KORG M3 User Manual

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IMPORTANT SAFETY INSTRUCTIONS

• Read these instructions.

• Keep these instructions.

• Heed all warnings.

• Follow all instructions.

• Do not use this apparatus near water.

• Mains powered apparatus shall not be exposed to dripping or splashing and that no objects filled with liquids, such as vases, shall be placed on the apparatus.

• Clean only with dry cloth.

• Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.

• Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including amplifiers) that produce heat.

• Do not defeat the safety purpose of the polarized or groundingtype plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit into your outlet, consult an electrician for replacement of the obsolete outlet. (for USA and Canada)

• Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus.

• Only use attachments/accessories specified by the manufacturer.

• Unplug this apparatus during lightning storms or when unused for long periods of time.

• Turning off the power switch does not completely isolate this product from the power line so remove the plug from the socket if not using it for extended periods of time.

• Install this product near the wall socket and keep the power plug easily accessible.

• WARNING—This apparatus shall be connected to a mains socket outlet with a protective earthing connection.

• Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

• Do not install this equipment on the far position from wall outlet and/or convenience receptacle.

• Do not install this equipment in a confined space such as a box for the conveyance or similar unit.

• Battery shall not be exposed to excessive heat such as sunshine, fire or the like.

• Excessive sound pressure from earphones and headphones can cause hearing loss.

• Use only with the cart, stand, tripod, bracket, or table specified by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over.

The lightning flash with arrowhead symbol within an equilateral triangle, is intended to alert the user to the presence of uninsulated “dangerous voltage” within the product’s enclosure that may be of sufficient magnitude to constitute a risk of electric shock to persons.

The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.

CAUTION

Danger of explosion if battery is incorrectly replaced. Replace only with the same or equivalent type.

THE FCC REGULATION WARNING (for USA)

This equipment has been tested and found to comply with the limits for a Class B digital device , pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. How e ver, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

• Reorient or relocate the receiving antenna.

• Increase the separation between the equipment and receiver.

• Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

• Consult the dealer or an experienced radio/TV technician for help.

Unauthorized changes or modiﬁcation to this system can void the user’s authority to operate this equipment.

Notice regarding disposal (for EU)

If this “crossed-out wheeled bin” symbol is shown on the product or in the operating manual, you must dispose of the product in an appropriate way. Do not dispose of this product along with your household trash. By disposing of this product correctly, you can avoid environmental harm or health risk. The correct method of disposal will depend on your locality, so please contact the appropriate local authorities for details.

Handling of this product

This product contains precision components, and may malfunction if you fail to observe the following precautions.

• Do not subject this product to vibration or impact. Doing so may damage internal components and cause

malfunctions.

• Do not use or store this product in locations of extremely low or high temperatures, such as outdoors in winter or in direct sunlight in summer. Avoid moving this product between locations of dramatically different temperatures.

If a temperature difference occurs, water droplets may form inside the product. Continuing to use the product in this state may cause malfunctions, so you should wait several hours before using the product.

• Do not use or store this product in locations of extremely high humidity.

• Do not use or store this product in excessively dusty or smoky locations.

Regarding the display

This M3’s display is a precision device created using extremely high technology, and careful attention has been paid to its product quality. Although you may notice some of the issues listed below, please be aware that these are due to the characteristics of LCD displays, and are not malfunctions.

• There may be pixels in the display that are always dark (unlit) or always bright (lit).

• Depending on the displayed content, the brightness of the display may appear uneven.

• Depending on the displayed content, horizontal stripes of shading may be visible.

• Depending on the displayed content, flickering or moire patterns may be visible.

Data handling

Incorrect operation or malfunction may cause the contents of memory to be lost, so we recommend that you save important data on a CD or other media. Please be aware that Korg will accept no responsibility for any damages which may result from loss of data.

COPYRIGHT WARNING

This professional device is intended only for use with works for which you yourself own the copyright, for which you have received permission from the copyright holder to publicly perform, record, broadcast, sell, and duplicate, or in connection with activities which constitute “fair use” under copyright law. If you are not the copyright holder, have not received permission from the copyright holder, or have not engaged in fair use of the works, you may be violating copyright law, and may be liable for damages and penalties. If you are unsure about your rights to a work, please consult a copyright attorney.

KORG TAKES NO RESPONSIBILITY FOR ANY INFRINGEMENT COMMITTED THROUGH USE OF KORG PRODUCTS.

* KARMA

Technology has been licensed from Stephen Kay, and is protected by U.S. Patents 5,486,647, 5,521,327, 6,084,171, 6,087,578, 6,103,964, 6,121,532, 6,121,533, 6,326,538, 6,639,141, and 7,169,997. Other patents pending.

* KARMA

marks, and Generated Effect™ (GE), Melodic Repeat™, Direct Index™, Manual Advance™, SmartScan™, Freeze Randomize™, Random Capture™, Random FF/REW™ and Scene Matrix™ are trademarks of Stephen Kay, Karma Lab LLC. This manual copyright © 1994-2004 by KORG Inc. and Stephen Kay. All rights reserved.

* Screen shots from the KARMA software that appear

* KARMA Technology can be located on the internet at:

www.karma-lab.com.

* This product uses the T-Kernel source code in compliance

with the T-License of the T-Engine forum (www.tengine.org).

* Apple, Mac, FireWire and Audio Units are trademarks of

Apple Computer, Inc., registered in the US. and other countries.

*Windows XP is a registered trademark of Microsoft Cor-

poration in the U.S. and other counties.

* VST is a trademark of Steinberg Media Technologies

GmbH.

*RTAS is a registered trademark of Avid Technology, Inc.,

or its subsidiaries or divisions.

* All other product and company names are trademarks or

registered trademarks of their respective holders.

(Kay Algorithmic Realtime Music Architecture)

and the KARMA Logo are registered trade-

iii

( R

Thank you for purchasing the Korg M3 Music Workstation/Sampler. To help you get the most out of your new instrument, please read this manual carefully.

About this manual

The owner’s manuals and how to use them

The manuals and how to use them The M3 comes with the following operation manuals.

• M3 Operation Guide

• M3 Parameter Guide (PDF)

• M3 Voice Name List (PDF)

• Keyboard Assembly Operation Guide (included with the M3-61/73/88)

Using the M3-M Brackets (included only with M3-M sold by itself)

• M3 Editor/Plug-In Editor Operation Manual (PDF)

• EXB-RADIAS for M3 Operation Manual (PDF)

The above PDF ﬁles are located in the “MANUALS” folder of the included CD-ROM. Driver operating manuals such as for the KORG USB-MIDI driver are located in the same folder as the drivers.

M3 Operation Guide

Please read this ﬁrst. It explains the names and functions of each part of the M3, how to make connections, basic operation, an overview of each mode, how to edit sounds, how to record on the sequencer, and how to sample. This guide also explains the KARMA function, effects, drum track, and drum kits.

This also explains items you should check before suspecting a malfunction, error messages, speciﬁcations, and installation of EXB options.

M3 Parameter Guide

This explains details of the M3’s parameters, organized by mode and page. Refer to this guide when you want to learn more about an unfamiliar parameter.

M3 Voice Name List

This lists the names of the multisamples, drum samples, the factory-set combinations, programs, drum kits, and KARMA settings. Refer to this list when you want to learn about this preloaded content.

Keyboard Assembly Operation Manual Using the M3-M Brackets

“Keyboard Assembly Manual” is included with the M361/73/88. It explains how to tilt the M3-M (sound generator module) upward from the keyboard assembly, and how to remove or attach the M3-M.

“Using the M3-M Brackets” is included only with the M3-M sold by itself. It explains how to attach the brackets to the M3-M so that it can be placed on a table or other surface at a comfortable angle.

M3 Editor/Plug-In Editor Manual

This explains setup and use of M3 Editor and M3 Plug-In Editor.

EXB-RADIAS for M3 Manual

This explains details of the parameters available when the optional EXB-RADIAS installed in the M3, organized by mode and page.

Conventions in this manual

References to the M3

The M3 is available as several models: the 88-key M3-88, the 73-key M3-73, the 61-key M3-61, and the sound module by itself as the M3-M. References in these manuals to “the M3” refer to all of these models collectively.

Abbreviations for the manuals: OG, PG

In the documentation, references to the manuals are abbreviated as follows.

OG: Operation Guide PG: Parameter Guide

Procedure steps 1. 2. 3. …

These indicate the steps of a procedure.

Symbols , , Note , Tips

These symbols respectively indicate a caution, a MIDIrelated explanation, a supplementary note, or a tip.

Example screen displays

The parameter values shown in the example screens of this manual are only for explanatory purposes, and may not necessary match the values that appear in the Display of your instrument.

MIDI-related explanations

CC# is an abbreviation for Control Change Number. In explanations of MIDI messages, numbers in square

brackets [ ] always indicate hexadecimal numbers.

What is REMs * ?

esonant structure and E lectronic circuit

odeling S ystem) is Korg’s proprietary technology for digitally recreating the numerous factors that produce and inﬂuence a sound, ranging from the soundproduction mechanisms of acoustic instruments and electric/electronic musical instruments, to the resonances of an instrument body or speaker cabinet, the sound ﬁeld in which the instrument is played, the propagation route of the sound, the electrical and acoustic response of mics and speakers, and the changes produced by vacuum tubes and transistors.

Handling of this product . . . . . . . . . . . . . . . . . . . . . . . . . iii

Regarding the display. . . . . . . . . . . . . . . . . . . . . . . . . . . . iii

Data handling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iii

About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . iv

Quick Start. . . . . . . . . . . . . . . . . . . . . 1

Setup. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1

Playing Programs and Combinations . . . . . . . . . . . . . .2

Listening to the demo songs . . . . . . . . . . . . . . . . . . . . . .5

Introduction to the M3. . . . . . . . . . 7

Main Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

Front and rear panels . . . . . . . . . . . . . . . . . . . . . . 9

Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Rear panel/Bottom panel. . . . . . . . . . . . . . . . . . . . . . . . .15

Objects in the display . . . . . . . . . . . . . . . . . . . . . . . . . . . .17

Basic Information. . . . . . . . . . . . . . . . . . . . . . . . . 20

About the M3’s modes . . . . . . . . . . . . . . . . . . . . . . . . . . .20

Basic operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .22

Setup. . . . . . . . . . . . . . . . . . . . . . . . . 25

Playing and editing Programs . . 37

Playing Programs. . . . . . . . . . . . . . . . . . . . . . . . . 37

Selecting Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Performing with KARMA and the Drum Track . . . . .40

Using Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .41

Controller settings for the program. . . . . . . . . . . . . . .46

Easy Program editing . . . . . . . . . . . . . . . . . . . . . 47

Simple editing using the sliders and switches. . . . .47

Using COMPARE. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .49

Saving your edits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50

Detailed Editing with Programs . . . . . . . . . . . 51

Overview of editing pages . . . . . . . . . . . . . . . . . . . . . . .51

Basic oscillator settings . . . . . . . . . . . . . . . . . . . . . . . . . .51

Using LFOs and Envelopes (EGs). . . . . . . . . . . . . . . . . .54

Using Alternate Modulation (AMS) and the

AMS Mixers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .55

Controlling Pitch. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56

Using Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .57

Using the Amp section. . . . . . . . . . . . . . . . . . . . . . . . . . .60

X–Y control settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62

KARMA settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Drum Track settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .63

Automatically importing a Program into

Sequence mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .64

Turning the power on/off. . . . . . . . . . . . . . . . . . 25

Connecting the AC cable. . . . . . . . . . . . . . . . . . . . . . . . .25

Turning the power on. . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Turning the power off. . . . . . . . . . . . . . . . . . . . . . . . . . . .25

Connections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26

Connecting audio equipment . . . . . . . . . . . . . . . . . . . .27

Connecting a damper pedal, foot switch, or foot

pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Connecting a computer. . . . . . . . . . . . . . . . . . . . . . . . . .30

Connecting MIDI devices. . . . . . . . . . . . . . . . . . . . . . . . .33

Connecting a USB device (HDD, CD-R/RW, etc.) . . .33

Installing the software. . . . . . . . . . . . . . . . . . . . . . . . . . . .34

Playing and editing

Combinations . . . . . . . . . . . . . . . . .65

Playing combinations. . . . . . . . . . . . . . . . . . . . . 65

Selecting Combinations. . . . . . . . . . . . . . . . . . . . . . . . . .65

Performing with KARMA and the Drum Track . . . . .67

Using controllers to modify the sound. . . . . . . . . . . .67

Easy Combination editing. . . . . . . . . . . . . . . . . 68

Changing the programs within the Combination .68

Adjusting the mix. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .68

Simple editing using the Sliders and Switches . . . .69

Saving a Combination you’ve edited . . . . . . . . . . . . .69

Detailed Editing with Combinations . . . . . . . 70

Overview of editing pages . . . . . . . . . . . . . . . . . . . . . . .70

A suggested approach for editing . . . . . . . . . . . . . . . .71

Layers, Splits, and Velocity Switches . . . . . . . . . . . . . .71

MIDI settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .73

Altering Programs to fit within a Combination . . . .74

Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .75

Automatically importing a Combination

into Sequencer mode. . . . . . . . . . . . . . . . . . . . . . . . . . . .75

Table of Contents

Creating songs

(Sequencer mode) . . . . . . . . . . . . .77

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77

About the M3’s Sequencer . . . . . . . . . . . . . . . . . . . . . . .77

Sequencer mode structure . . . . . . . . . . . . . . . . . . . . . . .77

Playing Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80

Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .80

Control using the sliders and switches . . . . . . . . . . . .82

MIDI recording . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Preparations for recording . . . . . . . . . . . . . . . . . . . . . . .83

Recording MIDI in real-time . . . . . . . . . . . . . . . . . . . . . .85

Step recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88

Recording variation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

Recording patterns. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .93

Song editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

Using RPPR (Realtime Pattern Play/Record). 97

Creating RPPR data. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97

RPPR playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

Recording an RPPR performance . . . . . . . . . . . . . . . . .98

Sampling in Sequencer mode. . . . . . . . . . . . . 100

Creating and playing a Cue List. . . . . . . . . . . 101

Creating a cue list. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Converting a cue list into a song. . . . . . . . . . . . . . . . 102

Saving your song . . . . . . . . . . . . . . . . . . . . . . . . 103

Cautions and other functions in Sequencer

mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

M3 sequencer file formats. . . . . . . . . . . . . . . . . . . . . . 104

The Compare function . . . . . . . . . . . . . . . . . . . . . . . . . 104

Memory Protect. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

About MIDI . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Sampling in Program, Combination, and

Sequencer modes . . . . . . . . . . . . . . . . . . . . . . . 122

Resampling a phrase generated by the KARMA

function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .122

Sampling only an external guitar sound while listening to phrases generated by the KARMA

function. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123

Sampling a mix of the phrases generated by the KARMA function together with an external guitar

sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125

In-Track Sampling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

Resampling a song to create a WAVE file. . . . . . . . .127

Settings for the entire M3

(Global mode) . . . . . . . . . . . . . . . 129

How Global mode is structured. . . . . . . . . . . 129

Global settings. . . . . . . . . . . . . . . . . . . . . . . . . . 129

Basic setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129

System preference. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .130

Audio input settings . . . . . . . . . . . . . . . . . . . . . . . . . . . .131

MIDI Basic/Routing . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131

External control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131

Pedal and other controller settings . . . . . . . . . . . . . .132

Assigning MIDI CC#s to KARMA, X–Y, and Pad

controllers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .133

Creating user scales. . . . . . . . . . . . . . . . . . . . . . . . . . . . .133

Setting Category Names . . . . . . . . . . . . . . . . . . . . . . . .134

Using Drum Kits. . . . . . . . . . . . . . . . . . . . . . . . . 135

Drum Kit Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .135

Editing Drum Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .136

Saving Drum Kits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .138

Sampling (Open Sampling

System) . . . . . . . . . . . . . . . . . . . . . .107

Sampling Overview. . . . . . . . . . . . . . . . . . . . . . 107

About sampling. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Compare . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Sampling and editing in Sampling mode . . 110

Creating multisample indexes and sampling –

P0: Recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

Basic sampling procedure. . . . . . . . . . . . . . . . . . . . . . 112

Loop Edit – P2: Loop Edit. . . . . . . . . . . . . . . . . . . . . . . 116

Sample (waveform data) editing –

P1: Sample Edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Multisample editing – P3: Multisample Edit . . . . . 119

Ripping – P5: Audio CD. . . . . . . . . . . . . . . . . . . . . . . . . 120

Converting a multisample to a program . . . . . . . . 120

Using a sample in a drum kit. . . . . . . . . . . . . . . . . . . . 121

Saving multisamples and samples . . . . . . . . . . . . . . 121

Loading & saving data, and

creating CDs . . . . . . . . . . . . . . . . . 139

Saving data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Types of data that can be saved . . . . . . . . . . . . . . . . .139

Writing to internal memory . . . . . . . . . . . . . . . . . . . . .140

Saving to media (Media–Save) . . . . . . . . . . . . . . . . . .142

Using the M3 as a data filer. . . . . . . . . . . . . . . . . . . . . .144

Loading data. . . . . . . . . . . . . . . . . . . . . . . . . . . . 145

Data that can be loaded. . . . . . . . . . . . . . . . . . . . . . . . .145

Loading data from media (Media–Load) . . . . . . . . .145

Media utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148

File copying, deleting, and formatting (Media–

Utility). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .148

Creating audio CDs. . . . . . . . . . . . . . . . . . . . . . 150

Creating and playing audio CDs

(Media– Make Audio CD, Play Audio CD). . . . . . . . .150

Creating audio CDs . . . . . . . . . . . . . . . . . . . . . . . . . . . . .150

Viewing information about media – Media Info . .152

Using Effects . . . . . . . . . . . . . . . . . 153

An overview of the M3’s effects. . . . . . . . . . . 153

Effect types . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Effect I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Effects in each mode . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

Routing effect settings . . . . . . . . . . . . . . . . . . . 155

Program Effects settings . . . . . . . . . . . . . . . . . . . . . . . 155

Using effects in Combinations and Songs. . . . . . . 157

Effect settings in Sampling mode. . . . . . . . . . . . . . . 158

Effect settings for the audio inputs . . . . . . . . . . . . . 159

Dynamic modulation, MIDI/Tempo Sync, and

Common FX LFO . . . . . . . . . . . . . . . . . . . . . . . . . 161

Dynamic modulation (Dmod) . . . . . . . . . . . . . . . . . . 161

Common FX LFO. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162

Using KARMA . . . . . . . . . . . . . . . . 163

Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

What is KARMA? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

The structure of the KARMA function . . . . . . . . . . . 163

Performing with KARMA . . . . . . . . . . . . . . . . . 167

Performing with KARMA in Program mode. . . . . . 167

Performing with the KARMA function in

Combination mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

KARMA function settings. . . . . . . . . . . . . . . . .172

KARMA function settings in Program mode. . . . . 172

KARMA function settings in Combination mode. 176 KARMA function settings in Sequencer mode . . . 180

Synchronizing the KARMA function. . . . . . . . . . . . . 182

Drum Track function. . . . . . . . . . 185

Overview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

What is the Drum Track function?. . . . . . . . . . . . . . . 185

Performing with the Drum Track function .185

Using the Drum Track function in

Program mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Using the Drum Track function in

Combination mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

Drum Track function settings. . . . . . . . . . . . . 189

Drum Track function settings in

Program mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189

Drum Track function settings in

Combination mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

Drum Track function settings in

Sequencer mode. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Using the KARMA and Drum Track functions

together. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

Synchronizing the Drum Track function. . . . . . . . . 193

Other functions common to all

modes . . . . . . . . . . . . . . . . . . . . . . .197

Editing names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .197

Setting the functions of SW1 and SW2. . . . . . . . . . .198

Setting the functions of Realtime Controls

Slider 5–8. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .198

Using tap tempo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .199

Resetting controller values. . . . . . . . . . . . . . . . . . . . . .199

Shortcuts. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .200

Appendices. . . . . . . . . . . . . . . . . . .201

Restoring the factory settings . . . . . . . . . . . . 201

Loading the preloaded data. . . . . . . . . . . . . . . . . . . . .201

Installing options. . . . . . . . . . . . . . . . . . . . . . . . 202

Cautions when installing an option board . . . . . . .202

Available option boards for the M3. . . . . . . . . . . . . .203

Verifying installation. . . . . . . . . . . . . . . . . . . . . . . . . . . .203

Installing the options and replacing the calendar

battery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .204

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . 208

Power supply. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208

Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .208

Audio input and output. . . . . . . . . . . . . . . . . . . . . . . . .208

Programs and Combinations. . . . . . . . . . . . . . . . . . . .210

Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .210

Sampling. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211

KARMA function . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .211

Drum Track function. . . . . . . . . . . . . . . . . . . . . . . . . . . .212

X–Y control. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .212

Drum Kits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .212

Effects. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .212

MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .212

Pads or damper pedal do not respond correctly. .213

USB Media, and CD . . . . . . . . . . . . . . . . . . . . . . . . . . . . .213

WAVE files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214

Connections with a computer. . . . . . . . . . . . . . . . . . .214

Included CD-ROM. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214

Error messages . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Error and confirmation messages. . . . . . . . . . . . . . . .215

Media that can be used with the M3. . . . . . . 223

Types of media supported by the M3. . . . . . . . . . . .223

Operations that the M3 can perform on media. . .223

Specifications and options . . . . . . . . . . . . . . . 224

Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .224

Options . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .227

MIDI Implementation Chart . . . . . . . . . . . . . . 228

Creating a Drum Track pattern. . . . . . . . . . . . 195

Preparing a user pattern. . . . . . . . . . . . . . . . . . . . . . . . 195

Converting to a Drum Track pattern . . . . . . . . . . . . 195

vii

Table of Contents

viii

Quick Start

This Quick Start is provided for those who just want to get started trying out the sounds right away.

It explains how to set up the M3, how to select programs and control the sound, and how to listen to the demo songs.

After you’ve ﬁnished reading this Quick Start section, please also take a look at the full explanations that follow.

Headphones

PHONES

L/ MONO

INPUT INPUT

Powered monitors

Quick Start

Introduction

SetupProgram

Setup

Here’s how to connect the power cable and audio cables, and how to turn on the power.

1. If you purchased the M3-61/73/88 (the M3-M with the KYBD-61/73/88 keyboard assembly), you can use your system with the M3-M (module) tilted upward relative to the KYBD-61/73/88. Refer to the “Keyboard assembly Manual” included with the M3-61/73/88.

If you purchased the M3-M (module) by itself, you can connect the included brackets and place the module at an angle on a tabletop or other surface. Refer to the “Connecting the brackets” document included with the M3-M.

2. Connect the included power cable.

First connect the included power cable to the M3’s power connector.

3. Connect the M3 to your mix or monitor system.

Connect the M3’s AUDIO OUTPUT (MAIN) L/ MONO and R jacks to your mixer or ampliﬁed monitor speakers.

If you’re monitoring through headphones, connect them to the headphone jack located on the rear of the M3. The headphones will output the same sound as the AUDIO OUTPUT (MAIN) L/MONO and R jacks.

M3-61/73/88

If you’re using the M3-M by itself, connect your MIDI master keyboard to it.

Headphones

INPUT INPUT

PHONES

M3-M

MIDI master keyboard

4. Lower the M3’s VOLUME MAIN slider.

Turn on your audio monitor system and set the volume to a normal level.

5. Turn on the M3 by pressing the power switch located on the rear panel.

6. Raise the volume of the connected equipment to an appropriate level. Then gradually raise the M3’s VOLUME MAIN slider to adjust the volume as desired.

MONO

MIDI IN

MIDI OUT

Powered monitors

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

VOLUME MAIN slider POWER switch

AC POWER

connector

Drum Track

Other

Appendices

Quick Start

Playing Programs and Combinations

By default, Combination mode will be selected when you turn on the power. Play the keyboard, and you will hear the sound of bank I-A combination number

000. A combination consists of up to sixteen programs that are split and/or layered. It also uses up to four KARMA modules simultaneously (a program can use only one KARMA module), letting you produce far more complex sounds than a program.

Although you could simply continue selecting different combinations and playing them, let’s start by selecting and listening to the “basic” sounds of the M3 – programs.

Note:

If you don’t hear any sound when you play the keyboard or pads: Check the connections once again. Also make sure that the M3’s VOLUME MAIN slider and the volume of your powered speakers or stereo amp are turned up appropriately.

With the factory settings, numbers 0–127 of INT-A– INT-D contain preloaded programs. Select and play these programs to hear their sounds.

For details on the programs in each bank, please see “Overview: Program Banks” on page 38.

5. Press the popup button located at the left of “Program Select” in the display.

A list of the programs in each bank will appear. Use the tabs located at the left and right to select the

desired bank. Then press a program within the menu to select it. By

using the scroll bar located below the menu you can view the other programs in that bank that are not currently displayed.

You can press the q switch or u switch to select the program of the previous or next number.

When you’ve chosen the program you want to play, press the OK button or the ENTER switch.

Selecting Programs

1. Press the MODE PROG switch (the LED will light) to enter Program mode.

2. The upper left of the display shows the name of the current page, Prog P0: Play. This is the page in which you will normally play programs.

Play the keyboard or strike the pads to hear the sound.

Note:

If you moved to another page etc. by pressing the display, pressing the EXIT switch a maximum of three times will take you back to the program name selection.

3. The large characters in the upper part of the

display will be highlighted.

These are the program number and program name (“Program Select”).

In this state, you can press the select the next or previously numbered program.

You can turn the VALUE dial to rapidly scroll through the programs.

4. Use the BANK SELECT I-A–I-G and U-A–U-G

switches to select other banks of programs.

switch or

switch to

6. There are several other ways to select programs, but here we’ll explain how to select programs using categories such as “keyboard,” “organ,” “bass,” or “drums.”

Press the Category Select popup button in the display. This is the rectangular button located above the program name.

q/u switches

Bank number

Program Select popup button

PROG P0: Play

Program Select

Category Select popup button

MODE PROG switches

EXIT switch

VALUE dial

BANK SELECT I-A–U-G switches

Playing Programs and Combinations

The Category/Program Select menu will appear, showing a list of the programs for each category. Press the tabs located at the left and right to select the desired category.

Then press a program in the menu to select it. You can press the

switch or

switch to select the

program of the next or previous number. When you’ve chosen the program you want to play,

press the OK button or the ENTER switch. Categories also have sub-categories, and you can press

the Jump to Sub button of the Category/Program Select menu to choose programs from a sub-category list.

Bank number

COMBI P : Play

Combination Select

Combination Select popup button

Category Select popup button

3. The large characters in the upper part of the display will be highlighted.

These are the combination number and combination name (“Combination Select”).

In this state, you can press the q switch or u switch to select the next or previously numbered combination.

You can turn the VALUE dial to rapidly scroll through the programs.

4. Use the BANK SELECT I-A–I-G and U-A–U-G switches to select combinations of other banks.

With the factory settings, numbers 0–127 of INT-A– INT-C contain preloaded programs. Select and play these combinations to hear their sounds.

5. As in Program mode, you can select combinations from the menu by bank or by category.

As described in steps 5 and 6 of “Selecting Programs” on page 2, go ahead and select and play combinations in the same way as you did for programs.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

Selecting combinations

1. Press the MODE COMBI switch (the LED will light) to enter Combination mode.

2. The upper left of the display shows the name of the current page, Combi P0: Play. This is the page in which you will normally play combinations.

Play the keyboard or strike the pads to hear the sound.

Note:

If you moved to another page etc. by pressing the display, pressing the EXIT switch a maximum of three times will take you back to the combination name selection.

Control surface

REALTIME CONTROL switch

X–Y control X–Y MODE switch

Using controllers to modify the sound

The M3 has numerous controllers.

1. The keyboard section of the M3-61/73/88 (the KYBD-61/73/88 keyboard assembly) provides a joystick, ribbon controller, and SW1/SW2 switches in addition to the keyboard, and you can use these to modify the sound.

The result will differ for each Program and Combination, so try them out to hear what happens. For details on these controllers, please see “Using Controllers” on page 41.

2. At the left side of the M3-M (the M3’s sound module), there is a group of sliders and switches that looks somewhat like a mixer.

This is called the “control surface,” and lets you perform various types of control such as editing

M3-M

MOTION switch

SamplingGlobalMediaEffectKARMA

SW1 and SW2

Joystick

Ribbon controller

Pads 1–8

Drum Track

Other

Appendices

* The diagram shown is for M3-61Keyboard assembly (KYBD-61/73/88)

Quick Start

sounds, operating the KARMA function, or sending MIDI messages to external devices.

For example, go ahead and press the CONTROL ASSIGN REALTIME CONTROL switch (the LED will light).

Now you can use the switches of the control surface to turn the effects on/off.

Operating the sliders will control the frequency cutoff, resonance, and intensity, or any other parameters you specify.

The display can show the function and values of the control surface. To view this, press the Control Surface tab located in the lower right of the display.

When you operate the controllers, the objects in the display will move accordingly.

Press the X–Y MODE switch (the LED will light). The color of the display will change. While you play the keyboard, touch the display with your ﬁnger and make a motion. The color of the display will change, and you’ll hear the volume balance or sound change simultaneously.

If you hold down the MOTION switch, the captured motion will be reproduced; you’ll see the display change color, and hear the volume balance or sound change.

For details on operation and capturing motions, please see “X–Y controller” on page 43.

If the X–Y MODE switch is on (the LED will light), you won’t be able to select parameters in the display. If you need to select a program or combination, or change a setting, turn the X–Y MODE switch off (the LED will go dark).

4. Located below the display are eight velocitysensitive trigger pads.

You can use these to trigger single notes or chords (of up to eight notes).

This is a useful way to play drums, chords, or the KARMA function. You can easily assign notes or chords to the pads (see page 44).

Note: Even if you’ve modiﬁed the sound, you can restore the program to its saved condition.

Press the COMPARE switch (the LED will light) to recall the saved settings from before you modiﬁed the sound. Press the COMPARE switch once again and you’ll return to your modiﬁed settings (the LED will go dark).

You can load previously-saved settings by holding down the RESET CONTROLS switch and operating a control surface slider or switch, or pressing a CONTROL ASSIGN switch (see page 199).

3. X–Y control is a particularly interesting capability of the M3.

This lets you modify the volume balance or sound by sliding your ﬁnger across the display. You can also capture this motion and play it back during your performance to modify the volume balance or sound.

RESET

CONTROLS

Performing with the KARMA function

KARMA is an extremely powerful performance tool that allows a broad range of musical expression.

1. Select Combination mode or Program mode.

2. Press the KARMA ON/OFF switch (the LED will light).

3. If you press the KARMA LATCH switch (the LED will light), the KARMA function will continue generating the pattern or phrase even after you stop playing the keyboard or pads, or after all MIDI note-on/off messages are received.

For example, this is convenient when you want to play the keyboard while listening to the phrases generated by KARMA.

4. Play the keyboard or pads to trigger KARMA.

KARMA will begin generating its performance. Note: If the KARMA LINKED LED is lit, the

performance will not begin when you simply play the

KARMA Switch (SWITCHES 1–8)

KARMA Slider (SLIDERS 1–8)

KARMA

DRUM

TRACK

ON/OFF

KARMA LINKED

LED

KARMA

ON/OFF

KARMA

LATCH

SCENES 1/5–4/8

PADS 1–8

keyboard or pads. You must also press the DRUM TRACK ON/OFF switch and then press a key or pad to start the drum track phrase. The KARMA performance will begin simultaneously.

5. KARMA has up to eight scenes. When you press one of the SCENES 1/5–4/8 switches to change scenes, the KARMA parameter values assigned to the KARMA switches and KARMA sliders will change instantly, giving you a wide range of variety in the generated phrases and patterns.

The KARMA sliders and KARMA switches are assigned to the parameters that will be most effective in varying the phrases and patterns.

The KARMA SCENES 1/5–4/8 switches can select either KARMA scenes 1–4 or scenes 5–8. When you press the CONTROL ASSIGN KARMA switch that is already lit, the 1–4 or 5–8 LED will blink to indicate the scene that will be selected next. Then press one of the 1/5–4/8 switches to select the corresponding KARMA scene (see page 11).

6. You can view the KARMA scene settings in the display.

Press the EXIT switch three times to access the P0: Play page, and press the Control Surface tab located in the lower right of the display. Then press the CONTROL ASSIGN KARMA switch.

7. By operating SLIDERS 1–8 and SWITCHES 1–8 of the control surface, you can edit the parameters assigned to the KARMA switches and KARMA sliders of a KARMA scene in realtime.

The parameters that are assigned will differ depending on the Program or Combination.

Note: Even if you’ve modiﬁed the sound, you can restore the program to its saved condition. The same is true for KARMA settings (see page 3).

8. The KARMA GE page and KARMA RTC page within the P0: Play page let you see these settings in greater detail. In the KARMA GE page you can select the GE (Generated Effect) used by a KARMA module, and view settings such as the time signature of the patterns that are generated.

Listening to the demo songs

Pattern Bank/No.

Drum Track Program

2. Press the DRUM TRACK ON/OFF switch.

The ON/OFF switch will be lit or blinking. This will depend on the setting of the program.

If it’s lit, the Drum Track pattern will begin. Press the ON/OFF switch once again to stop.

If it’s blinking, the Drum Track pattern will be waiting to begin. It will start when you play the keyboard or when a MIDI note-on is received.

