Korg M3 User Manual 2

About this manual

About the EXB-RADIAS for M3 operating manual

This EXB-RADIAS for M3 operating manual explains the RADIAS program functions and parameters that are available when the EXB-RADIAS synthesizer board is installed in the M3 music workstation/sampler.

For details about basic operation of the M3 and on the functions and parameters not related to the EXB-RADIAS, refer to the M3 operation guide and parameter guide.

Conventions in the operating manual

Abbreviations in the operating manualOG, PG

When indicating reference pages, the various operating manuals of the M3 may be abbreviated in the following ways.

M3 OG: M3 Operating Guide

M3 PG: M3 Parameter Guide

Parameters in the LCD display screen “ ”

Parameters displayed in the display are enclosed in double quotation marks “ ”.

Symbols , , Note , Tips

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

Example screen displays

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

MIDI-related explanations

CC# is an abbreviation for Control Change Number.

In explanations of MIDI messages, numbers in square brackets [ ] always indicate hexadecimal numbers.

* Company names, product names, and names of formats

etc. are the trademarks or registered trademarks of their respective owners.

Introduction ...................................................................................1

Overview .......................................................................................................................1

Program structure ....................................................................................................... 1

Synth programs ................................................................................................................................................................................................................1

Vocoder program .............................................................................................................................................................................................................3

Combination structure ................................................................................................ 4

Song structure (Sequencer mode) .............................................................................. 4

Quick Start .....................................................................................5

Selecting and playing programs ................................................................................ 5

Synth programs .................................................................................................................................. 5

Selecting and playing .....................................................................................................................................................................................................5

Using controllers to vary the sound ..........................................................................................................................................................................5

Vocoder programs .............................................................................................................................. 6

Operation .......................................................................................7

Editing a program ........................................................................................................ 7

Basic settings for the program........................................................................................................... 7

Voice Assign Mode ...........................................................................................................................................................................................................7

Oscillators............................................................................................................................................ 7

Selecting the waveform ................................................................................................................................................................................................. 7

Filter..................................................................................................................................................... 8

Filter Routing .....................................................................................................................................................................................................................8

Filter A, Filter B (Filter settings) ....................................................................................................................................................................................8

Amp...................................................................................................................................................... 9

Drive/Wave Shape ............................................................................................................................................................................................................9

Amp Level ...........................................................................................................................................................................................................................9

Pan .........................................................................................................................................................................................................................................9

EG (Envelope Generator).................................................................................................................. 10

Envelope settings .......................................................................................................................................................................................................... 10

EG Level/Time Modulation ........................................................................................................................................................................................10

LFO ..................................................................................................................................................... 11

LFO waveform ................................................................................................................................................................................................................11

MIDI/Tempo Sync .......................................................................................................................................................................................................... 11

Virtual Patch...................................................................................................................................... 11

Virtual Patch settings ................................................................................................................................................................................................... 11

Controlling volume ....................................................................................................................................................................................................... 11

Controlling pan .............................................................................................................................................................................................................. 11

Controlling ﬁlter ............................................................................................................................................................................................................. 11

Modulation Sequencers ................................................................................................................... 12

SEQ Common .................................................................................................................................................................................................................. 12

Editing the steps ............................................................................................................................................................................................................ 12

iii

Table of contents

Editing a vocoder program.............................................................................................................. 13

Vocoder on/off ............................................................................................................................................................................................................... 13

Carrier Input ....................................................................................................................................................................................................................13

Modulator, Out Mix (modulator and vocoder output settings) .................................................................................................................... 13

Filter settings ................................................................................................................................................................................................................... 13

Formant Motion function ........................................................................................................................................................................................... 14

Creating your own program............................................................................................................ 15

Saving a program............................................................................................................................. 15

Editing a combination (Combination mode) ........................................................... 16

Timbre settings ................................................................................................................................ 16

Editing a song (Sequencer mode) ............................................................................ 17

MIDI track settings........................................................................................................................... 17

Restoring the factory settings (Global mode) ......................................................... 18

Restoring the RADIAS program data to the factory-set state ...................................................... 18

Restoring the formant motion data to the factory-set state ........................................................ 18

Parameter guide ..........................................................................19

Program mode .................................................................................. 19

Page Select ................................................................................................................. 19

PROG P0: Play ............................................................................................................ 19

0–1: Main........................................................................................................................................... 19

0–5: KARMA GE................................................................................................................................. 19

0–6: KARMA RTC............................................................................................................................... 19

0–7: Sampling/Audio In ................................................................................................................... 20

0–8: Control Surface......................................................................................................................... 20

OSC Mix............................................................................................................................................. 20

0-8c: RADIAS Play/Mute .............................................................................................................................................................................................. 20

0–8d: RADIAS Volume ..................................................................................................................................................................................................21

Tone Adjust....................................................................................................................................... 21

0–8g: Tone Adjust .......................................................................................................................................................................................................... 21

Common Tone Adjust Parameters ..........................................................................................................................................................................22

RADIAS Tone Adjust Parameters .............................................................................................................................................................................. 23

Tone Adjust Default Settings .................................................................................................................................................................................... 24

PROG P1: Basic/DT/Ctrls ............................................................................................ 25

1–1: Program Basic........................................................................................................................... 25

1–1a: Voice Assign Mode ............................................................................................................................................................................................25

1–1b: Scale ....................................................................................................................................................................................................................... 25

1–1c: AudioIn (OSC&Vocoder) Source .................................................................................................................................................................... 26

1–2: Virtual Patch ............................................................................................................................. 28

1–2a: Virtual Patch ......................................................................................................................................................................................................... 28

1–3: DrumTrk Pattern (Drum Track Pattern) .................................................................................. 29

1–4: DrumTrk Program(Drum Track Program)............................................................................... 29

1–5: X–Y Setup.................................................................................................................................. 29

1–6: Controllers Setup ..................................................................................................................... 29

1–7: Pads 1–4 Setup,1–8: Pads 5–8 Setup....................................................................................... 29

PROG P2: OSC/Pitch ................................................................................................... 30

2–1: OSC Basic ................................................................................................................................... 30

2–1a: OSC1 ....................................................................................................................................................................................................................... 30

2–1b: OSC2 ....................................................................................................................................................................................................................... 32

2–1c: Mixer ....................................................................................................................................................................................................................... 33

2–2: OSC1 Pitch ................................................................................................................................. 33

2–2a: Pitch ........................................................................................................................................................................................................................ 33

2–2b: Portamento .......................................................................................................................................................................................................... 33

PROG P3: Filter ........................................................................................................... 34

3–1: Filter........................................................................................................................................... 34

3–1a: Filter Routing ....................................................................................................................................................................................................... 34

3–1b: Filter A .................................................................................................................................................................................................................... 34

3–1c: Filter B .................................................................................................................................................................................................................... 35

PROG P4: Amp/EQ ...................................................................................................... 36

4–1: Amp/WaveShape/Driver........................................................................................................... 36

