the “Duration Value (RT)” parameter.

4: As Played-Delay No Overlap
The original note will have the duration as played, and so will the delays, as long as they are shorter than the repeat time. If the original note is longer than the repeat time, it will not get cut-off, but the delays will limit their lengths to the repeat time.
0: AS PLAYED
Original
Repeats (4)
1: FIXED
Original
Repeats (4)
2: AS PLAYED, NO OVERLAP
Original
Repeats (4)
3: FIXED - NO OVERLAP
Original
Repeats (4)
4: AS PLAYED, REPEATS NO OVERLAP
Original
Repeats (4)
Repeat
0: As Played 1: Fixed 2: As Played-No Overlap 3: Fixed-No Overlap 4: As Played-Delay No Overlap
Chooses one of 5 different modes for the durations of the repeated notes, which not only can greatly reduce problems with polyphony, but provide some interesting performance options.
0: As Played
Each delayed note will have the same duration as the initial note, with the exception that if “Transpose” (☞p.33) is 0, then notes of the same pitch will not overlap. If “Transpose” is other than 0, and many notes are sus- tained, this can quickly eat up a lot of the polyphony of your sound modules.
1: Fixed
The original note will have the duration as played, but each repetition will have a fixed length, set by the “Duration Value (RT)” parameter, in milliseconds. This can be used so that holding long notes will have repeated notes with short durations, saving polyphony or creating useful effects.
2: As Played-No Overlap
If the original note is shorter than the repeat time, each delayed note will have the same duration as the initial note. If the original note is longer than the repeat time, it will be cut-off by the first repeat, and each repeat will cut­off the preceding one. Therefore, all notes including the original one will not have a duration longer than the repeat time.
Duration Value (RT) [2…1000 (ms)]
Specifies the length of the durations of the repeated notes (in milliseconds).
Only available when the “Duration Mode (RT)” is 1: Fixed or 3: Fixed-No Overlap.

Key Mode (RT) [0, 1]

0: Down 1: Up
0: Down (Key down)
Generation of the repeated notes starts immediately upon receiving a note according to the settings of the parameters.
1: Up (Key up)
Generation of the repeated notes is not started until the input source note(s) are released. This allows you to trigger the start of a repeated ef fect with the release of the keys.

Chord Quantize (RT) [0, 1]

0: Off 1: On
Causes one of two different types of behavior, depending on the setting of the “Key Mode (RT)” parameter above.
When “Key Mode (RT)” is 0: Down:
When a chord is played on the keyboard, there is a certain amount of "slop" associated with hitting the keys: the fingers arrive at slightly different times, there is a built in amount of MIDI timing inaccuracy, etc. When using Melodic Repeat to repeat the chord a number of times, you will hear the same slop it was received with repeated exactly. This corresponds to the “Chord Quantize (RT)” setting of 0: Off. This may or may not be desirable;
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sometimes you may want it, other times you may not. When “Chord Quantize (RT)” is set to 1: On, the notes in the first repeat of the chord will be hard quantized so that they generate simultaneously. All subsequent repeats will be based on those quantized notes, and therefore will also be quantized.
When “Key Mode (RT)” is 1: Up:
The repeats will be triggered when the key(s) are released, so they will be quantized together at that point to occur simultaneously anyway, with no “slop.” But depending where you released them overall in time, they may be “out of sync” with the rhythm or groove that may be being generated. This corresponds to the “Chord Quantize (RT)” setting of 0: Off. When “Chord Quantize (RT)” is set to 1: On, the release (and generation of the first repeats) will be quantized to correspond to the nearest rhythmic division of note generation. This will either be a 16th note, or the rhythm value chosen in the “Rhythm Value” parameter, whichever is longer.
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Bend Group

Overview

The Bend Group allows various shapes of automatic pitch bending to be applied to notes as they are generated. However, no bending will actually occur unless the Phase Pattern has been configured to allow it. This allows effects to be set up where bending only occurs in one or more steps of the Phase Pattern, while other steps have no bending.
Bending is also affected by the Rhythm Pattern’s “no bend” row. Bending will normally be triggered with every single generated note or cluster within a Phase Pattern step where bending is activated; by using the “no bend” row, you can specify that bends will not occur on various steps of the Rhythm Pattern. See Rhythm Group: “Pattern Grid & Associated Parameters”. (☞p.14)
Note that even if bending is properly activated, you may not be hearing any bending ef fects if the “TxFilter: GE-Bend” parameter (☞PG p.29, 60) has been set to filter out the pitch bend that KARMA is generating.

General Parameters

On/Off [0, 1]

0: Off 1: On
Allows the bending effects to be turned on or off. While there are several other ways to disable bending effects, this is mainly provided to allow the RT Parms to control this in real-time. Note that this has no effect if there are no Phase Pattern Steps with bending enabled, or every step of the Rhythm Pattern has a “no bend” row activated.

Amount [–12…18]

0: Random –12…12: –12…+12 Semitones 13: Next Note 14: Next Note +1 15: Next Note +2 16: Prev Note 17: Prev Note –1 18: Prev Note –2
Sets the size in semitones of the bends, or selects one of several special bending options. Note that the actual resulting size of the bend also depends on the setting of the “Bend Range” parameter, described later on. The following descriptions apply when the “Bend Range” (☞p.39) value is 12 (an octave). If the “Bend Range” was 6, the semitones would actually be half-semitones; if the “Bend Range” was 24, the semitones would actually be whole tones.
0: Random (–12…12)
Each bend selects a random semitone size from -12–12 (excluding 0).
13: Next Note
Bends each note to what will be the next note. For example, if the notes to be generated were {C, E, G, B, C...}, then the C will bend to the E, the E will bend to the G, etc. This is very useful for simulation of portamento, or ef fects like sliding from one bass note to another within a phrase.
14: Next Note +1
Bends each note to what will be the note 2 notes from the current note. For example, if the notes to be generated were {C, E, G, B, C...}, then the C will bend to the G, the E will bend to the B, etc.
15: Next Note +2
Bends each note to what will be the note 3 notes from the current note. For example, if the notes to be generated were {C, E, G, B, C...}, then the C will bend to the B, the E will bend to the second C, etc.
16: Prev Note
Bends each note to what was the previous note. For example, if the notes to be generated were {C, E, G, B, C...}, then the E would bend to the C, the G would bend to the E, the B would bend to the G, etc. In this case, if C was the first note to be generated, a bend to E would be calculated since there is no actual “previous” note.
17: Prev Note –1
Bends each note to the note that was two notes previous. For example, if the notes to be generated were {C, E, G, B, C...}, then the G will bend to the C, the B will bend to the E, etc.
18: Prev Note –2
Bends each note to the note that was three notes previous. For example, if the notes to be generated were {C, E, G, B, C...}, then the B will bend to the C, the second C will bend to the E, etc.
For the 3 Previous Note settings, when no notes have yet been played, KARMA extrapolates what it thinks the bends would have been for the first few notes, based on various settings. Most of the time this will produce a “musical-sounding” bend.
For the Next and Previous Note settings, a bend of 0 is not allowed, even if the next or previous notes to be generated are the same pitch. In this case, a bend to the next or previous note in the Note Series will be used, in order to preserve the illusion of continuous bending. If all possibilities are exhausted, a bend of an octave (12) will be used.
13, 14, 15, 17 & 18 not available when “GE Type” (☞p.4) is 3: Real-Time.