If the front panel KARMA LINKED and KARMA ON/ OFF switches are lit, the KARMA performance will be linked with Drum Track start/stop. The way to stop the drum track will depend on the program settings; it will stop either when you press the DRUM TRACK ON/OFF switch or when you take your hand off the keyboard.

3. To change the Drum Track pattern, use “Pattern Bank” and “Pattern No.” to select the desired pattern.

Note: You can create your own original Drum Track patterns (see page 195).

4. Use “Drum Track Program” to select the program that will be played by the Drum Track pattern.

Note: Only programs of category number 15 (Drums) can be selected.

Listening to the demo songs

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Performing with the Drum Track function

The Drum Track function gives you an easy way to play a wide variety of Drum Track patterns using the M3’s high-quality drum programs. Playing a Program or Combination along with Drum Track patterns is a convenient way to come up with phrases or work out the structure of your song.

1. Select Combination mode or Program mode.

For this example, press the MODE PROG switch to select Program mode, and access the Prog P0: Play– Main page. If another page is displayed, you’ll need to press the EXIT switch up to three times.

Loading the demo song data in Global mode

1. Press the MODE GLOBAL switch (the LED will light) to enter Global mode.

2. Access the Global P0: Basic Setup page.

If another page is displayed, press the EXIT switch.

3. Press the menu button in the upper right of the display, and choose “Load Preload/Demo Data.”

Drum Track

Other

Appendices

Quick Start

4. In the “Kind” ﬁeld, choose “All (Preload PCG and Demo Songs).”

When you execute loading, the preloaded data and the demo song data will be loaded.

If you’ve edited a preloaded program or combination, or created one from scratch, executing this Load operation will overwrite your data; i.e., your changes will be lost. If you want to keep your changes, you must ﬁrst save them on a USB storage device (commercially available) connected to the M3’s USB A connector.

5. Press the OK button or ENTER switch.

A dialog box will ask you for conﬁrmation. Press the OK button or ENTER switch once again to

load the data.

Never turn off the power while data is being loaded.

If the Memory Protected dialog appears, press the System Pref. tab and clear the check mark from the Memory Protect Song setting. Then load the data again.

Listening to the demo songs in Sequencer mode

Alternatively, you can press the round button (Song Select popup) located at the left of the song name, and a list of song names will appear. Select a song, and press the OK button or ENTER switch.

7. Press the SEQUENCER START/STOP switch to begin playback. To stop playback, press the START/STOP switch once again.

The demo song will not be retained when the power is turned off, but you can load it again at any time.

Playing back a cue list

Songs can be assigned to a cue list, and will playback in the speciﬁed order. You can also specify the number of times that each song will be repeated. Here’s how to play back the demo songs assigned to a cue list.

1. Access the P11: Cue List page.

Press the PAGE SELECT switch to access the Seq Page Select page. Press “P11 Cue List” in the display.

1. Press the MODE SEQ switch (the LED will light) to enter Sequencer mode.

2. Access the P0: Play/REC– Program T01–08 page.

If this page is not displayed, you’ll need to press the EXIT switch up to three times.

Meter Tempo

Song Select

Popup

Track Select

Introduction to the M3

Main Features

Quick Start

Rich and vivid sound produced by new EDS (Enhanced Definition Synthesis) sound generator

The new “EDS” (Enhanced Deﬁnition Synthesis) sound generation system is based on PCM sources reﬁned using Korg’s proprietary voicing technology, and delivers rich and vivid sounds.

Each voice has oscillators (two oscillators allowing four-stage velocity switching/crossfading/layering) that can use up to eight (stereo) multisamples, up to four ﬁlters (two ﬁlters each with four modes and four routings), two amps, ﬁve LFOs, and ﬁve EGs, all available simultaneously. Maximum polyphony is 120 voices.

The oscillator section provides a total of 1,032 multisamples (including seven stereo multisamples) sampled at 48 kHz, as well as 1,606 drum samples (including 116 stereo dr um samples), giving you a total of 256 Mbytes of sample data (when considered as 16bit linear data). These PCM sources are available for use in the oscillator section via four-way velocity switching/crossfading/layering to create a broad range of expressive, high-quality sounds.

The ﬁlter section that’s so vital to creative soundmaking lets you simultaneously use two ﬁlters for each oscillator. Filter types include low-pass, high-pass, band-pass, and band-reject (notch). You can use the two ﬁlters in any of four routings: single, serial, parallel, or 24 dB mode.

The amp section provides a driver circuit that adds edge and character to the sound.

The key tracking generator allows the ﬁltering to vary according to the keyboard range; you can apply subtle ﬁltering for convincing simulation sounds, or aggressive ﬁltering that produces drastic changes in ﬁltering as you play up or down the keyboard.

The M3 takes advantage of its lavish amount of available processing power to produce ultra-fast and ultra-smooth EGs (envelope generators) and LFOs.

EGs allow you to specify how the sound develops over time, from its onset to its end. The each EG stage (attack, decay, slope, and release), giving you detailed control over how the tone and volume change over time, and making it possible to program anything from simulated acoustic sounds to vintage synthesizer sounds in the utmost detail.

Korg’s AMS (Alternate Modulation Sources) give you a rich array of modulation possibilities, with 50 different modulation sources you can use to control the sound in complex ways. The M3 takes this classic Korg feature even further, via the AMS Mixers. These let you create even more detailed modulation designs, such as mixing two modulation sources together, multiplying one modulation source by another, or modifying the shape of the modulation source in various ways.

Programs, Drum Tracks, and each of the sixteen timbres/tracks has its three-band EQ, letting you make detailed adjustments to the tonal character.

To let you shape the ﬁnal character of the overall sound, the effect section provides up to ﬁve insert effects, two master effects, and one total effect. In addition to delay and reverb, the total of 170 highquality effects includes modulation-type effects such as chorus, phaser, and ﬂanger, dynamic-type effects such as compressor and limiter, and amp-modeling effects generated using Korg’s proprietary “REMS” modeling technology. There are also two common LFOs that can be shared between different modulation effects. For example, you can create sophisticated effects such as using a single common LFO to synchronize the modulation frequency of a phaser and a ﬂanger used on different timbres. Effect dynamic modulation (Dmod) lets you control the sound or effects in a wide variety of ways, ranging from the subtle to the dramatic.

Use the KARMA function, Drum Track function, Open Sampling System, and 16-track MIDI sequencer to bring your ideas into completion in this seamless new production environment

The M3 provides many new functions that help you turn your ideas into songs quickly and intuitively.

The Drum Track function lets you listen to drum patterns while you construct the outline of your song. You can easily select the M3’s built-in patterns or patterns that you’ve created, and start the pattern from a speciﬁed region of the keyboard or by playing a velocity higher than a speciﬁed threshold.

This function is also useful for anything from realtime performance to generating sketches for song production

The M3 also provides the amazing KARMA function, giving you an enormous amount of musically expressive potential. This provides a powerful boost to your music production power, letting you can use up to four KARMA modules to create complex layered textures or produce natural performance gestures that are idiomatic to a wide range of instruments.

Sampling functionality is provided by the Open Sampling System which lets you sample or resample while in any mode (Program or Combination, etc.). You can also perform a rich array of sample editing commands including Time Stretch and Time Slice. In Sequencer mode you can perform in-track sampling, letting you sample while your song plays back, just as if you were recording an audio track. In addition to Korg format sample data, you can also load sample data in a wide range of formats including W AVE, AIFF, Akai S1000/S3000, and SoundFont 2.0 formats for music production or performance.

Auto Song Setup is a function that makes it easy to record programs, drum tracks, or combinations along with KARMA performances as a multi-track recording to create the basic tracks at the core of your song.

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Introduction to the M3

At the heart of any music production is the M3’s sequencer, which lets you record 16 MIDI tracks, up to 128 songs, and 210,000 notes. With a high resolution of 1/480, every timing nuance of your performance will be captured accurately. You can use the Cue List function to create your song section by section and then play it back as a medley in the form you want.

Superb operability and expressiveness, with X–Y Control that lets the display operate as a controller, eight multi-pads, and a control surface

The M3 features a clear, color 320 x 240 pixel display for excellent visibility and operability. It features the Touch-View graphical user interface that lets you operate the system by touching the display directly, allowing efﬁcient access to the M3’s enormous amount of parameters.

This display also operates as an X–Y touchpad controller (similar to Korg’s KOASS technology), allowing you to vary the volume balance or sound in realtime by moving your ﬁnger across the display (X–Y Mode). You can also record the movements of your ﬁnger and play back these movements to vary the sound (X–Y Motion).

The eight multi-pads can trigger single notes or chords (up to eight notes), and are a useful way to play drums, chords, or to control the KARMA performance. You can easily assign notes or chords to the pads as desired.

The eight sliders and switches of the control surface provide a high degree of expressive operability, and can be used to adjust the volume of oscillators or timbres/tracks, to control the realtime performance generated by KARMA, or to modify your sounds via the Realtime Control or Tone Adjust functions. You can also use these sliders and switches along with the pads as external controllers for your external MIDI equipment.

The keyboard assembly (KYBD-61/73/88) features a joystick newly designed for ease of use, as well as a convenient ribbon controller for detailed control over the nuances of your sound. The 61-key and 73-key models provide a great-feeling keyboard with aftertouch, allowing expressive control over any type of sound. The 88-key model features the RH3 (Real Weighted Hammer Action 3) keyboard with a heavier feel in the lower register that lightens as you play upward, allowing expressive performance with the same keyboard playing feel as a grand piano.

Excellent connectivity with up to four channels of audio input, six channels of audio output, and USB A and B

As audio inputs, the M3 provides two channels of analog and two channels of digital (S/P DIF) input.

As audio outputs, it provides the two main analog channels (L/MONO, R), four independent outputs, and two digital channels (S/P DIF).

There’s one type-B USB connector that allows MIDI to be sent and received between your computer and the M3, and two type-A USB connectors for connecting USB memory or other storage media. USB 2.0 is supported for high-speed transfer of large amount of data. You can resample to a USB storage device (such as a hard disk), or edit WAVE ﬁles. If you connect a

USB CD-RW drive, you can resample the songs you create and then use then to burn an original audio CD.

If the optional EXB-FW is installed, you can start up the included M3 Plug-In Editor in your DAW application, allowing you to send and receive MIDI messages as well as two-in/six-out streams of digital audio data between your software and the M3.

KKS (KORG Komponent System) allows flexible construction of your hardware system

The M3 uses “KKS” (KORG Komponent System), in which the sound module and the keyboard assembly (KYBD-61/73/88) are joined by a detachable mechanism. This lets you mount other sound modules on the keyboard assembly, or mount two sound modules at the same time on the keyboard assembly for ﬂexible system creation. Of course you can detach the sound module from the keyboard assembly and use it as a stand-alone unit. You can also tilt the sound module upward for convenient operation.

You’ll be able to create ﬂexible systems with future products that utilize the KKS standard.

Virtualized hardware functionality that lets you assign sounds just like plug-in instruments within your DAW software

The bundled “M3 Editor” and “M3 Plug-In Editor” software are applications that let you edit M3 sounds such as programs, combinations, and drum kits from your computer.

“M3 Editor” is a stand-alone editor. “M3 Plug-In Editor” supports VST, Audio Units, and RTAS formats, allowing you to use the M3 as if it were a plug-in instrument in your DAW (Digital Audio Workstation) software or other host application.

If you install the optional EXB-FW FireWire board, you’ll be able to connect a single FireWire (IEEE 1394) cable to route the M3’s audio signals and MIDI messages to and from your DAW tracks via the M3 Plug-In Editor. This “Virtualized Hardware” functionality means that you can use the M3 as though it were a plug-in software instrument.

Expandable by a rich variety of separately sold options

You can expand the M3’s power by installing an EXBRADIAS analog modeling synthesizer board (one timbre, maximum 24-voice polyphony), by adding the EXB-M256 to expand the internal PCM multisample and sampling capacity to 320 Mbytes (64 Mbytes internal + 256 Mbytes), the EXB-FW that allows singlecable FireWire (IEEE 1394) connection for creating a virtualized hardware environment, and EX-USB-PCM series libraries that will become available in the future.

Front and rear panels

Front panel

Front and rear panels Front panel

Quick Start

M3 Front panel

The M3 music workstation/sampler uses the “KORG Komponent System,” with the KYBD-61/73/88 keyboard assembly and the M3-M sound module in a detachable conﬁguration.

2. Joystick

B. Keyboard assembly3. Ribbon controller * The diagram shown is for M3-61

Introduction

SetupProgram

A. M3-M (sound module section)1. SW1 and SW2 4. TO KYBD connector/TO MODULE connector

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

A. M3-M (sound module section)

This is the M3-M sound module. You can use the M3-M attached to the KYBD-61/73/88

keyboard assembly, or use the M3-M by itself as a MIDI sound module with an external MIDI keyboard or controlled from your computer.

B. KYBD-61/73/88 keyboard assembly

This is the KYBD-61/73/88 keyboard assembly. Connect it to the M3-M. For details on how to connect this to the M-3M and how to use it, please see “Keyboard assembly Manual.”

1. SW1 and SW2

These are used to control the M3-M’s programs or effect parameters, or to turn the joystick or ribbon controller’s lock function on/off.

The actual functions that are being controlled will depend on various program and effect parameters.

2. Joystick

You can control the M3-M’s program parameters or effect parameters by moving the joystick up/down/ left/right.

The actual functions that are being controlled will depend on various program and effect parameters.

They will do something like the functions shown below:

Standard Joystick functions

Move the joystick…

Left JS–X Pitch bend down Right JS+X Pitch bend up Up (away from yourself) JS+Y Vibrato Backwards

(towards yourself)

Controller

Name

JS–Y Filter LFO (wah)

Normally controls…

3. Ribbon controller

You can control the M3-M’s program parameters and effect parameters by touching or sliding your ﬁnger on the ribbon controller.

The actual functions that are being controlled will depend on various program and effect parameters.

4. TO MODULE , TO MODULE (2nd) connectors

Use the included cable to connect the M3-M and the keyboard assembly. When they are connected, you can use the keyboard assembly’s keyboard, SW1 and SW2 switches, joystick, and ribbon controller to control the M3-M. The KYBD-61/73/88 keyboard assembly has two TO MODULE connectors (main and sub), allowing you to connect two devices that are compatible with the KORG Komponent System. For details on connections, please see “Keyboard assembly Manual.”

Drum Track

Other

Appendices

Introduction to the M3

M3-M Front panel

1 2 6 9 1078

3 4 5 13 12 14 15 16

1. VOLUME MAIN slider

This adjusts the volume of the (MAIN OUTPUT) L/ MONO, R outputs, as well as the volume of the headphone jack.

It does not affect any of the other outputs, including S/ P DIF OUT (MAIN), the AUDIO OUTPUT (INDIVIDUAL) 1–4, or the optional EXB-FW output.

2. Control Surface (MIXER & MODULATION)

The Control Surface is located at the left of the display, and consists of eight sliders, eight switches, and a control assign section that selects the function to be controlled.

You can use the Control Surface to perform a wide range of control, such as adjusting the oscillator, timbre, track, and audio input mixers, editing sounds, controlling the KARMA function, and transmitting MIDI messages to external devices. You can freely switch the Control Surface between these functions without losing the contents of your editing.

As explained below, you can use the front panel CONTROL ASSIGN switches to switch between the various control surface functions. You can also view and edit the control surface settings on the display (P0– Control Surface page in each mode).

CONTROL ASSIGN:

The LEDs at the right of this switch indicate whether you’ve selected timbres or tracks 1–8 or 9–16, or INPUTS. Press the MIXER switch to change the selection.

REALTIME CONTROL switch

Switches 1–8 will turn the effects on/off. Sliders 1–8 will modify the sound or effects.

EXTERNAL

EXTERNAL lets you use the control surface to transmit MIDI messages to external MIDI devices.

TONE ADJUST

TONE ADJUST gives you hands-on access to sound editing, using the sliders 1–8, and switches 1–8. In Combination and Sequencer modes, it also lets you edit Programs within the context of the Combination or Song, without making any changes to the original Program data.

KARMA switch

Sliders 1–8 and switches 1–8 will control the KARMA function.

Alternatively, they will switch between KARMA SCENES 1–4 and 5–8. (see

page 11)

MIX PLAY/MUTE (SOLO), IFX 1...5, MFX1, 2, TFX

MIXER switch

T1–8, T9–16: In Program mode, the control surface will control the volume, play/mute, and solo of oscillators 1 and 2 and the Drum Track.

In Sampling mode, the control surface will control the volume, play/mute, and solo of the multisamples (oscillators).

In Combination and Sequencer modes, the control surface will control volume, play/mute, and solo of the sixteen timbres or MIDI tracks.

INPUTS: The control surface will control the volume, play/mute, and solo of the analog audio input and the S/P DIF audio input (and the FireWire L/R audio input if the optional EXB-FW is installed).

SWITCHES 1–8

These switches will control the function you’ve selected in the CONTROL ASSIGN section.

Note: Use the menu command Panel-SW Solo Mode On to switch these between the PLAY/MUTE function

and SOLO On/Off function.

MIX VOLUMES, CUTOFF...EG RELEASE, USER1...4

SLIDERS 1/9–8/16

These sliders will control the function you’ve selected in the CONTROL ASSIGN section.

Front and rear panels Front panel

There will be a slight discrepancy between the value and the controller position when you move a controller near the minimum or maximum

position of the slider. For details, please see: Program mode: “0–8: Control Surface” on page 14 of

the Parameter Guide Combination mode: “0–8: Control Surface” on

page 130 of the Parameter Guide Sequencer mode: “0–2–8: Control Surface” on page 207

of the Parameter Guide Sampling mode: “0–8: Control Surface” on page 309 of

the Parameter Guide

RESET CONTROLS switch

This switch resets the controllers of the control surface, or returns the settings to stored values.

To reset a single control, hold down RESET CONTROLS switch and then move a Control Surface slider, press one of the control surface switches.

To reset an entire page of the control surface all at once, including all sliders, and switches, hold down RESET CONTROLS switch and then touch any of the CONTROL ASSIGN switches, such as REALTIME CONTROL or TONE ADJUST.

For details, please see “Resetting controller values” on page 199.

LINKED LED

This will light if Link to DT of each KARMA module is on. If this is lit, the KARMA function on/off status will be controlled in synchronization with the on/off status of the Drum Track function.

LATCH switch

When LATCH is turned on, KARMA will continue to play even after you’ve stopped holding notes on the keyboard, drum/chord pads, or MIDI In.

This is convenient when you want to play on top of a KARMA-generated groove, for instance.

MODULE CONTROL switch

In Combination and Sequencer modes, KARMA has four independent Modules, each of which can be generating a different musical effect. When used to control KARMA, the Control Surface sliders and switches are ﬁve layers deep: one for each Module (A- D), and then a Master Layer which controls selected parameters from all of the Modules at once.

The MODULE CONTROL switch selects whether the KARMA Sliders, Switches, and Scenes will control either a single Module independently, or the Master Layer. In Program mode, only a single Module is available, and the Master Layer is used to control it; you cannot select other settings).

SCENES

Quick Start

Introduction

SetupProgram

Combination

Sequencer

3. DRUM TRACK

DRUM TRACK ON/OFF switch

This switch turns the Drum Track function on or off. When the DRUM TRACK ON/OFF switch is off (the

LED will go dark), pressing this switch will make the LED light or blink.

If the LED lights, the Drum Track pattern will start simultaneously. When you turn it off, the pattern will stop.

If the LED is blinking, the Drum Track pattern will be in ready mode; it will start when you play the keyboard or receive a MIDI note-on message.

4. KARMA

KARMA stands for “Kay Algorithmic Realtime Music Architecture.” It’s an immensely powerful recording and live performance tool, which can provide a wide range of musical effects including:

• Arpeggiation

• Drum and instrument grooves

• Complex CC gestures (as if it was automatically

moving sliders or joysticks for you)

• Musical phrase generation, such as piano flourishes

• Gated and chopped dance production effects

• Any combination of the above

• …and much more.

ON/OFF switch

This switches the KARMA function on and off. As with the other KARMA switches, the switch’s LED will light up to show you that it is turned on.

SWITCHES 1/5…4/8

These switches select KARMA scenes 1–8. When you press the CONTROL ASSIGN KARMA

switch, the 1–4 or 5–8 LED will blink to indicate the candidates for the selection you are about to make. When you then press a switch 1/5–4/8, the corresponding KARMA scene will be selected.

If you once again press the KARMA ON/OFF switch while 1–4 or 5–8 are blinking, the blinking state will be cancelled.

5. Drum/Chord Pads

PAD 1…8

These velocity-sensitive pads can trigger single notes or chords of up to eight notes each. You can use them for playing or programming drums, for triggering chords (especially useful in conjunction with KARMA), or for selecting chords to play from the keyboard in Chord mode. For information about Chord mode, please see “Assigning notes and chords to pads” on page 44.

Assigning notes to the pads is fast and easy.; see “CHORD ASSIGN switch” on page 12 for details.

The notes and/or chords assigned to the pads are stored with each Program, Combination, and Song. There are also Global settings for use when the Control Surface is set to EXTERNAL, for easy control of external sound modules or plug-ins.

PAD MODE switch

The PAD MODE switch switches the pads between being velocity sensitive (so that the loudness varies depending on how hard you hit the pad) and playing a single, ﬁxed velocity for each note (handy if you want

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Introduction to the M3

the same results every time, regardless of how hard you play).

CHORD ASSIGN switch

Use this switch to assign single notes or chord to the pads. (See “Assigning notes and chords to pads” on page 44)

6. TouchView display

This is a touch panel featuring the TouchView system. You can select pages, tabs, and parameters by pressing objects shown in the display, and then specify their value in the display or by using the V ALUE contr ollers. This allows quick and intuitive editing.

This display also functions as an X–Y controller. You can assign oscillator or timbre/track volume, program parameters, or effect parameters to the X-axis and Yaxis, and control them in realtime. When you do so, the color of the display will change in response to the movement of your ﬁnger . You can also use X–Y Motion to capture the movement of your ﬁnger, and use this captured motion to control parameters.

7. Contrast knob

This adjusts the contrast of the display. Adjust this as necessary if the visibility is not optimal.

8. X–Y control

X–Y control lets you use movements of your ﬁnger on the display (X–Y mode) or an X–Y Motion recorded in this way to control the volume balance between OSC1 and OSC2 (or between timbres/tracks), or to generate control changes that will modify the program or effect.

The X–Y Volume Control and X–Y CC Control settings specify the function to be controlled. (See “Volume Control and CC Control” on page 62)

You can also use a foot switch to control the MOTION START/STOP switch function.

9. MODE switches

M3 has six different operational modes, each one optimized for a speciﬁc set of functions.

Press one of these switches (the LED will light) to enter the corresponding mode.

COMBI switch

This selects Combination mode. Since a combination consists of multiple programs in a split or layer conﬁguration, it can produce more complex sounds than a program. In Combination mode you can play or edit these combinations.

PROG switch

This selects Program mode. Programs are the basic sounds you play. In Program mode you can play or edit programs.

SEQ switch

This selects Sequencer mode, for recording, playing, and MIDI tracks.

SAMPLING switch

This selects Sampling mode, for recording and editing audio samples and multisamples.

GLOBAL switch

This selects Global mode, for making overall settings, and Drum Kits, and more.

MEDIA switch

This selects Media mode. In this mode you can save or load data using a USB storage device connected to the USB A connector. You can also edit WAVE ﬁles on a USB storage device, or create an audio CD.

X–Y MODE switch

This turns X–Y MODE on or off. If you turn this on and move your ﬁnger across the display, the volume or tone will change according to the function that is assigned.

If this is on, the switch will light and the color of the display will change.

If this is on, you won’t be able to select parameters in the display. Turn this off if you need to modify settings. For details on how to preserve the On state, please see page 141.

HOLD switch

When you turn on the HOLD switch (the LED will light), the X–Y MODE effect will be maintained even after you take your hand away, preserving the state of that moment. If this HOLD switch is off, the point will return to the center value when you take your hand away.

MOTION START/STOP switch

This records or plays-back an X–Y Motion. Recording or playback will occur while you continue pressing the switch (the LED will light). For details on how to play back an X–Y Motion, please see “X–Y controller” on page 43.

10. BANK SELECT switches

I–A, I–B, I–C, I–D, I–E, I–F, I–G, U–A, U–B, U–C, U–D, U–E, U–F, U–G switches

Use these switches to change banks when selecting Programs or Combinations. The LEDs in the switches light up to show the current bank.

In Program mode, these switches select the Program bank.

In Combination mode, these switches have two functions:

• When you’re selecting Combinations, they choose the Combination bank.

• When you’re assigning a Program to a timbre within the Combination, they select the Program bank.

In Sequencer mode, when a track’s Program name is selected, these switches change the Program bank.

11. VALUE controller

When you’ve selected a parameter on the TouchView display, you can edit it using any of the four frontpanel VALUE controllers:

• The VALUE slider

• The Inc q and Dec u switches

Front and rear panels Front panel

• The VALUE dial

• The numeric keypad

VALUE slider

Use this to edit the selected parameter’s value. This control is convenient for making large changes to the value, such as moving quickly to the minimum or maximum setting.

You can use the value slider as a modulation source, but only when the following are true:

• You’re on the Program mode P0: Play– Main page, and the big Program name is selected, or

• You’re on the Combination mode P0: Play– Program T01–08 page, and the big combination name is selected.

In these cases only, the value slider sends MIDI CC#18, and can be used as a modulation source.

Inc q and Dec u switches

These are used to increase or decrease the parameter value by individual steps. They’re convenient for making ﬁne parameter adjustments.

VALUE dial

Use this dial to edit the selected parameter’s value. This control is convenient when you want to scroll through a very long list of selections.

0–9, –, ., and ENTER switches

These switches are convenient when you know the exact value that you want to enter. Use the 0–9, –, and decimal (.) switches to enter the value, and then press the ENTER switch to conﬁrm the entry.

The – switch inverts the sign (+/–) of the parameter value; the decimal (.) switch inserts a decimal, for entering fractional values.

Functions that use the ENTER switch in conjunction with another switch

ENTER has a few special functions when it is pressed in combination with other switches.

Whenever a parameter on the display lets you enter a musical note (such as G4 or C#2), or a velocity level, you can enter the note or velocity directly by holding down ENTER while playing a note on the keyboard. (This is not available in menu command dialog boxes.)

By holding down the ENTER switch while you press a numeric key (0–9), you can select up to ten menu commands from the current page.

In Program and Combination modes, you can hold down the ENTER switch and press the SEQUENCER REC/WRITE switch to use the Auto Song Setup function. This imports the current Program or Combination into Sequencer mode for quick and easy recording.

While a dialog box is displayed, the ENTER switch corresponds to the OK button. (The EXIT switch corresponds to the Cancel button.)

In Sequencer mode, you can hold down the ENTER switch and press the LOCATE switch to operate the menu command Set Location.

12. COMPARE

COMPARE switch

Use this switch to compare the sound of the Program or Combination that you are currently editing with the saved, un-edited version of the sound.

You can also use this switch to make “before and after” comparisons when recording or editing in Sequencer mode.

For details, please see “COMPARE switch” on page 23.

13. PAGE SELECT

Here you can select pages within each mode.

PAGE SELECT switch

Press this switch when you want to move to another page. When you press this switch, a list of the pages within the mode will appear in the display. Press the button of the desired page. Alternatively, you can move to a page by holding down this button and pressing a numeric key 0–9.

EXIT switch

If you’re in a page other than page 0 (e.g., Prog P0: Play) of each mode, pressing this switch will take you to page 0.

This switch makes it easy to return to the main page of the current mode:

• Press it once to go to the previously-selected tab on the main P0 page.

• Press it again to go to the first tab on the main P0 page (such as the main Program Play page). If you had previously selected a parameter on this page, that parameter will be selected.

• Press it a third time to select the main parameter on the P0 page, such as the Program name in Program mode.

Wherever you are in Program, Combination, or Sequencer modes, pressing EXIT three times (or fewer) will take you back to Program/Combination/Song Select, where you can immediately use the numeric keys or q/u switches to select a Program, Combination, or Song.

When a dialog box is open, this switch cancels the settings made in the dialog box and closes the dialog box, just like pressing the Cancel button. If a popup menu or menu is open, pressing EXIT closes the menu.

14. SAMPLING switches

REC switch

In Sampling, Program, Combination, and Sequencer modes, pressing this switch enters the initial samplingready mode. The switch’s LED will light up.

To continue, press the SAMPLING START/STOP switch, as described below.

START/STOP switch

In Sampling, Program, Combination, and Sequencer modes, pressing this when the SAMPLING REC switch is lit will do one of three things, depending on the setting of the Trigger parameter (on the Sampling

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Introduction to the M3

mode P0: Recording– Audio In/Setup page, and P0– Sampling/Audio In page):

• If Trigger is set to Sampling START SW, sampling

will begin immediately.

• If Trigger is set to Note On, sampling will begin as

soon as you play a note on the keyboard.

• If Trigger is set to Threshold, sampling will begin

as soon as the selected audio source reaches a preset volume level.

On the Sampling mode’s P1: Sample Edit page, pressing this switch will play the selected sample.

This switch is also used to play back WAV ﬁles from the media. You can play back WAV ﬁles in the directory window of various Media mode pages, in the Media mode Make Audio CD page, in the Sequencer mode audio track editing dialog boxes, and in the Select Directory menu dialog box of the Program, Combination, Sequencer, and Sampling modes.

15. SEQUENCER switches

Most of the switches in this section apply only to Sequencer mode and audio CD playback (in Media Mode).

REC/WRITE is the exception; it has special functions in Program, Combination, and Global modes, as described below.

PAUSE switch

In Sequencer mode, this switch pauses the playback of the song. When paused, the switch’s LED will light up. Press PAUSE once again to resume playback, and the LED will turn off.

In Media and Sampling modes, this switch pauses audio CD playback.

<<REW switch

In Sequencer mode, when the Song is playing or paused, this switch will rewind the song. When you press and hold this switch, its LED will light up, and the playback will rewind. (Rewind is disabled during recording, and while the Song is stopped.)

In Media and Sampling modes, this switch rewinds the audio CD.

FF>> switch

In Sequencer mode, when the Song is playing or paused, this switch will fast-forward the song. When you press and hold this switch, the switch will light, and the playback will fast-forward. (Fast-forward is disabled during recording, and while the Song is stopped.)

In Media mode, this switch fast-forwards the audio CD.

REC/WRITE switch

In Sequencer mode, pressing this switch will enter record-ready mode. Once you’re in r ecor d-r eady mode (shown by the switch’s lit LED), you can begin recording by pressing the SEQUENCER START/STOP switch. For details, please see “Recording MIDI in realtime” on page 85.

In Program, Combination and Global modes, pressing REC/WRITE switch will open the Update dialog box. For details, please see “Using the (SEQUENCER) REC/WRITE switch to write” on page 140.

START/STOP switch

This starts or stops recording and playback in Sequencer mode.

In Media and Sampling modes, this switch starts and stops playback on the audio CD.

16. TEMPO controls

TEMPO knob

This adjusts the tempo for the M3 as a whole, including:

• KARMA

• Drum Track

• Songs in Sequencer mode

• Tempo-synced LFOs

• Tempo-synced (“BPM”) delay effects

• EXB-RADIAS modulation source (if the optional EXB-RADIAS is installed)

The LED will blink at quarter-note intervals of the current tempo.

Note: If the Global P1: MIDI– MIDI Basic page MIDI Clock parameter is set to External, or if it is set to Auto

and a clock is currently being received via MIDI, then neither the TEMPO knob nor the TAP TEMPO switch will have any effect.

TAP TEMPO switch

You can specify the tempo by repeatedly pressing this switch at regular intervals of the desired tempo. The tempo will be entered when you press the switch twice. To obtain better accuracy, you should press the switch multiple times.

LOCATE switch

In Sequencer mode, this switch will advance or rewind the song to the speciﬁed locate point. This lets you jump immediately to any point in the current Song. The default locate point is the ﬁrst beat of measure 1.

To set the locate point to the current position, hold down ENTER switch and then press LOCATE switch. You can also set the Locate point directly via the display menu.

Rear panel/Bottom panel

Rear panel

Front and rear panels Rear panel/Bottom panel

Quick Start

1 2 3 9 7 1011 8

1. AC Power

POWER switch

This switch turns the power on and off. Before turning M3 off, make sure that you’ve saved any edits to your Programs, Combinations, Songs, or other user data.

AC Power connector

Connect the included power cable here.

2. USB 2.0

USB A connector (for connecting Hard Disk, CD-R/RW drive, etc.)

This connector lets you connect external USB devices. You can use a USB hard disk or CD-R/RW drive to

save or load M3 data such as PCG or SNG ﬁles, or WAVE ﬁles.

USB B connector (for connecting to computer)

This connector lets you send and receive MIDI between the M3 and your computer.

What is USB?

USB stands for Universal Serial Bus, and is an interface for transferring data between a computer, and/or peripheral devices.

3. MIDI

Connect these connectors between the M3 and external MIDI devices or a computer that is connected via a MIDI interface. MIDI allows you to send and receive performance data such as note messages as well as sound settings.

MIDI THRU connector

MIDI data received at the MIDI IN connector is retransmitted.

You can use this to chain multiple MIDI devices together.

MIDI OUT connector

This connector transmits MIDI data. Use this to control external MIDI devices, or to record

into an external sequencer.

4 5 6

MIDI IN connector

This connector receives MIDI data. Use this to play the M3 from another MIDI device, or

from an external sequencer.