4–1a: Driver/Wave Shape ............................................................................................................................................................................................ 36

4–1b: Amp Level ............................................................................................................................................................................................................ 37

4–1c: Pan ........................................................................................................................................................................................................................... 37

4–8: EQ ............................................................................................................................................... 37

PROG P5: EG/LFO/MSEQ ............................................................................................ 38

5–1: EG1 (Filter), 5–2: EG2 (Amp), 5–3: EG3 ..................................................................................... 38

5–1(2)(3)a: Envelope ..................................................................................................................................................................................................... 38

5–1(2)(3)b: EG Level/Time Modulation ..................................................................................................................................................................38

5–4: LFO1, 5–5: LFO2......................................................................................................................... 39

5–4(5)a: LFO 1, LFO2 .....................................................................................................................................................................................................39

5–4(5)b: Frequency MIDI/Tempo Sync. .................................................................................................................................................................. 40

5–6: MSEQ1, 5–7: MSEQ2, 5–8: MSESQ3 .......................................................................................... 40

5–6(7)(8)a: SEQ Common ............................................................................................................................................................................................ 40

5–6(7)(8)b: SEQ1, SEQ2, SEQ3 .................................................................................................................................................................................... 41

5–6, 7, 8: Menu Command ......................................................................................................................................................................................... 41

PROG P6: Vocoder ...................................................................................................... 42

6–1: Carrier/Modulator..................................................................................................................... 42

6–1a: Vocoder On/Off, Formant Motion REC On/Off ......................................................................................................................................... 42

6–1b: Carrier Input ........................................................................................................................................................................................................ 42

6–1c: Modulator ............................................................................................................................................................................................................. 42

6–1d: Out Mix .................................................................................................................................................................................................................. 43

6–1: Menu Command .................................................................................................................................................................................................. 43

6–2: Vocoder ...................................................................................................................................... 44

6–2a: Filter ........................................................................................................................................................................................................................ 44

6–2b: Band1–16: Pan and Level ................................................................................................................................................................................ 44

6–2: Menu Command .................................................................................................................................................................................................. 44

PROG P7: KARMA ....................................................................................................... 45

PROG P8: IFX ............................................................................................................... 45

PROG P9: MFX/TFX ..................................................................................................... 45

Menu Command ......................................................................................................... 45

Initialize MOD SEQ............................................................................................................................ 45

Copy MOD SEQ.................................................................................................................................. 46

Write Formant Motion Data............................................................................................................. 46

Copy Vocoder.................................................................................................................................... 46

Table of contents

Combination mode ............................................................................ 47

Combi Page Select ..................................................................................................... 47

COMBI P0: Play ........................................................................................................... 47

0–1: Program T01–08, 0–2: Program T09–16.................................................................................. 47

0–3: Mixer T01–08, 0–4: Mixer T09–16............................................................................................ 47

0–5: KARMA GE................................................................................................................................. 48

0–6: KARMA RTC............................................................................................................................... 48

0–7: Sampling/Audio In ................................................................................................................... 48

0–8: Control Surface......................................................................................................................... 48

Tone Adjust....................................................................................................................................... 49

COMBI P1: DT/X–Y/Ctrls ............................................................................................ 49

COMBI P2: EQ / Option .............................................................................................. 50

2–1: EQ Trim T01–08, 2–2: EQ Trim T09–16 ..................................................................................... 50

2–3: EQ Gain T01–08, 2–4: EQ Gain T09–16 .................................................................................... 50

2–5: RADIAS T01-08, 2–6: RADIAS T09-16 ...................................................................................... 50

2–5(6)c: Enable RADIAS (Total Max: 4 Timbres) .................................................................................................................................................. 50

2–5(6)d: Audio In (OSC&Vocoder) Source ............................................................................................................................................................. 50

2–7: RADIAS Vocoder1 ..................................................................................................................... 52

2–7a: Vocoder On/Off, Formant Motion REC On/Off ......................................................................................................................................... 52

2–7b: Carrier Input ........................................................................................................................................................................................................ 52

2–7c: Modulator ............................................................................................................................................................................................................. 52

2–7d: Out Mix .................................................................................................................................................................................................................. 52

2–7: Menu Command ..................................................................................................................................................................................................52

2–8: RADIAS Vocoder2 ..................................................................................................................... 53

2–8a: Filter ........................................................................................................................................................................................................................53

2–8b: Band1–16: Pan and Level ................................................................................................................................................................................ 53

2–8: Menu Command ..................................................................................................................................................................................................53

COMBI P3: Timbre Parameters ................................................................................. 54

3–1: MIDI T01–08, 3–2: MIDI T09–16 ............................................................................................... 54

3–3: OSC T01–08, 3–4: OSC T09–16 ................................................................................................. 54

3–3c: OSC .......................................................................................................................................................................................................................... 54

3–5: Pitch T01–08, 3–6: Pitch T09–16 .............................................................................................. 54

3–5(6)a: Combination Name, Tempo, 3–5(6)b: Timbre Info ............................................................................................................................. 54

3–5(6)c: Pitch ................................................................................................................................................................................................................... 54

3–7: Other T01-08, 3–8: Other T09-16 ............................................................................................. 55

3–7(8)c: KARMA/Scale .................................................................................................................................................................................................. 55

COMBI P4: Zone/Delay .............................................................................................. 55

COMBI P5: MIDI Filter ................................................................................................ 55

COMBI P7: KARMA ..................................................................................................... 55

COMBI P8: IFX (Insert Effects) ................................................................................... 55

COMBI P9: MFX/TFX (Master/Total Effects) ............................................................. 55

Menu Command ........................................................................................................ 56

Copy from Program ......................................................................................................................... 56

Write Formant Motion Data ............................................................................................................ 56

Copy Vocoder ................................................................................................................................... 56

Sequencer mode ................................................................................ 57

SEQ Page Select .......................................................................................................... 57

SEQ P0: Play ................................................................................................................ 58

SEQ P0–1: Play/REC .................................................................................................... 58

SEQ P0–2: Play/REC .................................................................................................... 58

0–2–1: KARMA GE.............................................................................................................................. 58

0–2–2: KARMA RTC............................................................................................................................ 58

0–2–8: Control Surface ..................................................................................................................... 58

Tone Adjust........................................................................................................................................ 59

0–2–8f: Tone Adjust ...................................................................................................................................................................................................... 59

SEQ P1: DT/X–Y/Ctrls ................................................................................................. 59

SEQ P2: EQ/Option ..................................................................................................... 60

2–1: EQ Trim T01–08, 2–2: EQ Trim T09–16...................................................................................... 60

2–3: EQ Gain T01–08, 2–4: EQ Gain T09–16 ..................................................................................... 60

2–5: RADIAS T01–08, 2–6: RADIAS T09–16...................................................................................... 60

2–5(6)c: Enable RADIAS (Total Max: 4 Tracks) ...................................................................................................................................................... 60

2–7: RADIAS Vocoder1...................................................................................................................... 60

