Korg RADIAS User Manual

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Owner’s Manual

Precautions

Location

Using the unit in the following locations can result in a malfunction.

• In direct sunlight

• Locations of extreme temperature or humidity

• Excessively dusty or dirty locations

• Locations of excessive vibration

• Close to magnetic ﬁelds

Power supply

Please connect the designated AC/AC pow er supply to an AC outlet of the correct voltage. Do not connect it to an A C outlet of voltage other than that for which your unit is intended.

Interference with other electrical devices

Radios and televisions placed nearby may experience reception interference. Operate this unit at a suitable distance from radios and televisions.

Handling

To avoid breakage, do not apply excessive force to the switches or controls.

Care

If the exterior becomes dirty, wipe it with a clean, dry cloth. Do not use liquid cleaners such as benzene or thinner, or cleaning compounds or ﬂammable polishes.

Keep this manual

After reading this manual, please keep it for later reference.

Keeping foreign matter out of your equipment

Never set any container with liquid in it near this equipment. If liquid gets into the equipment, it could cause a breakdown, ﬁre, or electrical shock. Be careful not to let metal objects get into the equipment. If something does slip into the equipment, unplug the AC/AC power supply from the wall outlet. Then contact your nearest Korg dealer or the store where the equipment was purchased.

CE mark for European Harmonized Standards

CE mark which is attached to our company’s products of AC mains operated apparatus until December 31, 1996 means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC). And, CE mark which is attached after January 1, 1997 means it conforms to EMC Directive (89/336/EEC), CE mark Directive (93/68/EEC) and Low Voltage Directive (73/23/EEC). Also, CE mark which is attached to our company’ s products of Battery operated apparatus means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/ EEC).

Regarding the LCD screen

The LCD screen of the RADIAS 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 screens, and are not malfunctions.

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

• Depending on the displayed content, the brightness of the screen 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

Malfunctions due to incorrect operation may cause the contents of memory to be lost, so we recommend that you save important data on an external data filer (storage device). Please be aware that Korg will accept no responsibility for any damages which may result from loss of data.

THE FCC REGULATION WARNING (for U.S.A.)

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. However, 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.

* Company names, product names, and names of formats

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

Thank you for purchasing the Korg RADIAS synthesizer/vocoder. To ensure trouble-free enjoyment, please read this manual carefully and use the product correctly.

About this manual

How this manual is organized

The RADIAS owner’s manual is organized as follows.

Operation

First read the Operation to learn essential points of operation and basic procedures.

“Introduction” explains the features of the RADIAS, and how its modes and programs are organized.

“Front and rear panel” explains the knobs and buttons of the front panel, and the input/output jacks and switches of the rear panel.

“Setup” explains how to connect the RADIAS to external audio devices, external MIDI devices, computers, pedals, and pedal switches.

“Quick Start” explains basics for playing the RADIAS (listening to the demos, selecting sounds, using the arpeggiator, etc.).

“Editing” explains the basic procedures for editing sound parameters and global parameters, and describes how the main parameters are edited.

Parameter

This section explains the operation of all RADIAS parameters and discusses points of which you should be aware for various settings. The explanations are organized by page for each mode.

Refer to this section when an unfamiliar parameter appears, or when you would like to learn more about the functions.

Appendices

This section provides explanations of MIDI-related topics such as the MIDI messages that the RADIAS can use (control changes etc.), as well as a Voice Name List and other information.

Printing conventions in this manual

Knobs and buttons [ ]

Knobs and buttons on the panel of the RADIAS are enclosed in square brackets [ ].

Parameters shown in the LCD screen “ “

Parameters that appear in the LCD screen are enclosed in double quotation marks “ “.

Bold type

The names of parts of the RADIAS and operating procedures are also printed in bold type.

Procedure steps 1, 2, 3 . . .

Steps in a procedure are printed as 1, 2, 3 . . .

☞p.■

This indicates a page to which you can refer.

Symbols ,

These symbols respectively indicate points of caution and words of advice.