4. Pedals

DAMPER jack

For the damper–also known as the sustain pedal– you can connect either a standard footswitch, or Korg’s special half-damper pedal, the optional DS-1H.

The DS-1H is a continuous pedal designed speciﬁcally for piano-style damper control, with the look and feel of an acoustic piano’s sustain pedal. It allows more subtle control of the damper than a simple switch; the further down you press the pedal, the more that the sound sustains. For details, please see “Half-Damper Pedal and Release Time” on page 26 of the Parameter Guide.

You can also connect a simple footswitch, which will work as a standard on/off damper pedal.

In order to ensure that the pedal functions correctly, please adjust the switch polarity (see “Damper Polarity” on page 371 of the Parameter Guide) and the half-damper sensitivity (see “Half Damper Calibration” on page 383 of the Parameter Guide).

ASSIGNABLE SWITCH jack

This lets you connect a simple on/off footswitch, such as the optional Korg PS-1. The footswitch can perform a wide variety of functions, such as modulating sounds and effects, tap tempo, sequencer start/stop, etc.

The switch’s function is set in Global mode (on the Controller tab of the Controllers/Scales page), so that it always works the same regardless of the current Program, Combination, or Song. For details, please see “Specifying the function of the Assignable Switch and Assignable Pedal” on page 132.

ASSIGNABLE PEDAL jack

This lets you connect a continuous controller pedal, such as the Korg EXP-2 foot controller or Korg XVP-10 EXP/VOL pedal, to use as an assignable modulation source.

Like the ASSIGNABLE SWITCH, the pedal’s function is set in Global mode. For details, please see “Specifying the function of the Assignable Switch and Assignable Pedal” on page 132.

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Combination

Sequencer

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Other

Appendices

Introduction to the M3

5. S/P DIF IN & OUT

These jacks provide 24-bit optical S/P DIF input and output, for connecting to computer audio systems, digital mixers, MDs, etc.

Optical S/P DIF is sometimes called TOSLINK, and formally named (hold your breath!) IEC60958, EIAJ CP-1201. Make sure to use optical cables designed for digital audio.

Whenever you use digital audio connections, make sure that all connected systems are set so that there is one and only one word clock master. You can set the word clock for the M3 using the Global page System Clock parameter. For details, please see “System Clock” on page 359 of the Parameter Guide.

OUT(MAIN) jack

This optical S/P DIF output carries a digital version of the main L/R outputs.

Note: That the VOLUME MAIN slider does not adjust the S/P DIF output level.

IN jack

You can use this optical S/P DIF input for recording, sampling, and real-time mixing through the built-in effects.

It can be used simultaneously with the two analog inputs, if you like.

mix. For details, please see “Routing effect settings” on page 155.

(MAIN) L/MONO, R

These are the main stereo outputs; their volume is controlled by the VOLUME MAIN slider. All of the factory Programs and Combinations are programmed to play through these outputs.

When editing sounds, or when setting up a Song in Sequencer mode, you can access the main outputs by setting Bus Select to L/R.

If no cable is connected to the R output, L/MONO will carry a mono summation of the stereo signal. So, if you are connecting to a device which does not have stereo inputs (such as a simple keyboard amp), use the L/ MONO output.

(INDIVIDUAL) 1, 2, 3, 4

These 4 additional audio outputs let you isolate sounds, or audio inputs for recording or complex live sound setups.

These can be used as stereo or mono outputs, in any combination. You can also use the Global P0: Basic Setup– Audio page L/R Bus Indiv. Out Assign parameter to map the main stereo outputs to any of these output pairs, if you like.

Note that the individual outputs are not affected by the VOLUME MAIN slider.

6. AUDIO INPUTS

You can use the audio inputs for sampling, and realtime mixing through the built-in effects.

AUDIO INPUT 1, 2

These are unbalanced 1/4" phone jacks.

LEVEL knobs

This adjusts the input level of the AUDIO INPUT 1, 2 jacks. After setting the MIC/LEVEL switch appropriately, use this knob to adjust the gain.

MIC/LINE switches

These set the input’s nominal signal level. Set these switches according to the type of device that you’re connecting, and then use the LEVEL knobs (described below) to optimize the gain.

Use the LINE setting when connecting to mixers, computer audio systems, signal processors, or other synthesizers.

Use the MIC setting only when connecting a microphone.

7. AUDIO OUTPUTS

All of the analog audio outputs use unbalanced 1/4" phone jacks, referenced to a +4dBu signal level.

Connect these outputs to the input jacks of your amp or mixer. In addition to the L/MONO and R main stereo audio outputs, the M3 provides eight individual audio outputs.

The sound from each oscillator , drum, timbr e/track, or insert effect can be freely routed to any output. Additionally, you can route the metronome sound to an individual output, to separate it from the stereo

8. Headphone jack

This stereo 1/4" headphone jack carries the same signal as the Main L/R outputs.

The headphone volume is controlled by the VOLUME MAIN slider.

9. EXB-FW option

If you install the optional EXB-FW in the M3, you’ll be able to enjoy the following total recall control functionality from a host application in which the included M3 Plug-in Editor is running.

• Send and receive MIDI data to and from the DAW software

• Edit and set up the parameters of the M3’s various modes

• Send and receive the M3’s 2-in and 6-out channels of digital audio.

If the EXB-FW is installed in the M3, it will have the following speciﬁcations.

• Audio input/output: 24-bit, 48 kHz fixed, 2-in/6out

• MIDI input/output: one port in/out (sixteen MIDI channels in/out)

Please note the following points.

• The two jacks have the same function. The connector to which your computer is not connected can be used as a daisy-chain connector for a FireWire device that can be recognized by your computer. (The M3 will not recognize this device.)

• The EXB-FW does not supply bus power.

For details on installing the EXB-FW into the M3, please see page 202.

Front and rear panels Objects in the display

Bottom panel

10. TO KYBD connector

Use the included cable to connect the M3 to the keyboard assembly. For details, please see “Keyboard assembly Manual.”

11. EXB option cover

You’ll need to open or close this cover when installing the EXB-RADIAS, EXB-FW, or EXB-M256 separately sold options into the M3, or when replacing the calendar backup battery.

For details on installing, please see page 202.

Objects in the display

The M3 uses Korg’s TouchView graphical user interface.

By touching on objects shown on the display, you can select pages, set parameter values, rename programs and combinations, write data, and perform many other operations.

If the X–Y MODE switch is on, you won’t be able to select parameters in the display. Turn this switch off when you want to modify the settings.

Note: References in the M3’s manual to the “... button” or “... tab” please see objects shown on the display. References to the “... switch,” “... knob,” “... dial,” or “... slider” please see controls on the front or rear panel of the M3.

g: Popup button (2)

a: Current page

f: Popup button (1)

e: Check box

h: Menu command

Quick Start

Introduction

SetupProgram

Combination

Sequencer

b: T abd: Edit cell c: Parameter

a: Current page

This indicates the current page within the selected mode.

From the left, this area shows the mode name, page number: name, and tab name.

Mode name Page number

Tab name

b: Tab

Most pages are divided into two or more tabs.

c: Parameters

The parameters for various settings are displayed in the display.

d: Edit cell

When you touch a parameter on the display, the parameter or parameter value will usually be highlighted (displayed in inverse video). This is called the edit cell, and the highlighted item will be subject to editing.

For details on how to edit the value, please see “3. Selecting a parameter and editing the value” on page 23.

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Introduction to the M3

e: Check box

Each time you press a check box, it alternates between the checked (red) and unchecked states.

The parameter will be active if it is checked, and inactive if it is unchecked.

f: Popup button (1)

When this button is pressed, a popup menu will appear, showing the parameter values that are available for selection.

To enter the parameter value, press the desired value in the popup menu.

When a popup menu is displayed, using a VALUE controller (see page 12) will close the popup menu. If the popup menu is unlocked (see “Pin”), it will close if you touch a location outside the popup menu. The menu will close when you press the EXIT switch, regardless of whether it is locked or unlocked.

* Popup menu Pin

This switches the popup menu display between locked and unlocked.

When locked, the pin will be shown closed, and the popup menu will remain displayed even after you press a parameter value. When unlocked, the pin will be shown opened, and the popup menu will close immediately when you press a parameter value.

Category button

When you press this button, a tabbed popup menu will appear, allowing you to perform the following selections.

• “Category/Program Select,” “Category/ Combination Select”

• Category/GE Select

Press the OK or Cancel buttons to close the tabbed category select popup menu.

The Jump to Sub button will display a sub-category selection menu.

h: Menu command button

* Menu

When this button is pressed, a list of menu commands will appear.

The menu commands that appear will differ depending on the currently selected page.

You can also select up to ten menu commands by holding down the ENTER switch and pressing a numeric key 0–9. The menu will close when you press the display at a location other than the menu, or when you press the EXIT switch.

Menu command button

Menu button

g: Popup button (2)

When you press this button, a tabbed popup menu will appear, allowing you to perform the following selections.

• “Bank/Program Select,” “Bank/Combination Select”: Select programs or combinations by bank

• “Multisample Select”: Select a multisample for a program oscillator by category

• “Effect Select”: Select effects by category

• “Drumsample Select”: Select drumkit ROM samples by category

• Select a KARMA GE

To close a tabbed menu, press the OK button or Cancel button.

Scroll bar

Use this when you wish to see parameter values that extend beyond what can be shown on the display at one time.

Press here to scroll to left or right.

Press here and slide to left or right to scroll to the desired location.

Press here to scroll to the corresponding location.

* Dialog box

The dialog box that appears will depend on the currently selected menu command.

When selecting a program or combination number in a dialog box, use the VALUE controllers (see page 12) to input the number.

To execute, press the OK button. To cancel without executing, press the Cancel button. (The operation will occur when you press and release the button.) The dialog box will close. The EXIT switch corresponds to the Cancel button, Done button, and Exit button.

Text edit button

Cancel button OK button

* Text edit button

When you press this button, the text edit dialog box appears for changing the names of Programs, Combinations, Songs, etc. For details, please see “Editing names” on page 197.

Front and rear panels Objects in the display

Quick Start

j: Radio buttons

Press a radio button to select one value from two or more choices.

j: Radio buttons

e: Check box

k: Other objects

To modify the parameter value of an object shaped like a slider or knob, ﬁrst touch the object, and then use the VALUE controllers to modify the value. There are also buttons which execute an operation when they are pressed and released, such as Done, Copy, and Insert (similar to the OK and Cancel buttons explained under “* Dialog box,” above).

Toggle buttons

This type of button will change its function or switch on/off each time it is pressed.

Play/Rec/Mute button in Sequencer mode

Solo On/Off button in Sequencer mode On/Off button for Effect

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Introduction to the M3

Basic Information

About the M3’s modes

The M3 has numerous functions that let you play and edit programs or combinations, record and play back sequence data, edit samples, and manage media. These functions are grouped into “modes.” The M3 has six modes.

Program mode

Programs are the basic sounds of M3. In Program mode, you can:

• Select and play Programs

• You can use a maximum of one KARMA module to generate phrases.

• You can play back Drum Track patterns while you perform using a Program.

• Sample and resample For example, you can sample an external audio source while listening to a performance generated by the KARMA function, or you can play a Program and resample your performance.

• Edit Programs Make detailed settings for oscillators, filters, amps, EGs, LFOs, effects, KARMA, X–Y control, etc.

EDS (Enhanced Deﬁnition Synthesis) sound generation system:

The oscillators can use the following multisamples.

• Preloaded (256 Mbyte): 1,032 multisamples (including seven stereo)

• RAM (64 Mbyte: if the optional EXB-M256 is installed, a total of 320 Mbytes. However, 512 bytes are used by the system.): RAM multisamples sampled by the M3 or loaded in Media mode

• Create drum programs using drum kits (as created in Global mode)

When the optional EXB-RADIAS is installed: The MMT (Multiple Modeling Technology) sound

generation system will be available for performance and editing.

Combination mode

Combinations are sets of up to 16 programs that can be played simultaneously, letting you create sounds more complex than a single Program. In Combination mode, you can:

• Select and play Combinations

• Use a maximum of four KARMA modules to generate phrases.

• Use one timbre to play back Drum Track patterns.

• Use M3 as a 16-track multitimbral tone generator

• Sample or resample For example you can sample an external audio source while listening to the performance of the KARMA, or resample a performance you play using a combination.

• Edit Combinations Assign Programs to each of the 16 Timbres, each with separate volume, pan, EQ, and keyboard and velocity zones; make settings for effects, X–Y control, and KARMA.

Sequencer mode

Sequencer mode lets you record, play back, and edit MIDI tracks. You can:

• Select and play Songs

• Edit Songs Assign Programs to each of the 16 MIDI Tracks, each with separate volume, pan, EQ, and keyboard and velocity zones; make settings for effects, X–Y control, and KARMA; edit MIDI data

• Record up to sixteen MIDI tracks simultaneously

• Control and play up to four KARMA modules

• Sample or resample You can sample an external audio input source while playing a song, and use In-Track Sampling to automatically create a note event that triggers the sample at the same time as it was recorded. You can also resample an entire song, and then use Media mode to create an audio CD.

• Use M3 as a 16-track multitimbral tone generator

• Record patterns and assign them to individual keys, using RPPR (Realtime Pattern Play/ Recording)

• Create user Drum Track patterns.

Sampling mode

Sampling mode lets you record and edit user samples and multisamples. For example, you can:

• Sample external audio sources (i.e., record samples), including sampling through effects

• Edit waveform data you sampled or loaded in from media, and set loop points etc.

• Create and edit multisamples, which consist of one or more samples spread out across the keyboard

• Quickly convert multisamples into Programs

• Directly sample or rip digital audio from an audio CD in a USB CD-R/RW drive (commercially available). You can also play back audio CDs.

Basic Information About the M3’s modes

Global mode

Global mode lets you make overall settings for the entire M3, and edit drum kits. For instance, you can:

• Make settings that affect the entire M3, such as master tune and global MIDI channel

• Create user drum kits, and user scales

• Create drum kits using ROM, or RAM drumsamples

• Rename program, combination, and KARMA GE categories

• Set the function of the assignable pedals and assignable switches

• Transmit MIDI System Exclusive data dumps

Media mode

You can save or load data using a USB 2.0 compatible storage device. You can:

• Save and load Programs, Combinations, Songs, Samples, and Global setup data

• Format USB storage media, copy and rename files, etc.

SAMPLING MODE

Resampling

AUDIO INPUT

S/P DIF IN R

S/P DIF IN L

(WireFire R)

(WireFire L)

Insert / Master / Final Effect

IFX 1

MFX 1 MFX 2

TFX

IFX 5

Sample

Multisample

Sample

Multisample

• Load Korg format, AKAI, SoundFont 2.0, AIFF, and WAVE samples, and export RAM samples in AIFF or WAVE formats

• Export and import sequences to and from SMF (Standard MIDI Files)

• You can use the Data Filer function to save or load MIDI System Exclusive data

• Edit WAVE files.

• Place the WAVE files in the desired song order, and use a USB CD-R/RW drive (commercially available) to create an audio CD. Create and play back audio CDs

PROGRAM (Option EXB-RADIAS)

Synth

Vocoder off

Carrier

Vocoder

Modulator

PROGRAM (HD-2)

OSC 1

MS1 (Multisample)

Drum Kit

MS2 (Multisample)

MS3 (Multisample)

MS4 (Multisample)

FILTER1

PITCH1

OSC 2

MS1 (Multisample)

Drum Kit

MS2 (Multisample)

MS3 (Multisample)

MS4 (Multisample)

FILTER2

PITCH2

DRIVER1

DRIVER2

AMP1/

AMP2/

Insert / Master / Final Effect

IFX 1

IFX 5

KARMA Module A

DrumTrack

DRUMS PROGRAM

Insert / Master / Final Effect

IFX 1

IFX 5

KARMA Module A

DrumTrack

DRUMS PROGRAM

MFX 1 MFX 2 TFX

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

USB CD-R/RW DRIVE

CD-ROM Write Audio CD

Ripping

Resampling

GLOBAL MODE

DRUM KIT

MEDIA MODE

PCG

KSC

Key Assign

DS1 Drumsample / Sample

DS2 Drumsample / Sample

DS3 Drumsample / Sample

DS4 Drumsample / Sample

USB Strage

(commercially available)

WAVE FILES

PCG / SNG

COMBINATION

TIMBRE9

TIMBRE1 1

PROGRAM

TIMBRE10

TIMBRE2

Drum Kit

PCG

TIMBRE3

TIMBRE4

TIMBRE5

TIMBRE6

TIMBRE7

TIMBRE8

SEQUENCER

MIDI TRACK 1...16

TRACK 1

TRACK 2

TRACK 3

TRACK 4

TRACK 5

TRACK 6

TRACK 7

TRACK 8

DRUM KIT

Preset Drum Track Pattern

User Drum Track Pattern

PROGRAM

TIMBRE11

TIMBRE12

TIMBRE13

TIMBRE14

TIMBRE15

TIMBRE16

TRACK 9

TRACK 10

TRACK 11

TRACK 12

TRACK 13

TRACK 14

TRACK 15

TRACK 16

PROGRAM

Insert / Master / Final Effect

IFX 1

MFX 1 MFX 2 TFX

IFX 5

KARMA Module A

KARMA Module B

KARMA Module C

KARMA Module D

Drum Track

Insert / Master / Final Effect

IFX 1

MFX 1 MFX 2 TFX

IFX 5

KARMA Module A

KARMA Module B

KARMA Module C

KARMA Module D

Drum Track

Other

Appendices

Introduction to the M3

Basic operations

After you’ve turned on the M3, here’s how to perform basic operations such as selecting modes and pages.

1. Selecting modes

• In order to use a particular function on the M3, you must first select the appropriate mode.

Press one of the front panel mode switches to enter the corresponding mode.

COMBI switch: Combination mode PROG switch: Program mode SEQ switch: Sequencer mode SAMPLING switch: Sampling mode GLOBAL switch: Global mode MEDIA switch: Media mode

2. Selecting pages and tabs

Each mode has a large number of parameters, which are grouped into pages. These are further subdivided by tabs into up to eight tab pages.

• Make sure that the desired mode is selected. For details on selecting a mode, see “1. Selecting

modes,” above. In this explanation we’ll use Combination mode as

an example. Press the COMBI switch.

The page in which you were when you pressed the PAGE SELECT switch will be highlighted as an indication.

2. Press the page that you want to view.

As an example here, try selecting “P4 Zone/Delay.” The P4: Zone/Delay– Key Z T01–08 page will appear.

Note: The page that appears will be the page of the tab you selected most recently.

Note: The Combi P0: Play page will appear. (This is shown in the upper left of the display.)

In Combination, Program, or Sequencer modes, you will normally perform in this P0: Play page. You can also make simple adjustments (edits) to the sound while you’re in this page. To make more detailed adjustments, use page 1 (Combi P1: DT/XY/Ctrls, etc.) and following.

Selecting a page

Using Page Select to move

In Combination, Program, Global, and Sequencer modes, you can press the PAGE SELECT switch to view a list of the pages that make up that mode.

1. Press the PAGE SELECT switch.

The page select menu will appear.

Using the PAGE SELECT switch + numeric keys 0– 9 switches to move

• Hold down the PAGE SELECT switch and use numeric keys 0–9 to specify the page number you want to view.

The speciﬁed page number will appear. The page that appears will be the page of the tab you selected most recently.

Note: In pages consisting of multiple pages such as P5– 1, P5–2, P7–1 – P7–4, P8–1, and P8–2, the ﬁrst page (P5– 1, P7–1, or P8–1) will be selected.

Using the EXIT switch to move to page 0

• You can press the EXIT switch to return to page 0 from any page.

Selecting tabs

• You can access tabbed pages by pressing the tabs shown in the bottom line of the display.

This example shows the Program T01–08 page through Mixer T01–08 page of Combi P0: Play.

Basic Information Basic operations

The – switch inverts the sign (+/–) of the parameter value; the decimal (.) switch inserts a decimal, for entering fractional values.

By holding down the ENTER switch and playing a note on the keyboard, you can enter the following value.

Quick Start

3. Selecting a parameter and editing the value

1. Press the parameter that you want to edit.

It will be highlighted. (This is called the “edit cell.”)

2. To modify the parameter value in the edit cell, use

the VALUE controllers (VALUE dial, q/u switches, numeric keys 0–9, – switch, (.) switch, and ENTER switch).

Note: The way in which the value will change depends on the type of parameter or object.

For example in the case of a check box object, you can switch the value by pressing that object. You can use the PROG SELECT switches to specify the bank for programs etc., or hold down the ENTER switch and press a note on the keyboard to enter a note or velocity value (“keyboard input”).

3. For parameters that are mapped to the control

surface, you can use the MIX PLA Y/MUTE (SOLO) switches or MIX VOLUMES sliders to edit the values.

Note: You can use the COMPARE switch to compare the sound you’re editing with the original unedited sound.

VALUE controllers

VALUE dial

Use this dial to edit the selected parameter’s value. This control is convenient when you want to scroll through a very long list of selections.

VALUE slider

This slider increases or decreases the value of the selected parameter in the same way as the V ALUE dial. This slider can also be used as a control source for modulation. Use this when you want to change a value by a large amount.

q/u switches

Use these when you wish to make small changes in the value.

Numeric keys 0–9, ENTER switch, – switch, (.) switch

ENTER switch + keyboard (note name or velocity input)

You can use the M3’s keyboard to specify the value of a parameter when you need to enter a note name or a velocity value. Hold down the ENTER switch, and play the note that you want to enter; the corresponding note name or velocity value will be entered.

This function is unavailable while a menu command is open, since the ENTER switch will be functioning as the OK button.

When the Global P5: Drum Kit page is shown, you can hold down the ENTER switch and play a note to access the settings assigned to that note. (If a velocity-related parameter is selected, this action will enter the velocity value.)

Other

BANK SELECT I–A, I–B, I–C, I–D, I–E, I–F, I–G, U–A, U–B, U–C, U–D, U–E, U–F, U–G switches

Use these switches to change banks when selecting Programs or Combinations. The LEDs in the switches light up to show the current bank.

In Program mode, these switches select the Program bank.

In Combination mode, these switches have two functions:

• When you’re selecting Combinations, they choose the Combination bank.

• When you’re assigning a Program to a timbre within the Combination, they select the Program bank.

In Sequencer mode, when a track’s Program name is selected, these switches change the Program bank.

TEMPO knob, TAP TEMPO switch

You can set the tempo by turning the TEMPO knob or by repeatedly pressing the TAP TEMPO switch.

Control surface

For details on using the control surface to edit values, please see page 42.

COMPARE switch

Use this when you wish to compare the edits you have made to a program or combination’s sound with the un-edited original (i.e., the sound that is written into memory).

When editing a program or combination, press this switch. The LED will light, and the last-written settings for that program number or combination number will be recalled. When you press the COMPARE switch once again, the LED will go dark and you will return to the settings that you were editing.

If you edit the settings that are recalled by pressing the COMPARE switch (i.e., the settings that are written into memory), the LED will go dark, and it will not be

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Introduction to the M3

possible to return to the previous edits by pressing the COMPARE switch again.

In Sequencer mode, you can use the COMP ARE switch to make “before and after” comparisons immediately after using realtime recording or step recording to record a song, or after performing a track edit operation.

For example, this can be used effectively when realtime-recording a track for a song.

1. Realtime-record a MIDI track. (Take 1)

2. Once again, realtime-record on the same track. (Take 2)

3. Press the COMPARE switch. The LED will light, and take 1 will be recalled.

4. Press the COMPARE switch once again. The LED will go dark, and take 2 will be recalled.

5. If at step 3 you once again realtime-record on the same track (take 3), the object of the Compare function will now be take 1.

If at step 4 you once again realtime-record on the same track (take 3), the object of the Compare function will be take 2.

In this way, the Compare function lets you recall the previous recording or the previous state of event editing.

The Compare function does not work in Global mode, with the exception of Sampling, Media editing.

4. Selecting and executing a menu

commands

Menu command button

Menu button

The utility functions provide commands that are speciﬁc to each page, such Write (save) or Copy. The available utility functions will depend on the page you select.

For example, the utility functions in Program mode let you write (save) the settings, or let you perform convenient editing operations such as copying settings between oscillators or effects, or a Sync function that lets you edit two EGs together.

1. In the upper right of the display, press the u button.

The menu command will appear.

2. Select a menu command by pressing it with your ﬁnger.

A dialog box for the selected menu command will appear.

Check-type commands will not display a dialog box; their status will be switches, and the list will close.

By holding down the ENTER switch and pressing a numeric key 0–9 you can access the dialog box for the ﬁrst ten utility functions without going through the menu.

• If you want to close the list without selecting a command, press the display somewhere other than the list, or press the EXIT switch.

3. For a parameter in a dialog box, select it by pressing it with your ﬁnger, and use the VALUE controllers (e.g., VALUE dial or q/u switches) to enter its value.

When selecting a program or combination number in a dialog box, you can also use the BANK SELECT switch to enter the bank as an alternative to using the VALUE controllers.

4. To execute, press the OK button or the ENTER switch.

If you decide not to execute, press the Cancel button or the EXIT switch.

The dialog box will close.

5. Writing/sa ving

After you edit, you should write or save your changes as necessary.

For example if you’ve edited a program, your changed will be lost if you select another program or turn off the power. The same applies to a combination.

Settings you edit in Global mode will be remembered as long as the power is on, but your changes will be lost when you turn off the power.

For details on the Write operations, see the following pages.

• Programs → p.50

• Combinations → p.69

• Effect presets → PG p.118

• Global settings (pages 0–4) → p.129

• Drum kits → p.138

• User Drum Track patterns → p.195 Preset/user Drum Track patterns are saved in internal memory even when the power is turned off. Patterns you create in Sequencer mode can be converted into user Drum Track patterns and saved in internal memory.

• User template songs → PG p.272 Preset/user template songs are saved in internal memory even when the power is turned off. Track settings and effect settings of a song you create can be saved in internal memory by the menu command Save Template Song.

• For details on writing to internal memory → p.140

Refer to the following pages for more about saving.

• Saving to media (Media– Save) → p.152

Note: On the M3, the action of writing to internal memory is called “Write,” and the action of saving to an external USB storage device is called “Save.”

Turning the power on/off

Connecting the AC cable

Setup

Quick Start

Introduction

Turning the power off

1. Make sure that the M3’s power switch is in the STANDBY (outward) position.

2. Connect the included power cable to the power connector on the M3’s rear panel.

3. Plug the power cable into an AC outlet.

Turning the power on

1. Lower the M3’s VOLUME MAIN slider.

If you have connected powered monitor speakers or a stereo amp, turn down the volume of these devices.

2. Press the rear panel Power switch to turn on the power.

The display will show the model name, software version. (The following graphic shows the factory-set display. The version number is subject to change without notice.)

3. Turn on your powered monitors or stereo amp.

4. Raise the M3’s VOLUME MAIN slider to an appropriate position, and adjust the volume of your powered monitor speakers or stereo amp.

Note: The state of M3 when the power is turned on will depend on the setting of Power On Mode. (See page 130)

After you’ve ﬁnished editing, be sure to write (save) your changes. If you edit a program and then select a different program or turn off the power, the changes you made will be lost. The same is true for a combination. The settings you edit in Sequencer mode and Global mode are remembered as long as the power is on, but will be lost when you turn off the power.

1. Lower the M3’s VOLUME MAIN slider.

Also turn the volume of your powered monitor speakers or stereo amp down to zero.

2. Turn off the power of your powered monitor or stereo amp.

3. Press the rear panel Power switch to turn off the power.

Never turn off the power while data is being written into internal memory. If the power is turned off while processing is being performed, memory write operations will not be completed correctly. If this occurs, M3 will automatically initialize its internal memory so that it will operate correctly. This is not a malfunction. While data is being written, the display will indicate “Now writing into internal memory.” Data is written into internal memory by the following operations.

• When writing Program, Combination, Global Setting, Drum Kits, RADIAS Formant Motion data, or converting to a user Drum Track pattern (update)

• When loading Program, Combination, Global Setting, Drum Kit, or RADIAS Formant Motion preload data

• When receiving a MIDI data dump of Program, Combination, Global Setting, Drum Kit, RADIAS Formant Motion, or user Drum Track pattern data

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Setup

Connections

Connections must be made with the power turned off. Please be aware that careless operation may damage your speaker system or cause malfunctions.

You can tilt the M3-M (sound module) upward for use if desired. For the procedure, refer to the included manual.

The following illustration is an example of connections. Be sure you use the correct type of cable for each connection.

Analog audio input

Connections to MIDI equipment

AC power supply

Power cable (Included)

to an AC outlet

Connecting the power cable

Synthesizer

Power switch

Option EXB-FW etc.

Installing options

USB device connections

Pedal connections etc.

ASSIGNABLE

MIDI OUT

MIDI cable

MIDI IN

USB A USB B

USB cable

CD-R/RW, hard disk, removable disks etc.

DAMPER

SWITCH

PEDAL

MIDI

OUT

Computer

Connections to computers

Digital audio input/output

Digital recorder etc.

(INDIVIDUAL)

4321

DIGITAL OUT

Effect unit

INPUT

USB

Option EXB-FW

S/P DIF OUT IN

FireWire (IEEE 1394)

Guitar

If a passive type guitar (a guitar without an internal preamp) is connected, it will not be possible to

Mic

sample at an appropriate level due to the impedance mismatch. Such instruments must be connected via a preamp or effect unit.

AUDIO OUTPUT

(MAIN) R L/MONO

PHONES

Mixer

STEREO AUX RETURNS

AUX SEND

MIC4

MIC6

MIC3

MIC5

MIC2

MIC1

BAL OR UNBAL

LINE IN 2

LINE IN 1

LOW CUT

LOW CUT 75Hz

18dB/OCT

+10dB

-40dB

TRIM

AUX 1

MON/ EFX

+15

EFX

+15

HI 12kHz

-15 +15

MID

2.5kHz

-12

+12

U LOW 80Hz

+15

-15

PAN

MUTE

ALT 3–4

SOLO

ALL BAL/UNBAL

LEFT(1/MONO)

RIGHT

BAL

MONO

UNBAL

LINE IN 4

LINE IN 6

LINE IN 3

LINE IN 5

BAL

LOW CUT

75Hz

UNBAL

18dB/OCT

LEVEL

-10

+10dB

-40dB

+10dB

-40dB

TRIM

LINE IN 7-8

LINE IN 9-10

TRIM

AUX

MON/

EFX

+15

EFX

+15

12kHz

-15 +15

-15

+15

-15

-15 +15

-15

+15

-15 +15

MID

2.5kHz

-12 +12

-12

+12

-12 +12

LOW

80Hz

+15

-15

+15

-15 +15

+15

-15

+15

-15

PAN

R L R

9–10

7–8

MUTE

ALT 3–4

SOLO

Monitor OUTPUT

MAIN OUTS

TAPE

OUTPUT

INPUT

BAL/UNBAL

MONO

BAL

UNBAL

LEVEL

PHONES

-10

LINE IN 13-14

LINE IN 11-12

AUX

MON/

Powered

EFX

+20

+10

+15

NORMALLED

AUX 1 MASTER

PRE

POST

EFX

AUX

EFX TO

AUX 1

+20

MONITOR

+15

SELECT

+15

RETURNS

SOURCE

LEFT RIGHT

monitors,

MAIN

CLIP+28

12kHz

MIX

+10

-15

+15

-15 +15

ALT

3-4

MID

2.5kHz

-12

+12

TAPE

etc.

-2

LOW

80Hz

-4

+15

-15

-7

ASSIGN

PAN

-10

TO MAIN MIX

-20

NORMAL(AFL)

-30

LEVEL SET(PFL)

SOLO

0dB=0dBu

MODE

13–14

11–12

MUTE

POWER

RUDE SOLO LIGHT

PHANTOM

ALT 3–4

CONTROL

/ PHONES

MAIN MIX

ROOM

SOLO

INPUT

Analog audio output

Connecting audio equipment

Analog audio output

Here’s how to connect the M3 to your analog amp or mixer.

If you’ve connected a stereo audio amp, be aware that playing at high volume may damage your speaker system. Be careful not to raise the volume excessively.

AUDIO OUTPUT (MAIN) L/MONO and R

These are the main outputs, accessed by setting Bus Select to L/R. All of the factory sounds use these

outputs, and the Master and Total Effect are always routed here as well.

1. Connect the AUDIO OUTPUT (MAIN) L/MONO and R outputs to the inputs of your powered monitor or mixer.

If you’re using M3 in stereo, use both the (MAIN) L/ MONO and R jacks. If you’re using M3 in mono, use only the (MAIN) L/MONO jack.

If you’re playing back through a stereo audio amp or a radio cassette recorder that has an external input jack, connect the M3 to the jacks(s) labeled LINE IN, AUX IN, or external input. (Use an adapter cable with the appropriate type of plug.)

The VOLUME MAIN slider affects only the main stereo outputs and the headphones; it does not affect the individual outputs, or the S/P DIF output.

Headphones

Powered monitors

Connections Connecting audio equipment

2. Use the Bus Select parameters to send the desired sounds, audio tracks, inputs, or effects to the individual outputs, as either mono (1...4) or stereo (1/2, 3/4) signals.

If the signal is going through one or more insert effects, the output is set at the last IFX in the chain, via the Bus Select parameter on the P8– Insert FX Setup page.

If a Program, Timbr e, or Track is not going through any insert effects, the output is set using the Bus Select parameters on the P8–1 or 8–2 Routing page.