Shape [0…2]

0: Bend 1: Hammer 2: Hammer Bend
Choose one of 3 different overall shapes for the resulting bend. See the Appendices: “Using Auto Bend”. (☞p.48)
0: Bend
Bends the current note to whichever note or by whichever semitone size is selected in the “Amount” parameter. The timing and length of the bend is determined by the “Length,” “Start” and “End” parameters. (☞p.38) Useful for portamento simulation and ethnic bending effects, among others.
Bend
–12…12: –12…+12 (Semitones)
Bends each note the selected semitone size.
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1: Hammer
Bends the current note to whichever note or by whichever semitone size is selected in the “Amount” parameter, then back to the current pitch. The timing and length of the bend is determined by the “Length”, “Start” and “End” parameters, and the “Width” parameter. Useful for guitar hammer-on effects, among others.
2: Hammer Bend
Bends the current note to whichever note or by whichever semitone size is selected in the “Amount” parameter (☞p.36), then back to the current pitch, then again to the note or pitch selected in the “Amount” parameter . The timing and length of the bend is determined by the “Length,” “Start” and “End” parameters, and the “Width” parameter . Useful for ethnic bending ef fects, among others.

Alternation [0, 1]

0: Off 1: Alternating
When set to 1: Alternating, causes alternate bends to flip back and forth between the + and -. For example, if the “Amount” parameter is set to +12, then the bends produced with a series of notes will be {+12, -12, +12, -
12...} etc. When Next/Previous Note Bending is selected, it will alternate between Next and Previous. For example, if 13: Next Note is selected in the size Menu, then the bends will be {Next, Prev, Next, Prev...} etc.
0…23: Note Values
Sets the overall length of each bend window to the selected rhythm value; each bend will be therefore be the same length. Note that this is tempo dependent, so changing tempo changes the length of the bend and keeps the effect locked to tempo. If the length of the bend is longer than the actual duration of the note with which it is generated, part or all of the bend will not be heard.
24: Fixed-ms

Makes available the “Fixed-ms” parameter . A length of absolute time may then be specified in milliseconds for each bend window. Note that this is independent of any tempo settings. You might use this to keep the same length and speed of a bend regardless of the tempo.

25: Note Duration
The duration of the note as it is generated is used as the bend window, with the “Start” and “End” parameters specifying where in the note’s duration the bend will start and end. Each bend may therefore be a different length, depending on the durations of the notes. A 16th note duration will have a bend that is half the length and twice as fast as an 8th note duration.
Not available when “GE Type” (☞p.4) is 3: Real- Time, since the duration of the note is determined by actually playing the keyboard. If selected, this setting will act the same as 7: 16th.

Step [0…12]

0: Smooth 1…12: 1 ST…12 ST
0: Smooth
Bends will be continuous, with a value sent out every “n” milliseconds as specified by the Rate parameter.
1…12: 1 ST…12 ST (Semitones)
Bends will be quantized to the semitone step size selected, producing “glissando” bends. For example, if the “Amount” parameter is set to 12 and Step Mode is set to 2: 2 ST, then the resulting bend will be quantized to 6 steps of 2 semitones each. When one of the Semitone settings is selected, the Rate parameter is not available.

Length [0…25]

0: 64th triplet 9: 8th triplet 18: 1: 64th 10: 8th 19: Whole 2: 64th dotted 11: 8th dotted 20: 3: 32th triplet 12:
Quarter triple 4: 32th 13: Quarter 22: 3 bars 5: 32th dotted 14:
Quarter dotted 6: 16th triplet 15: Half triplet 24: Fixed-ms 7: 16th 16: Half 25: Note Duration 8: 16th dotted 17: Half dotted
Specifies an overall length for a “bend window” within which the bend will take place, based on the “Start” and “End” parameters. See the Appendices: “Using Auto Bend”. (☞p.48)
Whole triplet
Whole dotted
t 21: 2 bars
23: 4 bars
Fixed-ms [0…5000 (ms)]
A fixed length of absolute time may be specified in milliseconds for each bend window. Note that this is independent of any tempo settings. You might use this to keep the same length and speed of a bend regardless of the tempo. Has no effect unless the 24: Fixed-ms setting is selected for the “Length” parameter.

Start [0…100 (%)]

Specifies the start point of the bend in the overall bend window (set by the “Length” parameter). The value is a percentage of the overall bend window. For example, if 0%, the bend will start as soon as the note begins to play; other values will cause a certain “delay” before the start of the bend.
End [0…100 (%)]
Specifies the end point of the bend in the overall bend window (set by the “Length” parameter). The value is a percentage of the overall bend window . For example, if 100%, the bend will extend all the way to the end of the bend window; other values will cause the bend to reach the destination pitch and “hang there” for a period of time.

Width [0…100 (%)]

Specifies the width of the “hammer” when the 1: Hammer or 2: Hammer Bend shape is selected. This controls the
amount of bend at each end of the hammer (the “back- and-forth” bend). For example, 0% creates a triangle wave shape, and 100% creates a square wave shape, with other values somewhere in between. Width also controls the length of the final bend when the Hammer Bend shape is selected. See the Appendices: “Using Auto Bend”. (☞p.48)
Has no effecte when 0: Bend is selected in the “Shape” parameter.
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Drum Bend Mode [0, 1]

Direction (RT) [0, 1]

0: Generated 1: Arpeggiated
If the “GE T ype” (☞p.4) is 2: Generated-Drum, the “Drum Bend Mode” parameter specifies one of two dif ferent bending ef fects:
0: Generated-generate shape for each note
Causes bending to be generated for each drum note the same as with any other “GE Type”. All of the parameters described above operate as described.
1: Arpeggiated-use Note Series for stepped bends
Disables most of the other bend parameters, and instead uses the pitches of the notes in the Note Series to generate stepped “pitch bend sequences.” The riff or arpeggio that would normally be being produced if the “GE Type” was 0: Generated-Riff is still being generated internally, even though the Drum Pattern(s) are being played. This internal riff or arpeggio can be applied to the resulting drum rhythms as Pitch Bend values. The Index Pattern controls the order of the pitch bend values, which are selected from within the Note Series, just as if the “GE Type” was 0: Generated-Riff. This results in “Wave- Sequencing” effects and other unique sounds.
Not available when “GE Type” is not 2: Generated- Drum.

Bend Range [0…24 (semitones)]

Sets the overall bending range of the whole GE. This also affects pitch bend envelopes, CC-A/CC-B if generating pitch bend, etc. Note that this must be set to 12 for the semitone-related bend parameters described above to actually be semitones.

Real-Time Parameters

If the “GE Type” is 3: Real-Time, the following param- eters will also be available.
0: From 1: To
0: From
The bend starts at a pitch of fset equal to the Amount setting, and ends at the current pitch (i.e. Joystick center). For example, if “Amount” = -12 and “Shape” = 0: Bend, it would be the same as starting a note with the Joystick all the way in the pitch down position, and then moving it to the center .
1: To
The bend starts at the current pitch (i.e. Joystick center), and ends at a pitch of fset equal to the Amount setting. For example, if “Amount” = -12 and “Shape” = 0: Bend, it would be the same as starting a note with the Joystick in the center position, and then moving it all the way to the pitch down position.
For more information on practical uses for this, see the Appendices “Using Auto Bend: Next/Previous Note Bending: Realtime”. (☞p.48)

Rel. Delay Length (RT) [0…24]

0: 64th triplet 9: 8th triplet 18: Whole triplet 1: 64th 10: 8th 19: Whole 2: 64th dotted 11: 8th dotted 20: Whole dotted 3: 32th triplet 12: 4: 32th 13: Quarter 22: 3 bars 5: 32th dotted 14: 6: 16th triplet 15: Half triplet 24: Off 7: 16th 16: Half 8: 16th dotted 17: Half dotted
Allows the release (note-offs) of notes to be delayed by certain amounts (various rhythmic durations at the current tempo). This is mainly to allow bends to be produced when you release the keys (with “Key Mode (RT)” set to 1: Up). When Off, no delay is added.
Quarter triplet
Quarter dotted
21: 2 bars
23: 4 bars
Bend

Key Mode (RT) [0, 1]

0: Down 1: Up
0: Down
The bend window specified by the “Length” (☞p.38) setting starts immediately upon receiving a note accord­ing to the settings of the parameters.
1: Up
The bend window is not started until the input source note is released. Note that for this kind of bend effect to be audible, you must either be using a synth program with a long release, or set the “Rel. Delay Length (RT)” param­eter below to something other than 0: Off.