Display screen

The values of parameters appearing in the display screens printed in this manual are only explanatory examples. They will not necessarily match the values shown in the LCD screen of your instrument.

MIDI-related explanations

CC# is used as an abbreviation for Control Change Number. In MIDI-related explanations, numbers enclosed in square brackets [ ] are in hexadecimal notation.

iii

Table of Contents

About this manual.................................... iii

Operation ........................1

Introduction.................................. 2

Overview..................................................2

Program Features: ..............................................2

Timbre Features: .................................................3

Programming Aids:............................................4

Modes...................................................................4

How a program is structured .....................5

Synthesizer ..........................................................5

Drum kits.............................................................9

Front and rear panels ................. 10

Front panel .............................................10

Rear panel..............................................14

Editing ....................................... 29

Basic editing procedure........................... 29

Editing in the Program Play mode................ 29

Editing in the Program Edit mode ................29

Compare function............................................ 32

Saving an edited program ..............................32

Loading other timbre sounds/The Template

function.............................................................. 33

Assigning a name............................................. 34

Program parameter editing..................... 37

Synth parameter editing .................................37

Editing the effect parameters .........................46

Editing the arpeggiator ................................... 47

Step sequencer recording and editing .......... 50

Vocoder editing................................................ 56

Drum parameter editing.......................... 60

Key Zone settings ................................... 64

Envelope Follower settings ...................... 67

Global parameter editing........................ 68

Setup ......................................... 16

Quick Start................................. 19

Turning on the power and adjusting the

volume ...................................................19

Demo playback.......................................19

Playing programs – Program Play mode..20

Arpeggiator............................................22

Step Sequencer .......................................24

Modulation Sequencer.............................25

Audio In .................................................26

Vocoder..................................................27

Playing a Drum Kit – Drum Play mode ..... 28

Parameter...................... 73

Program parameters................... 74

1. Name ................................................ 74

P01 NAME ........................................................74

2. Program Common .............................. 74

P02 COMMON

(Program Common Parameters).................... 74

P03 TIMBRE

(Timbre Common Parameters) ......................77

3. Synth Parameters ............................... 80

P04 VOICE ........................................................80

P05 PITCH......................................................... 81

P06 OSC/MIXER.............................................. 81

P07 FILTER ....................................................... 86

P08 AMP (Amplifier)....................................... 88

P09 EG (Envelope Generator) ........................89

P10 LFO ............................................................. 90

P11 PATCH (Virtual Patch)............................ 91

Table of Contents

P12 MOD SEQ

(Modulation Sequencer).................................. 92

P13 EQ/FX (Equalizer/Effect)....................... 94

4. ARPEGGIATOR ................................... 96

Front Panel Parameter..................................... 96

P14 ARPEGGIATOR ....................................... 96

5. Step Sequencer................................... 99

Front Panel Parameter..................................... 99

P15 STEP SEQ................................................... 99

6. Vocoder Parameters ......................... 104

P06 CARRIER ................................................. 104

P07 FILTER ..................................................... 105

P08 MODULATOR........................................ 105

7. Utility ............................................... 107

P16 UTILITY ................................................... 107

Drum parameters......................111

1. Name .............................................. 111

P01 NAME ......................................................111

2. Drum Common ................................. 111

P02 COMMON............................................... 111

3. Drum Inst ......................................... 112

P05 PITCH....................................................... 112

P06 OSC/MIXER............................................ 112

P07 FILTER ..................................................... 112

P08 AMP (Amplifier)..................................... 112

P09 EG (Envelope Generator) ......................112

P10 LFO ........................................................... 113

P11 PATCH (Virtual Patch).......................... 113

4. Utility ............................................... 113

P16 UTILITY ................................................... 113

Effect guide...............................121

Overview..............................................121

About the effect inputs and outputs............121

About the delay time .....................................121

Controlling the effect parameters ................122

Effect parameters ..................................123

Appendices .................. 145

About MIDI ...........................................146

MIDI messages that the RADIAS transmits

and receives..................................................... 146

Sending sound data and other settings (Data

Dump)..............................................................150

Control change assignments for the RADIAS’