To assign audio inputs directly to outputs, use Bus Select parameters in the P0– Audio Input (Sampling) page.

In Global mode, the Audio page L/R Bus Indiv. Assign setting lets you mirror the MAIN stereo L/R output on any pair of individual outputs. You can use this to create a private monitoring setup in live and studio environments. For details, please see “L/R Bus Indiv. Assign (Assign to L/R and Indiv.Out)” on page 362 of the Parameter Guide.

Note: You can’t use the VOLUME MAIN slider to adjust the volume of the individual outputs.

Mixer

L/MONO

PHONES

INPUT

Headphones

Powered monitors

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

INPUT INPUT L/

MONO

PHONES

AUDIO OUTPUT (INDIVIDUAL) 1–4

These are 4 additional analog outputs, which can be used as individual mono outputs, stereo pairs, or any combination of the two. Almost any signal source can be routed to these outputs, including:

• Each note in a Drum Kit

• Insert Effect outputs

• Each Program in a Combination or Song

• Audio inputs You can use these to isolate or group together sounds

for recording, or for complex live performance setups.

1. Connect the (INDIVIDUAL) 1–4 outputs to the your amp or mixer inputs.

Headphones

1. If you’re using headphones, connect them to the M3’s headphone jack.

2. Use the VOLUME MAIN slider to adjust the volume of the headphones. The M3’s headphone jack outputs the same signal as the AUDIO OUTPUT (MAIN) L/MONO and R jacks.

Note: To monitor the (INDIVIDUAL OUTPUT) 1–4 signals, use an external mixer.

Drum Track

Other

Appendices

Setup

Analog audio input

Here’s how to input external analog audio sources into the M3 so that they can be sampled, or processed through the internal effects.

AUDIO INPUT 1, 2

These two inputs use unbalanced 1/4" phone jacks. They also include preamps with adjustable gain.

You can use these for:

1. Connect your mics or the output jacks of your external audio sources to the INPUT 1 and 2 jacks.

These are unbalanced 1/4" phone jacks.

2. Set the MIC/LINE switch as appropriate for the device you’ve connected, and use the LEVEL knob to adjust the gain.

Use the LINE setting if you’re inputting from a mixer, an audio system, or another synthesizer.

Choose the MIC setting (switch in the outward position) if you’ve connected a mic.

3. Adjust the output level on your external device.

4. After turning on the power, use the Sampling/ Audio In page to set up the volume, pan, bus routing, and send levels for the inputs, as desired.

For details, please see “Bus Select” on page 10, and page 361 of the Parameter Guide.

Note: Guitars with active pickups can be connected directly to any of the inputs. Guitars with passive pickups (i.e., guitars that do not have an internal preamp) can be used with inputs 1 and 2, but the impedance mismatch will cause both a change in tone and a reduction in volume. For best results, route such guitars through a pre-amp or effects unit before connecting them.

Set System Clock in the Global P0: Basic Setup– System Preference page.

Digital audio input

S/P DIF IN

An audio system, digital mixer, MTR that can output audio at a sampling rate of 48 kHz can be input to the M3’s L and R channels, and sampled to the hard disk or routed through the internal effects and sent to the OUTPUT jacks.

1. Use an optical cable to connect the external optical digital output of your DAT or other device to the S/P DIF IN jack of the M3.

2. Set System Clock (Global P0: Basic Setup– System Preference page) to S/P DIF.

For details, please see “System Clock” on page 359 of the Parameter Guide.

3. After turning on the power, use the Sampling/ Audio In page to set up the volume, pan, bus routing, and send levels for the inputs, as desired.

For details, please see “Bus Select” on page 10, and page 361 of the Parameter Guide.

You can use the S/P DIF inputs simultaneously with the four analog inputs.

Digital audio output

S/P DIF OUT (MAIN)

The same signal as the M3’s AUDIO OUTPUT (MAIN) L/MONO and R jacks can be digitally output to an audio system, mixer, or MTR, or other device that can accept a sampling rate of 48 kHz.

1. Use an optical cable to connect the S/P DIF OUT (MAIN) jack to the external optical digital input jack of your device.

This will output the same audio signal as the AUDIO OUTPUT (MAIN) L/MONO and R jacks.

Note: You can’t use the VOLUME MAIN slider to adjust the volume of the digital output.

2. Make the appropriate “System Clock” setting.

When two or more digital audio devices are connected, all of them must be synchronized to a single clock; one device must be the master, and the other devices must be slaves. For example if you’ve connected two M3 units via their S/P DIF jacks (IN and OUT), you should set System Clock to Internal on one unit and to S/P DIF on the other unit. If you’ve connected a consumer digital audio device via S/P DIF (IN and OUT), set the M3’s System Clock to S/P DIF.

Connections Connecting a damper pedal, foot switch, or foot pedal

Connecting a damper pedal, foot switch, or foot pedal

By connecting an optional damper pedal, foot switch, or foot pedal, you can control even more functions and effects.

You can use the damper pedal to apply a damper effect while you play.

You can use the foot switch to turn the sostenuto or soft pedal effect on/off, to turn the KARMA function on/off, to switch programs or combinations, or to control tap tempo.

You can use the foot pedal to control volume or modulation.

PEDAL

Connecting a damper pedal

SWITCH DAMPER

Connecting a foot pedal

If you connect a optional EXP-2 foot controller or XVP10 expression/volume pedal to the ASSIGNABLE PEDAL jack, you can use it to apply modulation to sounds or effects, or to adjust the overall volume.

This pedal will always function in the same way regardless of the Program, Combination, or Song you’ve selected. You can assign the function in the Global mode.

1. Connect an optional XVP-10 or EXP-2 to the ASSIGNABLE PEDAL jacks.

2. After turning the power on, use Global P2: Controllers– Foot Controllers page “Foot Pedal Assign” to assign the function controlled by the foot pedal. (See page 133)

Quick Start

Introduction

SetupProgram

Combination

Sequencer

This pedal can provide a damper effect as you play. This instrument also supports half-damping. Here’s how to connect an optional Korg DS-1H damper pedal to the DAMPER jack and use it to control the halfdamper effect.

1. Connect an optional DS-1H damper pedal to the DAMPER jack.

You’ll be able to control the half-damper effect if you’ve connected the DS-1H. If you’ve connected a different switch-type pedal, it will function as a damper switch.

2. After you turn on the power, set the switch polarity and adjust the half-damper response to ensure that the half-damper pedal works correctly . (See PG page 371, and page 383)

Connecting a foot switch

If you connect an on/off-type foot switch such as the Korg PS-1 pedal switch to the ASSIGNABLE SWITCH jack, you can use it to turn the sostenuto or soft pedal effect on/off, to control tap tempo, or to apply modulation to a sounds or an effect.

This switch will always function in the same way regardless of the Program, Combination, or Song you’ve selected. You can assign the function in the Global mode.

1. Connect a foot switch such as the optional PS-1 to the ASSIGNABLE SWITCH jack.

2. After turning the power on, use Global P2: Controllers– Foot Controllers page “Foot Switch Assign” and “Foot Switch Polarity” to assign the function controlled by the foot switch and to specify the polarity. (See page 39, and page 132)

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Setup

Connecting a computer

The M3 provides USB connectors as standard equipment. By connecting the M3 to your computer via USB, you can use it as a controller and MIDI sound module for your DAW software.

By using the dedicated editor, you can edit the M3 from your computer as though it were a software plugin. (Audio data is not transferred via the USB connector.)

If you install the optional EXB-FW, you’ll be able to send and receive MIDI and audio data (2-in/6-out) within the dedicated editor via the FireWire connector.

You can connect the M3 to your computer in the following three ways.

• Connect the M3’s USB B connector to a USB port of your computer.

• Connect the M3’s MIDI connectors to your computer via a commercially available MIDI interface.

• Install the optional EXB-FW, and connect the M3’s FireWire connector to a FireWire port of your computer.

USB connection and setup

Connection for the M3-M

If you’re using an external MIDI keyboard to control the M3-M, make connections as follows.

If you’re using the M3 Editor, make connections as shown in the following illustration.

Computer

USB cable

USB B

MIDI IN

M3-M

MIDI OUT

MIDI keyboard

If you’re using the M3 Plug-In Editor or a DAW, you can connect your MIDI keyboard via your computer as shown in the following illustration, instead of using the connections shown in the illustration above. (If you connect to your computer via MIDI, you’ll need a commercially available MIDI interface.)

Computer

USB cable

MIDI/USB

USB B

If you connect the M3’s USB B connector to your computer, you’ll be able to send and receive note data and other performance information and sound settings between your computer and the M3 as MIDI messages.

Note: The USB B connector of the M3 is only able to transmit and receive MIDI data.

Before you connect the M3 to your computer via USB, you must install the KORG USB-MIDI driver in your computer . The driver must be installed for each USB port you use. If you connect the M3 to a USB port other than the one you used when installing the KORG USB-MIDI driver , you’ll need to install the driver again. For details, please see “Installing the software” on page 34.

1. Using a USB cable, connect the USB B connector of the M3 to the USB connector of your computer.

Connection for the M3-61/73/88

Computer

USB cable

USB B

MIDI/ USB

M3-M

MIDI keyboard

2. Make the necessary settings in the M3’s Global mode.

For details, please see “Global mode settings on the M3” on page 32.

3. Make the necessary settings on your computer.

For details, please see “M3 Editor/Plug-In Editor Manual” (PDF).

Connections Connecting a computer

Using the M3 Editor/Plug-In Editor via a USB connection

Here are some examples of how to use the system with the M3 Editor/Plug-In Editor connected via USB.

If you want to mix the M3’s audio signals with the audio signals sent from your host application via your audio interface, or with audio signals from another sound module, make connections as shown below.

Powered monitors

L/MONO

INPUTINPUT

Audio interface

USB

USB B

M3’s audio signals Other audio signals MIDI signals

Computer

If you want to apply a plug-in effect to the M3’s audio signals, or to control the M3’s audio signals in your host application together with the audio data from the KORG Legacy Collection or other audio tracks, make connections as shown below. Make settings as appropriate for the host application you’re using.

Powered monitors

INPUTINPUT

Audio interface

USB

Computer

M3’s audio signals Other audio signals MIDI signals

L/ MONO

USB B

Connecting your computer via the MIDI connectors

You can use a commercially available MIDI interface to connect the M3 to your computer.

1. Connect the M3’s MIDI OUT connector and MIDI IN connector to the MIDI IN port and MIDI OUT port of your MIDI interface. For details, refer to the manual included with your MIDI interface.

Some USB-MIDI interfaces may be unable to transmit or receive the M3’s MIDI exclusive messages.

Connection for the M3-61/73/88

Computer

MIDI interface

M3-61/73/88

MIDI OUT

MIDI IN

MIDI INMIDI OUT

Connection for the M3-M

Computer

MIDI/USB

MIDI IN

MIDI OUT

MIDI IN

MIDI OUT

M3-M

MIDI keyboard

MIDI interface

MIDI/ USB

Note: If you’re controlling the M3-M from a keyboard, connect your MIDI keyboard via a MIDI interface.

2. Make the necessary settings in the M3’s Global mode.

For details, please see “Global mode settings on the M3” on page 32.

Connection and setup for the optional EXB-FW

If you install the optional EXB-FW, you’ll be able to exchange audio signals and MIDI messages between the M3 and your computer from a host application in which the included M3 Plug-In Editor is running.

Audio input/output: ﬁxed at 24-bit 48 kHz, 2-in/6-out MIDI input/output: one port in/out (16 MIDI

channels in/out) For details on installing the optional EXB-FW into the

M3, please see “Installing the EXB-FW” on page 205.

Please note the following points.

• The two connectors have the same function. The connector that’s not connected to your computer can be used for a daisy-chain connection with a FireWire device that your computer can recognize. (The M3 will not recognize this device.) If the M3 is powered-off, the daisy-chained FireWire device cannot be detected from the connected computer.

• The EXB-FW does not supply bus power.

• Don’t connect the EXB-FW to two computers simultaneously.

• Don’t connect the EXB-FW to two M3 units simultaneously.

• The EXB-FW can handle MIDI and audio only within a host application in which M3 Plug-In Editor is running.

• In order to use the dedicated editor via FireWire, you must install the KORG FireWire-Audio/MIDI driver. For details, please see “Installing the software” on page 34.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Setup

• Each input/output device can be used only from a single item of software. Multi-client operation is not supported.

• For applications such as sequencer software, you may need to make audio and MIDI device settings. For details, refer to the manual of the software you’re using.

1. Use a FireWire cable to connect the M3’s FireWire connector to your computer’s FireWire port.

2. Make the necessary settings in the M3’s Global mode.

For details, please see “Global mode settings on the M3” on page 32.

3. Make the necessary settings on your computer.

For details, please see “M3 Editor/Plug-In Editor Manual” (PDF).

Using the M3 Plug-In Editor via a FireWire connection

Here is an example of using the M3 Plug-In Editor with a FireWire connection.

You can use the M3 as though it were plug-in software, apply plug-in effects to the M3’s audio signals, or control the M3’s audio signals within your host application together with the data of other audio tracks.

You can also apply the M3’s effects to audio signals such as audio tracks of your host application.

Make settings as appropriate for the host application you’re using. The following illustrations show examples of connections and settings.

Powered monitors

M3’s audio signals Other audio signals MIDI signals

Computer

For the

HDD

connected computer

Audio interface

One or two channels of audio tracks etc. from your DAW software

The M3’s channels L, R, and 1-4

INPUTINPUT

FireWire (IEEE 1394)

FireWire FireWire

Global mode settings on the M3

Local Control On settings

Turn on the Echo Back function of the external MIDI/ USB sequencer or computer (so that data received at MIDI IN will be re-transmitted from MIDI OUT/USB), and turn off the M3’s Local Control setting (so that M3’s keyboard and tone generator will be internally disconnected).

When you play the keyboard or the pads 1–8 of the M3, the musical data will be transmitted to the external MIDI sequencer or computer, and then echoed back to play the M3 tone generator.

When you play the M3’s keyboard or strike the pads 1– 8, performance data will be sent to your external MIDI sequencer or computer, and the echo-back from that device will play the M3’s sound generator.

In other words, by turning Local Control Off, you can prevent notes from being sounded in duplicate, as would otherwise occur if a note were sounded by the M3’s own keyboard and again by the data that was echoed-back.

The default setting for Local Control is On. To turn off Local Control, the Local Control On (Global P1: MIDI page) check box to uncheck it.

When using the M3 by itself, leave Local Control turned on. (If this is off when M3 is used by itself, playing the keyboard will not produce sound.)

For details, please see page 131, and PG page 363. Note: The M3’s Local Control setting can be turned Off

by the Local Control Off message sent from the editor when you start up M3 Editor/Plug-In Editor.

Note: If the EXB-FW is installed, the FireW ir e connector will behave in the same way.

KARMA

Sequencer

Record

Play

Sequencer

Record

Tone

Generator

Enable KARMA Module to MIDI Out

MIDI OUT

Tone

Generator

MIDI OUT

Local

Control

OFF

M3 (If you’re using the M3-M by itself, the controllers of the keyboard assembly are not included)

When playing back from the internal sequencer

(The playback of the internal sequencer is not sent to the KARMA modules.)

M3 (If you’re using the M3-M by itself, the controllers of the keyboard assembly are not included)

MIDI IN

Local

Control

Enable MIDI In to KARMA Module

OFF

MIDI Filter “Exclusive” setting

If you want the M3 to transmit and receive system exclusive data, you must check the Global P1: MIDI– MIDI Routing page MIDI Filter Exclusive check box. Check this box if the M3 is connected to your computer and you want to edit the M3 from your computer (or bi-directionally). You must also check this box if you’re using the M3 Editor/Plug-In Editor. By default, the MIDI Filter Exclusive setting is checked.

Connections Connecting MIDI devices

Connecting MIDI devices

By connecting the M3’s MIDI connectors to an external MIDI device you can transfer sound settings and performance data such as note messages between your external MIDI device and the M3.

About MIDI

MIDI stands for Musical Instrument Digital Interface, and is a world-wide standard for exchanging various types of musical data between electronic musical instruments and computers. When MIDI cables are used to connect two or more MIDI devices, performance data can be exchanged between the devices, even if they were made by different manufacturers.

Controlling an external MIDI tone generator from M3

If you want to use the M3’s keyboard, pads and other controllers, sequencer , and KARMA function to play or control an external MIDI sound module, use a MIDI cable to connect the M3’s MIDI OUT connector to the MIDI IN connector of your external MIDI sound module.

MIDI OUT

Controlling M3’s tone generator from an external MIDI device

When you wish to play or control the M3’s tone generator from an external MIDI keyboard or sequencer etc., use a MIDI cable to connect the MIDI OUT connector of the external MIDI device to the MIDI IN connector of M3.

MIDI IN

MIDI keyboard

Connecting a USB device (HDD, CD-R/RW, etc.)

You can connect a USB 2.0 compatible hard disk drive or other USB storage device to the M3’s USB A connector, and use it to save or load M3 data such as PCG or SNG ﬁles or WAVE ﬁles.

If you connect a USB CD-R/RW drive, you’ll be able to make an audio CD from songs you created on the M3 (and converted to WAV ﬁles).

To make the connections:

• Connect the M3’s USB A connector to the USB connector of your USB device.

The maximum supported capacity depends upon the format of the USB device. With FAT16 format, the maximum capacity is 4 GB; with F AT32, the maximum is 2 Terabytes (2,000 GB).

1. Use a USB cable to connect your external USB device to one of the M3’s USB A ports.

Standard USB cables have a different connector at each end. Plug the ﬂat, rectangular connector into the M3, and plug the square-ish connector into the external USB storage device.

Note: If the device you are using does not support hotplugging, make connections with the device poweredoff, and then turn on the power of your device.

2. Execute the Media mode Utility menu command “Scan USB Device.”

3. Use the Media mode Media Select screen to check the connection.

For more information, see “Loading & saving data, and creating CDs” on page 139.

Type B

Type A

USB hub

CD-R/RW, hard disk, removable disk, etc.

USB cable

Type B

Type A

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

MIDI IN

MIDI OUT

MIDI keyboard

Controlling two or more external MIDI tone generators from M3

You can also use a MIDI patch bay to control multiple MIDI devices.

MIDI OUT

MIDI IN

MIDI patch bay

MIDI OUT

MIDI IN

MIDI tone generator

MIDI IN

MIDI keyboard

Hot-plugging

The M3 supports USB hot-plugging. This means that you can connect or disconnect the USB cable while the power is on.

Note: In order to use hot-plugging, the USB device you are connecting must also support hot-plugging.

8 USB devices maximum

M3 has two separate USB 2.0 A ports, and can support up to 8 USB devices simultaneously. Note that it doesn’t matter how the devices are connected; even if you use hubs or different ports, the maximum is always 8 devices.

USB Power

Some USB devices get their power from the USB connection. These are called “bus-powered” devices, and they are supported by M3.

Drum Track

Other

Appendices

Setup

Other USB devices may require a separate power source, in addition to the USB connection; in this case, you’ll need to use an appropriate power adaptor for the device.

There is a limitation to the total current supplied to all connected USB devices, as deﬁned by the USB speciﬁcation. If the total current consumption of the connected devices exceeds this limit, the M3 may not correctly recognize the connected USB devices. If this happens, an error message of “USB Hub Power Exceeded!” will appear.

To avoid this problem, if you connect more than one USB device, please use a self-powered USB hub in selfpowered mode. For details on connections and settings for your hub, please refer to its documentation.

For details on the electrical current used by a speciﬁc USB device, refer to its owner’s manual.

Installing the software

About the software

The most recent versions of the applications contained in the included CD-ROM can be downloaded from the Korg website (http://www.korg.com).

Please note before use

The license agreement for this software is provided separately . You must read this license agreement befor e you install this software. Your installation of this software will be taken to indicate your acceptance of this agreement.

Operating requirements

KORG USB-MIDI driver

Windows

Operating system: Microsoft Windows XP Home Edition/Professional/x64 Edition Service Pack 2 or later (the MIDI driver for the x64 Edition is a Beta version) All editions of Microsoft Windows Vista (the MIDI driver for the 64-bit Edition is a Beta version)

Computer: USB port required (a USB host controller made by Intel is recommended)

Macintosh

Operating system: Mac OS X 10.3.9 or later Computer: USB port required

M3 Editor (stand-alone version) M3 Plug-in Editor (plug-in version) KORG FireWire Audio/MIDI driver

Windows

Operating system: Microsoft Windows XP Home Edition/Professional Service Pack 2 or later

Computer: CPU Pentium III/1 GHz or better (Pentium IV/2

GHz or better recommended)

Memory 512 MB or more (1 GB or more is

recommended) Monitor 1,024 × 768, 16-bit color or better If using the optional EXB-FW

A computer with a FireWire (IEEE 1394) port If using USB B A computer with a USB port Formats supported by the M3 Plug-In Editor: VST,

RTAS

Connections Installing the software

Macintosh

Operating system: Mac OS X 10.4 or later Computer:

CPU PowerPC G4 800 MHz or better (PowerPC

G5 or Intel Core Duo processor is recommended)

Memory 512 MB or more (1 GB or more is

recommended) Monitor 1,024 × 768, 32,000 colors or better If using the optional EXB-FW

A computer with a FireWire (IEEE 1394) port If using USB B A computer with a USB port Formats supported by the M3 Plug-In Editor: VST,

Audio Unit, RTAS * M3 Plug-In Editor must also satisfy the operating

requirements of the host application.

You cannot run multiple instances of the M3 Editor and M3 Plug-In Editor on the operating system. This means that you can’t use this editor to edit two or more M3 units simultaneously.

Installing the driver and the editor software in Windows XP

Note: In order to install or uninstall software in Windows XP, you must have Administrator privileges. Consult your system administrator for details.

Note: Before you connect the M3 to your computer via USB, you must use the M3 application installer to install KORG USB-MIDI Driver Tools.

Note: Before you connect the M3 (with the optional EXB-FW) to your computer via FireWir e, you must use the M3 application installer to install the KORG FireWir e Audio/MIDI Driver .

Installing the M3 application

The M3 application installer will install the KORG USB-MIDI Driver Tools and the M3 Editor/Plug-In Editor automatically.

1. Insert the included CD-ROM into your CD-ROM

drive.

Normally the “M3 Application Installer” will start up automatically.

If your computer is set so the installer does not run automatically, double-click “KorgSetup.exe” on the CD-ROM.

2. Follow the on-screen instructions to install the

desired software such as the KORG USB-MIDI Driver Tools and M3 Editor/Plug-In Editor.

Note: If you intend to use the M3 Editor/Plug-In Editor via the USB port, you must install the KORG USBMIDI Driver Tools.

Note: If you intend to use the M3 Editor/Plug-In Editor via the FireWire port, you must install the KORG FireWire Audio/MIDI Driver Tools.

3. When you’ve installed all of the selected software,

exit the installer.

4. If necessary, install the KORG USB-MIDI driver.

For details on installation, please see “Installing the KORG USB-MIDI driver,” below.

Installing the KORG USB-MIDI driver

If you intend to use the M3 Editor/Plug-In Editor via the USB port, you must install the “KORG USB-MIDI driver” in your computer.

Use the KORG USB-MIDI Driver Tools to install the KORG USB-MIDI driver.

1. Before you continue, you must ﬁrst ﬁnish installing the KORG USB-MIDI Driver Tools in your computer.

2. Use a USB cable to connect your computer’s USB port to the M3’s USB B connector. Then power-on the M3.

When your computer ﬁrst detects that the M3 is connected, the Windows default driver will be installed automatically. (This is not the KORG USBMIDI driver.)

Note: The driver must be installed separately for each USB port. If you connect the M3 to a USB port other than the one for which you installed the KORG USBMIDI driver, you’ll need to install the KORG USBMIDI driver again using the same procedure.

3. From the taskbar, click [Start]→[All Programs]→[KORG]→[KORG USB-MIDI Driver Tools]→[Install KORG USB-MIDI device].

The setup utility will start.

4. Follow the on-screen instructions to install the KORG USB-MIDI driver.

If during the installation, a dialog box regarding digital

signatures appears with a message saying “.... has not

passed Windows logo testing,” simply click [Continue] to proceed.

Note: If you are unable to proceed with the installation, it may be that your computer has been set to prohibit installation of unsigned drivers. Check the settings of your computer as described in “Allowing installation of drivers that are not digitally signed.”

5. After you’ve installed the KORG USB-MIDI driver, exit the installer.

If you are asked whether you want to restart, choose [Yes] to restart your computer.

For more about installation, setup, or uninstallation of the KORG USB-MIDI driver, refer to the installation manual (HTML).

To view the manual, choose [Start]→[All Programs]→[KORG]→[KORG USB-MIDI Driver Tools]→[Installation Manual].

About the M3 and USB-MIDI driver ports

KEYBOARD port

Applications on your computer use this port to receive MIDI messages from the M3 (data from the keyboard and controllers).

SOUND port

Applications on your computer use this port to send MIDI messages to the M3’s internal sound generator, making it produce sound.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Setup

Installing the KORG FireWire Audio/MIDI driver

1. Follow the on-screen instructions to install the KORG FireWire Audio/MIDI driver.

If during the installation, a dialog box regarding digital

signatures appears with a message saying “.... has not

passed Windows logo testing,” simply click [Continue] to proceed.

2. When a dialog box such as the following appears while you’re installing the KORG FireWire Audio/ MIDI driver, connect the FireWire (IEEE 1394) cable and power-on the M3.

3. After you’ve installed the KORG FireWire Audio/ MIDI driver, exit the installer.

If you are asked whether you want to restart, choose [Yes] to restart your computer.

Setting up the M3 Editor/Plug-In Editor

For details on setting up and using the M3 Editor/ Plug-In Editor, please see “M3 Editor/Plug-In Editor Manual” (PDF).

Allowing installation of drivers that are not digitally signed

If the computer you’re using has been set to forbid the installation of any drivers that are not digitally signed, you won’t be able to install the KORG USB-MIDI driver or the FireWire Audio/MIDI driver. Proceed as follows to change this setting so that you’ll be able to install the drivers.

1. From the taskbar, click [Start]→[Control Panel] to access the control panel.

2. In the control panel, double-click [System], and then click the [Hardware] tab.

3. In “Drivers,” click [Driver Signing].

If necessary, you can change this setting back to its original state after you’ve installed the KORG USBMIDI driver or the FireWire Audio/MIDI driver.

Installing the KORG MIDI driver and the editor software in Mac OS X

Installing the software

You’ll need to run the installer separately for each software item such as the KORG USB-MIDI driver and M3 Editor/Plug-In Editor to install them one at a time.

1. Insert the included CD-ROM into the CD-ROM drive of your computer.

2. In the CD-ROM, double-click the software installer (.pkg) to start up the installer.

Each installer is located in the following folder.

• KORG USB-MIDI driver “KORG USB-MIDI DRIVER” folder → KORG USBMIDI DRIVER.pkg

• M3 Editor “M3 Editor” folder → M3 Editor.pkg

3. Follow the on-screen instructions to install each item of software such as the KORG USB-MIDI driver and M3 Editor.

Note: If you intend to use M3 Editor via the USB port, you’ll need to install the KORG USB-MIDI driver on your computer.

4. When you’ve ﬁnished installing the software, exit the installer.

4. In “What action do you want Windows to take?”, choose [Ignore] or [Warn], and then click [OK].

About the M3 and USB-MIDI driver ports

KEYBOARD port

Applications on your computer use this port to receive MIDI messages from the M3 (data from the keyboard and controllers).

SOUND port

Applications on your computer use this port to send MIDI messages to the M3’s internal sound generator, making it produce sound.

Setting up the M3 Editor/Plug-In Editor

For details on setting up and using the M3 Editor/ Plug-In Editor, please see “M3 Editor/Plug-In Editor Manual” (PDF).

Playing and editing Programs

About the M3’s Programs

Programs are the basic sounds of the M3. You can play them by themselves, layer them together

in Combinations, or play a different Program on each of the 16 MIDI tracks, either from the internal

Playing Programs

sequencer or from external computer-based sequencers.

This section of the manual takes a quick look at playing Programs, including tours of the front-panel controllers and basic editing techniques.

Quick Start

Introduction

SetupProgram

Selecting Programs

There are several different ways to select Programs. Each one is convenient in a different way:

• Using “Program Select” and the VALUE controllers Choose “Program Select,” and then use the VALUE controllers to select a Program.

• Using the Bank/Program Select menu In the display, press the “Program Select” popup button, and choose from the menu organized by bank.

• Using the Category/Program Select menu In the display, press the “Category Select” popup button, and choose from the menu organized by categories such as piano or drums.

• Using a foot-switch lets you change Programs even while both hands are busy playing on the keyboard

- convenient for live applications

• MIDI program change messages let you select Programs remotely, from either -a MIDI sequencer or an external MIDI controller

See below for details.

4: q/u switches 3: Program Select

2: PROG P0: Play

4: VALUE dial

Selecting a program using “Program Select” and the VALUE controllers

1. Press the MODE PROG switch. (The LED will light.) (Refer to the illustration below for the switches.)

You will enter Program mode.

2. Access the Prog P0: Play– Main page.

This is shown in the top line of the display.

Mode name Page number and name Tab name

Bank number

Program Select (Program number and name)

Program Select popup button

If a different page is shown, press the EXIT switch several times to move to the Prog P0: Play– Main page.

3. Make sure that “Program Select” is selected.

If it is not, press “Program Select” in the display to highlight it.

4. Select the program you want to play.

You can use the following methods to select a program.

• Use the q or u switches.

• Turn the VALUE dial.

• Use numeric keys 0–9 to enter the program number, and press the ENTER switch.

5. Press a BANK SELECT I-A–U-G switch to switch banks.

1: MODE PROG switches

4: Numeric keypads ENTER switch

Category Select popup button (Category number and name)

5: BANK SELECT I-A–U-G switches

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Playing and editing Programs

When you select a different Bank, the switch’s LED will light, and the selected bank will appear on the left side of the display.

For example, to select bank INT-B, press the BANK SELECT I-B switch. The I-B switch will light, and the name Bank INT-B will appear in the left of the display.

• Each time you press the I-G switch, the bank will alternate as shown below.

G→g(1)→g(2)→g(3)→g(4)→g(5)→g(6)→g(7)→g(8) →g(9)→g(d)→G→g(1)→…

Auditioning the sound

To hear the program you selected, play the KYBD-61/ 73/88 or a MIDI-connected keyboard. Alternatively, you can strike the M3-M’s pads to hear the program.

Overview: Program Banks

With the factory settings, the M3 contains 512 preloaded programs, and 256 programs and 9 drum programs that are GM2 compatible. In addition to these you can store sounds that you create, as well as optional sound libraries, giving you a total of 1,536 programs.

Programs are organized into fourteen banks as shown in the following table.

Program bank contents

Bank Prog. No. Explanation

With the factory settings, these banks

INT-A…D 000…127

INT-E 000…127

INT-F 000…127

GM (INT-G) 001…128

g(1)…g(9) 001…128

g(d) 001…128

USER– A…G

000…127

Factory Programs.

Initialized Programs.

EXB-RADIAS Programs.

GM2 main programs.

GM2 variation programs.

GM2 drum programs.

Initialized Programs.

contain a wide variety of preloaded programs that use the internal PCM ROM multisamples, effects, and KARMA.

Recommended bank for user sampling

This can be selected if the optional EXBRADIAS is installed.

These banks contain 256 GM programs and nine GM drum programs that are compatible with the GM2 sound map. The programs of these banks are read-only. Bank G contains the GM programs. G lets you select 128 programs numbered from 001– 128, and g(1)–g(d) lets you select nine drum programs. You can’t write (save) data to these banks.

For these banks you can switch the bank type between EDS and EXBRADIAS. Programs cannot be saved in a bank of a differing type. Specify the bank type using the Global mode menu command “Set Prog User-Bank Type” (See PG page 382).

For details on the factory-set programs, refer to the “Voice Name List” on the included CD-ROM.

Selecting by Bank/Program Select menu

You can select Programs from a menu organized by Program bank.

1. Press the Program Select popup button.

The Bank/Program Select menu appears.

Bank/Program Select menu

In this illustration, bank Bank GM is selected. The menu the Programs contained in that bank.

2. Press the tabs in the left and right of the display to select banks.

3. Press one of the program names in the center area to select a program.

The selected program will be highlighted, and the program will change.

Alternatively, you can use the q/u switches to switch programs.

Play the keyboard or strike the pads to hear the program you selected.

4. If you selected Bank GM, the Variation button is shown.

By repeatedly pressing this Variation button you can cycle through the banks in the same way as by pressing the front panel INT G switch.

5. When you are satisﬁed with the selected Program, press the OK button to close the menu.

If you press the Cancel button, the selection you made here will be discarded, and you will return to the program that had been selected before you opened the menu.

Playing Programs Selecting Programs

Selecting by Category/Program Select menu

You can select Programs from within a category, such as keyboard, organ, bass, and drums.

When shipped from the factory, the preloaded Programs are organized into 16 categories, each with several sub-categories. There are also 2 more categories, initially named User 16 and User 17, which you can use and rename as desired.

1. Press the Category Select popup button.

The Category/Program Select menu appears.

Category/Program Select menu

In the illustration above, the Keyboard category is selected. The menu on the left and right shows the Programs which belong to that category.

2. Press the tabs in the left and right of the display to select a different category.

The name of the selected category will be displayed in full in the right-hand corner.

3. Press one of the program names in the center area to select a program.

The selected program will be highlighted, and the program will change.