Rel. Delay Damping (RT) [0, 1]

0: Off 1: On
When 1: On, starting new notes while others are still sustaining (because of a delayed note-off from the “Rel. Delay Length (RT)” parameter above) will shut the sustaining notes off. This is useful for creating monopho­nic style bending effects using “Key Mode (RT)” and “Rel. Delay Length (RT)”. When 0: Off, the notes are allowed to overlap.
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Drum Group

Overview

The Drum Group allows up to 3 separate Drum or Melodic Patterns (of equal or dif ferent lengths) to be
created, edited, and simultaneously looped, while being separately modified by various other parameters. Many of these modifications are controlled by settings in the Phase Group. This allows you to set up ef fects where various things happen only on certain steps of the Phase Pattern; such as a 4 bar Drum Pattern which is randomized with a Cluster Pattern every 4th time through (bars 13–16).

About Drum Patterns

A Drum Pattern is a special type of “fixed” pattern that contains Note Numbers. These can be used to construct Drum and Percussion Patterns, or Melodic Patterns of a more fixed nature than what is generated by using the Note Series Group.
Drum Patterns with more than one sound turned on in a column can operate either “polyphonically” (generating more than one drum note at a time) or as random “pools”, where a random choice will be made from one of the drum sounds in the column. The bottom row of each grid allows a rest to be placed as a step, or added to the pools for the possibility of a rest.
A Drum Pattern consists of only Note Numbers and rests; there are no durations, no velocities, no rhythms. The other information is supplied by the Rhythm, V elocity, Cluster, and other Patterns.
A Drum Pattern will loop as long as note generation continues. The 3 separate Patterns are independently loopable, so they can be of dif ferent lengths; a 4 bar Kick/ Snare Pattern can be used with a 2 bar Hi-hat Pattern and a 3 bar Percussion Pattern, etc. They normally will not reset to the beginning of the Pattern unless a new T rigger is received, or unless the Phase Pattern has been config­ured to restart them at the beginning of certain Phases. This also means that a 64 step Drum Pattern can be looping while an 8 step V elocity Pattern and a 12 step Cluster Pattern are also independently looping, for example.
The rif f or arpeggio that would normally be being produced if the “GE T ype” (☞p.4) was 0: Generated-Riff is still being generated internally . Therefore, if Index Patterns, Cluster Patterns, or V elocity Patterns are being used by the GE, these can be applied to the Drum Patterns with very interesting results, causing randomization and quasi-improvisational ef fects. These randomizations are controlled by settings in the Phase Pattern. This allows effects where various things happen only on certain steps of the Phase Pattern; such as a 4 bar Drum Pattern which is randomized with a V elocity Pattern every 4th time through (bars 13–16).
Also, the same rif f or arpeggio can be applied to the resulting drum rhythms as Pitch Bend values, on the Bend Group. This results in “W ave-Sequencing” ef fects and other unique sounds. Each step in the Phase Pattern can have Pitch Bend activated for that particular step. This means that you can do something like have no Pitch Bend through 3 steps and then have Pitch Bend on the 4th step.

Pattern Editing Grid & Associated Parameters

Drum Pattern

A Drum Pattern is a grid of 8 rows by 64 columns. The bottom row of the grid is the “Rest” row; the other 7 rows correspond to 7 Drum Sounds or Notes that have been chosen to construct the pattern. A Drum Pattern may have any number of steps up to 64, with each step being represented by one column on the grid; unused columns appear disabled.
The example above shows a kick, snare, toms and maracas pattern, where the bottom two rows in the top part of the grid have their corresponding Drum Sound menus set to kick and snare. The bottom row of rests are interleaved with the kick and snare choices to form a groove to be played with a straight 32nd note Rhythm Pattern. Therefore, the entire grid represents a 2 bar phrase of 4/4 time, with every 8 columns representing 8 32nd notes (1 quarter note).
Also shown above is a 65th column, known as the “Always Column” and indicated by the abbreviation “a” underneath it. When a row is selected in this column, it will cause any values in that row of the Drum Pattern to always be played, regardless of any randomization that is going on, or regardless of the “Poly/Pools” setting (discussed later on).
Pattern grids cannot viewed and edited in the KARMA Music Workstation.