knobs and buttons..........................................151

MIDI driver installation and settings .......152

Windows XP users .........................................152

Mac OS X users...............................................153

About the RADIAS and the driver ports.... 154

Troubleshooting .................................... 155

Voice Name List ....................................156

Program ...........................................................156

Demo Songs ....................................................160

Drumkit ...........................................................161

PCM..................................................................164

Templates ........................................................165

Specifications and options .....................168

MIDI Implementation Chart....................169

Global parameters....................114

P01 GLOBAL ..................................................114

P02 MEMORY ................................................ 115

P03 PRELOAD................................................ 116

P04 MIDI ......................................................... 116

P05 MIDI DUMP............................................ 117

P06 MIDI FILTER........................................... 118

P07 MIDI MAP............................................... 118

P08 PEDAL/SW............................................. 119

P09 USER SCALE........................................... 120

P10 CATEGORY NAME............................... 120

P11 CALIB [A.SW]......................................... 120

P12 CALIB [A.PEDAL] ................................. 120

Table of Contents

Operation

Introduction

Front and rear panels

Setup

Quick Start

Editing

Introduction

Overview

The RADIAS Synthesizer/Vocoder is based on Korg’s powerful Multiple Modeling Technology (MMT). It provides an extensive array of cutting-edge synthesis tools and techniques to satisfy the demanding musician, producer or sound designer. The main sound parameters can be edited directly from the front panel. Equipped with 39 knobs, 47 buttons, 16 multi-function keys, a value knob and an informative backlit LCD screen, RADIAS makes it easy to modify the sound as you perform, and to enjoy a versatile range of realtime editing possibilities.

Program Features:

Structure

The RADIAS contains 256 user-editable Program locations. Each program consists of up to four timbres, letting you easily create incredibly rich sounds. You can zone each timbre to a specific range of keys, and play them all from the keyboard, or individual Timbres can be played by the arpeggiator or one of the step sequencers. Additionally, each timbre can be assigned to a specific MIDI channel for four-part multitimbral operation.

Vocoder

The RADIAS features a sophisticated vocoder that can be used not just to simulate the classic vocoder sounds of the past, but also to take advantage of advanced possibilities such as shifting the filter frequencies of each band or adjusting their level and panning to create new and original vocoder sounds.

Korg’s new Formant Motion function uses filter banks to analyze the input signal (the modulator), and records up to seven seconds of formant motion data. By using the play back of this recorded formant motion data, you can create complex moving (or even “talking”) vocoder programs that don’t require any mic input. The RADIAS can hold sixteen sets of formant motion data in internal memory. A front panel [VOCODER] button makes it easy to obtain vocoder sounds.

Audio input/envelope follower

Any audio signal plugged into the INPUT 1 and 2 jacks can be processed in the same way as the internal waveforms, letting you use the RADIAS as an effect processor. The envelope of the audio input signal can also be detected and used as a modulation source in the virtual patch, or used to trigger the sound generator of the RADIAS.

Arpeggiator

The arpeggiator plays the notes you are holding down one at a time, in an up, down, alternating, random or triggered chord fashion - six different types in all. The resolution, key window, swing, and octave range can be set per program; the note, tie and off status can be set for each of the 16 steps, allowing you to create a broad range of melodic and rhythmic patterns.

Step sequencer

Two step sequencers are built-in, allowing you to record simple patterns or phrases. For example you can record a bass line and a drum pattern, and assign two timbres to play these parts, while you play the remaining timbres from the keyboard. Each step sequencer is 32 steps long; however they can be combined to create a single step sequencer that is 64 steps long.

Overview

Timbre Features:

Oscillators

Each RADIAS Timbre is built on two oscillators. A total of nine oscillator algorithms are available, including the traditional analog synthesis waves - sine, triangle, pulse (square) and sawtooth - as well as Korg DWGS waves, PCM waves and drum kits, external audio sources and more. Variable Phase Modulation, cross mod, ring mod, sync, waveform shaping and other advanced modulation capabilities allow you to experience more sound-creating flexibility than ever before.