Alternatively, you can use the q/u switches to switch programs.

Play the keyboard or strike the pads to hear the program you selected.

4. If you want to select from a sub-category , press the Jump to Sub button to access the Sub Category/ Prog Select menu.

Press the left tabs to select a sub-category. Note: You can’t select tabs for a sub-category that is not

assigned to any program. Select a program as described in step 3 above. Press the OK button to conﬁrm your selection, or press

the Cancel button to discard it. You will return to the main category.

5. When you are satisﬁed with the selected program, press the OK button to close the menu.

If you press the Cancel button, your selection will be discarded, and you will return to the program that had been selected when you opened the popup menu.

Using a footswitch to select Programs

You can select programs by using a foot switch connected to the ASSIGNABLE SWITCH jack. By assigning the appropriate function, you can increment or decrement the program number in steps of one.

This lets you change Programs without using your hands–great for quick Program changes in live performance situations.

There are two ways of doing this: by assigning the footswitch to Program Up/Down, or to V alue Inc/Dec. Each of these is suited to a particular application, as described below.

Assigning the footswitch to Program Up/ Down

Assigning the footswitch to Program Up or Program Down lets you directly control Program changes from the footswitch. For most situations, this is the more straightforward method.

To set this up:

1. Connect a foot switch to the rear-panel ASSIGNABLE SWITCH input.

Use a optional PS-1 pedal switch.

2. Access the Global P2: Controllers– Foot Controllers page.

Proceed as follows.

3. Press the MODE GLOBAL switch to enter Global mode.

Press the PAGE SELECT switch to access Global Page Select. Press P2 Controllers, then press the Foot Control tab in the display.

4. Set “Foot Switch Assign” to either Program Up or Program Down.

If you choose Program Up, the next higher program number will be selected each time you press the foot switch.

If you choose Program Down, the next lower program number will be selected each time you press the foot switch.

5. Set the “Foot Switch Polarity” to match the polarity of the pedal you’ve connected.

If you’ve connected the optional PS-1 pedal, choose (–) KORG Standard.

Now, the foot switch will step through the Programs, one by one.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Playing and editing Programs

6. If you want to preserve this setting even when the power is turned off, be sure to Write (see page 141).

7. Press the PROG switch to enter Prog P0: Play, and press the foot switch to change the Program.

Note: This setting applies to selecting Combinations, as well.

Assigning the footswitch to Value Inc/Dec

This lets you use the Assignable Foot Switch to duplicate the functions of the front-panel Inc q or Dec u switches.

This method is convenient if you want to open the Bank/Program Select menu or Category/Program Select menu and switch programs while viewing the program or combination menu.

With this setting, the Program Up/Down assign method will not function while the menu is open. (Program changes will be ignored while the menu is open.) Make the following settings.

To set this up:

1. Follow steps 1–4 under “Assigning the footswitch to Program Up/Down,” above.

2. At the top of the page, set the Foot Switch Assign parameter to Value Inc (or Value Dec).

3. Now, the foot switch will act just like pressing the front-panel Inc q or Dec u switches.

Note: The footswitch will work like this for the entire M3–not just when the Program or Combination Select window is open.

MIDI filter settings

You can use MIDI ﬁlters to specify whether program changes and bank select messages will be transmitted and/or received. Make these settings in the Global P1: MIDI– MIDI Routing page. (See page 131, and PG page 367)

Performing with KARMA and the Drum Track

Based on your keyboard playing or on the note data received from MIDI IN, the KARMA function automatically generates a diverse variety of phrases or patterns, such as guitar or keyboard backing riffs, bass phrases, or drum patterns. You can use the KARMA sliders and the KARMA switches to freely modify these phrases or patterns.

For more about the KARMA function, please see page 163.

The Drum Track function plays a rich variety of drum patterns using the M3’s high-quality drum programs. You can play programs along with the drum patterns.

Of course, phrases generated by KARMA can be synchronized with Drum Track patterns and used together with them.

For more about the Drum Track function, please see page 185.

Using MIDI Program Change

You can send MIDI Program Change messages to M3 from external MIDI devices, such as DAW software or other MIDI controllers. In conjunction with MIDI Bank Select, you can use these to select any Program from all 14 Banks.

If you use the included “M3 Plug-In Editor” as a plugin inside your DAW software, you’ll be able to easily select M3 programs or combinations from a list within your DAW. For details, refer to the included “M3 Editor/Plug-In Editor Manual” (PDF).

Transmit/receive MIDI channel settings

All transmission and reception of MIDI data in Program mode is performed on the Global MIDI Channel. You can set this in Global mode, on the Global P1: MIDI– MIDI Basic page. (See “MIDI-related settings for the entire M3” on page 131)

Bank select settings

You can specify the program and combination sound mapping for Bank Select control change messages (CC#0: upper byte, CC#32: lower byte). Make these settings in Bank Map (Global P0: Basic Setup– System Preference page). (See PG page 358)

Playing Programs Using Controllers

Using Controllers

The M3 provides a control surface with sliders and switches, an X–Y control function, and pads, giving you a wide range of ways in which to vary the sound.

In addition to a keyboard, the M3 KYBD-61/73/88 provides a joystick, ribbon controller, and SW1/SW2 switches to let you control the sound.

These controls let you modify the tone, pitch, volume, effects, etc. in realtime while you play.

The controllers of the M3 KYBD-61/ 73/88

[SW1], [SW2]

(Lock function)

Joystick

Ribbon Controller

Joystick

The joystick moves in four directions: left, right, up (away from yourself), and down (towards yourself). Each of the four directions can be used to control a different function, such as modulating Program or effects parameters. These assignments can be different for every Program, but generally, they do the following:

Standard Joystick functions

Move the joystick…

Left JS–X Pitch bend down Right JS+X Pitch bend up Up (away from yourself) JS+Y Vibrato Down (towards

yourself)

Joystick Lock

The joystick will automatically return to the center position when you release it.

You can use the KYBD-61/73/88’s SW1/SW2 switches or a foot switch connected to the M3-M to lock the current position so that the effect will continue even after you return the joystick to the center position. For details, please see “Using the Lock function” on page 41.

Controller

Name

JS–Y Filter LFO (wah)

Normally controls…

Ribbon Controller

Move your ﬁnger to the left and right on the ribbon controller to apply an effect.

Normally, this is used to control pitch, volume or ﬁlter etc.

You can use the Lock function of SW1 or SW2 switches to hold the effect even after you release your ﬁnger from the ribbon controller. For more details, please see “Using the Lock function” on page 41.

SW1, SW2

You can use these switches to control program parameters via AMS (Alternate Modulation), or effect parameters via DMod (Dynamic Modulation).

They can also transpose the keyboard by octaves, turn portamento on/off, or lock the position of the ribbon controller, joystick, or aftertouch.

Each switch can work as either a Toggle or Momentary switch. In Toggle mode, the assigned function is switched between on and off each time the switch is pressed. In Momentary mode, the assigned function is active on only as long as you hold down the switch.

In Program mode, you can check the assignments of SW1 and SW2 on the Prog P0: Play– Main page. For more details, please see “Controller settings for the program” on page 46.

When you write a Program or Combination, the on/off status of the SW1 and SW2 switches is saved.

For more details, please see “Setting the functions of SW1 and SW2” on page 198.

Using the Lock function

Locking the Joystick

1. Using the standard factory sounds, select Program INT-A016: Real Suit E.Piano, and play the keyboard.

To select a program, make sure that you are in Program mode, and press the BANK INT A switch, numeric key 1, 6, and then the ENTER switch.

2. Move the joystick away from yourself (the +Y direction).

The vibrato effect will deepen.

3. While holding the joystick away from yourself, press the SW2 switch.

When you press the switch, its LED will light up, and the modulation effect at this point will be maintained.

4. Release the joystick, and play the keyboard.

The modulation will stay the same as it was when SW2 was pressed. Moving the joystick away from yourself will not affect the sound.

5. Press the SW2 switch once again to release the Lock function.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Playing and editing Programs

Locking the Ribbon Controller

Make sure that the INT-A016: Real Suit E.Piano program is selected.

1. Press the SW2 switch.

The LED will light up.

2. Touch the ribbon controller, and move your ﬁnger left and right.

Movement in the +X direction will brighten the tone, and movement in the –X direction will darken the tone.

3. Lift your ﬁnger up from the ribbon controller.

The sound will remain as it was when you last touched the ribbon.

4. Press the SW2 switch once again to release the Lock function.

Press the tab labeled Main, to go to the P0: Play– Main page.

In the upper right-hand portion of the display, notice that SW2 is assigned to JS Y & Ribbon Lock. This means that SW2 is assigned to control the Lock function for both the joystick’s Y axis and the ribbon controller. The switch operates as a toggle. Many Programs and Combinations use this assignment.

You can also lock both the ribbon and the joystick at the same time:

1. Move the joystick in the +Y direction

2. Press the SW2 switch to turn on the Lock function.

3. Move your ﬁnger on the ribbon controller.

4. Release the joystick, and lift your ﬁnger up from the ribbon.

The effects of both the ribbon and the joystick will be maintained until you press SW2 again to release the lock.

Lock can also be applied to aftertouch, by assigning SW1 or SW2 to After Touch Lock.

For details on the functions that you can assign to SW1 and SW2, please see “SW1/2 Assignments,” on page 597 of the Parameter Guide.

The controllers of the M3-M

Control Surface sliders, & switches

The control surface consists of eight sliders, eight switches, and control assign switches that select the functions to be controlled.

• You can control mixer functions such as volume, mute, and solo on/off for oscillators and audio inputs.

• You can apply modulation to sounds or edit them.

• You can control the KARMA function.

• You can control external MIDI devices.

1. Use the CONTROL ASSIGN MIXER–KARMA switches to select the function you want to control.

Alternatively, you can use the Prog P0: Play– Control Surface page Control Assign parameter to select a function. Press the Control Surface tab in the lower line of the display to access this page.

Since this parameter is linked with the front panel switches, a change you make to one will be reﬂected by the other.

2: Switches/Sliders 1–8

Reset

Controls

1: Control

Assign

Keyboard

Velocity

Velocity is a measure of how hard you play a note on the keyboard. This can be used to modulate many different aspects of the sound, such as volume, brightness, or the character of the attack.

Aftertouch

The keyboard can also measure how hard you press down after you play a note–hence the term “aftertouch.” Y ou can use this to shape notes over time, controlling (for instance) volume or vibrato amount.

Note Number

Sounds can be programmed to change in character based on the note being played. As you play higher or lower on the keyboard, the note number can modulate the timbre–such as becoming brighter as you play higher. Envelopes may also become faster or slower; the volume may change; and so on.

In Program mode, you can select one of ﬁve different functions:

MIXER (OSC Mix): Adjust the volume, Play/Mute, and Solo

On/Off status for oscillators 1 and 2 and the drum track. (In Combination mode and Sequencer mode, use the switch to move between timbres or tracks 1–8 or 9–

16.)

(Mixer Input): Adjust the volume, Play/Mute, and Solo On/Off status for the analog inputs and the S/P DIF and FireWire (if the EXB-FW is installed) audio inputs.

Playing Programs Using Controllers

The Solo On/Off status is linked for the OSC MIX and Mixer Input.

REALTIME CONTROL (RT Control): Use the sliders to modify the sound or effects. Use the switches to turn effects on/off.

EXTERNAL: Use the sliders and switches to transmit MIDI messages to external MIDI devices. You can assign these functions in the Global P1: MIDI– External Mode 1/2 pages.

TONE ADJUST: Use the sliders and switches to directly edit program parameters.

KARMA: Use the sliders and switches to control the KARMA function.

You can freely switch between these functions without losing the contents of your editing.

2. Operate switches 1–8 and sliders 1–8 to control the selected functions.

For examples of using REALTIME CONTROL, TONE ADJUST, and KARMA, please see page 48, page 49, and page 168.

Resetting controls to their saved values

The front-panel RESET CONTROLS switch lets you recall the stored settings for any slider, or switch on the control surface.

To reset a single slider, or switch:

1. Hold down the RESET CONTROLS switch and operate the slider 1–8 or switch 1–8 that you want to reset.

The slider , or switch will be reset to the value stored in the Program.

2. When you’re done, release the RESET CONTROLS switch.

To reset a group of controls at once:

• Hold down the RESET CONTROLS switch. While holding down RESET CONTROLS, touch any

of the CONTROL ASSIGN switches such as MIXER–KARMA.

All of the sliders, and switches in the control surface will be reset to the values stored in the Program.

• To reset the sliders and switches for each KARMA module, hold down the RESET CONTROLS switch and press the KARMA MODULE CONTROL switch.

• To reset the each KARMA scene, hold down the RESET CONTROLS switch and press the SCENE 1/5–4/8 switch whose LED is blinking.

X–Y controller

The X–Y controller generates control changes when you touch the display and move your ﬁnger (X–Y mode), or records these movements as an X–Y motion, letting you control the OSC1 and OSC2 volume balance or modify the program or effect.

(In Combination mode and Sequencer mode, you can adjust the volume balance between the Programs used within the Combination or Song.)

Using the display to control the X–Y mode

1. Press the X–Y MODE switch.

When you turn on the X–Y MODE switch, the switch LED will light, and the display will change color.

When the X–Y MODE switch is on, you won’t be able to select parameters in the display. Turn this switch off if you want to use the display to edit settings.

2. Slide your ﬁnger over the display to modify the sound.

3. If you turn on the HOLD switch (the LED will light) and remove your ﬁnger, the effect at that position will be maintained. If the HOLD switch is off, the point will return to the center value (no effect) when you remove your ﬁnger.

Note: You can use a foot switch to turn the X–Y MODE switch on/off. Set Foot Switch Assign to X–Y MODE. For details, please see “Assigning the footswitch to Program Up/Down” on page 39.

Recording an X–Y motion

If there are no events

1. Press the X–Y MODE switch.

When you turn on the X–Y MODE switch, the switch LED will light and the display will change color.

2. Press the MOTION switch to enter the recordready state.

3. Continue holding down the MOTION switch, touch the display and recording will begin. Move your ﬁnger to record the motion.

4. Recording will end when you release the MOTION switch or when the maximum event capacity is reached.

Recording an X–Y motion

+127

Y-axis

–127

3: Display

X-axis

If events already exist

1. Press the X–Y MODE switch.

When you turn on the X–Y MODE switch, the switch LED will light and the display will change color.

2. When you press the MOTION switch, playback will begin.

3. If you continue holding down the MOTION switch and touch the display, recording will begin from that point. Move your ﬁnger to record the motion.

4. Recording will end when you release the MOTION switch or when the maximum event capacity is reached.

1: X–Y MODE switch

+127

2, 3: MOTION switch

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Playing and editing Programs

Playing back an X–Y motion

1. When you press the MOTION switch once again, the old events (up to the point where you began re-recording) and the subsequently recorded events will play back.

Play the keyboard of the KYBD-61/73/88 or strike the pads.

Note: If you turn on the X–Y MODE switch and then turn on the MOTION switch, you will see the change indicated by the color of the display.

Note: You can use a foot switch to turn the MOTION switch on/off. Set Foot Switch Assign to X–Y Motion. For details, please see “Assigning the footswitch to Program Up/Down” on page 39.

Deleting X–Y motion data

• While holding down the ENTER switch, press the MOTION switch to delete the X–Y motion data.

Drum & Chord Pads

There are eight velocity-sensitive trigger pads below the display.

These look like drum machine pads, and playing drum sounds is certainly one use for them.

However , they can also play up to eight-note chords on any sound–not just drums. The pads even remember the velocities of the individual notes within the chord, as well as the notes themselves.

Playing the pads

1. Use the PAD MODE switch located at the left of the pads to select how the pads will operate.

VELOCITY SENSITIVE: The loudness will be af fected

by how strongly you strike the pads. FIXED VELOCITY: The note will be transmitted with

the note number and velocity assigned to each pad, regardless of how strongly you strike the pads.

When you specify notes using CHORD ASSIGN, the stored note numbers and velocity balance will always be reproduced.

2. Strike the pads to play sounds.

Assigning notes and chords to pads

You can assign single notes and chords to the pads in three different ways.

Selecting the notes first

1. Play a single note, or a chord of up to 8 notes.

2. Press the CHORD ASSIGN switch.

3. Press the pad to which you’d like to assign the notes.

That’s it! The notes are now assigned to the pad.

Press CHORD ASSIGN, and then play notes

This method lets you create a chord out of widelyspaced notes, even if you can’t play all of the notes simultaneously.

1. Press the CHORD ASSIGN switch.

2. Play a single note, or a chord of up to 8 notes.

You can play a single note, or a simple chord. If you like, you can also enter a chord by playing up to

8 notes as a legato phrase. As long as you take care that the notes overlap each other, the entire series of notes will be recorded as a single chord. You can take as long as you like to play the phrase.

3. Press the pad to which you’d like to assign the notes.

After pressing the pad, you’re done!

Editing notes and velocities using the display

You can edit the recorded notes and velocities using the display. If you like, you can also enter new notes this way. For details, please see “1–7: Pads 1–4 Setup, 1–8: Pads 5–8 Setup” on page 36 of the Parameter Guide.

Copying and merging pads

Copying one pad to another, or merging two or more pads together, is just like assigning notes from the keyboard.

As with assigning notes to the keyboard, you can either play the pads ﬁrst, or press CHORD ASSIGN ﬁrst. In the interest of saving space and time, only the ﬁrst method is described below.

Copying notes from one pad to another

To copy the note assignments from one pad to another:

1. Press and release the pad whose notes you want to copy.

2. Press the CHORD ASSIGN switch.

3. Press the pad to which you’d like to copy the notes.

The new pad will now play the same notes as the original pad.

Merging two or more pads together

You can merge the assignments from two or more pads together, as long as the total number of notes is 8 or fewer. To do so:

1. Press all of the pads that you’d like to merge, and then release them.

All of the pads must be held down at the same time.

2. Press the CHORD ASSIGN switch.

3. Press the pad to which you’d like to copy the notes.

PAD MODE

CHORD ASSIGN

Pads 1–8

Playing Programs Using Controllers

You can even use one of the pads that was being merged, if you like. After pressing the destination pad, you’re done.

VALUE slider

When a program number is selected in Prog P0: Play page, or when a combination number is selected in Combi P0: Play page, you can use the VALUE slider to modulate Program and effects parameters.

Damper Pedal

Damper Pedal (Sustain)

The damper pedal is also sometimes called the sustain pedal. It acts like the similarly-named pedal on an acoustic piano; when you hold down the pedal, notes will continue to sustain even when you lift your hands off of the keyboard.

Damper Switch vs. Half-Damper

You can use either a standard footswitch (such as the Korg PS-1) or a special half-damper pedal (such as the Korg DS-1H) as the Damper.

If you use a footswitch, it will work like a normal synthesizer sustain pedal: notes will sustain forever , as long as the pedal is held down.

A half-damper pedal is a special type of continuous foot pedal (normal foot pedals won’t work properly for this application). It offers more subtle control of sustain, which can be especially useful for piano sounds.

The off and full-on positions of the half-damper work just like the footswitch, but intermediate positions modulate the release time to increase sustain without making it inﬁnite.

The M3 will automatically sense when a half-damper is connected to the rear-panel DAMPER input. For proper operation, you will also need to calibrate the pedal, using the Half Damper Calibration command in the Global menu. For details, please see “Half Damper Calibration” on page 383 of the Parameter Guide.

Damper and MIDI

The Damper Pedal is sent and received as MIDI CC #64.

In Combination and Sequencer modes, you can “ﬁlter” CC# 64 so that it only affects some of the sounds in the Combination or Song.

Foot Switch

Assignable Foot Switch

This lets you use a simple footswitch, such as the Korg PS-1, as an assignable controller. The footswitch can perform a wide variety of functions, such as:

• An assignable source for modulating sounds and effects

• Portamento on/off

• Program select up or down

• Sequencer start/stop or punch in/out

• Tap Tempo

• KARMA on/off, Latch on/off, or Scene select

• Switch the Drum Track on/off

• Switch X–Y mode or X–Y motion on/off

• Operate various M3 controls (VALUE slider, pads, realtime control sliders, KARMA sliders/switches, joystick, ribbon controller, SW1/SW2, etc.)

The switch’s function is set in Global mode (Global P2: Controllers– Foot Controllers page), so that it always works the same regardless of the current Program, Combination, or Song.

For details, please see “Specifying the function of the Assignable Switch and Assignable Pedal” on page 132.

Assignable Foot Pedal

This lets you use a continuous controller pedal, such as the Korg EXP-2 foot controller or Korg XVP-10 EXP/ VOL pedal, as an assignable controller.

Like the Assignable Foot Switch, described above, the Foot Pedal can be used for many different functions, including:

• Master Volume

• Channel Volume, Pan, or Expression

• Assignable sound modulation, as several different AMS or Dmod sources

• Effects Send level control

• Operate various M3-M, KYBD-61/73/88 controls (VALUE slider, realtime control sliders, KARMA sliders/switches, Joystick, Ribbon controller, SW1/ SW2, etc.)

The pedal’s function is set globally (on the Global P2: Controllers– Foot Controllers page), so that it always works the same regardless of the current Program, Combination, or Song.

For details, please see “Specifying the function of the Assignable Switch and Assignable Pedal” on page 132.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Playing and editing Programs

Controller settings for the program

The Prog P0: Play– Main page lets you view the following information.

SW1, SW2: Indicates the functions controlled by the SW1/SW2 switches of the KYBD-61/73/88.

C.S.: Indicates the currently selected control assign setting. Control via the control surface is active in all pages.

FILTER 1, 2: Indicates the ﬁlter type setting for ﬁlter 1 and 2.

AMP EG 1, 2: Indicates the EG setting for amp 1 and 2. EQ (Low, Mid[Hz], Mid, High): Indicates the 3-band

EQ settings. You can use the VALUE controller to edit the values.

[SW1], [SW2]

Assign

Control Surface

Filter Amp EG

Easy Program editing

Easy Program editing Simple editing using the sliders and switches

Quick Start

Simple editing using the sliders and switches

All of the M3’s programs can be edited. You can start by editing a preloaded program, or you can initialize a program and create your own from scratch.

It is a lot of work to create the sound you want by starting with an initialized program. In most cases, you should start with a preloaded program that’s close to what you have in mind, and then edit it to your taste. On the M3, you can use the switches and sliders of the front panel control surface to make very effective edits simply from within the Prog P0: Play page.

For example, you can operate the sliders to adjust the attack time or release time, or to vary the cutoff or resonance. You can also turn effects on/off or adjust their depth, or vary the phrases generated by KARMA.

Adjusting the EQ

You can adjust a mid-sweepable three-band EQ in the Prog P0: Play– Main page. This EQ will affect both oscillator 1 and oscillator 2.

1. Access the Prog P0: Play– Main page.

2. In the display, select the EQ that you want to edit.

3. Use the VALUE controllers (e.g., VALUE slider) to edit the value.

Low: Adjusts the gain of the 80 Hz low shelving EQ in

0.5 dB steps.

Mid [Hz]: Adjusts the center frequency of the midsweepable EQ.

Mid: Adjusts the gain of the mid-sweepable EQ in 0.5 dB steps.

High: Adjusts the gain of the 10 kHz high shelving EQ in 0.5 dB steps.

Controlling Volume, Mute, and Solo for Oscillators 1/2 and the Drum Track

You can use the sliders and switches of the control surface to control volume, mute, and solo for the oscillators and drum track.

1. Press the CONTROL ASSIGN MIXER switch to make the T1–8 LED light.

Control Assign

Reset Controls

2. Access the Prog P0: Play– Control Surface page.

In this page you can view and edit the control surface settings. This is a convenient way to adjust your sound, since you can see the parameter assignments and the precise values.

Note: The control surface is active regardless of the page that is shown in the display.

OSC Play/Mute

Switches 1–8

Sliders 1–8

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Volume

3. Use sliders 1, 2, and 3 to adjust the volume of oscillators 1 and 2 and the drum track.

Note: For single-oscillator programs, you won’t be able to control oscillator 2.

4. If the display indicates OSC Play/Mute, you can press switches 1, 2, or 3 to switch the Play/Mute status of oscillators 1 and 2 and the drum track.

5. Press the menu button and choose “Panel-SW Solo Mode.” The menu will close, and the OSC Play/ Mute indication in the display will change to OSC Solo.

Drum Track

Other

Appendices

Playing and editing Programs

Alternatively , you can switch between OSC Play/Mute and OSC Solo by holding down the ENTER switch and pressing numeric key 1.

6. If the display indicates OSC Solo, you can press switches 1, 2, or 3 to switch the Solo on/off status of oscillators 1 and 2 and the drum track.

Using realtime control to edit sounds or effects

You can use the control surface to control the sound or effects in realtime.

1. Press the CONTROL ASSIGN REALTIME CONTROL switch (the LED will light).

2. If desired, display the Prog P0: Play– Control Surface page.

3. Sliders 1–4 will be assigned speciﬁc functions corresponding to MIDI control changes.

Sliders 5–8 can be assigned to a wide variety of functions, many of which also have corresponding MIDI CCs.

Often (but not always), slider 5 and 6 modulate synthesis parameters, slider 7 controls the depth of a chorus or other modulation effect, and slider 8 controls reverb depth.

When you move a slider, it sends out the corresponding MIDI CC. Also, when the CC is received via MIDI or generated by KARMA, the slider value changes to match the CC value.

Generally, the sliders “scale” the Program’s internal settings. When the slider is in the center, the settings are as programmed. To change the setting to the maximum value, move the slider all the way up. For the minimum value, move the slider all the way down.

Slider scaling

Parameter

Value

As Programmed

4. You can use switches 1–8 to turn insert effects 1–5, master effects 1/2, and the total effect on/off.

640 127

CC Value

For example:

1. Select Program INT-B045, “Smooth Operators.”

This is an electric piano sound; let’s see what we can do to make it sound a bit different.

2. Press the CONTROL ASSIGN REALTIME CONTROL switch (the LED will light).

3. While you perform, slowly raise slider 1 (ﬁlter frequency) to about three-quarters of its full range.

Notice how the piano becomes a sort of synth sweep.

4. Next, raise slider 2 (ﬁlter resonance) to about three-quarters as well.

5. Leaving slider 2 at that position, try raising and lowering slider 1.

With the resonance increased, it now sounds like you’re playing through a wah pedal.

Reset

Next, let’s say that you decide that’s not really what you wanted–so, we’ll set the sliders back to their default values. Although you could return the slider to its middle position and then make ﬁne adjustments to set it precisely to the center, there is an easier way.

1. Hold the RESET CONTROLS switch.

2. While holding RESET CONTROLS switch, move ﬁrst slider 1, and then slider 2.

As you move the sliders, their values will be reset to the default, center positions.

3. Release the RESET CONTROLS switch.

Now, you’re back to the original electric piano sound. The table below shows the standard assignments of the

RT Control sliders:

Real-Time slider functions

Slider MIDI CC Normally controls…

174Filter Cutoff Frequency 271Filter Resonance 379Filter EG Intensity (CC#79) 472EG Release Time

5–6 Varies for each Program

7Often Chorus Depth - but can vary per Program 8Often Reverb Depth - but can vary per Program

Saving the edits you made by moving the sliders

The Real-Time sliders are great for modulating sounds in performance, or for recording. If you like, you can also save the edited version of the sound, using the normal Write Program command (see “Saving your edits” on page 50).

Internally, a single slider usually affects several different parameters. When you write a Program, the edits are saved into the individual parameters, and not to the slider itself. After writing the Program, you’ll notice that the sliders have returned to their center positions–since the old “edited” values are now the new “saved” values.

Easy Program editing Using COMPARE

Using Tone Adjust

The Tone Adjust function lets you use the Control Surface sliders and switches to edit program parameters. The controllers will be assigned the program parameters that are most effective for editing.

1. Press the CONTROL ASSIGN TONE ADJUST switch (the LED will light).

2. Access the Prog P0: Play– Control Surface page.

This page shows and reﬂects the control surface data. Since you can view the parameter assignments and the precise value, this is convenient when adjusting the sound.

3. Use sliders 1–8 and switches 1–8 to adjust the sound.

Note: You can assign the main parameters of the program to the controllers. (See “Tone Adjust” on page 19 of the Parameter Guide)

For example:

1. Select Program INT-B045, “Smooth Operators.”

2. Press the CONTROL ASSIGN TONE ADJUST switch (the LED will light).

3. Access the Prog P0: Play– Control Surface page.

This page mirrors the Control Surface. It’s very useful with Tone Adjust, since it shows you the parameter assignments, exact values, and so on.

4. Look at the assignments for sliders 5, 6, and 8.

Slider 5 is assigned to F/A EG Attack Time; slider 6 is assigned to F/A EG Decay Time; and slider 8 is assigned to F/A EG Release Time.

5. Raise each of the three sliders so that they are about 4/5 of the way to the top.

The display should show their values as between +60 and +70. This means that you have edited the ﬁlter EG and amp EG attack, delay, and release to longer values.

6. Play a few notes.

Notice that the sound has changed from an electric piano into a soft pad. Next, let’s add just a bit of pitch modulation, to make the sound more rich.

7. Notice the assignment of slider 2.

Slider 2 is assigned to “[OSC1] Filter LFO1 Int A” (OSC1 ﬁlter LFO1 intensity). It will adjust the amount of ﬁlter modulation produced by LFO1.

8. Lower slider 2 slightly so that the display indicates about –6.

9. Play a few more notes.

The pitch modulation has added some shimmer to the sound. Now, maybe it could use a bit more edge…

10.Look at the assignments for switches 6 and 7.

These are programmed to raise the Filter Cutoff and Filter Resonance, respectively. Switches are just on/

off, but you can set a speciﬁc value for the On position; notice the +10 and +40 in the switch’s value boxes.

11.Press each of the two switch buttons.

The sound now has a more interesting character , due to the ﬁlters. Since it’s brighter, we’ve also restored some of the electric piano character.

Pretty easy, huh? Note - depending on the parameter, you may sometimes hear glitches in the sound as you move the control.

Changing parameter assignments

The factory Programs include default assignments of Tone Adjust parameters to the sliders, and switches. If you like, you can change any of the assignments. T o do so:

1. Press the CONTROL ASSIGN TONE ADJUST switch of the Prog P0: Play– Control Surface page.

On this page, you can see the parameter assignments for each controller, such as Filter EG Attack, Pitch

Stretch, Reverse, and so on.

2. Press the popup button located at the left of the assigned parameter.

A popup window will appear, with a long menu of parameters. You can tell various things about the selections, just from the way they appear in the menu:

Parameters which affect only OSC1 or OSC2 are preﬁxed with [OSC1] and [OSC2], respectively.

Parameters which affect both Oscillators, but which are speciﬁc to EDS Programs, are preﬁxed with [OSC1&2].

The other group of parameters, at the beginning of the list, are “Common.” That is, you can use them with most RADIAS Programs, as well as EDS Programs.

Note: You can use RADIAS Programs only if the optional EXB-RADIAS is installed.

Parameters can only be assigned to one Tone Adjust control at a time. If a parameter is already assigned, it’s grayed out.

3. Select a parameter from the menu.

The parameter is now assigned to the control. To close the list without making any changes, press a location in the display outside the popup window, or press the EXIT switch.

Using COMPARE

When you’re in the process of editing a sound, pressing the COMPARE switch will recall the saved version of the sound, as it was before you started editing.

1. While editing, press the COMPARE switch (the LED will light).

The saved sound from before you began editing will be recalled.

2. Pressing COMPARE again returns you to the version you are editing, and the LED will go out again.

Note: If you edit while the COMPARE LED is lit, the switch will again go dark and your previous edits will be lost.

Resetting individual controls

The RESET CONTROLS switch lets you revert an individual slider, or switch to its saved setting.

For details, please see “Resetting controller values” on page 199.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Playing and editing Programs

Saving your edits

Once you’ve tweaked the sound to perfection, you’ll want to save your work. To save your edits:

1. Select the Write Program command from the menu, at the menu right-hand corner of the display.

You can also call up this menu command by holding ENTER and pressing 0 on the numeric keypad.

This brings up a dialog box which allows you to save the Program. Optionally, you can also select a new location, change the Program’s name, and assign it to a sound category (such as keyboard, guitar, etc.).

For details, please see “Writing a Program or Combination” on page 140.

Saving edits to GM Programs

You can edit GM Programs, but you must then save them to a Bank other than INT-G; the GM Programs themselves cannot be over-written.

Shortcut: SEQUENCER REC/WRITE

You can also use the SEQUENCER REC/WRITE switch to quickly update the current Program, using the existing name, bank, number, and category. To do so:

1. Press the SEQUENCER REC/WRITE switch.

The Update Program dialog will appear.

2. Press OK to write the program.

Saving to a USB storage device

You can manage your data by saving programs on a USB storage device (commercially available). For details, please see “Saving to media (Media–Save)” on page 142.

2. If desired, you may save just the edited content without changing the program name or the location in which the program is saved (the bank and program number). Proceed to step 6.

3. If you want to change the program name, press the “T” button to access the text edit dialog box.

You can give the Program a descriptive name using the text edit dialog box.

After entering the name, press OK. The text edit window will disappear, returning you to

the main Write dialog.

4. If you want to change the category or sub-category , press the “Category” or “Sub Category” popup button and make your selection from the menu.

5. If you want to change the save location (bank and program number), press the To Program popup button, select the save location from the menu, and press the OK button.