2–7a: Vocoder On/Off, Formant Motion REC On/Off ......................................................................................................................................... 60

2–8: RADIAS Vocoder2...................................................................................................................... 61

SEQ P3: Track Parameters ......................................................................................... 62

3–1: MIDI T01–08, 3–2: MIDI T09–16................................................................................................ 62

3–3: OSC T01–08, 3–4: OSC T09–16.................................................................................................. 62

3–3(4)a: OSC .................................................................................................................................................................................................................... 62

3–5: Pitch T01–08, 3–6: Pitch T09–16............................................................................................... 62

3–5(6)a: Pitch ................................................................................................................................................................................................................... 62

3–7: Other T01–08, 3–8: Other T09–16 ............................................................................................ 63

3–7(8)a: KARMA/Scale .................................................................................................................................................................................................. 63

SEQ P4: Zone/Delay ................................................................................................... 63

SEQ P5: MIDI Filter ..................................................................................................... 63

SEQ P6: Track Edit ...................................................................................................... 63

SEQ P7: KARMA .......................................................................................................... 63

SEQ P8: IFX (Insert Effects) ........................................................................................ 63

SEQ P9: MFX/TFX (Master/Total Effects) .................................................................. 63

SEQ P10: Pattern/RPPR .............................................................................................. 64

SEQ P11: Cue List ....................................................................................................... 64

vii

Table of contents

Menu Command ........................................................................................................ 64

Copy from Program ......................................................................................................................... 64

Write Formant Motion Data ............................................................................................................ 64

Copy Vocoder ................................................................................................................................... 64

Global mode ..................................................................................... 65

Menu Command ........................................................................................................ 65

Load Preload/Demo Data ................................................................................................................ 65

Set Program User-Bank Type .......................................................................................................... 66

Media mode ...................................................................................... 67

Menu Command ........................................................................................................ 67

Load selected.................................................................................................................................... 67

Appendices ..................................................................................69

EXB-RADIAS Specifications ....................................................................................... 69

viii

Introduction

Overview

The EXB-RADIAS is a synthesizer/vocoder option board that uses Korg MMT (Multiple Modeling Technology) to provide a wide range of tonal variety and 24 voices of polyphony.

When the EXB-RADIAS is installed, you’ll be able to use 128 RADIAS programs in program bank INT-F. You’ll also be able to save original RADIAS programs you’ve created in bank INT-F or user banks that you’ve assigned as bank type RADIAS.

Up to four RADIAS programs can be assigned to timbres in a combination or MIDI tracks in a song, allowing you to create combinations or songs that use them in conjunction with the programs of banks INT-A–E, INT-G, and USER A– G.

Program structure

RADIAS programs can be synth programs that are based mainly on an oscillator algorithm, or vocoder programs that use the vocoder function.

Synth programs

A synth program uses three oscillators (including a noise generator) to produce waveforms which are then processed by ﬁlters, amp, EGs, LFOs, and modulation sequencer to create sounds with a wide range of expressive character.

Oscillators (OSC1, OSC2, NOISE)

Oscillator 1 (OSC1) lets you choose from eight types of oscillator algorithm (ranging from basic analog synthesizer waveforms such as sawtooth and triangle to DWGS digital synthesizer waveforms), as well as the signals from the AUDIO INPUT, S/P DIF, and EXB-FW (separately sold option) jacks or signals from the AUX bus. You can also apply cross modulation, unison, or VPM (Variable Phase Modulation) to basic analog synthesizer waveforms such as sawtooth or triangle wave.

Oscillator 2 (OSC2) lets you choose from four different oscillator waves - sine, triangle, square, and sawtooth. Oscillator 2 can be used as the modulating oscillator for the sync modulation (SYNC) or ring modulation (RING) that are such classic analog synthesizer techniques. The best elements of SYNC and RING modulation can be combined using a third option: RING SYNC.

The noise generator (NOISE) generates white noise. You can use this for a variety of sound shaping situations, such as

Synth program

Audio Inputs

Analog Input 1/2 S/P DIF L/R FireWire L/R (option)

AUX Bus

AUX 1/2 AUX 3/4

Synth

Audio Inputs

Analog Input 1/2 S/P DIF L/R FireWire L/R (option)

AUX Bus

AUX 1/2 AUX 3/4

OSC1

OSC2

NOISE

SEQ1 SEQ2 SEQ3

MOD SEQUENCER

Synth

Filter Routing= Individual

OSC MOD

Free Assign

MIXER

Vocoder off

Carrier

Modulator

FILTER A

FILTER B

Keyboard Track

To OSC1 Control2

LFO1 LFO2

Vocoder

EG1

VIRTUAL PATCH

Free Assign

Drive/WS Position = PreAmp

DRIVE/WS

To Filter To Amp

EG1 EG2 EG3

To Mi xer/Effect

AMP

Keyboard Track Vel ocity JS X etc.

To EQ

PAN

Introduction

adding breath noise for a wind instrument sound, or as part of a special effect sound.

Mixer (MIXER)

The mixer adjusts the volume levels of oscillator 1 (OSC1), oscillator 2 (OSC2), and the noise generator (NOISE), and sends the combined signal to the ﬁlter (FILTER).

Filter (FILTER A, FILTER B)

The ﬁlter section consists of two multi-mode, resonant ﬁlters. The two ﬁlters can be routed in series or parallel, or even side by side in a “one oscillator per ﬁlter” arrangement. The ﬁlters adjust the tone of the sound coming from the oscillators by boosting or cutting speciﬁc frequency regions. Filter settings will have a major impact on the sound. By default, envelope generator 1 (EG1) is set to vary the cutoff frequency of the ﬁlters over time.

Amp (AMP)

Traditionally, the amp section controls the output volume (AMP) and the panning (PAN), or the position in the stereo ﬁeld. The RADIAS program provides additional features to add more tonal complexity and “edge” to the sound including Drive, Wave Shape control (DRIVE/WS), and Punch Level.

Drive/Wave Shape does not simply apply an effect to the oscillator waveform; it modiﬁes the waveform itself to create hard-edged tones. By adjusting the ﬁlter cutoff or resonance you can create even more dramatic effects.

By default, envelope generator 2 (EG2) is set to vary the volume level over time.

Envelope generators (EG1/EG2/EG3)

Envelope generators (EG) are used to apply time-varying change to the sound parameters.

You can create the desired envelope by using the four basic parameters attack time, delay time, sustain level, and release time. You can also choose linear, logarithmic, or exponential curves.

EG1 is assigned to control the ﬁlter cutoff frequency, and EG2 is assigned to control the volume of the amp. You can also use virtual patching (VIRTUAL PATCH) to assign these EGs as envelope sources for other parameters.

LFO (LFO1, LFO2)

LFO (Low Frequency Oscillator) is used to apply cyclic change to the sound parameters.

RADIAS program contains two LFOs, and for each LFO you can choose one of four waveforms. Shape control, key sync and phase controls extend well beyond traditional LFO offerings.