Filters

Two resonating filters are continuously variable from 24dB low pass (four-pole) thru 12dB low pass (twopole), band pass, high pass, up to a “Thru” bypass. For maximum flexibility, the filters can run in series or side-by-side, or even run in a one oscillator per filter arrangement. Filtering can be applied before or after the Amp stage.

LFOs

Twin Low Frequency Oscillators provide a total of five waveforms including Sample/Hold. The speed can be set manually or set as a note value of the internal/external tempo source, and the wave cycle can be sync’d to each key-on message. As with the audio oscillators, these low frequency oscillators also enjoy the benefits of variable waveform shaping.

Envelopes

In addition to the traditional Attack/Decay/Sustain/Release stages, the three enhanced RADIAS envelope generators feature various linear, logarithmic and exponential curve shapes for creating accurate time-variable modulation. Velocity and note based parameters provide even more detailed and dynamic articulation.

Effects

The RADIAS provides a two-band equalizer and two insert effects for each timbre, and one master effect for each program. The RADIAS includes 128 editable Insert effect programs, and 128 editable Master effect programs, created using thirty different effect algorithms.

Amp

Traditionally, the Amp section of a synthesizer relates to controlling the volume. The RADIAS adds Drive, “Punch Level” and Wave Shape parameters to the mix. Drive adds controlled harmonic distortion, much like sending too much oscillator signal into another module on a traditional analog synthesizer. Punch Level adds a square wave to the attack portion of the sound for an increase in perceived dynamics. The Wave Shape adds new tonal character to your sound through the Decimator, Hard Clipping and more.

Modulation sequencer

Just as step sequencers provide new pitch data to an oscillator over time, the Modulation Sequencers provide changes in modulation data over time in a way similar to a classic analog sequencer. Each of the three Modulation Sequencers can be applied to any one of 41 different parameters. Modulation sequences can be recorded in step time, or in real time using the Motion Rec function. Modulation sequences are 16 steps long. The output of the modulation sequencer can be sent as a new discreet value at each sequencer step; or the output can be sent as a continuously changing value based on the values assigned to each step.

Virtual patches

The six Virtual Patches (V.PATCH) allow any of 15 modulation sources to be routed to any of 15 modulateable parameters. They function in a similar way to patch cords on a modular analog synthesizer. Five of the sources are MIDI Control Change numbers, which can be set in the Global Mode. This arrangement offers you a high degree of flexibility in creating and controlling sounds.

Introduction

Drum kits

A drum kit can be used as one of the four Timbres that make up a Program. The RADIAS contains 32 editable drum kits, and each one may contain up to 16 drum instruments. In addition to playing the drum kit from the keyboard, one of the step sequencers or the arpeggiator can be assigned to play the drum kit, allowing you to create grooves and rhythmic figures within a Program. Using the Drum Play Mode, a drum kit may be played from the keyboard, and edited in real time using the front panel knobs and buttons. One handy addition is the ability to play a drum kit directly from the front panel using the multi-function 16 Keys.

Programming Aids:

Template function

Handy timbre, drum sound, and effect templates are provided as a convenience. When you want to create a timbre, drum sound, or effect setting, simply load the template data that is closest to what you have in mind and then edit it as desired. This is much faster than creating your sounds from scratch. You can also register your own sounds or effect settings as template data.

RADIAS Sound Editor software

Your RADIAS comes with the Korg RADIAS Sound Editor software. By connecting your RADIAS to a com- puter via USB, you can use this Editor Librarian program to edit, save, store and recall Program, Timbre, FX, Global and parameter data quickly and easily.