6. Under “To” at the bottom of the dialog, press the popup button next to Program to bring up the save location dialog.

7. Select a location to save the edited Program.

You can write to any location in banks INT–A–E and USER A-G. To avoid overwriting the factory sounds, it’s safer to use a slot in one of the empty User banks.

Important: EDS Programs can only be written to EDS Banks, and RADIAS Programs can only be written to RADIAS Banks. For more information on the default Bank types, and on how to change them, please see “Bank (Bank Select)” on page 4 of the Parameter Guide.

8. After selecting the location, press OK.

9. Press OK again to start the write process.

10.If you’re sure you want to write to this location, press OK again.

After that, you’re done!

Detailed Editing with Programs Overview of editing pages

Detailed Editing with Programs

Creating your own Programs

You can create original sounds by editing a preloaded program or by editing an initialized program. The programs (EDS) you create can be saved in banks INTA–INT-E or USER-A–USER-G. For details, please see “Saving your edits” on page 50.

You can also create Programs using RAM multisamples that you have sampled or loaded from media. In addition, you can play a Program and resample your performance, or sample an external audio source while listening to the sound of a Program.

Note: When the M3 is in its factory-set state, EDS Programs are the only programs that can be used. If you install the optional EXB-RADIAS, you’ll be able to use RADIAS Programs. Here we will explain EDS Programs. For more about RADIAS Programs, please see “EXB-RADIAS for M3 Manual” on the CD-ROM.

Overview of editing pages

P0: Play is where you select and play programs, make quick edits using the Control Surface, and adjust the KARMA settings. The other pages let you modify the sound in more detailed ways.

Program mode page structure

Page Main content

Select and play programs. Simple KARMA editing.

P0: Play

PLAY

P1: Basic/DT/Ctrls

P2: OSC/Pitch Oscillator selection and pitch settings. P3–1: Filter1 Filter 1 (tone) settings. P3–2: Filter2 Filter 2 (tone) settings.

EDIT

P4: Amp/EQ

P5: LFO LFO settings. P6: AMS/

Common KeyTrack

P7–1: KARMA1 GE Setup/Module

P7–2: KARMA2

KARMA

GE RTP/Perf

P8: IFX

EFFECT

P9: MFX/TFX

Audio input settings and resampling settings. Editing from the control surface.

Basic program settings, such as voice assign mode. Drum Track settings. X–Y control settings. SW1, 2, and slider function settings. Pad note and velocity settings.

Amp 1, 2 (volume) settings. Amp 1, 2 driver and pan settings. 3-band parametric EQ settings.

AMS Mixer settings. Common keyboard tracking settings.

Overall settings for KARMA, and settings for each module.

KARMA realtime parameter settings and performance parameter settings.

Oscillator output bus and master effect send level settings. Insert effect routing, selection, and settings.

Master effect routing, selection, and settings. Total effect selection and settings.

For details on how to access each mode and page, please see “Basic operations” on page 22.

Sampling or resampling can be performed in Program mode. For details, please see “Sampling in Program, Combination, and Sequencer modes” on page 122.

Since you can apply the M3’s internal effects to the external audio inputs, a wide range of possibilities are available. For details, please see “Program Effects settings” on page 155.

Basic oscillator settings

Program type setting (single, double, drum kit)

Here you can specify the type of program (whether to use one oscillator, two oscillators, or a drum kit). Use the Prog P1: Basic/DT/Ctrls– Program Basic

Oscillator Mode to specify the program type.

Single Programs have one oscillator, and Double

Programs have two oscillators. Each oscillator is a multisample that is switched by a crossfade velocity switch. You can use dual ﬁlters, EG, and LFO to create the sound.

Drums mode is a special variation of Single mode, and uses a Drum Kit (as created in Global mode) instead of Multisamples.

Polyphony

Polyphony is the number of notes that can be played simultaneously, such as in a chord. The polyphony depends on the program type.

Program type Polyphony

Single 120 Double 60 Drums 120

Note:

• Double Programs use twice as many voices as Single Programs.

• Stereo Multisamples use twice as many voices as Mono Multisamples.

• If using velocity crossfade switching, the multisample will use twice as many voices as usual.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Playing and editing Programs

Program Basic: P1–1

OSC1 Pitch: P2–2

Oscillator / Pitch

Common LFO: P5–8

OSC1 Basic: P2–1

Pitch EG : P2–8

OSC1 LFO1: P5–1

Filter Key Track: P3–1–2

Filter1 Mod: P3–1–3

Filter1 LFO Mod: P3

–1–4

Filter1(A/B): P3–1–1

Filter1 EG: P3–1–5

Filter

OSC1 LFO2: P5–2

Amp1/Driver1: P4–1

Amp1 Mod: P4–2

Amp1 EG: P4–3

OSC1 AMS Mix: P6–1/2

Common KeyTrack: P6–7/8

Amplifier

OSC 1 OSC 2

Polyphonic/monophonic playing

The Voice Assign Mode selects whether the Program will play polyphonically (Poly) or monophonically (Mono).

When this is set to Poly, you can play both chords and melody lines. When this is set to Mono, only one note will sound even if you play a chord.

Normally you’ll set this to Poly, but Mono is useful when playing sounds such as synth basses, synth leads, and other solo instruments.

Try switching between Poly and Mono, and listen to the results.

Working with Multisamples

Controllers: P1–6

Pads: P1–7/8

Effects

P1–1, P2–2, etc. indicate the on-screen pages and tabs used when editing on the M3.

Master Effect 1, 2: P9

DrumTrack: P1–3/4 Audio Input: P0–7

Tone Adjust: P0–8

Total Effect : P9

3Band EQ : P4–8

Routing: P8–1

OSC1, 2

Insert Effects Master Effects Individual Outputs

AUX Bus FX Control Bus

X–Y: P1– 5

KARMA: P7

Insert Effect 1…5: P8

Program can play different Multisamples, depending on how hard you play.

Each of these zones has separate settings for Level, Start Offset, and so on. Also, each of the zones can fade into the next, to create smooth velocity transitions. Zones can even be layered together, two at a time.

Selecting Multisamples

Let’s create a simple velocity crossfade between two Multisamples, using just OSC1.

1. Access the Prog P2: OSC/Pitch– OSC1 Basic page.

2. Set the Multisample On/Off for MS1 and MS2 to On (checked).

Set the Multisample On/Off for MS3 and MS4 to Off (unchecked).

AUDIO OUTPUT L/MONO, R

AUDIO OUTPUT INDIVIDUAL 1, 2, 3, 4

What is a multisample?

A sample is a digital recording of a particular instrument or waveform (or other natural or artiﬁcially processed sound) recorded at a speciﬁc pitch. A multisample is a collection of similarly voiced samples, used to create the same type of sound - piano, bass, guitar, strings, organ - across the entire keyboard, as the basis of a program. The oscillators of single and double programs use multisamples. There are 1,032 multisamples available in this instrument.

You can assign up to four multisamples to each oscillator and switch between them by velocity.

Multisamples and Drum Kits

Multisamples and Drum Kits allow you to play samples in different ways.

• Multisamples lay out one or more samples across the keyboard. If we use the example of a simple guitar multisample, one sample could be assigned for each string, so that the multisample would consist of six samples.

• As the name suggests, Drum Kits are optimized for playing drumsamples.

Velocity splits, crossfades, and layers

As mentioned above, unless you’re in Drum mode, each Oscillator has four velocity zones, named MS1 (High) through MS4 (Low). This means that the

Bank

Multisample On/Off

3. Select RomS as the Multisample Bank for MS1 and MS2.

There are three main types of Multisample Banks: Rom, Ram, and EX *. For each type, you can also choose between looking at mono (M) and stereo (S) Multisamples. Note that stereo Multisamples will require twice as many voices as mono Multisamples.

ROM Multisamples are the built-in “factory” sounds, and are always available. These are organized by category, such as pianos, guitars, bells, etc.

RAM Multisamples include Akai, AIFF, WAVE or SoundFont ﬁles loaded from media, and samples created in Sampling mode.

The EX* multisample banks are available if optional EX-USB-PCM series multisamples are loaded. The menu will show only the EX* banks that are currently loaded.

Detailed Editing with Programs Basic oscillator settings

4. Press the Multisample popup for MS1.

Multisample popup button

This brings up a list of Multisamples, organized by category. Use the tabs at the left of the display to browse through the different categories.

5. Select a Multisample by touching its name in the list.

6. Press the OK button to conﬁrm your selection.

7. Perform the same steps for MS2, selecting a different Multisample than for MS1.

Now that you’ve assigned Multisamples to MS1 and MS2, let’s set up the velocity ranges and crossfades.

Set MS2’s Bottom Vel. to 001, and its Xfade Range to 0.

8. Set MS1’s Bottom Vel. to 80.

Now, MS2 will sound when you play softly, at velocities of 79 or less–and MS1 will sound when you play harder, with velocities of 80 or more.

Next, set MS1’s Xfade Range to 20, and its Curve to Linear.

9. You can view this split visually in the Prog P2: OSC/Pitch– Velocity Zone page.

Notice that the graphic now shows the two ranges tapering into one another. Between 80 and 100, MS2 will fade out, and MS1 will fade in, creating a gradual velocity transition instead of a hard split.

10.As necessary , adjust the “Level” of the two multisamples in the Prog P2: OSC/Pitch– OSC1 Basic page.

Assigning a drum kit

What is a drum kit?

Drum kits are created or edited in Global mode. To each note of the keyboard, you can assign up to four drum instrument samples, and use layering, crossfading, or velocity switching to switch between them. Then in Program mode you can make ﬁlter and amp settings, and specify effects and routing to the audio output jacks. (See “Editing Drum Kits” on page 136)

To use a drum kit in a Program, set Oscillator Mode to Drums, and choose one of the 144 user drum kits or the nine GM2 drum kits.

Selecting a drum kit

1. Access the Prog P1: Basic/DT/Ctrls– Program Basic page.

2. Set “Oscillator Mode” to Drums.

3. Select a drum kit in the Prog P2: OSC/Pitch– OSC1 Basic page.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Copying settings between OSC1 & OSC2

Many of the Program parameters can be set differently for OSC1 and OSC2. These include all of the parameters on:

• All of the tabs on the OSC/Pitch page, except for the Pitch EG

• All of the tabs on the Filter page

• All of the tabs on the Amp/EQ page, except for EQ

• All of the tabs on the LFO page, except for Common LFO

• The AMS Mixer tabs

You can use the menu’s Copy Oscillator command to copy these parameters from one Oscillator to another. You can even copy parameters from an Oscillator in a different Program.

This command is useful when you want to set both Oscillators to the same settings, or when you want to duplicate settings you’ve used before.

4. Specify the basic pitch of the oscillator. For a drum kit, set “Octave” to +0 [8'].

Drum Track

Other

Appendices

Playing and editing Programs

Using LFOs and Envelopes (EGs)

Using LFOs

Each Oscillator has two LFOs: LFO1 and LFO2. There is also a single Common LFO, shared by both Oscillators.While LFO1 and LFO2 are separate for each voice, the Common LFO is shared by all voices in the Program. This makes it useful when you want all of the voices to have an identical LFO effect.

You can use these LFOs to modulate many different Program parameters, including:

• Pitch (for vibrato)

• Filters (for wah effects)

• Volume (for tremolo)

• Pan (for auto-panning) The LFOs can modulate many other parameters, in

addition to those listed above.

Using the basic LFO

1. Access the Prog P5: LFO– OSC1 LFO1 page.

Waveform

Notice how the shape of the waveform becomes more curved, and how –99 emphasizes the lower part of the shape, and +99 emphasizes the upper part.

6. Select the Phase parameter, and use the VALUE slider to sweep through its range of values.

Notice how the waveform shifts from side to side. Among other things, this lets you offset the LFOs from one another in time, which can create interesting organic effects.

7. Use the Freq (Frequency) parameter to set the speed of the LFO.

8. Use the Fade and Delay settings to control the way the LFO sounds at the beginning of the note.

For more information on LFOs, please see “PROG P5: LFO” on page 66 of the Parameter Guide.

All of these parameters control the way that the LFO itself works. In order for the LFO to actually affect the sound, you can use the dedicated LFO routings on the Filter, Pitch, and Amp pages, or use the LFOs as AMS sources for a wide variety of parameters.

Frequency Modulation

AMS can be used to vary the LFO speed. This lets you change the LFO speed by operating a controller, or by the EG or Keyboard Track settings.

Frequency MIDI/Tempo Sync.

If Frequency MIDI/Tempo Sync. is checked, the Frequency setting will be ignored, and the LFO will

synchronize to the system tempo, as set by the TEMPO knob or external MIDI clocks.

This lets you produce vibrato, wah, auto-pan, or tremolo effects that lock to KARMA, Drum Track, the internal sequencer, or external MIDI sequencers.

2. Select the Waveform parameter.

3. Use the Inc q and Dec u switches to scroll through the different waveforms, and look at their shapes in the graphic display.

There are a number of waveforms to choose from. Each are suited to different applications:

Triangle and Sine are the classic LFO shapes for vibrato, tremolo, panning, and ﬁlter wah effects.

Square is useful for gated ﬁlter and amp effects, and creates a police siren effect when modulating pitch.

The Guitar waveform is designed especially for guitar vibrato, since it bends only upwards from the base value.

Saw and Exponential Saw Down are good for rhythmic ﬁlter and amp effects.

Random 1 (S/H) creates the classic sample-and-hold effect, which is great for modulating a resonant ﬁlter.

4. After looking at the different waveforms, select Triangle.

5. Select the Shape parameter, and use the VALUE slider to move through its different settings, from –99 to +99.

EGs (Envelope Generators)

An envelope creates a modulation signal by moving from one level to another over a speciﬁed time, and then moving to another level over another period of time, and so on.

The Program includes three EGs, for Pitch, Filter, and Amp. These produce time-varying changes in pitch, tone, and volume respectively. They can also be used to modulate a number of other Program parameters via AMS.

Attack Level

note-on note-off

Level

Decay Time

Attack Time Start Level

Break Level

Sustain Level

Slope Time

Release Time

Release Level

Time

Detailed Editing with Programs Using Alternate Modulation (AMS) and the AMS Mixers

Using Alternate Modulation (AMS) and the AMS Mixers

Alternate Modulation

AMS (Alternate Modulation Source) refers to any of the assignable modulation sources in M3, including:

• KYBD-61/73/88 controllers such as the joystick or ribbon controller

• Built-in physical controllers, such as the Real-Time Sliders

• Incoming MIDI controllers, or MIDI controllers generated by KARMA or the X–Y control

• Modulators such as the Filter, Pitch, and Amp EGs, the LFOs, or the AMS Mixers

Intensity is a parameter that sets the degree (speed, depth, amount etc.) to which AMS will control the modulation.

A number of frequently-used modulation routings, such as using the KYBD-61/73/88’s joystick to vary the pitch, are provided as additional, dedicated routings, separate from AMS.

Note that not all AMS sources may be available for some modulation destinations.

For details on alternate modulation and AMS, please see below.

• “Alternate Modulation Sources (AMS)” on page 587 of the Parameter Guide

• “Creating Vibrato” on page 56

• “Pitch EG” on page 56

• “Filter EG” on page 58

• “LFO modulation” on page 59

• “Pan AMS and Intensity” on page 61

• “LFO1/2” on page 61

Adding two AMS sources together

AMS mixers will do different things depending on their Mixer Type setting. The A+B setting merges two AMS sources into one. This can be handy when you need to add one more modulation source to a parameter, but you’ve already used up all of the available AMS slots.

For instance, let’s say that you’re using an LFO to modulate Resonance, and then you decide that it would be interesting to scale that parameter with an EG as well. Resonance has only a single AMS input, but you can easily merge the LFO and the EG together using the A+B AMS Mixer:

1. Assign the LFO to AMS A.

2. Assign the EG to AMS B.

3. Assign the AMS Mixer as the Filter Resonance AMS.

AMS Mixer A+B example

AMS A: LFO

AMS B: EG

A+B Output

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Using the AMS Mixers

The AMS Mixers combine two AMS sources into one, or process an AMS source to make it into something new.

For instance, they can add two AMS sources together, or use one AMS source to scale the amount of another. You can also use them to change the shapes of LFOs and EGs in various ways, modify the response of realtime controllers, and more.

The AMS Mixer outputs appear in the list of AMS sources, just like the LFOs and EGs.

This also means that the original, unmodiﬁed inputs to the AMS Mixers are still available as well. For instance, if you use LFO 1 as an input to a AMS Mixer, you can use the processed version of the LFO to control one AMS destination, and the original version to control another.

Finally, you can cascade the two AMS Mixers together, by using AMS Mixer 1 as an input to AMS Mixer 2.

Scaling one AMS source with another

When the Mixer Type is set to Amt A x B, the AMS mixer uses the AMS B input to scale the amount of AMS A. For instance, you can control the amount LFO1 with the Filter EG, or control the amount of the Pitch EG with the ribbon.

AMS Mixer Amt AxB example

AMS A: LFO

AMS B: EG

Amt AxB Output

Drum Track

Other

Appendices

Playing and editing Programs

Smoothing

The Smoothing Mixer Type smooths out the AMS input, creating more gentle transitions between values. You have separate control of the amount of smoothing during the attack (when the signal is increasing) and decay (when it’s decreasing).

Low settings provide subtle controller smoothing, creating more gradual aftertouch, for instance. Higher settings create auto-fade effects, transforming a quick gesture into a longer fade-in and/or fade-out event.

Smoothing can also be used to alter the shape of programmable mod sources, such as LFOs and EGs. For instance, you can turn a “blip” into a simple envelope shape, as shown below.

AMS Mixer Smoothing examples

Original AMS A:

Smoothing with Short Attack & Long Release:

Smoothing with Long Attack

and Short Release:

Controlling Pitch

Pitch bend

The JS (+X) and JS(–X) settings specify the amount of pitch change (in semitones) that will occur when MIDI pitch bend messages are received or when the joystick is moved to left or right. A setting of +12 allows the pitch to be controlled a maximum of one octave upward; a setting of –12 allows the pitch to be controlled a maximum of one octave downward.

Ribbon speciﬁes the amount of pitch change (in semitones) that will occur when MIDI control change #16 messages are received, or when you move your ﬁnger left and right on the ribbon controller. With a setting of +12, the pitch will be raised one octave at the far right of the ribbon controller, and will be lowered by one octave at the far left of the ribbon controller.

More AMS Mixer features

There are more mixer Types, including Offset, Shape, and Quantize, which offer even more possibilities for creative programming.

For details, please see “6–1: OSC1 AMS Mix1” on page 70 of the Parameter Guide.

Tips for using AMS

When making settings for alternate modulation, think of the effect that you wish to produce, what type of modulation will be necessary to produce that effect, and what parameter of the oscillator , ﬁlter, or ampliﬁer needs to be controlled.

Next, select a source (AMS) and set the Intensity. If you proceed logically in this way, you will achieve the desired effect.

For example in a guitar sound program where you want to use the joystick to control the feedback, you would make assignments so that the joystick controls the ﬁlter frequency and resonance.

Controller Setup page

For each program, the function of Realtime Control sliders 5–8 and the KYBD-61/73/88 SW1 and SW2 switches can be assigned in the Prog P1: Basic/DT/ Ctrls– Controllers Setup page.

For details, please see “Setting the functions of SW1 and SW2” on page 198.

Creating Vibrato

You can use an LFO to create vibrato. LFO1 Int. or LFO2 Int. sets the depth to which the

selected LFO will affect the pitch. With a setting of +12.00, vibrato will produce a maximum of ±1 octave of pitch change.

JS+Y Int speciﬁes the amount of vibrato that the LFO will produce when the joystick is pushed away from yourself.

Intensity (AMS Intensity) speciﬁes the depth of vibrato that will be applied by the LFO when modulated by the selected AMS (Alternate Modulation Source). For example, if LFO1 AMS is set to After Touch and you set an appropriate value for Intensity, vibrato will be applied when you apply pressure to the keyboard or when MIDI aftertouch messages are received.

Pitch EG

When the Intensity value is set to +12.00, the pitch EG speciﬁed in the Pitch EG page will produce a maximum of ±1 octave of pitch change.

To realistically simulate the slight change in pitch that occurs when a string is plucked or at the attack of a brass or vocal sound, you can use the EG to create a subtle change in pitch at the attack.

Portamento

Portamento makes the pitch change smoothly when you play the next note before releasing the previous note.

The Time parameter controls how long it take the pitch to change. As this value is increased, the pitch will change over a longer time. With a value of 000, there will be no portamento.

You can turn Portamento on and off via SW1 or SW2, by assigning them to Porta.SW CC#65.

Detailed Editing with Programs Using Filters

Using Filters

The ﬁlters allows you to diminish or emphasize speciﬁed frequency areas of the sound.

The tone of the sound will depend signiﬁcantly on the ﬁlter settings.

The basic ﬁlter settings, including the routing, type, cutoff frequency, and resonance, are set on the P3–1: Filter1 or P3–2: Filter2 page.

Filter Routing

Each oscillator has two ﬁlters, Filter A and Filter B. The Filter Routing parameter controls whether one or both of the ﬁlters are used, and if both are used, it controls how they are connected to each other.

The Single routing uses only Filter A as a single 2-pole, 12dB/octave ﬁlter (6dB for Band Pass and Band Reject).

The Serial routing uses both Filter A and Filter B. The oscillator ﬁrst goes through Filter A, and then the output of Filter A is processed through Filter B.

Parallel also uses both Filter A and Filter B. The oscillator feeds both ﬁlters directly, and the outputs of the two ﬁlters are then summed together.

The 24dB(4Pole) routing merges both ﬁlters to cr eate a single 4-pole, 24dB/octave ﬁlter (12dB for Band Pass and Band Reject). In comparison to Single, this option produces a sharper roll-off beyond the cutoff frequency, as well as a slightly more delicate resonance. Many classic analog synths used this general type of ﬁlter.

Serial and Parallel Routing

Serial

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Parallel

Oscillator

Filter A (Low Pass)Oscillator

Filter B (High Pass)

Filter A (Low Pass)

Filter B (High Pass)

Drum Track

Other

Appendices

Playing and editing Programs

Filter T ypes

This selects the parts of the sound which will be affected by the ﬁlter, as described below. With the Serial and Parallel routings, you can independently set the types for Filter A and Filter B.

The ﬁlters will produce very different results depending on the selected ﬁlter type.

Low Pass (12dB/oct): This cuts out the parts of the sound which are higher than the cutof f frequency. Low Pass is the most common type of ﬁlter, and is used to make bright timbres sound darker.

High Pass (12dB/oct): This cuts out the parts of the sound which are lower than the cutoff frequency. You can use this to make timbres sound thinner or more buzzy.

Band Pass (6dB/oct): This cuts out all parts of the sound, both highs and lows, except for the region around the cutoff frequency. Since this ﬁlter cuts out both high and low frequencies, its effect can change dramatically depending on the cutoff setting and the oscillator’s multisample.

With low resonance settings, you can use the Band Pass ﬁlter to create telephone or vintage phonograph sounds. With higher resonance settings, it can create buzzy or nasal timbres.

Band Reject (6dB/oct): This ﬁlter type–also called a notch ﬁlter–cuts only the parts of the sound directly around the cutoff frequency. Try modulating the cutoff with an LFO to create phaser-like effects.

Filter Types and Cutoff Frequency

Low Pass

High Pass

Band Pass

Band Reject

Cutoff Frequency

Resonance

Resonance emphasizes the frequencies around the cutoff frequency, as shown in the diagram below.

When this is set to 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly.

At medium settings, the resonance will alter the timbre of the ﬁlter, making it sound more nasal, or more extreme. At very high settings, the resonance can be heard as a separate, whistling pitch.

To make the resonance track the keyboard pitch, please see “Key Follow,” on page 50 of the Parameter Guide.

Low resonance

High resonance

Modulating the ﬁlters

You can modulate the ﬁlter cutoff frequency using the Filter EG, the LFOs, keyboard tracking, and other built-in and MIDI controllers. This is a great way to add a rich variety of tonal change to the sound.

Filter EG

The Filter EG is a multi-stage envelope, which you can use to modulate the ﬁlter (naturally!) as well as other Program parameters. The EG itself is set up on the EG tab; the way that it affects the ﬁlters is controlled by the

Detailed Editing with Programs Using Filters

parameters described below, on the Filter1/2– Modulation page:

The Intensity to A and Intensity to B settings control the basic amount of EG modulation for ﬁlter frequencies A and B, respectively, before other modulation.

The Velocity to A and Velocity to B settings let you use velocity to scale the amount of EG modulation.

The AMS setting selects a AMS modulation source to scale the amount of the Filter EG applied to Filters A and B. The two ﬁlters share a single AMS source, with separate intensity Into A or to B settings.

LFO modulation

You can modulate the ﬁlter via LFO1, LFO2, and the Common LFO. Among other applications, LFO modulation of the ﬁlter can produce the classic “autowah” effect.

The Filter1/2– LFO Mod. page lets you set up the following parameters separately for each LFO:

Keyboard Track

Most acoustic instruments get brighter as you play higher pitches. At its most basic, keyboard tracking recreates this effect by increasing the cutoff frequency of a lowpass ﬁlter as you play higher on the keyboard. Usually, some amount of key tracking is necessary in order to make the timbre consistent across the entire range.

The M3 keyboard tracking can also be much more complex, since it allows you to create different rates of change over up to four different parts of the keyboard. For instance, you can:

• Make the filter cutoff increase very quickly over the middle of the keyboard, and then open more slowly–or not at all–in the higher octaves.

• Make the cutoff increase as you play lower on the keyboard.

• Create abrupt changes at certain keys, for split-like effects.

How Key Track works: Keys and Ramps

The keyboard tracking works by creating four ramps, or slopes, between ﬁve keys on the keyboard. The bottom and top keys are ﬁxed at the bottom and top of the MIDI range, respectively. You can set the other three keys–named Low Break, Center, and High Break–to be anywhere in between.

The four Ramp values control the rate of change between each pair of keys. For instance, if the LowCenter Ramp is set to 0, the value will stay the same between the Low Break key and the Center key.

You can think of the resulting shape as being like two folding doors attached to a hinge in the center. At the Center key (the main hinge), the keyboard tracking has no effect. The two folding doors swing out from this center point to create changes in the higher and lower ranges of the keyboard.

Keyboard Track Shape and Intensity

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Intensity to A and Intensity to B specify how much the LFO changes the tone.

JS-Y Intensity to A and JS-Y Intensity to B specify the depth of the wah effect produced by the LFO when the KYBD-61/73/88’s joystick is moved toward yourself, or when CC#2 is received.

The AMS setting selects a AMS modulation source to scale the amount of the LFO applied to Filters A and B. The two ﬁlters share a single AMS source, with separate intensity settings.

For example if, AMS is set to After Touch, applying pressure to the keyboard produces an “auto-wah” effect.

Intensity = +99 (Original Shape)

Intensity = +50 (Less Effect)

Intensity = 0 (No Effect)

Intensity = –99 (Inverted)

Low Break Key Center Key High Break Key

Drum Track

Other

Appendices

Playing and editing Programs

Intensity to A and Intensity to B adjust the effect that keyboard tracking will have on ﬁlters A and B. For details, please see “3–1–2: Keyboard T rack,” on page 49 of the Parameter Guide.

AMS Modulation

In addition to the EG, LFOs, and Key Track, you can use two AMS sources to modulate the ﬁlters. For instance, you could use the ribbon to change the brightness.

Using the Amp section

The Amp section includes controls for volume, pan, and the driver circuit.

You can control the volume using the Amp EG, LFO 1/ 2, Key Track, and velocity, along with other AMS sources.

Each Oscillator has its own Amp section: Amp1 for OSC1, and Amp2 for OSC2.

Background - what does “Amp” mean?

Different sounds have characteristic shapes to their volume levels.

For example, the volume of a piano note begins at a high volume the instant you play the note, and then decreases gradually.

The volume of an organ note, on the other hand, remains constant as long as you continue pressing the key.

The volume of a note on a violin or wind instrument can be varied during the note by the musician (i.e., by regulating the amount of pressure on the bow or the force of the breath).

Volume

Piano

Volume decays gradually

Volume

Organ

Volume remains constant until note is released

Time

Pan

The main Pan parameter controls the stereo position after the signal has passed through the oscillator, ﬁlter, and amp.

Normally you’ll set this to C064, so that the sound is centered equally between the left and right speakers.

To create a stereo effect when Oscillator Mode is set to Double, set the Amp1/Driver 1 page Pan to L001, and the Amp2/Driver2 page Pan R127. This will make OSC1 go to the left speaker, and OSC2 go to the right speaker.

With a setting of Random, the pan will change randomly each time you play a note on M3, producing an interesting effect.

Time

Detailed Editing with Programs Using the Amp section

Pan AMS and Intensity

Intensity speciﬁes the depth of the pan modulation from the selected AMS source.

If you set AMS to Note Number, the pan will change according to the keyboard position of each note played. With a setting of LFO1 or 2, the sound will sweep from side to side, creating an auto-pan effect. Other settings allow you to move the oscillator pan by using a real-time controller, an envelope, or other modulation sources.

Pan - Use DKit Setting

Use DKit Setting applies when Oscillator Mode is set to Drums.

If this is checked, the Program can use a different pan position for each drum sound, as speciﬁed by the Drum Kit. If this is unchecked, all drum sounds will use the Program’s pan position.

The factory presets and GM drum kits use individual pan positions for the different drums, so normally it’s best to leave this checked.

Amp modulation

Intensity (AMS Intensity) adjusts the depth by which the tremolo effect produced by the LFO will be affected when you assign an AMS (LFO1 AMS, LFO2 AMS).

For example if you set AMS to JS-Y: CC #02, tremolo will be applied when you move the KYBD-61/73/88’s joystick of M3 toward yourself, or when CC#02 is received.

Amp EG

The Amp EG lets you control how the volume changes over the course of a note.

Every instrument has its own characteristic volume envelope. This is part of what gives each instrument its identiﬁable character.

Conversely, by changing the volume contour–for instance, applying a string-like Amp EG curve to an organ multisample– you can produce interesting and unusual sounds.

Piano

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

The basic volume level is set by the Amp Level parameter. You can then alter this using the modulation sources below:

Keyboard Track

This lets you vary the volume relative to the note you play.

For details, please see “Keyboard Track” on page 59.

Amp Modulation

Velocity Intensity is used by most programs to decrease the volume of softly played notes and increase the volume of strongly played notes, and the Amp Modulation parameter adjusts the depth of this control.

Normally you will set Amp Modulation to positive (+) values. As this setting is increased, there will be gr eater volume difference between softly played and strongly played notes.

LFO1/2

Speciﬁes how the LFO’s will produce cyclic changes in volume (tremolo effect).

The volume will be affected by the LFO(s) for which you set an LFO1 Intensity, LFO2 Intensity value.

Organ

Strings

Drive

The Drive circuit adds saturation and overdrive to the sound, for everything from subtle fattening to drastic distortion. Unlike an overdrive effect, Drive processes each voice individually, so the timbre stays the same regardless of how many voices are being played.

The two main parameters, Drive and Low Boost, work together to create the overall effect.

Drive controls the amount of edge and bite in the timbre. Low settings will produce mild saturation, and higher settings create more obvious distortion.

Often, it’s useful to increase the Low Boost along with the Drive.

Note: even when the Drive amount is set to 0, the Drive circuit still affects the timbre. If your goal is a completely pristine sound, use the Bypass control instead.

Drum Track

Other

Appendices

Playing and editing Programs

Low Boost is a special low-frequency EQ which controls the body character of the sound. The speciﬁc EQ frequencies affected will change with the Drive setting.

Higher amounts increase the bass boost, and will also intensify the effect of the Drive parameter.

X–Y control settings

For details about turning X–Y control on/off or recording X–Y motion, please see “X–Y controller” on page 43.

What does X–Y control?

Modulation generally works by moving a single control. like a slider , in a straight line. At one end of the control, the modulation is at its minimum; at the other end, it’s at its maximum.

X–Y control is a little different. It works by moving around a point on a two-dimensional plane, both leftright and up-down.

You can think of this point as being positioned on two different lines at once: a left-right line (the X axis), and an up-down line (the Y axis).

The X–Y position consists not of a single value (as a slider) but of two values (X-value and Y-value). Refer to the following illustration.

X–Y position and X and Y axis values

X–Y position

+127

Volume Control and CC Control

The X–Y control does two main things: it can control the relative volume of the two Oscillators in Program mode (or of up to 16 Programs at once in Combination mode).

The other is to generate CC (MIDI control change) messages that will modify the program or effect parameters to change the sound.

X–Y Volume Control

X–Y CC Control

X–Y control and MIDI

The X–Y control features interact with MIDI in two different ways: through the X–Y Mode, and through the X–Y CC Control.

The X–Y Mode sends and receives two MIDI controllers: one for the X axis, and the other for the Y axis. In Global mode, you can assign these to any MIDI CC numbers you like. The defaults are CC#118 for the X axis, and CC#119 for the Y axis. X–Y mode (or X–Y motion) and its MIDI control changes will control the X–Y position.

Y value: +50

Y-Axis

X-Axis

X value: –90

+1–127

You can move the position of the point not only by directly moving the point in the display (X–Y Mode), but also automatically using X–Y motion, as shown below.

X–Y motion moving the X–Y position

+127

Y-Axis

X-Axis

+127–127

The X–Y CC Control, on the other hand, is generated by the X–Y position. Normally, this will only affect internal sounds and effects. If you like, however, you can also enable a Global parameter to send these generated CCs to external MIDI devices.