Associated Parameters

Play On/Off [0, 1]
0: Off 1: On
When 1: On, the Drum Pattern is played during Note Generation. When 0: Off, the Grid may contain values but will not be played during Note Generation. This can be used to temporarily “mute” one or more patterns during playback.
On/Off Combinations [0…7]
Controls all 3 Drum Pattern On/Of f at the same time, in various combinations. The values 0–7 select one of 8 different combinations, shown in the following table:
Value
0 1 2 3 4 5 6 7
Pattrn 1
Off On Off Off On Off On On
Pattern 2
Off Off On Off On On Off On
Pattern 3
Off Off Off On Off On On On
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Row1…7 Note [0…127]
Strt/Dot/Trip Mults [0…15]
0…127: C-1…G9
Selects a Drum Sound/MIDI Note Number for each of the 7 rows of the selected Drum pattern.
Row1…7 Vel. Offset [–127…+127]
Allows the velocity for notes from that row only to be offset with regards to other rows. For example, you can use this to make a snare softer overall than a kick. Note that this is subtractive/additive: “0” leaves velocities at the Initial V elocity they would normally be generated with based on the V elocity Group settings. So setting positive amounts may interfere with the V elocity control that you have specified elsewhere. One example is controlling the velocity sensitivity of the Drum Pattern with the keyboard. Regardless of your V elocity Group settings, if the Row V elocity Of fset here was a large positive value, you would get no apparent velocity sensitivity from the keyboard for this row , since this value would be added and ef fectively cancel out the ef fects of the Velocity Mode and V alue.
Rhythm Multiplier [1…800 (%)]
Multiplies the current Rhythm Pattern. Note that this is entirely independent of the same parameter in the Rhythm Group. This means that each Drum Pattern can have a different “Rhythm Multiplier.” (☞p.15) For example, if you set the Rhythm Pattern to 32nds, you could drive one Drum Pattern with a “Rhythm Multiplier” of 100% at 32nd note speed, and another Drum Pattern at 200% for 16th note speed. If they were the same number of steps, it would take twice as long to perform the entire 16th-based pattern as the 32nd-based pattern. This also means that the Rhythm Pattern driving the underlying Riff (that may be applied as Pitch Bend or used to randomize the Drum Patterns) can be operating at a different rhythmic relationship. For example, if the Rhythm Pattern was set to 16ths, and the Drum Pattern “Rhythm Multiplier” to 50%, the Drum Pattern would be generated as 32nd-based, while any arpeggiated pitch bend would be 16th-note based, or 1 bend every 2 steps of the Drum Pattern.
Straight Multiplier [0…5]
0: 25 % 2: 100 % 4: 200 % 1: 50 % 3: 200 % 5: 800 %
Selects from a quantized set of “straight” values for the “Rhythm Multiplier” field of the associated Drum
Pattern(s). In other words, when applied to a Rhythm pattern containing values such as 16th notes, the resulting rhythmic values will be straight values such as 8th notes, quarter notes, etc.
Straight/Trip Mults [0…10]
0: 25 % 3: 68 % 6: 200 % 9: 544 % 1: 34 % 4: 100 % 2: 50 % 5: 136 % 8: 400 %
Selects from a quantized set of “straight & triplet” values for the “Rhythm Multiplier” field of the associated Drum Pattern(s). In other words, when applied to a Rhythm pattern containing values such as 16th notes, the resulting rhythmic values will be straight values such as 8th notes, quarter notes, etc. or various triplet values.
7: 272 %
10: 800%
0: 25 % 4: 68 % 8: 150 % 12: 400 % 1: 34 % 5: 75 % 9: 200 % 13: 544 % 2: 37 % 6: 100 % 10: 272 % 14: 600 % 3: 50 % 7:
Selects from a quantized set of “straight, triplet & dotted” values for the “Rhythm Multiplier” field of the associated Drum Pattern(s). In other words, when applied to a Rhythm pattern containing values such as 16th notes, the resulting rhythmic values will be straight values such as 8th notes, quarter notes, etc., various triplet values, or various dotted values.
136 %
11: 300 %
15: 800 %
Velocity Offset [–127…+127]
Subtracts or adds a constant amount to the velocities for each Drum Pattern. Allows a Pattern’ s relative volume to be raised or lowered with regard to the other Patterns. Note that this is subtractive/additive: 0 leaves velocities at the Initial V elocity they would normally be generated based on the V elocity Group settings. So setting positive amounts may interfere with the V elocity control that you have specified elsewhere. One example is controlling the velocity sensitivity of the Drum Pattern with the key­board. Regardless of your V elocity Group settings, if the Pattern Velocity Of fset here was a large positive value, you would get no apparent velocity sensitivity from the keyboard, since this value would be added and ef fectively cancel out the ef fects of the V elocity Mode and V alue.
Velocity Scale [–999…+999 (%)]
A percentage by which the V elocity Pattern selected in the Velocity Group is scaled before being applied. Notes can be made to disappear or drop out using large positive values; large negative values with a very soft Initial Velocity can create interesting “reversed” ef fects. The same field in the V elocity Group itself is disabled for Drum Effects, since each Pattern here has its own “Velocity Scale.”
Pattern Transpose [–36…+36]
Allows each Drum Pattern to be individually transposed in semitones. This is additive to the transpose in the KARMA Module. ( ☞PG 6.2–1a)
Octave Transpose [–36…+36]
Allows the Drum Pattern T ranspose value to be quantized to the nearest octave, so that when being changed by a KARMA Realtime Control, only transposition by octaves is possible. In this case, the value of the parameter changes by semitones, but the actual transpose value will only change at certain points within the range:
-36 to -31 = -36 (-3 octaves)
-30 to -19 = -24 (-2 octaves)
-18 to -7 = -12 (-1 octave)
-6 to +5 = 0 (no transpose) +6 to +17 = +12 (+1 octave) +18 to +29 = +24 (+2 octaves) +30 to +36 = +36 (+3 octaves)
Drum
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Oct/5th Transpose
Allows the Drum Pattern T ranspose value to be quantized to the nearest octave or fifth, so that when being changed by a KARMA Real-time Control, only transposition by octaves or fifths is possible. In this case, the value of the parameter changes by semitones, but the actual transpose value will only change at certain points within the range:
-36 to -33 = -36 (-3 octaves)
-32 to -27 = -29 (-3 octaves +5th)
-26 to -21 = -24 (-2 octaves)
-20 to -15 = -17 (-2 octaves +5th)
-14 to -9 = -12 (-1 octave)
-8 to -3 = -5 (-1 octave +5th)
-2 to +3 = 0 (no transpose) +4 to +9 = +7 (+5th) + 10 to +15 = +12 (+1 octave) +16 to +21 = +19 (+1 octave +5th) +22 to +27 = +24 (+2 octaves) +28 to +33 = +31 (+2 octaves +5th) +34 to +36 = +36 (+3 octaves)
Use Riff Length [0, 1]
0: Off 1: On
When 1: On, the Pattern uses the GE’s actual Note Series Length as the length of the Drum Pattern. For example, if the Note Series Group was set to “Replications” ( ☞p.7) 4.0 with “Symmetry” ( ☞p.7) Off, and 4 notes were played, a 16 note Note Series would normally be created. The Drum Pattern would restart after 16 steps of it have been played. Playing 1 note would changed the Note Series Length to 4, and the Drum Pattern would restart after 4 steps. This can be used to change the apparent length or time signature of the groove or phrase in real-time. When this is 0: Off, the Drum Pattern loops through its full length.

Random Weighting Parameters - Pools

The Random W eighting Parameters - Pools are made available when at least one step (column) in the Drum Pattern Grid contains multiple buttons turned on in the upper 7 rows (not counting the “rest” row), and the “pools” button is on. This step then constitutes a “random pool” of Drum Sounds/Notes. For example, you can influence whether a tom will be played at a certain step more often than a snare.
☞ p.14 Rhythm Group: Random W eighting Parameters -
Pools

Pools-Random Factor [–99…+99]

☞ p.14 Rhythm Group: “Pools-Random Factor”
The following table summarizes the ef fect of the various Weighting Curves and the Factor field on Drum Sound choices:
Drum Pool values that receive priority: Weighting Factor Curve + (Positive) - (Negative) Exp/Log higher in grid lower in grid Exp-S/Log-S middle higher/lower

Random Weighting Parameters - Rests

The Random W eighting Parameters - Rests are made available when at least one column in the grid has a rest and at least one other Drum Sound turned on. This will happen with either the 1: pool or 2: poly selected, since you can have random rests in both modes; they just operate dif ferently (see description above under “Pools/ Poly”).
Whenever this step is encountered in playing through the pattern and a random choice must be made, the likelihood of a rest occurring can be favored by the use of a separate weighting curve.

Rests-Random Factor [–99…+99]

Controls the degree of slope to the W eighting Curve. 0 = a Linear Curve with any Weighting Curve. Negative values
not only invert but rotate the curve. For examples, see the Appendices: “Random W eighting Curves”. ( ☞p.50)

Rests-WeightingCurve (Rests-Weighting Curve)

0: Exponential 1: Logarithmic
2 different shapes are available, which af fect the likeli­hood of a rest occurring when a random choice is made. For more information, see the Appendices: “Random Weighting Curves”. ( ☞p.50)
0: Exponential
With a positive Factor (+), choices will be exponentially weighted towards the Drum Sounds/Notes more often. With a negative Factor (-), choices will be exponentially weighted towards the rests more often.
1: Logarithmic
With a positive Factor (+), choices will be logarithmically weighted towards the Drum Sounds/Notes more often. With a negative Factor (-), choices will be logarithmically weighted towards the rests more often.
A Factor of 0 with any shaped curve yields a linear table (straight diagonal line), and each of the values in the pool will have an equal chance of getting chosen.
[0, 1]
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Pools-WeightingCurve (Pools-Weighting Curve)

[0…3]
0: Exponential 2: Exp-S 1: Logarithmic 3: Log-S
☞ p.14 Rhythm Group: “Pools-W eightingCurve”
p.50 Appendices: “Random W eighting Curves”
The following table summarizes the ef fect of the various Weighting Curves and the Factor field on random rests:
Values that receive priority: Weighting Factor Curve + (Positive) - (Negative) Exp/Log less rests more rests
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Associated Parameters

Pools/Poly [0, 1]

0: Poly 1: Pools
Chooses one of 2 modes of operation for the entire grid when columns contain more than one Drum Sound and/ or a rest.
0: Poly
If there is more than one Drum Sound selected in a column (and no rest), then all of the Drum Sounds at that step will be played; if you had a kick, snare, and hi-hat in the same column, all 3 would be played when that step was reached. This is the typical operation of most grid­based rhythm pattern software. However , if a rest is also selected, then there will be a random possibility of a rest or a Drum Sound for each of the Drum Sounds; in other words, if you had a kick, snare, hi-hat and rest in the same column, for each of the 3 Drum Sounds a choice between the sound and the rest would be made (subject to the Random Rest W eighting Curve described previously). This would result in one of 8 possible combinations:
kick, snare, hi-hat → kick, snare, hi-hat (rest), snare, hi-hat → snare, hi-hat kick, (rest), hi-hat → kick, hi-hat kick, snare, (rest) → kick, snare (rest), snare, (rest) → snare (rest), (rest), hi-hat → hi-hat kick, (rest), (rest) → kick (rest), (rest), (rest) → rest (nothing)
1: Pools
If there is more than one Drum Sound selected in a column, then those sounds form a “pool” of choices from which only one will be chosen at random. If a rest is also selected, then there will be a possibility of a rest or only one of the Drum Sounds. For example, if you had a kick, snare, hi-hat and rest in the same column, there would first be a choice of one of the 3 Drum Sounds (subject to the Random Pool W eighting Curve described previously), then a choice as to whether to play the single chosen Drum Sound or a rest (subject to the separate Random Rest Weighting Curve described previously). This would result in one 4 possible choices:
kick snare hi-hat rest