Modes

Program Play mode (PROGRAM)

To enter the Program Play mode, press the [PROGRAM] button. This is the mode in which you select and play programs (sounds). As you play, you can use the front panel knobs and buttons to modify the sound, and use the arpeggiator, step sequencer, and modulation sequencer to embellish your performance. You can also use the vocoder in the Program Play mode. To turn the vocoder on, press the timbre select [VOCODER] button (the button will light or blink, and the letter “V” will appear at the end of the Program name. When the vocoder is on, the functions printed in white with a dark background on the front panel will be active.

Program Edit mode (PROGRAM EDIT)

To enter the Program Edit mode, press the [EDIT/YES] button while in the Program Play mode (vocoder off). In this mode you can edit the parameters of a program while viewing them in the display. You can make detailed changes to the parameter values, and edit parameters lacking a front panel knob or button.

Vocoder Edit mode (VOCODER EDIT)

To enter the Vocoder Edit mode, press the [EDIT/YES] button while you’re in the Program Play mode (vocoder on). In this mode you can edit the vocoder parameters of a program while viewing them in the display. In the Vocoder Edit mode, the functions printed in white with a dark background on the front panel will be active.

Drum Play mode (DRUM)

To enter the Drum Play mode, press the [DRUM] button. In this mode you can select and play drum kits. You can use each of the sixteen keys to play a different drum instrument, and use the front panel buttons and knobs to edit the sound parameters in realtime while you play.

Drum Edit mode (DRUM EDIT)

To enter the Drum Edit mode, press the [EDIT/YES] while you’re in the Drum Play mode. In this mode you can assign drum instruments to create a drum kit, and edit the parameters of a drum instrument while viewing them in the display.

Global mode (GLOBAL)

To enter the Global mode, press the [GLOBAL] button. In this mode you can set the parameters that affect the entire RADIAS, such as tuning and user scales, selecting the functions for the assignable pedal and assignable switch, transmitting MIDI exclusive data dumps, and other MIDI-related settings.

How a program is structured

Each of the RADIAS’ programs consists of four timbres, an arpeggiator, two step sequencers, a vocoder, a master effect, and a envelope follower. A drum kit can also be assigned to one of the timbres.

Synthesizer

Program

How a program is structured

Audio In 1

Audio In 2

Timbre 1

Synth

Audio In 1, 2 IntBus

Arpeggiator

Envelope Follower

Synth

Drumkit

Drumkit Timbre = Timbre4

Step Seq 1 Step Seq 2

Arpeggiator/Step Sequencer

OSC1

OSC MOD

OSC2

NOISE

Vocoder

Vocoder = OFF Carrier InSrc = Timbre2

Filter Routing= Individual

MIXER

EQ I.FX1/2

FILTER1

FILTER2

EG1

I.FX1/2

Drive/WS Position = PreAmp

KBD TRACK

IntBus (Internal Bus)

DRIVE/WS

Free Assign

OUTPUT BALANCE

AMP

PAN

Master FX

To Timbre EQ

MAIN OUTPUT (L/MONO, R)

INDIV. OUTPUT (L, R)

Free Assign

SEQ1 SEQ2 SEQ3

MOD SEQUENCER

VIRTUAL PATCH

EG1 EG2 EG3 LFO1 LFO2 Env.FMIDI 1–5

KBD Track Velocity

Introduction

Timbre

A timbre consists of the oscillators (OSC1/OSC2/NOISE), mixer (MIXER), filters (FILTER), amp (AMP), envelope generators (EG), LFOs, virtual patches (VIRTUAL PATCH), modulation sequencers (MOD SEQ), equalizer (EQ), and the insert effects (INSERT FX1/FX2). By editing the parameters of these sections you can create an incredibly diverse range of sounds.

Oscillator (OSC1/OSC2/NOISE)

There are three Oscillator sources; Oscillator 1, Oscillator 2, and the noise generator. Oscillator 1 (OSC1) lets you choose from nine different oscillator algorithms. These include conventional analog synthesizer waveforms, digital synthesizer PCM waveforms and drum PCM waveforms, formant, noise, and even an external audio signal. Oscillator 2 (OSC2) lets you choose from four different oscillator waves - sine, triangle, square, and sawtooth. The noise generator (NOISE) generates white noise. You can use this for a variety of sound shaping situations, such as adding breath noise for a wind instrument sound, or as part of a special effect sound.