Detailed Editing with Programs KARMA settings

KARMA settings

The M3 is preloaded with numerous programs and combinations that cover a wide range of instruments, performance techniques, and musical styles, and which take full advantage of the KARMA function.

For more about the KARMA function, please see page 163.

Drum T rack settings

While you perform using a program, you can use the M3’s rich variety of drum patterns to play high-quality drum programs.

Playing along with Drum Track patterns is often a useful way to come up with new phrases.

For more about the Drum Track function, please see page 185.

Effects

Effects are covered in their own section of the manuals, so we won’t go into too much detail here.

Insert Effects

Insert Effects let you send either individual Oscillators or the entire Program through up to 5 effects, in series. You can use any type of effects, from distortions and compressors to choruses and reverbs. The Insert Effect output can be routed to the (MAIN) L/MONO and R jacks, as well as to each INDIVIDUAL jack.

Two double-size effects (154: St.Mltband Limiter – 170: Early Reﬂections) can be used in IFX1–4, plus one normal effect for a maximum of three effects. You can also use one double-size effect and up to three normal effects for a total of up to four effects.

For details, please see “Insert effects” on page 155.

Master Effects

There are two Master Effects, which are accessed through Sends 1 and 2. The master effects are suitable for use with effects such as reverb or delay. If you choose a double-size effect, you’ll be able to use only one effect in master effect 1. When using a double-size effect, master effect 2 cannot be used.

For details, please see “Master effects” on page 156.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Total Effect

The Total Effect is dedicated to processing the main L/ R outputs. The Total Effect is suitable for use with effect types that are applied to the entire mix, such as compressor, limiter, or EQ.

You can use effects other than double-size effects. For details, please see “Total Effect” on page 157.

Drum Track

Other

Appendices

Playing and editing Programs

Automatically importing a Program into Sequence mode

The Auto Song Setup feature copies the current Program or Combination into a Song, and then puts the M3 in record-ready mode.

If inspiration for a phrase or song strikes you while you’re playing, you can use this function to start recording immediately. To do so:

1. Hold down the ENTER switch and press the SEQUENCER REC/WRITE switch.

The Setup to Record dialog box will open and ask “Are you sure?”

2. Press OK.

You will automatically enter Sequencer mode, and will be in the record-ready state.

3. Press the START/STOP switch to start the sequencer and begin recording.

With the default settings, your program performance will be recorded on MIDI track 01, and the Drum Track performance on track 10.

Playing and editing Combinations

About the M3’s combinations

Combinations, let you split and layer up to 16 Programs at once.

A Combination is made up of 16 Timbres. Each T imbre has a Program, along with parameters for key and velocity zones, mixer settings, MIDI channel and controller ﬁltering, and so on.

Playing combinations

As with Programs, each Combination has ﬁve insert effects, two master effects, and one total effect, for shaping and transforming the sounds of the individual Timbres.

This section of the manual takes a quick look at playing Combinations, including tours of the front-panel controllers and basic editing techniques.

Quick Start

Introduction

SetupProgram

Selecting Combinations

There are several different ways to select Combinations. Each one is convenient in a different way:

• Using “Combination Select” and the VALUE controllers Choose “Combination Select,” and then use the VALUE controllers to select a program.

• Using the Bank/Combination Select menu In the display, press the “Combination Select” popup button, and choose from the menu organized by bank.

• Using the Category/Program Select menu In the display, press the “Category Select” popup button, and choose from the menu organized by categories such as piano or drums.

• Using a foot-switch lets you change Combinations even while both hands are busy playing on the keyboard - convenient for live applications

• MIDI program change messages let you select Combinations remotely, from either -a MIDI sequencer or an external MIDI controller

See below for details.

4: q/u switches 3: Combination Select

2: COMBI P0: Play

4: VALUE dial

Selecting a program using “Combination Select” and the VALUE controllers

1. Press the MODE COMBI switch. (The LED will light.) (Refer to the illustration below for the switches.)

You will enter Combination mode.

2. Access the Combi P0: Play– Program T01–08 page.

This is shown in the top line of the display.

Mode name Page number and name Tab name

Bank number

Combination Select (Program number and name)

Combination Select popup button

If a different page is shown, press the EXIT switch several times to move to the Combi P0: Play– Program T01–08 page.

3. Make sure that “Combination Select” is selected.

If it is not, press “Combination Select” in the display to highlight it.

4. Select the program you want to play.

You can use the following methods to select a program.

• Use the q or u switches.

• Turn the VALUE dial.

1: MODE COMBI switches

4: Numeric keypads ENTER switch

Category Select popup button (Category number and name)

5: BANK SELECT I-A–U-G switches

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Playing and editing Combinations

• Use numeric keys 0–9 to enter the program number, and press the ENTER switch.

5. Press a BANK SELECT I-A–U-G switch to switch banks.

When you select a different Bank, the switch’s LED will light, and the selected bank will appear on the left side of the display.

For example, to select bank INT-B, press the BANK SELECT I-B switch. The I-B switch will light, and the name Bank INT-B will appear in the left of the display.

Auditioning the sound

To hear the combination you selected, play the KYBD61/73/88 or a MIDI-connected keyboard. Alternatively, you can strike the M3-M’s pads to hear the program.

Overview: Combination Banks

With the factory settings, the M3 contains 384 preloaded combinations that are GM2 compatible. In addition to these you can store sounds that you create, as well as optional sound libraries, giving you a total of 1,792 combinations.

Combinations are organized into fourteen banks as shown in the following table.

Combination bank contents

Bank Combi. No. Explanation

INT-A…C 000…127 Factory Programs. INT-D…G,

USER-A…G

For details on the factory-set combinations, refer to the “Voice Name List” on the included CD-ROM.

000…127 Initialized Programs.

Selecting by Bank/Combination Select menu

You can select Combinations from a list organized by Combination bank.

• Press the Combination Select popup button to access the menu and make your selection.

The selection method is the same as in “Selecting by Bank/Program Select menu” on page 38. Refer there for details.

Bank/Combination Select menu

Selecting by Category/Combination Select menu

You can select Combinations from within a category, such as keyboard, organ, bass, and drums.

When shipped from the factory, the preloaded Combinations are organized into 16 categories, each with several sub-categories. There are also 2 more categories, initially named User 16 and User 17, which you can use and rename as desired.

• Press the Category Select popup button to access the menu and make your selection.

The selection method is the same as in “Selecting by Category/Program Select menu” on page 39. Refer there for details.

Category/Combination Select menu

Selecting Combinations using a footswitch

You can select Combinations by using a foot switch connected to the ASSIGNABLE SWITCH jack. By assigning the appropriate function, you can increment or decrement the combination number in steps of one.

Combinations without using your hands–great for quick Program changes in live performance situations.

For details, please see “Using a footswitch to select Programs” on page 39.

Selecting Combinations from MIDI

Transmit/receive MIDI channel settings

The Combination will change when the M3 receives a program change on a channel that matches the global MIDI channel.

However , this is affected by the Global P1: MIDI– MIDI Routing Combination Change setting. This setting must be checked. If this setting is unchecked, the For

Playing combinations Performing with KARMA and the Drum Track

details, Combination will not change; instead, the Program will change for the timbre of the matching channel.

With the factory settings, the global MIDI channel is set to channel 1. If you want to change this setting, see “MIDI-related settings for the entire M3” on page 131.

If you want to switch the Program of a timbre via MIDI, set the MIDI channel of the timbre using MIDI Channel in the Combi P3: Timbre Param– MIDI page. When a program change message on a MIDI channel that matched the timbre’s channel is received, the Program will change for timbres whose Status is INT. However , program changes for timbres are affected by the Combi P5–1: MIDI Filter1–1 page Program Change setting.

The result of receiving a program change on the global MIDI channel will depend on the Global P1: MIDI– MIDI Routing Combination Change setting.

Bank select settings

You can specify the Program and Combination sound mapping for Bank Select control change messages (CC#0: upper byte, CC#32: lower byte). Make these settings in Bank Map (Global P0: Basic Setup– System Preference page). (See PG page 358)

MIDI filter settings

Performing with KARMA and the Drum Track

For more about the KARMA function, please see page 163.

The Drum Track function uses a rich variety of drum patterns to play the M3’s high-quality drum programs. You can perform along with the drum patterns, or synchronize Drum Track patterns with the phrases generated by KARMA.

For more about the Drum Track function, please see page 185.

Using controllers to modify the sound

The M3 provides a Control Surface with sliders and switches, an X–Y control function, and pads, giving you a wide range of ways in which to vary the sound.

In addition to a keyboard, the M3 KYBD-61/73/88 provides a joystick, ribbon controller, and SW1/SW2 switches to let you control the sound.

For details, please see the corresponding explanation for Programs: “Using Controllers” on page 41.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Playing and editing Combinations

Easy Combination editing

You can edit any of the Combinations shipped with M3. You can create your own combinations by editing a preloaded combination, or by starting from an initialized combination.

Even without moving to the various pages for detailed editing, you can make effective changes just from within the Combi P0: Play page. You can also edit using the switches and sliders of the front panel Control Surface.

Changing the programs within the Combination

Changing the Program assigned to each timbre (1–16) is a quick way to dramatically alter the sound of the Combination.

Note: Selection via MIDI program changes is limited to timbres whose status is “INT.”

Selecting programs from the front panel and display

To change the Program assigned to a Timbre:

1. Access the Combi P0: Play– Program T01–08/T09– 16 page.

In this page you can view the program assigned to each timbre 1–16, and the play/mute and solo status of each.

Select Timbre Info

Timbre No.

R (EXB-RADIAS)

Category/Timbre

Program Select

Bank/Timbre

Program Select

Play/Mute

Solo On/Off

• You can transmit MIDI program changes from a connected external MIDI device. (See “Selecting Combinations from MIDI” on page 66)

Note: is shown if the optional EXB-RADIAS is installed.

Adjusting the mix

Adjusting the volume of each timbre

1. Access the Combi P0: Play– Mixer T01–08 page.

This page shows the volume, pan, and Program assignments for all 8 Timbres.

2. Select the on-display Volume slider for Timbre 1.

Use q/u, the VALUE slider, or the numeric keypad to set the volume as desired.

If you check Hold Balance, moving any one of the volume sliders (volume values) will cause the volume of the other timbres to change as well, maintaining the volume balance between timbres 1–16. This is a convenient way to adjust the overall volume.

Note: You can use the Control Surface sliders to adjust the volume of each timbre. (See “Adjusting the volume of each timbre” on page 68)

2. Use any of the following methods to select a Program for each timbre.

• Choose Program Select, use numeric keys 0–9 to input the program number, and press the ENTER switch.

• Choose Program Select and turn the VALUE dial, VALUE slider or use the q/u switches.

• If the Program Select parameter is selected, the BANK I-A–U-G switches will switch program banks. (If Timbre Program Select is selected, the BANK switch LED of the program bank selected for that timbre will light.)

• From the Bank/Program Select menu you can view and select programs by bank.

• From the Category/Program Select menu you can view and select programs by category.

Adjusting the pan of each timbre

1. Access the Combi P0: Play– Mixer T01–08 page.

2. Select the on-screen Pan knob for Timbre 1, and edit its value as desired.

Timbre pan interacts with the pan stored in the Program. A setting of C064 reproduces the Program’s oscillator pan settings. Adjusting the Timbre Pan will move the sound to left or right while preserving the pan relationship between the oscillators. A setting of L001 is far left, and R127 is far right.

Easy Combination editing Simple editing using the Sliders and Switches

Simple editing using the Sliders and Switches

You can use the Control Surface to perform a variety of editing.

For example, you can adjust the volume of each timbre, or change the cutoff or resonance. You can also turn effects on/off or adjust their depth, or modify the phrases generated by KARMA.

Here we will explain how to control the volume, mute, and solo settings of each timbre. For other types of editing, refer to the explanations below.

• “Using realtime control to edit sounds or effects” on page 48

• “Editing Programs with Tone Adjust” on page 75

Adjusting the volume, mute, and solo of each timbre

You can also edit the mixer parameters directly from the Control Surface, eight Timbres at a time.

1. Press the MIXER switch under CONTROL ASSIGN, so that the T1–8 LED lights up.

The switch has two LEDs: one for T1–8, T9–16 and INPUT. These correspond to Timbres 1–8, Timbres 9– 16, and the audio inputs.

Control Assign

Reset Controls

Switches 1–8

Sliders 1–8

Alternatively, you can hold down the ENTER switch and press numeric key 1 to switch between Timbre Play/Mute and Timbre Solo.

6. While the display shows Timbre Solo, switches 1– 8 will turn Solo on/off for timbres 1–8.

Note: Solo On/Off applies to the timbres and the audio inputs.

Saving a Combination you’ve edited

Once you’ve tweaked the sound to perfection, you’ll want to save your work. To save your edits, please see “Saving your edits” on page 50, and “Writing to internal memory” on page 139.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

2. Access the Combi P0: Play– Control Surface page.

This page displays and reﬂects the control surface data. It’s a convenient place to adjust the sound, since you can view the actual parameter assignments and the exact data values.

Note: You can use the Control Surface for control regardless of the page that is shown in the display.

3. Use sliders 1–8 to adjust the volumes of Timbres 1–8, respectively.

4. While the display shows Timbre Play/Mute, switches 1–8 will change the Play/Mute status of timbres 1–8.

5. Press the menu button to select “Panel-SW Solo Mode.”

The menu will close, and the indication of Timbre Play/Mute in the display will change to Timbre Solo.

Drum Track

Other

Appendices

Playing and editing Combinations

Detailed Editing with Combinations

You can edit the preloaded combinations (Banks A, B, and C) with which the M3 is shipped, or start with an initialized Combination to create your own original sounds.

You can use the factory Programs to create new Combinations, or use your own custom Programs. If you’re in the process of editing a Program in Program mode, and you use the Program in a Combination, you’ll hear the edited version in Combination mode as well.

Overview of editing pages

P0: Play is where you select and play programs, make quick edits using the Control Surface, and adjust the KARMA settings. The other pages let you modify the sound in more detailed ways.

Combination mode page structure

Page Main content

Select and play combinations. Program selection for each timbre. Pan and volume settings etc. for each

P0: Play

PLAY

timbre. Simple KARMA editing. Audio input settings and resampling settings. Editing from the control surface.

Page Main content

Drum Track settings.

P1: DT/XY/Ctrls

X–Y control settings. SW1, 2, and slider function settings. Pad note and velocity settings.

P2: EQ/Option

EQ settings for each timbre. Settings for the EXB-RADIAS option.

Various parameter settings for each

P3: Timbre Param

EDIT

timbre (MIDI channel, OSC selection, Pitch setting, etc.)

Key split and layer settings.

P4: Zone/Delay

(Key zone and velocity zone) Time delay from note-on to beginning of sound.

MIDI Filter 1

P5–1: P5–2:

MIDI Filter 2

P7–1: KARMA1 GE Setup

P7–2: KARMA2 Module

P7–3: KARMA3

KARMA

GE RTP P7–4: KARMA4

Perf

MIDI transmit/receive ﬁlter 1 settings. MIDI transmit/receive ﬁlter 2 settings.

Overall KARMA settings.

Settings for each KARMA module.

KARMA GE realtime parameter settings.

KARMA performance parameter settings.

Oscillator output bus and master effect P8–1: IFX Route1/ 1–5

send level settings.

Insert effect routing, selection, and

settings. P8–2: IFX Route2

EFFECT

Bus settings for oscillator output.

Common FX LFO 1, 2 settings.

Master effect routing, selection, and P9: MFX/TFX

settings.

Total effect selection and settings.

Combination structure and corresponding pages

Timbre1

Timbre2

Timbre3

Timbre4

Timbre16

Program

Parameters

3Band EQ

Parameters

3Band EQ

Parameters

3Band EQ

Parameters

3Band EQ

Parameters

3Band EQ

Routing: P8-1, 2

Timbre

Insert Effects Master Effects Individual Outputs

AUX Bus FX Control Bus

For details on how to access each mode and page, please see “Basic operations” on page 22.

Sampling or resampling can be performed in Program mode. For details, please see “Sampling in Program, Combination, and Sequencer modes” on page 122.

X–Y: P1–2, 3, 4, 5

KARMA: P7

Insert Effects 1…5: P8

Controllers: P1–6

Pads: P1–7, 8

Master Effects 1, 2: P9

DrumTrk Prog: P1–1 Audio Input: P0–7

Tone Adjust: P0–8

Total Effects: P9

AUDIO OUTPUT L/MONO, R

AUDIO OUTPUT INDIVIDUAL 1,2,3,4

P1–1, P2–2, etc. indicate the on-screen pages and tabs used when editing on the M3.

Detailed Editing with Combinations A suggested approach for editing

Since you can apply the M3’s internal effects to the external audio inputs, a wide range of possibilities are available. For details, please see “Using effects in Combinations and Songs” on page 157.

A suggested approach for editing

First, select a Program for each Timbre, on the P0: Play– Program T01–08 or T09–16 page. (Note that you don’t have to use all 16 Timbres!)

Next, create any desired keyboard or velocity splits, layers, or crossfades between the different Timbres. You can do this on the P4: Zone/Delay– Keyboard Zones page.

After this, adjust the volumes of the Timbres (back on the Program Select/Mixer tab), and set up any other Timbre parameters as desired.

To add ﬁnishing touches to the sound, set up the Insert, Master, and Total Effect as desired (on the P8: IFX and P9: MFX/TFX pages, respectively.) These effects can be different from those of the individual Programs in Program mode, if desired.

In addition, you can make KARMA settings (on the P7: KARMA page) and controller settings (on the P1: DT/ XY/Ctrls page) to create the ﬁnished Combination.

Layers, Splits, and Velocity Switches

Within a Combination, you can use note number and velocity to determine which Timbres will sound.

The Programs assigned to each Timbre can sound in three ways: as part of a layer, a split, or a velocity switch. A Combination can be set to use any one of these methods, or to use two or more of these methods simultaneously.

Layer

Layers cause two or more Programs to sound simultaneously when a note is played.

Program A Program B

Split

Splits cause different Programs to sound on different areas of the keyboard.

Program A

Program B

Layer: Two or more programs sound simultaneously.

Split: Different programs will sound in different areas of the keyboard.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

Soloing timbres

You can use the Control Surface’s Solo function to hear the sound of each timbre by itself. For details, please see “Adjusting the volume, mute, and solo of each timbre” on page 69.

Using COMPARE

When you’re in the process of editing a sound, pressing the COMPARE switch will recall the saved version of the sound, as it was before you started editing.

1. While editing, press the COMPARE switch (the LED will light).

The saved sound from before you began editing will be recalled.

2. Pressing COMPARE again returns you to the version you are editing, and the LED will go out again.

Note: If you edit while the COMPARE LED is lit, the switch will again go dark and your previous edits will be lost.

Resetting individual controls

The RESET CONTROLS switch lets you revert an individual slider, or switch to its saved setting. (See page 43)

Velocity Switch

Velocity Switches cause different Programs to sound depending on the velocity (how hard you play the notes).

Program B Program A

On M3, you can use a different Program for each of up to sixteen Timbres, and combine two or more of the above methods to create even more complex setups.

Program A

Program B

Program D Program C

As an additional possibility, you can set the slope for a key zone or velocity zone so that the volume diminishes gradually. This lets you change a split into a keyboard crossfade, or a velocity switch into a velocity crossfade.

Program A

Program B

Strong

Keyboard playing dynamics

Soft

Velocity Switch: Keyboard playing dynamics (velocity) switches between different programs.

Strong

Keyboard playing dynamics

Soft

Example: B and C/D are split. In the lower keyboard range, A and B are layered. In the higher keyboard range, C and D are switched by velocity and layered with A.

Keyboard X-Fade (keyboard crossfade): As you play from low notes to high notes, the volume of A will fade out, and the volume of B will fade in.

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Playing and editing Combinations

Creating Key Splits and Layers

Splits and Layers

Let’s create a Combination which combines both splits and layers, like the diagram below:

Timbre 2 Timbre 3

Brass

Strings

C–1 C4 G9B3

1. Access the Combi P0: Play– Program T01–08 page.

2. Select a piano sound for Timbre 1, a brass sound for Timbre 2, and a strings sound for Timbre 3.

3. Access the P3: Timbre Param– MIDI T01–08 page.

4. For Timbres 1–3, set Status to INT and MIDI Channel to Gch (the Global Channel).

PianoTimbre 1

Next, if you set the Bottom Slope of timbre 1 to 12, and set the Top Slope of timbre 2 to 12, the sound will change gradually instead of changing suddenly.

Creating V elocity Switches

Next, let’s create a simple velocity switched Combination, like the diagram below:

Timbre 1 Timbre 2

Brass

Strings

1. Access the Combi P0: Play– Program T01–08 page.

2. Select a brass sound for Timbre 1, and a strings sound for Timbre 2.

3. Access the P3: Timbre Param– MIDI T01–08 page.

4. For Timbres 1 and 2, set Status to INT and MIDI Channel to Gch (the Global Channel).

5. Access the P4: Zone/Delay– Vel Z T01–08 page.

6. Set Timbre 1’s Top Velocity to 127, and its Bottom Velocity to 64.

You can also enter a velocity value by selecting the parameter and then playing a note on the keyboard while holding down the ENTER switch.

127

Velocity

switch

5. Access the P4: Zone/Delay– Key Z T01–08 page.

6. Set Timbre 1’s Top Key to G9, and its Bottom Key to C4.

You can also enter a note value by selecting the parameter and then playing a note on the keyboard while holding down the ENTER switch.

7. Set Timbres 2 and 3 to a Top Key of B3, and a Bottom Key of C–1.

Key Zone Slope

In addition to “hard” splits, in which the sound changes abruptly, you can use the Slope parameters to gradually fade a sound in or out over a range of keys.

In the example above, you could set the Bottom Key of timbre 1 to G3, and set the Top Key of timbre 2 to G4, so that these two timbres overlap.

7. Set Timbre 2 to a Top Velocity of 63, and a Bottom Velocity of 1.

Velocity Zone Slope

Similar to Key Zone Slopes, as described above, these let you fade in and fade out sounds gradually over a velocity range, instead of a simple hard switch.

In the case of the above example, you could set the velocity zones of the two Timbres so that they partially overlap. Then, set the Top Slope and Bottom Slope so that the sound changes gradually, instead of changing suddenly between velocity values of 63 and 64.

Detailed Editing with Combinations MIDI settings

MIDI settings

Timbre Parameters MIDI page

Status

This controls the status of MIDI and the internal tone generator for each Timbre. Normally, if you’re playing an internal Program, this should be set to INT.

If the status is set to Off, EXT, or EX2, that internal sounds will not be played. Off simply disables the Timbre entirely. The EXT and EX2 settings allow the Timbre to control an external MIDI device.

For details, please see “Status” on page 149 of the Parameter Guide.

Bank Select (when status=EX2)

When the Status is set to EX2, these parameters allow you to transmit MIDI Bank Select messages for changing banks on external MIDI devices.

MIDI ﬁlter settings

For each MIDI Filter item, you can specify whether or not the corresponding MIDI message will be transmitted and received. The checked items will be transmitted and received.

The MIDI ﬁlters don’t turn the functions themselves on or off. Instead, the ﬁlter just controls whether or not that MIDI message will be transmitted and received.

For example, if portamento is on, portamento will be applied to the internal M3 sound even if Portamento SW CC#65 is unchecked.

As another example, let’s say that you’ve selected a bass Program for Timbre 1, and a piano Program for Timbre 2, with the goal of creating a bass/piano split. You could make the following settings so that pressing the damper pedal affects only Timbre 2’s piano sound:

1. Access the P5–1: MIDI Filter1–1 T01–08 page.

2. Un-check the Enable Damper box for Timbre 1.

3. Check the Enable Damper box for Timbre 2.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

MIDI Channel

Timbres that you wish to play from M3’s keyboard must be set to the global MIDI channel. Your playing on the keyboard is transmitted on the global MIDI channel, and will sound any timbre that matches this channel. Normally you will set this to Gch. When this is set to Gch, the MIDI channel of the timbre will always match the global MIDI channel, even if you change the global MIDI channel.

On some preloaded Combinations, Timbres used by KARMA may have their MIDI Channels set to something other than Gch. These will be timbres that play only when KARMA is on–a very useful technique for creating “KARMAlized” Combinations. For details, please see “KARMA function settings in Combination mode” on page 176. In particular, note the relationships between KARMA assignments and MIDI Channel.

Drum Track

Other

Appendices

Playing and editing Combinations

Altering Programs to ﬁt within a Combination

You can make various changes to Programs within the context of a particular Combination, to make them ﬁt better with other Programs, or to create particular sonic effects. These changes do not affect the original Programs, or how those Programs sound in other Combinations.

Timbre Parameters: OSC

Force OSC Mode

Normally this should be set to PRG, so that the sound will play as set by the original Program.

If you wish to force a polyphonic program to sound monophonically, set this either to MN (Mono) or LGT (Legato). Conversely, set this to Poly if you wish to force a monophonic program to play polyphonically.

For details, please see “Force OSC Mode,” on page 150 of the Parameter Guide.

OSC Select

Normally, this should be set to BTH (Both). If the timbre is using a Program whose Oscillator

Mode is Double, and you want only OSC1 or OSC2 (not both) to sound, set this to OSC1 (only OSC1 will sound) or OSC2 (only OSC2 will sound).

Portamento

Normally, this should be set to PRG. If the Program uses portamento, but you’d like to

disable this for the current Combination, set this parameter to Off.

Conversely, if you want to force the portamento to be on, or just to change the portamento time, set this to a value of 001–127. The portamento will change to use the newly speciﬁed time.

Timbre Parameters: Pitch

Transpose, Detune (BPM Adjust)

These parameters adjust the pitch of the timbre.

• In a layer-type combination, you can set two or more timbres to the same program, and create a richer sound by using Transpose to shift their pitch apart by an octave or by using Detune to create a slight difference in pitch between the two.

• In split-type combinations, you can use Transpose to shift the pitch (in semitone units) of the programs specified for each key zone.

• If you wish to change the playback pitch of a drum program, use Detune. If you change the Transpose setting, the relationship between notes and drum sounds will change.

Adjusting the BPM of multisamples or samples created in Sampling mode

If a timbre’s program uses multisamples or samples that you created in Sampling mode (or loaded in Media mode) at a speciﬁc BPM value, you can use the menu command Detune BPM Adjust to call up a new BPM value. This changes the BPM by adjusting the playback pitch.

For details, please see “Detune BPM Adjust,” on page 188 of the Parameter Guide.

Use Program’s Scale, Scale

This speciﬁes the scale for each timbre. If you check Use Program’s Scale, the scale speciﬁed by the program will be used. Timbres for which this is not checked will use the Scale setting.

Detailed Editing with Combinations Effects

Delay

You can set some Timbres so that they don’t sound immediately at note-on. This can create cool effects, and more dramatic layers.

You can specify the delay for each Timbre either in milliseconds (ms), or in rhythmic values which sync to the system tempo.

If you set the Delay to Key Off, the Timbre will sound when the note is released.

Editing Programs with Tone Adjust

Using Tone Adjust, you can make detailed edits to Programs within the context of the Combination. These edits will not affect the original Program, or any other Combinations which use the Program. To edit a Program with Tone Adjust:

1. Press the CONTROL ASSIGN TONE ADJUST switch (the LED will light).

2. Access the P0: Play– Control Surface page.

This page mirrors the Control Surface. It’s very useful with Tone Adjust, since it shows you the parameter assignments, exact values, and so on.

Effects

Effects are covered in their own section of the manuals, so we won’t go into too much detail here.

Insert Effects

For details, please see “Insert effects” on page 155.

Master Effects

There are two Master Effects, which are accessed through Sends 1 and 2. These are best-suited to effects such as reverbs and delays. You can use any type of effect, but double-size effects can be used only in master effect 1. When using a double-size effect, master effect 2 cannot be used.

For details, please see “Master effects” on page 156.

Total Effect

The Total Effect is dedicated to processing the main L/ R outputs. The Total Effect is suitable for use with effect types that are applied to the entire mix, such as compressor, limiter, or EQ.

You can use effects other than double-size effects. For details, please see “Total Effect” on page 157.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

3. Select the Timbre whose parameters you’d like to adjust.

4. Edit the controls as desired.

In addition to editing the values, you can also change the assignments of Tone Adjust parameters to the sliders, and switches.

For details, please see “Using Tone Adjust” on page 49.

Automatically importing a Combination into Sequencer mode

The Auto Song Setup feature automatically applies the settings of the current Combination to a song.

If inspiration for a phrase or song strikes you while you’re playing a program or combination, you can use this function to start recording immediately.

Hold down the ENTER switch and press the SEQUENCER REC/WRITE switch. The Setup to Record dialog box will open and ask “Are you sure?”. Press “OK”. You will automatically enter Sequencer mode, and will be in the record-ready state. Press the START/STOP switch to start the sequencer and begin recording.

Drum Track

Other

Appendices

Playing and editing Combinations

Creating songs (Sequencer mode)

Overview

Quick Start

About the M3’s Sequencer

The M3’s sequencer is a 16-track MIDI sequencer that can hold up to 128 songs and 210,000 MIDI events.

You can record and play back MIDI data using sixteen MIDI tracks and one master track (containing tempo data, etc.) to control the internal sound generator and your external sound modules.

The M3 also provides an In-Track Sampling function that automatically creates the appropriate note data in a track if you sample an external audio source while your song plays.

You can connect a USB CD-R/RW drive (commercially available) and create an audio CD of your completed songs. (See page 127, and page 150)

With its broad range of capabilities such as its In-track Sampling function, Time Stretch/Slice function, KARMA function, high-quality effects, and contr ollers, the M3 is the ideal environment for music production or live performance.

When you turn off the power, the settings made in Sequencer mode and the song data, and any user pattern data that you recorded will not be backed up. If you wish to keep this data, you must save it on USB storage media before turning off the power, or perform a MIDI data dump to save the data on an external data ﬁler etc.

If you wish to save the programs, track parameters, effects, and KARMA function settings etc. selected for a song as a template song, use the menu command Save Template Song.

Immediately after the power is turned on, M3 will not contain any song data, so if you wish to play a song on the sequencer, you must ﬁrst load data from media, or receive a MIDI data dump from a MIDI ﬁler. For details, please see “Loading data” on page 145, and “Receiving SysEx data dumps” on page 385 of the Parameter Guide.

Sequencer mode structure

Sequencer mode is structured as follows.

Songs

A song consists of MIDI tracks 1–16, a master track, song parameters such as the song name, X–Y control, KARMA function, Drum Track function, effect and RPPR parameters, and 100 user patterns.

A maximum of 128 such songs can be created on M3. MIDI tracks 1–16 each consist of setup parameters

located at the start location, and musical data within the track. The master track consists of tempo and time signature data.

Setup parameters & Musical data

Each song consists of MIDI tracks 1–16, a master track, various song parameters such as the song name, settings for the X–Y control function, settings for the KARMA function, Drum Track function, effect settings, RPPR function parameters, and 100 user patterns.

Up to 128 such songs can be created in the M3.

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Song

Setting parameters

Setting

MIDI Track 01..16

Master Track

parameters Setting

parameters

Setting parameters

Tempo and time signature data

Make Audio CD

USB CD-R/RW USB HDD

Performance data

Sampling memory

(RAM)

Sample

WAVE (Stereo)

In-Track Sampling function

(Routing: P8) MIDI Routing 1,2

Track

Insert Effects Master Effects Individual Outputs

(FX Ctrl BUS) (AUX BUS)

Resampling (L/R 2ch Mix)

Insert Effect 1...5: P8

Master Effect 1, 2 : P9

X–Y: P1–2, 3, 4, 5

KARMA: P7

Pattern: P10–1

Controllers: P1–6

DrumTrk Prog: P1–1 Audio Input: P0–7

Pads: P1–7, 8

Tone Adjust: P0–8

RPPR Setup: P10–1

Total Effect : P9

Parentheses such as (P7) indicate the M3 page used for editing.

Cue List: P11

AUDIO OUTPUT L/MONO, R

AUDIO OUTPUT INDIVIDUAL 1, 2, 3, 4,

Drum Track

Other

Appendices

Creating songs (Sequencer mode)

MIDI tracks 1–16 each consist of “track parameters” that specify the starting state of the track, and “playback data.” The master track consists of tempo and time signature data.

MIDI tracks 1–16

Setup parameters

Bank/Program No.*, Play/Rec/Mute, Pan*, Volume* Track Play Loop, Loop Start Measure, Loop End Measure, Play Intro, EQ (Bypass, Input Trim, Low Gain, Mid Frequency, Mid Gain, High Gain) Status, MIDI Channel, Bank Select (When Status=EX2), Force OSC Mode, OSC Select, Portamento*, Transpose**, Detune**, Bend Range**, Use Program’s Scale, Delay (Mode, Time, Base Note, Times), KARMA Track On/ Off Control, MIDI Filter, Keyboard Zones, Velocity Zones, Track Name, IFX/Indiv.Out Bus, FX Control Bus, AUX Bus, Send1 (MFX1)*, Send2 (MFX2)*, Drum Kit IFX Patch, X–Y Volume, X–Y CC, Enable RADIAS

Musical data

Note On/Off Program Change (including Bank Select) Pitch Bend Aftertouch (Poly After) Control Change Pattern No. Exclusive Message

Master track

Setup parameters/Musical data

Time signature*, Tempo* * When you change the setting during realtime-

recording, this will be recorded as musical data. This allows the starting settings to be modiﬁed during the playback.