Track Keyboard [0, 1]

0: Off 1: On
When set to 0: Off, the Drum or Melodic Pattern is “fixed”
- it doesn't matter what notes you play on the keyboard. The pattern will always produce the same pitches, according to the settings of the Drum Sound/Note settings. This is most typical for Drum Patterns. When 1: On, the pitches of the notes generated “track” the lowest key played on the keyboard (or other input device), related to C2 (MIDI Note #36). This is most useful for Melodic Patterns. In other words, when you play a C2, the pattern will be produced using the Note Numbers as specified by the Drum Sound/Note settings, and any other applicable parameters. If you then play an E2, the notes being generated will be transposed up by 4 steps.
Assuming the Notes that are assigned are in the key of C, this puts the resulting pattern in the Key of E. This is often useful in conjunction with the “NTT - Note T able Transposition” parameter , described next.

NTT (Note Table Transposition) [0, 1]

0: Off 1: On
When 0: Off, different chords played on the keyboard (or other input device) have no ef fect on the pitches of the notes. When 1: On, Chord Analysis is performed on the input chord, and certain pitches as they are generated may be shifted to other notes to fit the chord. This is useful in conjunction with the “T rack Keyboard” param­eter described above. If you have created a Melodic pattern that is being transposed, you can also have the tonality of the pattern shift to match dif ferent chords as you play them, similar to popular auto-accompaniment keyboards. In other words, you can write a pattern that plays a musical phrase in a major key , and have it change to a minor key when you play minor chords, automati­cally.

Link To Next [0, 1]

0: Off 1: On
The 3 Drum Patterns can be linked together to form longer Drum Patterns; in this case, they do not play simulta­neously, but “back-to-back.” Drum Pattern 1 can be linked to Drum Pattern2. Drum Pattern 2 can be linked to Drum Pattern 3. If both Drum Pattern 1 and 2 are linked, then all 3 are linked. This can be used to create lengthy drum grooves or melodic phrases, have drum kits change for parts of a phrase, have melodic patterns change to using different pitches or octaves, etc.

Wrap Bottom [0…127] Wrap Top [0…127]

0…127: C-1…G9
Sets an overall range within which notes from all 3 Drum Patterns will be limited. Notes going beyond the range will be transposed by however many octaves necessary to keep them within the specified range. This is mainly intended for use with melodic patterns that are being transposed by using the Keyboard T rack feature.

Template [0…191]

Selects from 192 dif ferent Drum Pattern T emplates, and loads the parameters into the selected Drum Pattern Grid and associated parameters.
A Drum Pattern Template consists of:
• the configuration of the Drum Pattern Grid;
• “poly/pools” setting;
• the 7 choices in the Drum Sounds menus;
• Random Weighting Parameters - Pools (if applicable)
• Random Weighting Parameters - Rest (if applicable)
• the setting of the “Always Column.”
Drum
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Direct Index Group

Overview

Direct Index means to take a controller and map it into the Note Series directly , so that notes can be directly indexed and generated in real-time. One use is to take an area of a keyboard and map it into the Note Series, so that when you play the keys you are not generating the true note, but are selecting notes from within the Note Series. You can set up one area of the keyboard to supply the input notes to the Note Series, and another area to perform the Direct Indexing. This can allow you to “solo” with musically correct notes, without really thinking about what you are doing. Another use is to take a controller like a Joystick and map it into the Note Series, so that sweeping the controller sweeps through the Note Series and generates glissandos and flurries of notes. This can be done in addition to the normal ef fect that the GE may be programmed to generate.
Note that to perform Directing Indexing, a controller must be selected as a “Source” in 6.4: DynMIDI page , and one of two dif ferent options selected as a “Destination”:
• Direct Index
• DI & MdlStop (Direct Index & Module Stop)
For more information, see “Dynamic MIDI Sources & Destinations”. ( ☞PG p.234)

General Parameters

Index Shift [0…3]

0: Top 2: Center 1: Bottom 3: Skip
Selects one of several options for shifting the indexes coming from the controller , if the Note Series at any given time is longer than the range of the selected controller . For example, if you specified an octave of keys (12 keys) as a controller, and there were 24 notes in the Note Series, those 12 potential indexes can be directed to dif ferent areas of the Note Series.
If the number of steps in the range of the selected controller is less than or equal to the number of notes in the Note Series, this parameter has no ef fect and KARMA automatically maps the indexes to the proper notes. If the number of steps is equal, there will be a predictable one­to-one correspondence between the controller and the Direct Index notes. If there are fewer notes in the Note Series than, KARMA automatically maps the indexes in a way that prevents adjacent controller indexes from selecting the same note. Also, in the case of using a CC to sweep through the Note Series, values that would cause duplicate notes will be filtered out. This means you can comfortably use a CC with a range of 0–127 to sweep through a 15 note Note Series.
0: Top
If the length of the Note Series is greater than the range of the selected controller , the índexes will be shifted to the top, so that the highest Direct Index note will be the highest note in the Note Series.
1: Bottom
If the length of the Note Series is greater than the range of the selected controller , the indexes will be shifted to the bottom, so that the lowest Direct Index note will be the lowest note in the Note Series.
2: Center
If the length of the Note Series is greater than the range of the selected controller , the indexes will be centered around the middle note of the Note Series.
3: Skip
If the length of the Note Series is greater than the range of the selected controller , the indexes will be scaled into the Note Series so that the lowest Direct Index note will be the lowest note in the Note Series, the highest Direct Index note will be the highest note in the Note Series, and the other indexes will be spread out over the Note Series, resulting in one or more notes in the Note Series being skipped (cannot be indexed from the controller).

Trill Mode [0…5]

0: Off 3: 3 Note Or More 1: 1 Note Or More 4: 4 Notes Or More 2: 2 Notes Or More 5: 5 Notes Or More
When holding down a certain number of Direct Index notes, an automatic randomized trill/arpeggio can be produced. The rate at which the notes are generated is automatically calculated based on the tempo. This can be used to simulate fast soloing rif fs while performing Direct Indexing.
0: Off/DynMIDI
No trill ef fect will be introduced, no matter how many Direct Indexing notes are held down simultaneously .
1…5: 1 Note Or More…5 Notes Or More
Specifies the required number of notes that must be held down before the trill/arpeggio starts. When set to “1 Note Or More,” playing even a single note causes it to start repeating at the automatically calculated rate. Other notes may then be added to become part of the trill/arpeggio.

Held Note Trig Mode [0…3]

0: Off 2: Retrigger 1: Bend/Retrigger 3: Mute
Selects one of several options for deciding what happens when you are sustaining Direct Index note(s), and the chord is changed so that the sustained note(s) no longer “fit” with that chord (i.e. are no longer are part of the Note Series). Part of the concept with this parameter is to allow soloing only within a “correct” key or Note Series.
0: Off
Nothing is done. The note(s) remain sustained, even if they are “wrong.”
1: Bend/Retrigger
If only one Direct Index note is being sustained, it is bent (with pitch bend) down to the nearest pitch in the new Note Series (if it is no longer present in the Note Series). If more than one note is being sustained, they will all be changed to the nearest notes in the new Note Series and retriggered. If several are sustained, and only one is “incorrect,” they will all be retriggered.
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2: Retrigger
All sustaining Direct Index notes will be changed to the nearest notes in the new Note Series and retriggered. If several are sustained, and only one is “incorrect,” they will all be retriggered.
2: Kbd-Mono
Same as 1: Kbd - Poly above, except the keys act mono- phonically - you cannot play more than one note at a time. Useful for certain types of simulations such as saxophone and synthesizer solos.
3: Mute
Any sustaining Direct Index notes not present in the new Note Series will be shut of f.