LFO1 is assigned to the oscillator 1 waveform (depending on the selected waveform), and LFO2 is assigned as a pitch modulation source controlled by the joystick +Y axis.

You can also make virtual patch settings (VIRTUAL PATCH) to assign the LFOs as modulation sources for other parameters.

Virtual Patch (VIRTUAL PATCH)

The virtual patch section lets you freely assign modulation sources to modulate-able parameters, giving you even more ﬂexibility for creating sounds. You can make eight virtual patch assignments in each RADIAS program.

Modulation Sequencer (MOD SEQUENCER)

Using a modulation sequencer, you can apply up to sixteen discrete values (steps) to a modulate-able parameter over time, in a manner similar to vintage analog synthesizers. The modulation sequence can play once, repeat, loop front to back, etc. - providing movement and complexity to the sound. The value can change abruptly at each step, or it can

smoothly transition from value to value. Each RADIAS program provides three sequencers, allowing you to create extremely complex tonal changes.

Equalizer (EQ)

You can use a three-band equalizer with sweepable midrange.

Mixer, Effects

The signal that has passed through the EQ can be processed by effects via a highly ﬂexible mixer. As with EDS programs, you can use ﬁve insert effects (IFX), two master effects (MFX), and one total effect (TFX).

KARMA, Drum Track, X-Y Mode, Controllers

You can use this functionality in the same way as you can with EDS programs.

Vocoder program

A vocoder applies the spectral character of the “modulator” (e.g., a signal received from the AUDIO INPUT 2 jack) to the “carrier” (e.g., a signal received from the AUDIO INPUT 1 jack). The most popular way to use this is to input your voice from a mic connected to the AUDIO INPUT 2 jack, creating the impression that an instrumental sound is “talking.”

Vocoder program

Program structure

Input Source

Analog Input 1/2 S/P DIF L/R FireWire L/R (option)

AUX Bus

AUX 1/2 AUX 3/4

Synth

Audio In 1

Audio In 2

Formant Motion Data

Carrier

Modulator

Voc oder

Band16

Audio Source

AUX Bus

In Source1 (Synth)

In Source2

LEVEL

Modulator

Carrier

Band1

Analysis

Filter

Resonance

Synthesis

Filter

Frequency Offset

Formant Shift

Vocoder section (VOCODER)

The vocoder divides the audio spectrum into “bands”. In the RADIAS program, the vocoder uses 16 bands. There are actually two sets of 16 bands; the ﬁrst is used to analyze the tonal characteristics of one sound (the Modulator), and the second set is used to apply the same characteristics to another sound (the Carrier). Each analysis band contains a bandpass ﬁlter and an envelope follower. Each synthesis band contains a band pass ﬁlter whose output is controlled by the matching envelope follower in the analysis band. The modulator’s audio signal is sent through the sixteen bandpass ﬁlters (the analysis ﬁlters), and the envelope follower detects the volume envelope (change over time) for each of these frequency bands. The carrier’s audio signal is sent through the other set of sixteen bandpass ﬁlters (the synthesis ﬁlters), and the envelope detected from each analysis ﬁlter is applied to each synthesis ﬁlter to modulate the sound, producing the impression that the carrier sound is “talking” (the typical vocoder effect). You can use the parameters to shift the frequencies of the carrier bandpass ﬁlters. This will raise or lower the frequency response while preserving the character of the modulator, creating major changes in the sound.

Formant Shift and Frequency Offset

Vocoder on

Vocoder

Env. Follower sens

Band Level

Envelope Follower

Modulator Select

Pan

To Mixer/Effect

Modulator Direct Mix

Modulator High Mix

Formant

Motion data

HPF

To EQ

Carrier (CARRIER)

A sawtooth wave (SAW) or other waveform rich in overtones is the best choice for the carrier. As the carrier, you can use a combination of two sources (In Source1 and In Source 2).

As the In Source1 you can use the mono-mixed signal from the output of the amp section (the signal before it is sent to the insert effects). In Program mode, the synth sound of the program is ﬁxed as In Source 1.

As the In Source 2 you can use an external input (e.g., AUDIO INPUT 1 jack) or the AUX bus (insert effect output).

Modulator (MODULATOR)

Most commonly, you will input your voice as the modulator, but interesting results can also be obtained by inputting a rhythm sound as the modulator waveform. You can use either an external input (AUDIO INPUT 2 jack) or AUX bus (an external input processed by an insert effect, or a program sound such as rhythm) as the modulator. There is also a Formant Motion function that lets you record Formant Motion Data to capture the moving characteristics of a voice or other sound, and use this data to drive the vocoder.

Introduction

Combination structure

You can combine RADIAS programs and EDS programs to create more complex sounds.

RADIAS programs can be used in four timbres simultaneously.

The structure of a combination and the functionality in Combination mode is the same as for combinations that use EDS programs.

Song structure (Sequencer mode)

You can use RADIAS programs in the MIDI tracks of a song. RADIAS programs can be used in up to four MIDI tracks simultaneously.

The structure of a song and the functionality in Sequencer mode is the same as for songs that use EDS programs.

About the vocoder function in combinations and songs

You can use the vocoder in each combination or song.

Only one instance of the vocoder variation can be used in each combination or song.

If you want to use a vocoder program in a combination or song, you’ll need to use the menu command

program

or Copy Vocoder to copy the vocoder settings of the program. You can use this for the timbre or song of one RADIAS program.

Even if you’ve assigned four timbres or MIDI tracks to play programs in which the RADIAS vocoder is turned on, it is not the case that four vocoders are operating.

Note: Timbres or MIDI tracks using multiple RADIAS

programs, or timbres or MIDI tracks using EDS programs, can be used via the AUX bus as the carrier and modulator of the vocoder.

Copy from

Combination/Song

Timbre/Track 01

Timbre/Track 02

Timbre/Track 03

Timbre/Track 04

Audio Inputs

Analog Input 1/2 S/P DIF L/R FireWire L/R (option)

AUX Bus

AUX 1/2 AUX 3/4

OSC Audio Input Source

Program (Synth)

Vocoder = ON Carrier Input Source1 = T02

Vocoder

Vocoder Carrier/Modulator Source

To Mi xe r/Effect

Quick Start

Selecting and playing programs

For details on connecting external devices and setting up, refer to “M3 operation guide.”

Synth programs

Here’s how to select synth programs and try out various sounds.

Selecting and playing

1. Press the PROG switch to enter Program mode.

Press the CONTROL ASSIGN TONE ADJUST switch (the LED will light).

You can control the sound parameters that are assigned to the sliders and switches.

For details on the default Tone Adjust settings for a RADIAS program, please see “Tone Adjust Default Settings” on page 24.

Note: You can use the switches and sliders to control the

parameters assigned to Realtime Controller and Tone Adjust even when you’re in the main page of the screen. However since it’s most convenient to be able to see the values change in the display while you adjust them, you’ll probably want to be viewing the PROG P08: Control Surface page. Press the Control Surface tab located in the lower right of the display. When you operate the eight switches and sliders, they will perform the functions assigned to them, and the sound will change. The objects in the display will also change accordingly.