For die-hard analog fans, the analog tune feature lets control the amount of simulated oscillator drift that will be applied. Five different portamento curves allow detailed control over glissando passages and gliding between notes. Modulation such as cross-modulation, unison, and VPM (Variable Phase Modulation) can be applied to the analog synthesizer waveforms of Oscillator 1. Oscillator 2 can be used as the modulating oscillator for the sync modulation (SYNC) or ring modulation (RING) that are such classic analog synthesizertechniques. The best elements of SYNC and RING modulation can be combined using a third option: RING SYNC.

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 (FILTER1/FILTER2)

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 provides additional features to add more tonal complexity and “edge” to the sound - including Drive, Wave Shape control (DRIVE/WS), and Punch Level. 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. Each EG consists of four parameters: attack time (ATTACK), decay time (DECAY), sustain level (SUSTAIN), and release time (RELEASE). Keyboard dynamics and note number, as well as five time curves, allow for exacting envelope articulation. Each timbre contains three of these EGs. 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 section (LFO1/LFO2)

LFO (Low Frequency Oscillator) is used to apply cyclic change to the sound parameters. Each timbre 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. By default, LFO1 is assigned to oscillator 1’s analog algorithms as the knob labelled “Control2”, and LFO2 is assigned to the modulation wheel. You can also make virtual patch settings (VIRTUAL PATCH) to assign the LFOs as modulation sources for other parameters.

How a program is structured

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 six virtual patch assignments in each timbre.

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. The value of each step can be set using the sixteen front panel knobs, or by using the Motion Rec function to record knob movements (changes in parameter values) in realtime. Each timbre provides three sequencers, allowing you to create extremely complex tonal changes.

Equalizer (EQ) and Insert Effects (INSERT FX1/FX2)

Each timbre is equipped with a two-band Equalizer to further control the overall tone. In addition, each timbre also possesses two insert effects. Thirty different effect types are available, and their 128 editable effect program locations to save your favorites. Certain effects can by synced to the tempo of the internal clock that is running the arpeggiator, step sequences, etc. - or to an external MIDI clock. Tempo Sync effects can be conveniently set as note values (Half-note, quarter-note, etc.).

Arpeggiator (ARPEGGIATOR) and Step Sequencer (STEP SEQUENCER)

Each program contains one arpeggiator and two step sequencers. Each timbre in a program can be assigned to be played by the arpeggiator or by one of the step sequences. The arpeggiator lets you choose one of six arpeggio types, and each of the thirty-two steps can be set as a note, tie or rest (off) to create more complex arpeggio patterns. Each step sequencer lets you record a phrase of up to thirty-two steps; both sequencers can be used together to create a single step sequence up to sixty-four steps. The playback of the step sequencer can also be set to transpose based on the notes being played on the keyboard (or via MIDI).

Master effect (MFX)

Each program contains one master effect. You can use this to apply a reverb or delay effect to the overall combined sound of the program including the processing applied by the insert effects of each timbre, adding the final touch to the complete program. You can choose from thirty different effect types, and 128 editable effect programs.

Envelope follower

In electronic music terms, an envelope is the “shape” of a sound’s change in volume level from start to finish. Each program contains an envelope follower, which generates a changing modulation source based on the envelope of an external audio signal or an internally bussed sound. This detected envelope can also be used to generate note-on/off events.

Introduction

Vocoder (VOCODER)

A vocoder is available in every program The RADIAS’ vocoder contains 16 stereo bands. A vocoder applies the spectral character of the “modulator” (e.g., a signal received from the INPUT 2 jack) to the “carrier” (e.g., the sound of a timbre or a signal received from the INPUT 1 jack). The most popular way to use this is to input your voice from a mic connected to the INPUT 2 jack, creating the impression that an instrumental sound is “talking.”