Transpose [–36…+36 (semitones)]

Transposes the pitch of the Direct Indexing notes as they are selected from the Note Series. This separate setting allows you to choose the octave for Direct Indexing independent of where the rest of the current GE is designed to work. Note that this is completely separate from the “Transpose” setting in the KARMA module parameters, so changing the octave there will have no effect on Direct Indexing.

Vel. Sensitivity [1…127 - bottom of range]

Sets the overall velocity sensitivity range for the indexes received from the controller source (when it is a note range type such as notes from a keyboard range). This controls the velocities of the Direct Index notes as they are generated. The value entered is the bottom of the range and the top of the range is 127. For example, if the value is 1, then the velocities would be exactly as played. If the value is 64, the velocities would be half as sensitive, because any velocity received from 1–127 will be scaled into the range of 64–127. Therefore, if you want the velocities of the Direct Index notes to be exactly as played by a keyboard, set this value to 1. Note that if the controller is a CC such as a joystick, there is no velocity associated with moving it, so the last received keyboard velocity is used, or a default.

Duration Parameters

Duration Control [0…2]

0: GE 1: Kbd-Poly 2: Kbd-Mono
Determines whether the durations of the Direct Index notes will be controlled by the other parameters in this section, or by the user (through the controller doing the Direct Indexing). The notes that may be generated normally by the GE are still independently controlled by the settings in the Duration Group.
0: GE
Direct Index notes will have the duration specified by the other two parameters in this section, the “Duration Mode” and the “Duration ms” (if applicable). The actual duration of the controller keys are not taken into account. For example, you might set up an ef fect with a short duration which then uses Melodic Repeat to generate further notes; setting this to “GE” ensures that the user's release of a key has no ef fect on the actual durations.
1: Kbd-Poly
Direct Index notes will have the actual duration of the controller keys - pressing a key starts a note and releasing it ends a note. The “Duration Mode” and “Duration ms” become unavailable. This allows the user to control the duration, especially useful for simulating soloing. The controller will act polyphonically - multiple notes can be played and held down simultaneously .

Duration Mode [0…3]

0: Poly Extend 2: Mono Extend 1: Poly Extend/Damped 3: Timed
Selects one of several modes of operation for controlling durations of the Direct Index notes, when the “Duration Control” parameter is set to 0: GE.
0: Poly Extend
Each note will sustain until the next generation of the same note, or until that note is no longer a part of the Note Series (caused by playing a new chord, for example). For example, if the notes to a CMaj chord are sustaining and the chord is changed to a CMinor , only the Es will be shut of f.
1: Poly Extend/Damped
The same as above, except all sustaining notes will be damped when the chord changes, not just notes that are no longer in the Note Series.
2: Mono Extend
Each note is sustained until the next note (of any pitch) is generated.
3: Timed (1…5000 ms)
Makes available the “Duration ms” parameter , where you specify in milliseconds the duration of the generated notes. All notes will therefore have the same length. Note that this is independent of the current tempo - if it is set to 50 ms, it will always be 50 ms, regardless of tempo.
Not available if “Duration Control” is not set to 0: GE.

Duration ms [1…5000 (ms)]

When the “Duration Mode” above is 3: Timed, specifies in milliseconds the duration of the generated notes. All notes will therefore have the same length. Note that this is independent of the current tempo - if it is set to 50ms, it will always be 50ms, regardless of tempo.
Not available if “Duration Control” is not set to 0: GE, or Mode is not set to 3: Timed.

Repeat Parameters

Melodic Rpt On/Off [0, 1]

0: Off 1: On
Allows Melodic Repeat to be independently controlled for Direct Indexing. When this is 1: On, the Direct Index notes will have Repeat Group. The settings for Melodic Repeat in the Phase Pattern do not af fect Direct Indexing. This allows you to have a GE set up where the normally generated ef fect has Melodic Repeat while Direct Indexing does not, and vice versa, or other variations.
Direct Index
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Bend Parameters

Most of the following parameters have the same function­ality as those described in the Bend Group. However , the bend specified here will only happen for Direct Indexing notes. This means that a GE can have one type of Auto Bend ef fect for notes that are being generated, and a different Auto Bend ef fect for Direct Index notes. Or Direct Indexing notes can have bending while notes generated by the same GE do not, etc.
There are several dif ferences between Direct Index Auto Bend and Auto Bend for generated notes (set in the Bend Group):
• It is not possible for the length of the bend to be set to “Note Duration” since in most cases the duration is not
known ahead of time. Therefore, this option is not available in the Bend Group “Length” parameter .
• The Next and Prev Note bending options are replaced with Next and Prev Index options. The dif ference is that when notes are being generated, it is possible to calculate ahead of time what will be the next note. W ith Direct Indexing, it is impossible to know what the next note is since you chose it yourself. Therefore, when set to Next Index, it will bend from the currently chosen index in the Note Series to the next adjacent index in the Note series. The same dif ference applies for Prev Index. These dif ferences are explained further below .
3: Next Index
Bends each note to the next index in the Note Series (note that his may be an up or down bend depending on how the Note Series is constructed and sorted). For example, if the Note Series contains {C, E, G, B, C...}, then when the E is Direct Indexed it will bend to the G.
4: Next Index+1
Bends each note to the index in the Note Series that is 2 indexes forward (note that his may be an up or down bend depending on how the Note Series is constructed and sorted). For example, if the Note Series contains {C, E, G, B, C...}, then when the E is Direct Indexed it will bend to the B.
5: Next Index+2
Bends each note to the index in the Note Series that is 3 indexes forward (note that his may be an up or down bend depending on how the Note Series is constructed and sorted). For example, if the Note Series contains {C, E, G, B, C...}, then when the E is Direct Indexed it will bend to the second C.
6: Prev Index
Bends each note to the previous index in the Note Series (note that his may be an up or down bend depending on how the Note Series is constructed and sorted). For example, if the Note Series contains {C, E, G, B, C...}, then when the B is Direct Indexed it will bend to the G.

Bend On/Off [0, 1]

0: Off 1: On
When set to 0: Off, Direct Index notes will have no bending, but the GE can still generate Auto Bend according to the Bend Group settings when triggered normally. When set to 1: On, Direct Index notes will have bending according to the parameters in this Group - the settings in the Bend Group do not af fect them (other than Bend Range).

Bend Amount [–12…18]

0: Random –12…12: –12…+12 Semitones 13: Next Index 14: Next Index+1 15: Next Index+2 16: Prev Index 17: Prev Index–1 18: Prev Index–2
☞ p.37 Bend Group: “Amount”
0: Random
☞ p.37 Bend Group: “Amount”
1: –12…12: –12…+12 Semitones
☞ p.37 Bend Group: “Amount”
7: Prev Index–1
Bends each note to the index in the Note Series that is 2 indexes backward (note that his may be an up or down bend depending on how the Note Series is constructed and sorted). For example, if the Note Series contains {C, E, G, B, C...}, then when the B is Direct Indexed it will bend to the E.
8: Prev Index–2
Bends each note to the index in the Note Series that is 3 indexes backward (note that his may be an up or down bend depending on how the Note Series is constructed and sorted). For example, if the Note Series contains {C, E, G, B, C...}, then when the B is Direct Indexed it will bend to the first C.