2. Press the BANK SELECT I-F switch to select programs from bank INT-F.

3. Use the numeric switches to select a program.

4. Play the keyboard or pads to hear the sound of the program.

There are also other ways to select programs, such as by category. For more about other ways to select programs, please see “Selecting Programs” on page 37 of the M3 operation guide.

and u switches, the VALUE dial, or the

Using controllers to vary the sound

1. Numerous controllers are located in the left side of the M3’s front panel. While you play the keyboard, operate the joystick, ribbon controller, and SW1 and SW2 switches to vary the sound.

The result will differ for each program, so try them all out to see what each controller does for the particular program you’ve selected.

For details on these controllers, please see “Using Controllers” on page 41 of the M3 operation guide.

2. Use the Realtime Controller function of the control surface to control the sound parameters. Press the CONTROL ASSIGN REALTIME CONTROLLER switch (the LED will light).

You can control the sound parameters that are assigned to the sliders and switches.

For details on Realtime Controller, please see “Using realtime control to edit sounds or effects” on page 48 of the M3 operation guide.

3. Use the Tone Adjust function of the control surface to control the sound programs of the RADIAS program.

Quick Start

Vocoder programs

Let’s select a vocoder program and try out the vocoder function.

You’ll need to connect a mic to the AUDIO INPUT 2 jack. Before you connect the mic, set the AUDIO INPUT LEVEL knob to MIN.

Selecting and playing

1. Connect your mic to the rear panel AUDIO INPUT 2 jack.

2. Set the MIC/LINE switch to MIC.

3. Select vocoder program 127 from program bank INT-F.

4. Access the PROG P0-7: Sampling/Audio In page.

5. Set the following parameters.

• Use Global setting: Off (unchecked)

• Input: Analog

• Input 2 BUS Select: L/R

6. While vocalizing into your mic, use the AUDIO INPUT LEVEL knob to adjust the input level.

The optimum input level is a point slightly below the level where the “ADC OVER!” (AD converter input overload) indication appears.

When you’ve ﬁnished adjusting the level, turn Input 2 BUS

Select Off.

7. While vocalizing into your mic, play the keyboard.

You’ll hear the vocoder sound.

Using controllers to vary the sound

For vocoder programs as well, various sound parameters are assigned to the Realtime Controller and Tone Adjust functions of the control surface. Try operating the switches and sliders, and see how they affect the sound.

Editing a program

Operation

In the PROG P0: Play page, you can select and play RADIAS programs, use the control surface to perform quick editing, and adjust the KARMA settings in the same way as for EDS programs. In other pages, you can make more detailed edits to the sound.

Basic settings for the program

To edit a RADIAS program, you’ll start in the PROG P1-1: Program Basic page, where you can specify settings such as scale type and audio input source.

Here we’ll explain how to make a RADIAS program play monophonically.

5. Use “Number of Voices” to specify the number of voices that you want to sound simultaneously.

6. Use “Detune [cents]” to specify the amount of detuning (pitch difference) between the voices that are sounded simultaneously.

The number of simultaneously-sounded voices speciﬁed by Number of Voices will be equally spread apart in pitch by the speciﬁed Detune [cents] amount.

7. Use “Spread” to specify the stereo position of the simultaneously-sounded voices.

The simultaneously-sounded voices speciﬁed by Number of Voices will be evenly spread across the stereo ﬁeld according to the Spread setting.

Oscillators

RADIAS programs consist of three oscillators: oscillator 1, oscillator 2, and a noise generator.

Here’s how to select the oscillator waveform and adjust the output level.

Selecting the waveform

Voice Assign Mode

1. Set the “Voice Assign Mode” to Mono.

Voice Assign Mode speciﬁes how the oscillators will

produce sound.

With the Mono setting, only one note will be heard even if you play a chord on the keyboard. This setting is suitable if you’re performing a synth bass, synth lead, or other solo instrument sound.

2. Set “Trigger Mode” to Multi.

Trigger Mode speciﬁes how the sound will be triggered.

With the Multi setting, the sound is retriggered each time you play a note.

3. Set “Priority” to Last.

With the Last setting, priority will be given to sounding the last-played note if you’ve held down two or more keys simultaneously.

4. Set “Unison” On (checked).

Unison selects whether multiple voices will be sounded in

unison when you play a single note.

Note: If you want to produce a richer sound, turn Unison on so that multiple voices will be “stacked.” The Number of Voices speciﬁes the number of voices that will be stacked.

OSC1 (Oscillator 1)

1. Use the “Waveform” to select the waveform for oscillator 1.

You can choose one of nine different waveforms, including an external audio input (Audio In).

2. Use the “OSC Mod” to select the type of modulation being applied to oscillator 1.

You can choose one of four modulation types.

If you’ve selected Formant, Noise, DWGS, or AudioIn as the waveform, the only available modulation type will be Waveform (Waveform modulation).

3. Use the “Control 1” and “Control 2” to specify the waveform parameters.

The parameters that are controlled by the Control 1 and Control 2 will depend on the waveform and the modulation

type you’ve selected.

For details on the oscillator parameters, please see “2–1a: OSC1” on page 30.

Operation

OSC2 (Oscillator 2)

1. Use the “Waveform” to select the waveform of oscillator 2.

You can choose one of four different waveforms. The most common way to use this is to select the same waveform as oscillator 1, and change its pitch slightly to create a rich sound.

2. Use the “OSC Mod” to select the modulation type for oscillator 2.

You can choose one of three modulation types.

3. Use the “Semitone” to adjust the pitch of oscillator 2 in semitone steps.

Some of the more common ways to set this parameter is to lower the pitch by one octave (–12) or two octaves (–24) relative to the pitch of oscillator 1. Vintage analog synthesizer players would sometimes set the oscillators a fourth (+5) or ﬁfth (+7) apart in pitch.

4. Use the “Tune” to adjust the pitch of oscillator 2.

You can produce a richer sound by slightly changing the pitch to create a detuned effect.

Mixer

The mixer lets you adjust the output level of each oscillator. This setting will determine the input level to the ﬁlters.

1. Use the “OSC1 Level” to adjust the volume of oscillator

2. Use the “OSC2 Level” to adjust the volume of oscillator

3. Use the “Noise Level”to adjust the volume of the noise generator.

You can use the noise generator to simulate the breath noise of a wind or brass instrument, or to create sound effects.

The oscillator waveform you select here can be processed by the ﬁlters, drive/waveshaping, EG, and LFO etc. to create the sound you want.

Filter

The ﬁlters allows you to diminish or emphasize speciﬁed frequency areas of the sound. The tone of the sound will depend signiﬁcantly on the ﬁlter settings.

RADIAS programs provide the three basic ﬁlter types low pass ﬁlter, high pass ﬁlter, and band pass ﬁlter, as well as intermediate types that interpolate between the characters of adjacent ﬁlters.