** Musical data (MIDI RPN data) can be used to

change the starting settings during playback.

Other parameters: You can adjust parameters during realtime recording and record these changes as MIDI System Exclusive messages. This means that the settings at the start of playback can change as the song progresses.

For details on Control Change messages and RPN, please see “Control change” on page 616, and “Using RPN (Registered Parameter Numbers)” on page 620 of the Parameter Guide.

For details on MIDI System Exclusive messages, please see “About system exclusive messages” on page 621 of the Parameter Guide.

Patterns

There are two types of patterns: preset patterns and user patterns.

Preset patterns: Patterns suitable for drum tracks are preset in internal memory, and can be selected for any song.

User patterns: Each song can have up to 100 patterns. When using a pattern in a different song, use the Utility menu commands Copy Pattern or Copy From Song etc. to copy the pattern. The pattern length can be speciﬁed in units of a measure.

Each pattern consists of musical data for one track. It is not possible to create patterns that contain multiple tracks.

You can use these patterns by placing them in a MIDI track (Put to Track menu command) or by copying them (Copy to Track menu command). You can also use patterns with the RPPR function of a song.

How Sequencer patterns are related to Drum Track patterns

The patterns of the Drum Track function you use with a Program or Combination are related to Sequencer mode patterns as follows.

Preset patterns are a common library that can also be used by the Drum Track function.

User patterns cannot be directly used by the Drum Track function, but they can be converted to user Drum Track patterns and used with a Program or Combination. If you convert a user pattern, it will be stored in internal memory, and this data will not disappear even when you turn off the power.

Cue List

The cue list allows you to playback multiple songs in succession. The M3 lets you create twenty cue lists. Each cue list lets you connect up to 99 songs and specify the number of times that each song will repeat.

The menu command Convert to Song lets you convert the songs in a cue list into a single song.

For example you can use a cue list to create the backing, convert the cue list to a song, and then add solo phrases on unused tracks.

Song recording and editing

Song recording is performed on tracks. You can record MIDI tracks in either of two ways;

realtime recording or step recording. For realtime recording you can choose one of six recording modes.

You can edit MIDI tracks by using Event Edit operations to modify the recorded data or insert new data, and by using Track Edit operations such as Create Control Data, which inserts pitch bend, aftertouch, or control change data.

Overview Sequencer mode structure

Sequencer mode page structure

Page Main content

Song selection, playback, and recording. Program selection for each track. Pan and volume settings etc. for each

P0–1: Play/REC

PLAY

P0–2: Play/REC Control

P1: DT/XY/Ctrls

P2: EQ/Option

P3: T rack Param

EDIT

P4: Zone/Delay

P5–1: MIDI Filter1 MIDI transmit/receive ﬁlter 1 settings. P5–2: MIDI Filter2 MIDI transmit/receive ﬁlter 2 settings.

P6: T rack Edit

P7–1: KARMA1 GE Setup

P7–2: KARMA2 Module

P7–3: KARMA3

KARMA

GE RTP P7–4: KARMA4

Perf

P8–1: IFX– Routing1

P8–2: IFX–

EFFECT

Routing2

P9: MFX/TFX

P10: Pattern/ RPPR

P11: Cue List

PATTERN&CUE

track. Track playback loop settings. Audio input settings and resampling settings. Recording method selection.

Simple KARMA editing. Editing from the control surface.

Drum Track settings. X–Y control settings. SW1, 2, and slider function settings. Pad note and velocity settings.

EQ settings for each track. Settings for the EXB-RADIAS option.

Various parameter settings for each track (MIDI channel, OSC selection, Pitch setting, etc.)

Key split and layer settings. (Key zone and velocity zone) Time delay from note-on to beginning of sound.

Step recording. Event recording. Copy, delete, and other track editing.

Overall KARMA settings.

Settings for each KARMA module.

KARMA GE realtime parameter settings.

KARMA performance parameter settings. Oscillator output bus and master effect

send level settings. Insert effect routing, selection, and settings.

Bus settings for oscillator output. Common FX LFO 1, 2 settings.

Master effect routing, selection, and settings. Total effect selection and settings.

Pattern recording and editing. RPPR settings. Converting a pattern to a Drum Track pattern.

Cue list settings. Consecutive playback of multiple songs. Converting to a song.

For details, please see “Using effects in Combinations and Songs” on page 157.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

For details on how to access each mode and page, please see “Basic operations” on page 22.

The MIDI transmit/receive settings for each track are made in MIDI Channel (P3: Track Param– MIDI T01– 08/T09–16 page).

Sampling or resampling can be performed in Sequencer mode. For details, please see “Sampling in Program, Combination, and Sequencer modes” on page 122.

Since you can apply the M3’s internal effects to the external audio inputs, a wide range of possibilities are available.

Drum Track

Other

Appendices

Creating songs (Sequencer mode)

Playing Songs

Playback

In order to play back song data in the sequencer, you must ﬁrst record song data, or load or dump it into the M3.

Let’s start by loading and playing the demo song data. For details, please see “Listening to the demo songs” on page 5.

1. Press the MODE SEQ switch to enter Sequencer mode.

The P0–1: Play/REC– Program T01–08 or T09–16 page will appear. If this is not displayed, press the EXIT switch three times.

2. Use “Song Select” to select the song you want to play back.

You can press the Song Select popup button and choose from a list.

Meter Tempo

Song Select

Popup

Track Select

Control using the sliders and switches

You can use the control surface to perform a variety of control. You can perform this control in realtime during playback or recording.

For example, you can adjust the volume of each track, or change the cutoff or resonance. You can also turn effects on/off or adjust their depth, or modify the phrases generated by KARMA.

Here we will explain how to control the volume, mute, and solo settings of each track. For other types of editing, refer to the explanations below.

Realtime control in Sequencer mode will affect the track selected by Track Select.

Track Select

Tone Adjust will affect the track selected by Track.

2. Access the Seq P0–2: Play/REC– Control Surface page.

This page displays and reﬂects the control surface data. It’s a convenient place to adjust the sound, since you can view the actual parameter assignments and the exact data values.

Note: You can use the Control Surface for control regardless of the page that is shown in the display.

3. Use sliders 1–8 to adjust the volumes of T racks 1–8, respectively.

4. While the display shows Track Play/Mute, switches 1–8 will change the Play/Mute status of tracks 1–8.

5. Press the menu button to select “Panel-SW Solo Mode.”

The menu will close, and the indication of Track Play/ Mute in the display will change to Track Solo.

Alternatively, you can hold down the ENTER switch and press numeric key 1 to switch between Track Play/Mute and Track Solo.

6. While the display shows Track Solo, switches 1–8 will turn Solo on/off for tracks 1–8.

• “Using realtime control to edit sounds or effects” on page 48

• “Editing Programs with Tone Adjust” on page 75

Adjusting the Volume, Mute, and Solo of each track

You can also edit the mixer parameters directly from the Control Surface, eight Tracks at a time.

1. Press the MIXER switch under CONTROL ASSIGN, so that the T1–8 LED lights up.

The switch has two LEDs: one for T1–8, T9–16 and INPUT. These correspond to Tracks 1–8, Tracks 9–16, and the audio inputs.

Control Assign

Reset Controls

Switches 1–8

Sliders 1–8

MIDI recording

MIDI recording Preparations for recording

Quick Start

Preparations for recording

Before you begin recording, make sure that the memory protect setting in Global mode is turned off. For details, please see “Memory protect” on page 142.

Creating a Song

Before we can begin this example, we need to select an empty song where we can record.

1. Press the MODE SEQ switch to enter Sequencer mode.

2. Choose “Song Select” (e.g., in the P0–1: Play/REC– Program T01–08 page).

You can press the Song Select popup button, and choose from a list.

Song Select

Popup

Track Select

Recording MIDI in real-time

When you’ve ﬁnished with “Preparations for recording,” you can start recording.

This is a method of recording in which your playing on the keyboard and your operations of controllers such as the joystick are recorded in realtime. This method of recording is normally used one track at a time, and is called single track recording.

As an alternative, multitrack recording allows you to simultaneously record multiple channels of data onto multiple tracks. This is the method you will use when using the Drum T rack function, the RPPR function, and the KARMA function to record multiple tracks of musical data at once, or when you playback existing sequence data on an external sequencer and record it onto M3’s sequencer in realtime.

Recording setup

In P0–1: Play/REC– Preference page Recording Setup, select the realtime recording method you want to use.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Overwrite

With this method, the musical data previously recorded on a track is overwritten by the newly recorded data. When you perform overwrite recording on a previously-recorded track, its musical data will be deleted and replaced by the newly recorded data.

Normally you will use this method to record, and then modify the results by using other types of realtime recording or MIDI event editing.

1. Use Track Select to select the track that you want to record.

2. Set the Recording Setup to Overwrite.

3. In “Location,” specify the location at which you wish to begin recording.

4. Press the SEQUENCER REC/WRITE switch, and then press the SEQUENCER START/STOP switch.

If the Metronome Setup is still set to the default settings, the metronome will sound for a two-measure pre-count, and then recording will begin. Play the keyboard and move controllers such as the joystick to record your performance.

Drum Track

Other

Appendices

Creating songs (Sequencer mode)

5. When you ﬁnish playing, press the SEQUENCER START/STOP switch.

Recording will end, and the location will return to the point at which you begin recording.

If you press the PAUSE switch instead of the SEQUENCER START/STOP switch, recording will pause. When you press the PAUSE switch once again, recording will resume. When you are ﬁnished, press the SEQUENCER START/STOP switch to stop recording.

Overdub

With this method, the newly recorded musical data is added to the existing data.

When you perform overdub recording on a previouslyrecorded track, the newly recorded data will be added to the previously-recorded data.

It is best to select this mode if you will be recording additional control data, recording a drum pattern, or recording the tempo in the master track. With this mode, data can be added without erasing the existing performance data.

1. Use Track Select to select the track that you want to record.

2. Set the Recording Setup to Overdub.

3. For the rest of the procedure, please see steps 3–5 of “Overwrite.”

Manual punch-in

While the song is playing, you can press the SEQUENCER REC/WRITE switch or a connected pedal switch at the desired location to start or stop recording. With this method, the musical data previously on the track is overwritten by the newly recorded data.

1. Use Track Select to select the track that you want to record.

2. Set the Recording Setup to Manual Punch In.

Note: Instead of pressing the SEQUENCER REC/ WRITE switch in steps 5 and 6, you can use a foot switch connected to the ASSIGNABLE SWITCH jack.

Set the Global P2: Controllers page Foot Switch Assign to Song Punch In/Out. (See “Specifying the function of the Assignable Switch and Assignable Pedal” on page 132)

7. Press the SEQUENCER START/STOP switch.

Playback will stop, and you will return to the location that you speciﬁed in step 3.

Auto punch-in

First you must specify the area that will be re-recorded. Then recording will occur automatically at the speciﬁed area. With this method, the musical data previously on the track is overwritten by the newly recorded data.

1. Use Track Select to select the track that you want to record.

2. Set the Recording Setup to Auto Punch In.

3. In “M (Auto Punch In Start Measure), “M (Auto Punch In End Measure)” specify the area that you wish to record.

For example if you specify M005–M008, recording will occur only from measure 5 to measure 8.

4. In “Location,” specify a location several measures earlier than the point at which you wish to begin recording.

5. Press the SEQUENCER REC/WRITE switch, and then press the SEQUENCER START/STOP switch.

Playback will begin. When you reach the starting location you speciﬁed in

step 3, recording will begin. Play the keyboard and operate controllers such as the joystick to record your performance. When you reach the ending location you speciﬁed in step 3, recording will end. (Playback will continue.)

6. Press the SEQUENCER START/STOP switch.

Playback will stop, and you will return to the location you speciﬁed in step 4.

3. In “Location,” specify a location several measures earlier than the point at which you wish to begin recording.

4. Press the SEQUENCER START/STOP switch.

Playback will begin.

5. At the point at which you wish to begin recording, press the SEQUENCER REC/WRITE switch.

Recording will begin. Play the keyboard and operate controllers such as the joystick to record your performance.

6. When you ﬁnish recording, press the SEQUENCER REC/WRITE switch.

Recording will end (playback will continue).

Loop All Tracks

This method lets you continue recording as you add musical data.

The speciﬁed region can be recorded repeatedly. This is ideal when recording drum phrases, etc.

Use Track Select to select the track that you want to record.

1. Set the Recording Setup to Loop All Tracks.

2. If Multi REC is checked, it will not be possible to select Loop All Tracks.

MIDI recording Recording MIDI in real-time

3. In “M (Loop Start Measure), “M (Loop End Measure)” specify the area that you wish to record.

For example if you specify M004–M008, recording will occur repeatedly (as a loop) from measure 4 to measure

4. In “Location,” specify a location several measures earlier than the point at which you wish to begin recording.

5. Press the SEQUENCER REC/WRITE switch, and then press the SEQUENCER START/STOP switch.

Playback will begin. When you reach the starting location you speciﬁed in step 3, recording will begin. Play the keyboard and operate controllers such as the joystick to record your performance.

When you reach the ending location you speciﬁed in step 3, you will return to the starting location, and continue recording.

6. The musical data that is loop-recorded will be added to the previously-recorded data.

You can also erase speciﬁc data even while you continue loop recording.

If you press the SEQUENCER REC/WRITE switch during loop recording, all musical will be removed from the currently selected track as long as you continue pressing the switch.

By checking the Remove Data check box you can erase only the speciﬁed data. During loop recording, press the note that you wish to delete, and only the data of that note number will be deleted from the keyboard as long as you continue pressing that note.

Similarly , bender data will be deleted as long as you tilt the joystick in the X (horizontal) direction, and aftertouch data will be deleted as long as you apply pressure to the keyboard.

When you are once again ready to record musical data, uncheck the Remove Data check box.

7. Press the SEQUENCER START/STOP switch.

Playback will end, and you will return to the recording start location that you speciﬁed in step 4.

If Loop All Tracks is selected, normal playback will be looped as well.

Multi (multitrack recording)

Multitrack recording allows you to simultaneously record onto multiple tracks, each with a different channel.

1. Make the desired Recording Setup settings.

You can record using Overwrite, Overdub, Manual Punch In, or Auto Punch In.

2. In “Recording Setup,” check “Multi REC.”

3. Use “Location” to specify the measure at which recording will begin.

4. Press the SEQUENCER REC/WRITE switch.

5. For the track you want to record, press Play/Rec/ Mute to make it indicate Rec.

6. Press the SEQUENCER START/STOP switch.

With the default settings for Metronome Setup, the metronome will sound for a two-measure pre-count, and then recording will begin. Now you can perform on the keyboard and controllers, and use the KARMA or RPPR functions if desired.

7. Press the SEQUENCER START/STOP switch.

Playback will stop, and you will return to the location speciﬁed in step 3.

An example of realtime recording

In this example, we’ll assign a drum program to MIDI Track 01 and create the following one-measure drum phrase.

Hi hat: F#3 Snare: E3 Bass drum: C3

1. Create a new song, and specify a drum program for MIDI Track 01.

Use Track Select to select MIDI Track 01, and verify that you hear a drum program. (See page 83)

2. Access the P0–1: Play/REC– Preference page. In Recording Setup, specify “Loop All Tracks” and set it to M001-M001.

For details, please see “Loop All Tracks” on page 86. With this setting, measure 1 will be recorded

repeatedly. The newly recorded data will be added at each pass.

3. Set “REC Resolution” to . (See page 84)

4. Press the SEQUENCE REC/WRITE switch, and then the START/STOP switch.

The metronome will sound a two-measure countdown, and then recording will begin.

5. As shown in the musical example printed above, start by playing the C3 note of the keyboard to record the bass drum for one measure.

6. Next, play the E3 note of the keyboard to record the snare for one measure, and then the F#3 note to record the hi-hat.

7. Press the SEQUENCER START/STOP switch to stop recording.

8. Play back the result, and listen to the drum performance you recorded.

Press the SEQUENCER START/STOP switch. When you’ve ﬁnished listening, press the START/STOP switch once again to stop playback.

9. If you’re not satisﬁed with the result, press the COMPARE switch to return to the state prior to recording, and then re-record from step 4.

Note: When you’re ﬁnished recording, change the Recording Setup back to the normally-used Overwrite (P0–1: Play/REC– Preference page).

In addition, access the P0–1: Play/REC– Play Loop T01–08 page, check Track Play Loop for MIDI Track 01, and set the Loop Start Measure and Loop End Measure to 001. When you play back, MIDI track 01 will repeatedly play the ﬁrst measure.

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Creating songs (Sequencer mode)

Step recording

Step recording is the recording method in which you specify the duration and strength of each note, and use the keyboard to specify the pitch of each MIDI note.

You can use the Rest button and Tie button of the dialog box to input rests and ties.

Step recording is useful when you want to create mechanically precise beats, or when you need to record a phrase that would be difﬁcult to play by hand “in realtime,” or when you ﬁnd it difﬁcult to play extremely complicated or rapid passages.

An example of step recording

In this example, we’ll assign a bass program to MIDI Track 02 and step-record the following two-measure bass phrase.

1. Specify a bass program for MIDI Track 02. Use Track Select to select MIDI Track 02, and verify that you hear a bass program.

2. Access the P6: Track Edit– Track Edit page.

3. Set “From Measure” to 001.

With this setting, step recording will begin from measure 1.

4. Press the menu button, and press menu command “MIDI Step Recording.”

A dialog box will appear.

Input the ﬁrst C3 note as . (dotted eighth note). Use the popup button at the left to select . You can choose from the range  (whole note)–  (32nd

note). Input a dotted note by selecting “.” with the popup

buttons at right. You can specify “3” to input a triplet. If you want to

use the unmodiﬁed length of the note that’s selected at the left, choose “–”.

“Note Duration” indicates the length that the note itself will sound. Smaller values will produce a staccato note, and larger values will produce a legato note. For this example, leave this setting unchanged.

“Note Velocity” is the velocity (playing strength), and larger values will produce a louder volume. Set this to Key.

If you select Key for this parameter, the velocity with which you actually play the keyboard will be input.

6. On the keyboard, press and then release the ﬁrst C3 note that you want to input.

The data you input will appear in the display as numerical values. In the upper right, Measure 001 Beat Tick 01.000 will change to Measure 001 Beat Tick

01.360. The next note you input will be placed at this

location.

7. Input the remaining notes as described in steps 5 and 6. (You’ve already input the ﬁrst C3 note.)

In addition to the methods described in steps 5 and 6, you can also use the following input methods.

• To input a rest, press the Rest button. This will input a rest of the Step Time value.

• To modify the length of a note, you can modify the Step Time value before you input the note. However if you want to extend the length (tie) of the note, press the Tie button. At this time, the previously-input note will be extended by the Step Time length.

• To delete a note or rest that you input, press the Step Back button. The previously-input note will be deleted.

• To input a chord, simultaneously press the notes of the desired chord. Even if you do not press them simultaneously, notes that are pressed before you fully remove your hand from all keys on the keyboard will be input at the same location.

• If you want to verify the pitch of the note that you will input next, press the PAUSE switch. In this state, playing a key will produce a sound, but will not input a note. Press the PAUSE switch once again to cancel the record-pause state, and resume inputting notes.

5. In “Step Time,” use “Select” to specify the basic timing value at which you will input notes and rests.

MIDI recording Recording variation

Step

Note

Time:

Select

C3 . C3 key G3 - G3 key

C4 - C4 key

C4 - C4 key D3 - D3 key

Eb3 - Eb3 key

E3 - E3 key F3 - F3 key

C3 - C3 key

F2 - F2 key

Tie - Tie button

F2 - F2 key

A2 - A2 key A3 - A3 key

Step

Time:

. 3 -

Key, Button

-Rest button

Measure/

Beat Tick

001 / 01.000 001 / 01.360 001 / 02.000 001 / 02.240 001 / 02.360 001 / 03.120 001 / 03.240 001 / 04.000 001 / 04.240 002 / 01.000 002 / 01.120 002 / 01.360 002 / 02.000 002 / 02.240 002 / 03.000 002 / 03.240 002 / 03.360 002 / 04.000 002 / 04.240 002 / 04.360

8. When you are ﬁnished recording, press the Done button.

Press the SEQUENCER START/STOP switch to play back.

Access the P0: Play/REC– Play Loop T01–08 page, check Track Play Loop for MIDI Track 02, set Loop Start Measure to 001, and Loop End Measure to 002. MIDI track 02 will play measures 1–2 repeatedly.

9. If you’re not satisﬁed with the result, press the COMPARE switch to return to the state prior to recording, and then re-record from step 4.

When you begin step recording, all data in the MIDI track that follows the measure where you began recording will be erased. You need to be aware of this if you begin step recording from a measure mid-way through the song.

If you want to copy data into a measure that already contains data, perform step recording in an empty MIDI track, and use the Move Measure or Copy Measure menu commands. For details, please see “Copy Measure” on page 284 of the Parameter Guide, and “Move Measure” on page 284 of the Parameter Guide.

If you want to edit or add to the recorded data, you can use the Event Edit function. For details, please see “Event Edit” on page 280 of the Parameter Guide.

Recording variation

Recording the sound of a Combination or Program

Here’s how you can easily copy the settings of a Combination or Program, and then record using that sound.

When you’re performing in Program or Combination mode, you can use the Auto Song Setup function to automatically set up the settings of that program or combination into a song. Alternatively, you can use the Sequencer mode menu commands Copy From Combi and Copy from Program to set up a song in a similar way.

Auto Song Setup function

The explanation of the Auto Song Setup function given here follows the procedure from Combination mode.

1. Enter Combination mode.

2. If you change any of the settings in the combination in the Combi P0: Play– Program T01– 08 page.

Such as panning, volume and KARMA setting you must ﬁrst save the edited settings using Update

Combination or Write Combination.

3. Hold down the ENTER switch and press the SEQUENCER REC/WRITE switch.

The Setup to Record dialog box will appear.

4. Press the OK button to perform the Auto Song Setup.

The M3 will automatically switch to Sequencer mode, and the combination’s settings will be applied to a new song. The new song will be the ﬁrst unused song.

5. You will automatically enter record-ready mode, and the metronome will begin sounding according to the settings in P0–1: Play/REC– Preference page.

6. Press the SEQUENCER START/STOP switch, and realtime recording will begin.

When you’re ﬁnished recording, press the START/ STOP switch once again.

Settings that are automatically copied from the combination

The settings that will be automatically copied will be the same settings as if you had executed the menu command Copy From Combi, and had made the following settings in the dialog box.

• IFXs, MFXs and TFX checked

• Multi REC Standby checked

Quick Start

Introduction

SetupProgram

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Settings that are automatically copied from the program

The settings that will be automatically copied will be the same settings as if you had executed the menu command Copy From Program, and had made the following settings in the dialog box.

• IFXs, MFXs and TFX checked

• KARMA checked

Other

Appendices

Creating songs (Sequencer mode)

• “To” set to MIDI Track 01

• “KARMA Module” set to A

• “with Drum Track” set to Track 10

• RADIAS Vocoder checked For details, please see “Copy from Program” on

page 273 of the Parameter Guide.

Setup in Sequencer mode (Copy From Combination/Copy From Program)

In Sequencer mode, you can use the Copy From Combi and Copy From Program menu commands to

set up a sequencer song based on a combination or program. In this example, we’ll explain how to set up a song based on a combination.

Note: Make sure that the global MIDI channel (Global P1: MIDI– MIDI Basic page, MIDI Channel) is set to

01.

1. Create a new song.

For details, please see “Creating a Song” on page 83.

2. Select the menu command “Copy From Combi.”

A dialog box will appear.

Multi REC check box will be unchecked when you use Compare, so you will need to check it again.)

Using the Drum Track function and the KARMA function to record on multiple MIDI tracks simultaneously

You can use multi-recording to simultaneously record a multi-track performance using the Drum Track function and KARMA function. For details, please see “KARMA function settings in Sequencer mode” on page 180.

Using the RPPR function to record on multiple MIDI tracks simultaneously

You can use multi-recording to simultaneously record a multi-track performance using the RPPR function. For details, please see “Using RPPR (Realtime Pattern Play/Record)” on page 97.

Recording multiple MIDI tracks from an external sequencer

Select the program or combination that you want to copy (i.e., the copy source).

We will copy the effect settings of the combination as well, so check the IFXs, MFXs and TFX check boxes.

Check Multi REC Standby. The Status will be automatically set to REC for the MIDI tracks needed to record that combination.

Press the OK button to execute the copy. Notice that when you execute this command, the Play/

Rec/Mute setting of each track will be set automatically. The Multi REC check box will be checked.

3. Begin recording.

Press the LOCATE switch to set the location to 001:01.000.

Press the SEQUENCER REC/WRITE switch, and then press the SEQUENCER START/STOP switch.

Note: If you play the keyboard during the pre-count before recording, the phrase generated by the Drum Track function, and KARMA function will start playing the moment recording begins. Record your performance.

4. When you are ﬁnished performing, press the SEQUENCER START/STOP switch.

If you made a mistake or want to re-record, you can use the Compare function (press the COMPARE switch) to re-record as many times as you want. (The

1. Make sure that the MIDI OUT of your external sequencer is connected to the MIDI IN of the M3.

If it is not connected, turn off the power, make the connection, and then turn the power on.

For details, please see “MIDI applications” on page 614 of the Parameter Guide.

2. In the Global P1: MIDI– MIDI Basic page, set MIDI Clock to External MIDI. With this setting, the M3 will synchronize to MIDI clock messages from your external sequencer.

Make sure that Receive Ext. Realtime Commands is checked.

3. Create a new song in Sequencer mode, and in the P0–1: Play/REC– Preference page, check the Multi REC check box. Set Recording Setup to Overwrite.

MIDI recording Recording variation

10.In the Global P1: MIDI– MIDI Basic page, set MIDI Clock to Internal.

Set Tempo Mode to Auto in the Seq P0–1: Play/REC– Program T01–08 page.

Press the SEQUENCER START/STOP switch to play back.

Note: If the correct sounds are not selected when you start playing back, you may be able to solve the problem by using the menu command Event Edit (P6: Track Edit) to re-specify the Program Change data.

Recording System Exclusive events

Quick Start

Introduction

SetupProgram

4. Press Play/Rec/Mute to select “REC” for the tracks you want to record.

For the tracks you don’t want to record, select Play or Mute.

Tip: You can also control the Play/Rec/Mute setting from the front panel mixer section, or from the P0–2: Play/REC– Control Surface page. For details, please see “Control using the sliders and switches” on page 82.

5. In the P3: Track Param– MIDI T01–08 and T09–16 page, use MIDI Channel to specify the MIDI channel of each track.

Set the MIDI channel of each M3 track to match the MIDI channel of each external sequencer track. Data of the matching channel will be recorded on each M3 track.

Make sure that Status is set to INT or BTH.

6. Press the LOCATE switch to set the location to 001:01.000.

7. Press the SEQUENCER REC/WRITE switch to enter record-standby mode.

8. Start your external sequencer.

The M3’s sequencer will automatically begin recording when it receives the MIDI Start message transmitted by your external sequencer.

9. When playback has ended, stop your external sequencer.

The M3’s sequencer will automatically stop recording when it receives the MIDI Stop message transmitted by the external sequencer. You can also stop recording by pressing the SEQUENCER START/STOP switch of the M3.

After this, you can play back the newly recorded sequence:

Exclusive messages received from an external MIDI device or the parameter changes produced when you edit a MIDI track parameter or effect parameter can be realtime-recorded on any MIDI track.

During playback, the exclusive messages you recorded will control the track parameters and effect parameters of the song, and can be sent to external MIDI devices.

Note: You can use the menu command Put Effect Setting to Track to insert an exclusive event containing

the parameter settings for an insert effect, master effect or total effect into the desired location of a track, so that these settings will automatically switch during playback.

GM, XG, and GS exclusive messages can be recorded on a track, but the M3’s tone generator will not respond to these messages.

Recording internal parameter changes

You can use SysEx for automation of internal M3 effects and Program parameters.

As an example, let’s record a short phrase on track 1, add an insert effect, and then record parameter changes for that effect on an unused track.

Note: In order to record system exclusive messages, make sure that the Global P1: MIDI– MIDI Routing setting Enable Exclusive is checked. Go to Global mode and verify that this is checked.

1. Select the desired program for MIDI track 1, and route it to IFX1. Then record a phrase of about sixteen measures.

• In the P0–1: Play/REC– Program T01–08 page, use “Program Select” to select the desired program for MIDI Track 01.

Combination

Sequencer

SamplingGlobalMediaEffectKARMA

Drum Track

Other

Appendices

Creating songs (Sequencer mode)

• In the P8–1: IFX– Routing1 T01–08 page, route the

MIDI Track 01 Bus Select (IFX/Indiv. Out Assign) to IFX1. Then in the P8–1: IFX– Insert FX Setup page, select the desired effect for IFX1.

• Select MIDI Track 01 in Track Select. Then press

the SEQUENCER REC/WRITE switch and then the START/STOP switch, and record a phrase of about sixteen measures.

2. Select Track 09 in “Track Select,” and record parameter changes as desired.

Note: For this example, select an empty track. If you want to record onto a MIDI track that already contains data, set the P0–1: Play/REC– Preference page Recording Setup to “Overdub,” as described on page 86.

To view these events, go to the P6: Track Edit– Track Edit page, and select the menu command MIDI Event Edit. Then in the Set Event Filters dialog box, check Exclusive and press the OK button.

Exclusive events cannot be changed to a different type of event. Nor can other events be changed into exclusive events.

4. If you go to the page (e.g., P8–1: IFX) that shows the parameters you adjusted in realtime, you can watch the recorded changes be reproduced while the song plays back.

Exclusive messages that can be recorded in real-time

The following exclusive messages can be recorded in real-time:

• Exclusive messages received from an external MIDI device

• Parameter changes in Sequencer mode (see “System Exclusive events supported in Sequencer mode” on page 295 of the Parameter Guide)

• Master Volume universal exclusive messages assigned to the foot pedal or a slider

• Select Track 09 in Track Select. Then press the

SEQUENCER REC/WRITE switch and then the START/STOP switch, and begin recording.

• At the appropriate time while recording, adjust the parameter(s) that you want to realtime-record.

Select another effect for IFX1 in the P8–1: IFX– Insert FX Setup page, and edit the effect parameter values, or use the P0–2: Play/REC– Control Surface page Tone Adjust controls to edit the sound in realtime.

Using the control surface to record changes in the pan, EQ, volume, and tone adjust settings of a MIDI track

While performing realtime recording, you can use the control surface to modify the pan, EQ, volume, and tone adjust settings to record these changes so that they will be reﬂected during the playback.

Use multi-track recording if you want to modify the settings of multiple tracks simultaneously.

Note: Control you perform using the control surface is transmitted as control change messages and system exclusive messages. In order for this data to be recorded, the Global P1: MIDI– MIDI Routing Enable Control Change and Enable Exclusive settings must be checked. Go to Global mode and verify that these items are checked.

Note: Use Param. MIDI Out to specify whether contr ol change messages or system exclusive messages will be transmitted when you edit the Pan (CC#10), Volume (CC#7), or Send 1/2 level (CC#93 and CC#91) parameters.

In this case, the Global P1: MIDI– MIDI Routing settings Enable Control Change and Enable Exclusive must be checked respectively.

Note: For details on the effects parameters that you can record in real-time, please see “System Exclusive events supported in Sequencer mode” on page 295 of the Parameter Guide.

3. Stop recording.

Note: Exclusive messages are always recorded on the current track selected by Track Select. In this example, they are recorded on MIDI track 9.

Note: In the MIDI event edit page you can view the recorded exclusive events and their location. Exclusive events are displayed as “EXCL”.

KORG M3 User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

Handling of this product

Regarding the display

Data handling

COPYRIGHT WARNING

About this manual

Table of Contents

Quick Start

Setup

Playing Programs and Combinations

Listening to the demo songs

Introduction to the M3

Main Features

Front and rear panels

Front panel

Rear panel/Bottom panel

Objects in the display

Basic Information

About the M3’s modes

Basic operations

Turning the power on/off

Connecting the AC cable

Setup

Turning the power off

Turning the power on

Connections

Connecting audio equipment

Connecting a damper pedal, foot switch, or foot pedal

Connecting a computer

Connecting MIDI devices

Connecting a USB device (HDD, CD-R/RW, etc.)

Installing the software

Playing and editing Programs

Playing Programs

Selecting Programs

Performing with KARMA and the Drum Track

Using Controllers

Controller settings for the program

Easy Program editing

Simple editing using the sliders and switches

Using COMPARE

Saving your edits

Detailed Editing with Programs

Overview of editing pages

Basic oscillator settings

Using LFOs and Envelopes (EGs)

Controlling Pitch

Using Filters

Using the Amp section

X–Y control settings

KARMA settings

Drum T rack settings

Effects

Playing and editing Combinations

Playing combinations

Selecting Combinations

Performing with KARMA and the Drum Track

Using controllers to modify the sound

Easy Combination editing

Changing the programs within the Combination

Adjusting the mix

Simple editing using the Sliders and Switches

Saving a Combination you’ve edited

Detailed Editing with Combinations

Overview of editing pages

A suggested approach for editing

Layers, Splits, and Velocity Switches

MIDI settings

Effects

Creating songs (Sequencer mode)

Overview

Sequencer mode structure

Playing Songs

Playback

Control using the sliders and switches

MIDI recording

Preparations for recording