Bend Shape [0…2]

0: Bend 1: Hammer 2: Hammer Bend
☞p.37 Bend Group: “Shape”

Bend Alternation [0, 1]

0: Off 1: Alternating
☞p.38 Bend Group: “Alternation”

Bend Step [0, 1]

0: Smooth 1…12: 1 ST…12 ST
☞p.38 Bend Group: “Step”
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Bend Length [0…25]

0: 64th triplet 9: 8th triplet 18: 1: 64th 10: 8th 19: Whole 2: 64th dotted 11: 8th dotted 20: 3: 32th triplet 12: 4: 32th 13: Quarter 22: 3 bars 5: 32th dotted 14: 6: 16th triplet 15: Half triplet 24: Fixed (ms) 7: 16th 16: Half 25: Note Duration 8: 16th dotted 17: Half dotted
☞p.38 Bend Group: “Length”
Quarter triple
Quarter dotted
Whole triplet
Whole dotted
t 21: 2 bars
23: 4 bars

Bend Fixed-ms [0…5000 (ms)]

☞p.38 Bend Group: “Fixed-ms”

Bend Start [0…100 (%)]

☞p.38 Bend Group: “Start”

Bend End [0…100 (%)]

☞p.38 Bend Group: “End”

Bend Width [0…100 (%)]

☞p.38 Bend Group: “W idth”
Direct Index
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Appendices

Using Auto-Bend

Auto-Bend refers to a feature of KARMA that can generate a bend along with every generated note. It can be used to create gliding effects between notes (simulating portamento), to automatically bend each note to a preset step size, to produce guitar “hammer-on” effects (where a fret is pressed with a finger to a new note after the note has already been picked, without restriking the note), ethnic bending, and other unique effects.
There are several other ways of producing Pitch Bend data in KARMA, including using Pitch Bend Envelopes, and generating stepped Pitch Bend with the CCs Group. This chapter does not apply to those additional methods.

Next Note/Previous Note Bends

Generated
When the “GE Type”(☞p.4) is 0: Generated-Riff or 1: Generated-Gated , Next Note Bending allows the current
note to bend to what will be the next note, the note two away, or the note three away. Previous Note Bending allows the current note to bend to what was the previous note, the note two notes previous, or the note three notes previous.
When beginning a riff with Previous Note bends selected, since the first notes have not actually been played yet, KARMA extrapolates what they would have been based on the settings of various parameters. Most of the time this will produce a correct bend.
When using Next Note bend with Random Modes, KARMA actually does know what the next Note(s) will be, even though they are “Random”.
If the note to be bent to is the same note as the current note (a bend of 0 ) KARMA automatically chooses a bend to another note nearby to maintain the illusion of continuous bending.
The maximum bend size is controlled by the Bend Range setting (usually 12 semitones), even if the next/previous note is farther away.
Also, although KARMA knows what the next notes will be while it is playing a riff, it can’t know when you are going to change a chord and start a new riff. Therefore, the last notes before a chord change may not bend to the correct notes at the start of a new riff, since they will bend to what would be the next note if you hadn’t changed chords. Most of the time this is not a problem and still sounds musically correct.
When using Next/Prev Note Bending with Clusters, Clusters will appear to bend from their bottom note to whatever the next/previous note is.
Real-Time
When the “GE Type”(☞p.4) is 3: Real-Time , only Previous Note bending is available, since KARMA cannot
know which note you will play next. However, by using the Bend Direction parameter, you can bend either “To” the previous note, or “From” the previous note to the one you are playing now. The Bend Shape you are using probably determines which one makes more sense. For example, for Hammer-ons you will probably want to bend “To ” the previous note (because the Hammer Shape bends it back afterwards); while for the Bend Shape, you will probably want to bend “From” the previous note to the one you have played now, since that is where the bend will end up to the ear. However, it’s up to you!

Length Of Bends

“GE Type” 0: Generated-Riff, 1: Generated-Gated, or 2: Generated-Drum
Bend Group “Length” is 0...23: Note Values
The bend length is determined by the chosen note value and will be the same regardless of the actual duration or rhythm of the notes. For example, if the Bend Group “Length” is 7: 16th , then the overall Bend will be within a 16th note, even if you are generating a pattern with quarter notes, eighth notes, and 16th notes mixed together. This allows each bend to be the same length, yet maintain a relationship to tempo, since slowing down the tempo will also lengthen the bend, for example. This also allows the durations of the notes to be varied in real-time without changing the position or length of the bends.
Bend Group “Length” is 24: Fixed-ms
The overall bend is determined by a fixed value in milliseconds, and will be the same length regardless of the tempo setting. For example, this allows an absolute bend length to be determined that does not change with the tempo, so that a guitar line with a bend in it will play slower at a slower tempo, but not bend any slower. This also allows the durations of the notes to be varied in real­time without changing the position or length of the bends.
Bend Group “Length” is 25: Note Duration
The length of the bend is a percentage of the note's duration. Therefore, if you have the Duration Group parameters set to produce very short durations, then very short bends (almost inaudible) will be produced. How­ever, with normal length durations, using this mode allows the bend to be scaled with each note - longer notes get longer bends, shorter notes get shorter bends, etc. Changing the durations of the notes in real-time changes the length and position of the bends.
Note that a bend will never be longer than the rhythm of the generated note itself, even if you are creating overlap­ping notes. In other words, the start of a new note stops the current bend, and potentially starts another one. The diagram in the next section illustrates the resulting bend when the shape is “Bend”, and shows the difference between using Note Duration and one of the other “Bend Length” settings.
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“GE Type” 3: Real-Time
Since the duration of the note is determined by actually playing the keyboard, Bend Group “Length” 25: Note Duration is not available for this GE Type, and will act the same as 7: 16th if selected. The other Bend Length settings operate as described above.

The Different Bend Shapes

Bend
When the “Bend” Shape is selected in the Shape Param­eter, the Start Parameter specifies where in the note’s duration the bend will start, and the End Parameter specifies where in the note’s duration the bend will end. The following diagram illustrates the resulting bend when the shape is “Bend”, and also the difference between Note Duration and Fixed/Note Values settings.
The following diagrams illustrate the shape of a Hammer Bend. A Hammer is the same thing, without the final 3rd bend at the end. Hammers and Hammer Bends follow the same behavior with Duration as discussed in the previous section Length Of Bends.
+12 Bend Hammer Bend with various Widths
Bend +12
Bend 0
Start 30%
Start 30%
100%
100%
Width 100%
Note Duration
100%
100%
End 65%
End 65%
+12 Bend with Note Duration
100% 100%
Bend +12
Bend 0
Start 40%
Quarter Note Eighth Note
End 90%
Start 40%
90%
+12 Bend with Note Value/Fixed (ms) Duration 100ms
100% 100%
Start 40%
100ms
End
90%
Bend +12
Bend 0
End
Start
90%
40%
100ms
Quarter Note Eighth Note
Hammer, Hammer Bend
When the “Hammer” or “Hammer Bend” Shape is selected, the Start and End Parameters function a bit differently. Start specifies where in the note’s duration the 1st bend will start and go to the bend’s highest value (Hammer-On), and End specifies where in the note’s duration the 2nd bend will start and return to zero (Hammer-Off). Additionally, a 3rd bend is generated for Hammer Bends.
Also, when the “Hammer” or “Hammer Bend” Shape is selected, the Width Parameter is available. Width is a percentage of the amount of time between the Start and End points, and therefore controls how long the Hammer­On and Hammer-Off bends will be. You can also think of Width as being the amount of time the bend stays at it’s highest value before returning to zero. A Width of 100% gives you a Square Shape, while a Width of 0% gives you a Triangle Shape.
In a Hammer Bend, the 3rd bend starts at a point in the note’s duration following the End setting, and is determined by a ratio of the W idth. Even when W idth is at 100% and the Hammer-On and Hammer -Off Bends are instantaneous, the final 3rd bend will still be an audible bend.
End
Bend +12
Bend 0
Bend +12
Bend 0
Start 30%
Width 50%
Note Duration
100%
100%
Width 0%
Note Duration
End 65%
Appendices
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Random Weighting Curves