The basic ﬁlter settings, including the ﬁlter routing, ﬁlter type, cutoff frequency, and resonance, are set on the PROG P3: Filter page.

Filter Routing

1. Use “Filter Routing” to select the ﬁlter routing.

RADIAS programs provide two ﬁlters (ﬁlter A and ﬁlter B). You can choose to use one or both ﬁlters, and how the two will be connected if both are used.

For more information, please see “Filter Routing” on page 34.

Filter A, Filter B (Filter settings)

1. Use the “Type/Balance” select the type of ﬁlter.

You can adjust the knob to obtain intermediate characters between these ﬁlter types. The ﬁlter type will have a major effect on the character of the sound.

If Filter Routing is Serial, Parallel, or Individual, you can adjust this independently for ﬁlters A and B.

For more information, please see “3–1: Filter” on page 34.

2. Use the “Frequency” to adjust the cutoff frequency of ﬁlter.

Higher settings will make the sound brighter. The result will depend on the ﬁlter type.

For more information, please see “Frequency (Cutoff Frequency)” on page 35.

3. Use the “Resonance” to adjust the resonance of ﬁlter 1.

Higher settings will increasingly emphasize the region around the cutoff frequency, producing a nasal tone or a whistle.

4. Use the “EG1 Intensity” to adjust the depth of the effect that EG1 will have on the cutoff frequency of ﬁlter.

You can adjust this independently for ﬁlters A and B.

If you turn the knob toward the right of the center position (“+” values), the EG will move the ﬁlter in the positive direction (i.e., if the ﬁlter type is LPF, the sound will become brighter). If you turn the knob toward the left of the center position (“– ” values), the EG will move the ﬁlter in the negative

direction (i.e., if the ﬁlter type is LPF, the sound will become darker).

Note: EG1 envelope settings are made in the PROG P5: EG/ LFO/SEQ page. (☞p.38“5–1: EG1 (Filter), 5–2: EG2 (Amp), 5–3: EG3”)

5. Use “Keyboard Track” to specify how keyboard tracking (the keyboard position on which you play) will affect the cutoff frequency.

For more information, please see “Keyboard Track” on page 35.

6. Use “Velocity Sens” to specify how velocity (the force with which you play the keys) will affect the cutoff frequency.

For more information, please see “Velocity Sens (Velocity Sensitivity)” on page 35.

Editing a program Amp

Amp

Amp is where you specify drive and wave shape, adjust the volume, and set the pan.

These settings are made in the PROG P4-1: Amp/ WaveShape/Driver page.

Drive/Wave Shape

Drive/Wave Shape modiﬁes the waveform itself – it is not an effect that is applied to the oscillator waveform. Here’s how to select the wave shape.

1. Set “Drive/Wave Shape” to Wave Shape.

2. Use “Wave Shape Type” to select the type of wave shaping.

This choice is available if Drive/Wave Shape is set to Wave Shape. You can choose from a wide variety of wave shape types.

For more information, please see “Wave Shape Type” on page 36.

3. Use “Position” to select the position at which wave shaping will be applied.

You can apply drive and wave shaping before ﬁlter A or before the amp section.

For more information, please see “Position” on page 36.

4. Use “Depth” to specify the depth of drive or wave shaping.

Amp Level

1. Use “Amp Level” to specify the basic volume level. The volume level you specify here will be changed by EG2 and other modulation sources.

2. Use “Punch Level” to adjust the mixing amount of the pulse waveform added to the oscillator output.

Higher settings will emphasize the attack.

3. Use “Keyboard Track” to specify how keyboard tracking will affect the volume.

This lets you make the volume change as you play higher or lower on the keyboard.

Pan

1. Use “Pan” to specify the stereo position.

Note: You can produce an auto pan effect by using a virtual patch to modulate this with an LFO.

For more information, please see “Virtual Patch” on page 11.

Operation

EG (Envelope Generator)

An EG (envelope generator) applies time-varying change to a parameter of the sound.

EG1 is assigned as the envelope source for ﬁlter cutoff frequency, and EG2 is assigned as the envelope source for the amp volume.

You can also use a virtual patch to assign an EG as an envelope source for another parameter.

For more information, please see “Virtual Patch” on page 11.

3. Use “Decay/Release Time Velocity Intensity” to specify how velocity will affect decay time and release time.

Higher values will allow velocity to affect the EG time settings more greatly.

Level

Amp Level

Attack Time

The ﬁve parameters (attack time, decay time, release time, sustain level, and curve) that make up each envelope can be edited in the PROG 5-1: EG1, P5-2: EG2, and P5-3: EG3 pages.

Note on

Sustain Level

Decay Time

Note off

Time

Release Time

Envelope settings

1. Edit the “Attack Time”, “Decay Time”, “Release Time”, and “Sustain Level”.

Higher values for Attack Time, Decay Time, and Release Time will lengthen the time over which the tone or volume

will change.

2. Use “Curve” to select the curve by which the decay and release time will change.

You can choose linear, logarithmic, or exponential curve. This will affect the way in which the envelope changes.

EG Level/Time Modulation

You can use velocity and keyboard tracking to modulate the EG.

1. Use “Level Velocity” Intensity to specify how velocity will affect the amount of amplitude change produced by the EG.

Higher values will allow variations in your playing velocity to produce greater change in the amplitude.

2. Use “Decay/Release Time Keyboard Track” to specify how keyboard tracking will affect the decay time and release time.

Higher values allow keyboard tracking to affect the EG time settings more greatly.

Editing a program LFO

LFO

These are the parameters for the LFOs (Low Frequency Oscillators). An LFO can apply cyclic change to the sound.

LFO1 is internally connected as the modulation source for oscillator 1 waveform.

LFO2 is internally connected as the modulation source for the oscillator pitch modulation controlled by the joy-stick.

You can also use a virtual patch to assign an LFO as a modulation source for other parameters. For more information, please see “Virtual Patch” on page 11.

Waveform, speed (frequency), and tempo synchronization can be edited in the PROG P5-4: LFO1 or P5-5: LFO2 pages.

LFO waveform

1. Use “Waveform” to select the basic waveform of the LFO.

The change produced by the LFO depends on the waveform. Select various waveforms and notice the difference in how they affect the sound.

2. Use “Phase” to specify the starting position of the waveform.

Notice that this setting moves the waveform to left or right. You can create interesting effects by offsetting the phase of one LFO relative to the other LFO.

This parameter is available when Key Sync is 1st Note or

Each Note.

3. Use “Shape” to modify the basic waveform of the LFO.

The change produced by this parameter will depend on the

Waveform you’ve selected.

4. Use “Frequency [Hz]” to specify the frequency of the formant motion.

This parameter is valid if MIDI/Tempo Sync. is Off (unchecked).

MIDI/Tempo Sync

1. Use “MIDI/Tempo Sync.” to specify how the LFO will synchronize.

If this is On (checked), the LFO will synchronize to the system tempo speciﬁed by the TEMPO knob or TAP TEMPO switch, or to the MIDI Clock from an external device.

2. Use “Base Note” to specify the LFO cycle.

This speciﬁes the ratio of the LFO cycle relative to the system tempo or external MIDI clock. This parameter is valid if MIDI/Tempo Sync. is On (checked).

Virtual Patch

These are the parameters for the Virtual Patch function.

Virtual Patch is a function that lets you assign modulation sources such as EG or LFO to a variety of parameters. For each timbre you can create up to eight of these combinations.

Make these settings in the PROG P1-2: Virtual Patch page.

Virtual Patch settings

1. Use “Src (Source)” to select a modulation source.

You can select EG, LFO, or various controllers as a modulation source.

For more information, please see “Src (Source)” on page 28.

2. Use “Dst (Destination)” to select the parameter that will be modulated.

For more information, please see “Dst (Destination)” on page 28.

3. Use “Int (Intensity)” to specify the depth of modulation.

Controlling volume

If you set Src (Source) to LFO2, Dst (Destination) to Amp Level, and adjust Int (Intensity) as desired, LFO2 will

produce a tremolo effect.

Controlling pan

If you set Src (Source) to LFO2, Dst (Destination) to Pan, and adjust Int (Intensity) as desired, LFO2 will move the sound between left and right to produce an auto pan effect.

Controlling ﬁlter

If you set Src (Source) to LFO2, Dst (Destination) to Filter A Frequency, and adjust Int (Intensity) as desired, LFO2

will vary the ﬁlter cutoff frequency to produce an auto wah effect.

You can use an LFO to modulate a wide range of parameters in addition to those listed above.

Source and Destination settings, and their effect

Src (Source) Dst (Destination) Modulation effect

LFO2 Amp Level Tremolo effect

LFG2 Pan Auto pan effect

LFO2 Filter A Frequency Auto wah effect

Operation

Modulation Sequencers

The Modulation Sequencers let you apply time-varying change to sound parameters in a way similar to analog sequencers of the past. A modulation sequencer stores a discreet value for each of sixteen individual steps, and consecutively applies these values to vary the sound over time. Since three modulation sequencers are provided for each program, you can create sounds that change in very complex ways.

Make these settings in the PROG P5-6: MOD SEQ1, P5-7: MOD SEQ2, and P5-8: MOD SEQ3 pages.

Here we’ll explain how to use modulation sequencer 1 to modulate the oscillator pitch.

Editing the steps

1. Set “Destination Param” to Pitch.

2. Use “Motion” to specify how the values stored in each step will change when the modulation sequencer plays. For this example, choose Smooth.

3. While playing the keyboard so that you can hear the sound, specify the sequence data for each step. If you want to adjust the value in detail, use the VALUE dial etc.

The value of each step is applied as an amount of relative change to the parameter’s assigned value.

SEQ Common

Before we specify each step of the actual sequence data itself, we’ll need to specify the number of steps in the sequence, and the playback method. These parameters are common to all three modulation sequencers.

1. Access the PROG P5-6: MOD SEQ1 page.

2. Turn on “MOD SEQ” On (checked).

If this is On (checked), the three modulation sequencers will be on, and the values stored in each step of each modulation sequencer will modulate the sound parameters.

3. Set “LastStep” to 16.

The sequence will begin playing when a note-on occurs, and will proceed for sixteen steps.

4. Set “Sequence Type” to Alt1.

☞ “Sequence Type” on page 40

5. Set “Run Mode” to Loop.

☞ “Run Mode” on page 41

6. Set “KeySync” to 1st Note.

☞ “Key Sync.” on page 41

7. Set “Resolution” to .

The sequencer will advance one step for each note value you

specify here, relative to the tempo. If this is set to , the

sequencer will advance one step for each quarter-note beat.

Editing a vocoder program

Here’s how to make settings for the vocoder’s carrier, modulator, and output.

These settings are made in the PROG P6-1: Carrier/ Modulator page.

Vocoder on/off

1. Use “Vocoder” to turn the vocoder on/off. If this is on (checked), the vocoder will be on.

Editing a program Editing a vocoder program

5. Use “GateSens” to adjust the gate sensitivity. Adjust this so that the vocoder sound output is not interrupted in an unnatural way.

6. Use “Threshold” to cut the noise when there is no input. Raising this setting will make it easier for the sound to be cut. Adjust this so that noise is not obtrusive when you’re not speaking into the mic.

7. Use “Modulator HPF Gate” and “Modulator High Mix” to adjust the high-frequency portion of the input source that will be mixed into the vocoder output.

Use Modulator HPF Gate to specify whether the highfrequency portion of the input source mixed into the vocoder output will be heard only while the internal sound generator is heard, or whether it will always be heard as long as there is an input from Source.

Use Modulator High Mix to specify the amount of the highfrequency portion of the input source that will be mixed into the vocoder output. Raising this setting will emphasize the consonants of your voice.

Filter settings

Here you’ll make settings for the modulator’s envelope follower and the carrier’s band-pass ﬁlters (synthesis ﬁlters). These settings are made in the PROG P6-2: Vocoder page.

Carrier Input

As the vocoder’s carrier, you can use two audio signals: the mono-mixed signal output from the amp section (the signal before entering the EQ) and the audio signal from an external input or the AUX bus.

1. Use “In Source 1 Level” to specify the volume of the oscillator input to the carrier.

Input source 1 is the mono-mixed signal from the amp section output (the signal before entering the EQ).

2. Use “In Source 2 Select” to select input source 2 to the carrier.

3. Use “In Source 2 Level” to specify the volume of input source 2 to the carrier.

Modulator, Out Mix (modulator and vocoder output settings)

As the modulator of the vocoder, you can use the external input from the AUDIO INPUT 2 jack, the R-channel of the S/P DIF or FireWire (if the EXB-FW option is installed), the audio signal from the AUX bus, or formant motion data.

In this example, we’ll explain how to use a mic connected to the AUDIO INPUT 2 jack as the modulator.

1. Set “Modulator” to Audio.

2. Set “Source” to Audio In2.

The mic or other device connected to the AUDIO INPUT 2 jack will be the modulator.

Note: If you’re using a signal from the AUDIO INPUT jack as an input source, make sure that the PROG P1: Program Basic page Audio In (OSC&Vocoder) Source Audio Inputs (Send

to RADIAS) parameter is set to Analog Input 1/2.

3. Use “Vocoder Output Level” to specify the volume of the vocoder output.

4. Use “Modulator Direct Mix” to adjust the level of the modulator input source that is mixed into the vocoder output.

Filter (synthesis filter and envelope follower settings)

1. Use “Formant Shift” to change the shift amount for the band-pass ﬁlters. By shifting the ﬁlters you can produce dramatic changes in the character of the vocoder output.

2. Use “Frequency Offset” to adjust the offset to the cutoff frequency of the band-pass ﬁlters.

You can adjust the ﬁlter shift amount in a range of +/-2 steps. In conjunction with Formant Shift, this lets you shift the cutoff frequency in a range of +/-4 steps. (☞p.44)

3. Use “Resonance” to specify the amount of resonance for the band-pass ﬁlters.

4. Use “Mod Source” to select the modulation source that will be applied to the cutoff frequency offset (“Frequency Offset”), and use “Mod Intensity” to specify the depth of modulation.