Weighting Curve Shapes and Their Effects

When using the various grid-based Patterns, more than one value selected in a column creates a “pool” of random choices. Different areas of the pool may be selectively favored using a Weighting Curve. 4 different shapes are available, which act to favor certain areas of the pool over others when each random choice is made. The actual shape of the curve depends on the setting of the “Factor” parameter.
Exponential Curves with Positive/Negative Factors
Exp (+Factor) - choose from upper values more often
Exp-S (+Factor) - choose from center values more often
upper
Y Axis =
The Pool
Any table, factor 0 -equal chance of any choice in pool
Exp-S (-Factor) - choose from upper and lower values more often
Exp (-Factor) - choose from lower values more often
lower
min
X Axis =
Random choice with equal probability
between min and max
max
Exponential (Exp)
With a positive Factor (+) , choices will be exponentially weighted towards the upper values in the pool. With a negative Factor (-) , choices will be exponentially weighted towards the lower values in the pool.
Logarithmic (Log)
With a positive Factor (+) , choices will be logarithmically weighted towards the upper values in the pool. With a negative Factor (-) , choices will be exponentially weighted towards the lower values in the pool.
Exponential S (Exp-S)
With a positive Factor (+) , choices will be exponentially weighted towards the center values in the pool, and away from the lower and upper values in the pool. With a negative Factor (-) , choices will be exponentially weighted towards the lower and upper values in the pool, and away from the values in the center of the pool.
Logarithmic S (Log-S)
With a positive Factor (+) , choices will be logarithmically weighted towards the center values in the pool, and away from the lower and upper values in the pool. With a negative Factor (-) , choices will be logarithmically weighted towards the lower and upper values in the pool, and away from the values in the center of the pool.
Using negative Factors not only inverts but rotates the curve.
The following table summarizes the effect of the Factor field on the curves and the pools:
Pool values that receive priority: Weighting Factor Curve + (Positive) - (Negative) Exp/Log upper lower Exp-S/Log-S center lower/upper
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Comparison of Exponential and Logarithmic Curves

Exponential Curves and Logarithmic Curves have similar shapes. They are different, however, as the following diagram illustrates:
CURVE: LOG
Y
CURVE: EXP
Y
Factor +40
Factor +20
X
Factor +40
Factor +20
Factor +10
Factor +10
Factor 0 Factor -10 Factor -20 Factor -40
Factor 0 Factor -10 Factor -20 Factor -40
CURVE: LOG-S
Y
CURVE: EXP-S
Y
Factor +40
Factor +20
Factor +10
Factor 0 Factor -10 Factor -20 Factor -40
X Factor +40
Factor +20
Factor +10
Factor 0 Factor -10 Factor -20 Factor -40
X
X Axis = random choice with equal probability between min and max. Y Axis = the Pool.
X
Appendices
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This characteristic can be used to even more finely tune the effect you are trying to achieve. For example, the top and bottom curves in both the Log and Exp diagrams (Factor 40 and -40) above are shown together below:
Log (Factor +40)
Exp (Factor +40)
Upper
Y Axis = The Pool
Log (Factor –40)
Exp (Factor –40)
Lower
X Axis =
Random choice with equal probability between min and max.
maxmin
With a Positive Factor (+40):
Exponential Curve (Exp)
75% chance of a choice from the upper 10% of the pool; 25% chance of a choice from the lower 90% of the pool.
Logarithmic Curve (Log)
90% chance of a choice from the upper 25% of the pool; 10% chance of a choice from the lower 75% of the pool.
In general, as the positive factor increases, the Exp Curve will produce choices more from the very highest part of the pool, with a choice from the remaining portion more likely to occur than with the Log Curve. In contrast, the Log Curve will produce choices more from the mid high to highest part of the pool, with a choice from the remaining portion less likely to occur than with the Exp Curve.
Therefore, while both curves will weight the random choices toward the upper values in the pool, the Log Curve provides less of a chance of the lower and center values ever occuring, while allowing a more even distribution among the upper values. The Exp Curve provides more certainty that the highest values will be chosen, while still allowing a more even distribution among the center and lower values than the Log Curve.
With a Negative Factor (-40):
Exponential Curve (Exp)
75% chance of a choice from the lower 10% of the pool; 25% chance of a choice from the upper 90% of the pool.
Logarithmic Curve (Log)
90% chance of a choice from the lower 25% of the pool; 10% chance of a choice from the upper 75% of the pool.
In general, as the negative factor decreases, the Exp Curve will produce choices more from the very lowest part of the pool, with a choice from the remaining portion more likely to occur than with the Log Curve. In contrast, the Log Curve will produce choices more from the mid low to lowest part of the pool, with a choice from the remaining portion less likely to occur than with the Exp Curve.
Therefore, while both curves will weight the random choices toward the lowest values in the pool, the Log Curve provides less of a chance of the higher and center values ever occuring, while allowing a more even distribution among the lower values. The Exp Curve provides more certainty that the lowest values will be chosen, while still allowing a more even distribution among the center and upper values than the Log Curve.
A Factor of 0 with any shaped curve yields a linear table (straight diagonal line), and each of the values in the pool will have an equal chance of getting chosen.
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How GE parameter names are displayed

[Env]#No.
For some GE parameters, the following information is shown in addition to the parameter name.
• CCs: parameter name #No. #No.
Parameters of the CCs Group also indicate the MIDI message that are controlled by CC-A and CC-B.
Display example
• Parameter name [Phase]
This indicates the phase for which the parameter is valid. Display example
[Phase]
[1]: Phase 1 is valid [2]: Phase 2 is valid [B]: Both phases 1 and 2 are valid
This is shown for the following parameters.
Phase Group:
Direction Transpose Octave Transpose Oct/5th Transpose TSig Numerator TSig Denominator Beginning Offset % End Offset % Events
Rhythm Group:
Swing Use Multiplier Pools-Random Factor Pools-WeightingCurve Ties-Random Factor Ties-Weighting Curve Rhythm Multiplier Straight Multipliers Straight/Trip Mults Strt/Dot/Trip Mults Template
Duration Group:
Duration Mode Duration Value Pools-Randm Factor Pools-Weight Curve Ties-Randm Factor Ties-Weight Curve Template
Index Group:
Pattern Type Random Walk Max Step Pools-Random Factor Pools-Weighting Curve Cluster Mode Invert Double Double Amount Template
Cluster Group:
Pools-Random Factor Pools-Weight Curve Template
Velocity Group:
Pools-Randm Factor Pools-Weight Curve Cluster Mode Scale Template
CCs Group:
Fixed/On Pattern Type Polarity Pools-WeightCrv Pools-Rand Fact Cluster Mode Template
[Phase]
#No. #No.
000…125: CC#000…CC#125 PB: Pitch Bend
• Env: parameter name [Env] #No. #No. #No.
Parameters of the Env (Envelope) Group also indicate the envelope for which that GE parameter is valid, and indicate the parameter or MIDI message that is controlled by the Envelope.
Display example
[Env]:
[1]: Valid for Envelope 1 [2]: Valid for Envelope 2 [3]: Valid for Envelope 3 [1, 2]: Valid for Envelopes 1 and 2 [2, 3]: Valid for Envelopes 2 and 3 [1, 3]: Valid for Envelopes 1 and 3 [A]: Valid for all Envelopes 1, 2, and 3
#No.:
VE: Velocity TA : Tempo-Absolute TR: Tempo-Relative PB: Picth Bend DU: Duration 000…122: CC#000…122
• Drum: parameter name [Pat]
Parameters of the Drum Group also indicate the drum pattern for which that GE parameter is valid. (Some parameters in the Drum Group that are not related to the individual Drum Patterns will not display this informa­tion.)
Display example
[Pat]
[1]: Valid for Pattern 1 [2]: Valid for Pattern 2 [3]: Valid for Pattern 3 [1, 2]: Valid for Patterns 1 and 2 [2, 3]: Valid for Patterns 2 and 3 [1, 3]: Valid for Patterns 1 and 3 [A]: Valid for all Patterns [B]: Valid for Patterns 1 and 2 (displayed only
for Link to Next)
Appendices
53
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