5. Use “Env. Follower Sens” to adjust the sensitivity of the envelope follower.

Higher settings will produce a smoother rise in the vocoder output and a longer release sound.

Band 1-16: Pan and Level (output level and pan setting for each band of the synthesis filter)

1. Use “Level” to adjust the output level of each ﬁlter.

2. Use “Pan” to adjust the pan of each ﬁlter.

Operation

Formant Motion function

The formant motion function lets you use data such as a previously-recorded voice as the input to the modulator, causing the vocoder to produce sound. This lets you play the vocoder without having to vocalize into the mic.

The EXB-RADIAS contains preloaded data for sixteen formant motions.

Assigning a formant motion to the modulator

Here’s how to play the vocoder by using the factory-set formant motion data.

1. In Program mode, select a vocoder program.

☞ “Vocoder program” on page 3

2. Access the PROG P1: Carrier/Modulator page.

3. Set “Modulator” to Formant Motion.

4. Use “Select” to select the desired formant motion data.

You can select from sixteen choices: Formant Motion 00–15.

5. Use “Play Mode” to specify how the formant motion data will play back.

If you select Trigger Reset, the formant motion data will reset to its beginning each time you play a note.

6. Play the keyboard.

The vocoder will sound using the formant motion data.

Recording your own formant motion data

Here’s how you can connect a mic to the rear panel AUDIO INPUT 2 jack and record your own formant motion data.

1. Connect a mic to the rear panel AUDIO INPUT 2 jack, and use “Program Select” to select a vocoder program.

☞ “Vocoder program” on page 3

2. Adjust the mic input level.

☞ “Vocoder program” on page 3

3. Access the PROG P6-1: Carrier/Modulator page.

4. Turn “Formant Motion REC” On, and speak into the mic.

Recording will begin when you turn Formant Motion REC On.

5. Turn “Formant Motion REC” Off to stop recording. Recording will stop automatically if the memory capacity assigned to the data becomes full (approximately 7.5 seconds).

6. Set “Modulator” to Formant Motion.

7. Play the keyboard.

The vocoder will sound using the formant motion data you recorded.

If you want to keep the data you recorded, you’ll need to write the formant motion data. For more information, please see “Write Formant Motion Data” on page 46.

Writing formant motion data

Here’s how the formant motion data you recorded can be written into internal memory. The internal memory can hold sixteen sets of formant motion data.

We recommend that you write the formant motion data immediately after you’ve recorded it. The data will be lost if you perform any of the following operations before writing.

• Selecting other formant data

• Selecting another program

•Turning off the power

• Receiving a MIDI dump of the corresponding data from an external connected device

1. In the PROG P6: Vocoder page, choose the menu command “Write Formant Motion Data” to access the dialog box.

2. The upper line shows the name of the formant motion data.

If you want to edit the name of the formant motion data, press the text edit button to access the text edit dialog box, and enter the desired name.

3. Use the “To” ﬁeld to select the writing destination.

4. Press the OK button to write the formant motion data, or press the Cancel button if you decide not to write the data.

Never turn off the power while the data is being written. Doing so may damage the data.

Note: The data that is written will be held in internal memory even when the power is off. You can also use the Media mode menu command “Save PCG” to save it on an external memory device. The data is saved as part of the PCG ﬁle.

Creating your own program

You can create original sounds by editing a preloaded program or by editing an initialized program from scratch. These programs you create can be saved (written) to bank INT-F or to a user bank that has been assigned for saving RADIAS programs.

Saving a program

RADIAS programs can be saved in bank INT-F and in user banks whose bank type has been set to RADIAS by the Global mode menu command “Set Program User-Bank Type.” For more information, please see “Set Program UserBank Type” on page 66.

The save procedure is the same as for EDS programs. For more information, please see “Saving your edits” on page 50 of the M3 operation guide.

Editing a program Creating your own program

Operation

Editing a combination (Combination mode)

You can use RADIAS programs in the timbres of a combination, and create combinations that use them together with the programs of banks INT-A–E, INT-G, and USER-A–G. Up to four RADIAS programs can be used in one combination. The maximum polyphony of the RADIAS programs will be 24 voices.

Timbre settings

Here we’ll explain how to select bank INT-F programs so they can be played.

1. Select the combination that you want to edit.

2. Access the COMBI P2-5: RADIAS T01-08 or P2-6: RADIAS T09-16 page.

However, the following parameters will operate in a different way than when you’re using an EDS program. Refer to the parameter guide.

• COMBI P3-3(4)c: Force OSC Mode, OSC Select, Portamento (☞p.54)

• COMBI P3-5(6)c: Pitch Transpose, Detune (Use BPM Adjust in Menu) (☞p.54)

• COMBI P3-7(8)c: Type (Combi’s Scale) (☞p.55)

• The Keyboard Zones / Velocity Zones “Top Slope” and “Bottom Slope” settings will have no effect. (COMBI P4: Zone/Delay)

3. In “Program Select,” turn “Enable RADIAS” on (checked) for the timbres in which you want to use a RADIAS program. When you play the keyboard, you’ll hear the RADIAS program.

Note: You can turn up to four Enable RADIAS settings on. Timbres for which this is off (unchecked) will not sound.

4. Access the COMBI P0-1: Combination Select T01-08 or P0-2: Combination Select T09-16 page.

An indication of “ ” is shown above the category for timbres whose Enable RADIAS” On (checked).

5. Use “Program Select” to select a bank INT-F program.

6. Edit the parameters of each timbre, make arpeggiator settings, and make settings for routing, insert effects, master effects, and total effects.

+ 54 hidden pages

Korg M3 User Manual 2

Specifications and Main Features

Frequently Asked Questions

User Manual

Table of contents

Introduction

Overview

Program structure

Synth programs

Vocoder program

Combination structure

Song structure (Sequencer mode)

Quick Start

Selecting and playing programs

Synth programs

Selecting and playing

Using controllers to vary the sound

Vocoder programs

Selecting and playing

Using controllers to vary the sound

Editing a program

Operation

Basic settings for the program

Oscillators

Selecting the waveform

Voice Assign Mode

Filter

Filter Routing

Filter A, Filter B (Filter settings)

Drive/Wave Shape

Amp Level

EG (Envelope Generator)

Envelope settings

EG Level/Time Modulation

LFO waveform

MIDI/Tempo Sync

Virtual Patch

Virtual Patch settings

Controlling volume

Controlling pan

Modulation Sequencers

Editing the steps

SEQ Common

Editing a vocoder program

Vocoder on/off

Filter settings

Carrier Input

Modulator, Out Mix (modulator and vocoder output settings)

Formant Motion function

Creating your own program

Saving a program

Editing a combination (Combination mode)

Timbre settings