Vocoder

Audio In 2 IntBus

LEVEL

Carrier InSrc1

Carrier InSrc2

LEVEL

Band16

Band1

ANALYSIS

FILTER

RESONANCE

SYNTHESIS

FILTER

E.F. SENSE

ENVELOPE

FOLLOWER

Band. LEVEL

MODULATOR SELECT

PAN

DIRECT LEVEL

HPF LEVEL

FORMANT

MOTION DATA

HPF

To Carrier InSrc1 Timbre EQ

CUTOFF (FC MOD)

FORMANT SHIFT

Vocoder section (VOCODER)

The vocoder divides the audio spectrum into “bands”. In the RADIAS, 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 “FORMANT SHIFT” and “CUTOFF” 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.

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 SOURCE 1 and IN SOURCE 2). One of the timbres can be selected as IN SOURCE 1, and either an external input (the INPUT 1 jack) or an internally bussed sound (program output) can be selected as IN SOURCE 2.

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 (INPUT 2 jack) or an internal bus (program output) 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.

How a program is structured

Drum kits

Drumkit

Drum Inst. 16

Drum Inst. 01

Audio In 1, 2 IntBus

OSC1

OSC2

NOISE

Each drum kit consists of sixteen drum instruments. The RADIAS contains thirty-two drum kits.

Filter Routing= Individual

OSC MOD

FILTER1

MIXER

EG1 EG2 EG3 LFO1 LFO2 Env.FMIDI 1–5

FILTER2

EG1

KBD TRACK

Drive/WS Position = PreAmp

DRIVE/WS

Free Assign

VIRTUAL PATCH

AMP

PAN

KBD Track Velocity

To Timbre EQ

Each drum instrument consists of OSCILLATOR, MIXER, FILTER, AMP, EQ, LFO, and VIRTUAL PATCH settings, just as with a timbre. (☞p.6 “Timbre”)

One of the timbres in a program may be assigned a drum kit. By assigned that timbre to be played by the arpeggiator or one of the step sequences, you can create a program that provides a rhythmic accompaniment to your performance. (☞p.64 “Key Zone settings”)

Front and rear panels

Front panel

The parameters printed in white characters on a dark background are vocoder parameters.

651

4 23

1. AUDIO IN

[1/INST] knob

This knob adjusts the input level from the INPUT 1 jack.

[2/VOICE] knob

This knob adjusts the input level from the INPUT 2 jack.

2. VOLUME

[VOLUME] knob

This knob adjusts the overall volume. This knob also adjusts the headphone volume.

3. PHONES

5. OSCILLATOR 1

WAVE [▲][▼] buttons

These select the waveform for oscillator 1. The LED for the selected waveform will light.

[OSC MOD] buttons

Selects the modulation type. The LED for the selected modulation type will light.

[CONTROL 1] knob

The parameter adjusted by this knob will depend on the selected waveform or modulation type.

[CONTROL 2] knob

The parameter adjusted by this knob will depend on the selected waveform or modulation type.

Headphone jack

This jack allows you to listen to the RADIAS through stereo headphones. Connect your headphones to this jack.

4. OCTAVE

[UP], [DOWN] buttons

These shift the pitch of the keyboard and the 16 keys [1]– [16] in one-octave units. ☞p.22 “Changing the octave”

6. OSCILLATOR 2

[WAVE] button

Selects the waveform for oscillator 2. The LED for the selected waveform will light.

[OSC MOD] button

Selects the modulation type applied by oscillator 1. The LED for the selected modulation type will light.

[SEMITONE] knob

This knob adjusts the pitch of oscillator 2 in semitone steps.

[TUNE] knob

This knob makes fine adjustments to the pitch of oscillator 2.

Front panel

7. UNISON

[UNISON - FRMNT REC] button

UNISON: Switches the unison function on/off. FRMNT REC: When editing vocoder settings, this records format motion data for use with the Formant Motion function.

8. MIXER

[OSC1 - SCR1] knob

OSC 1: Adjusts the volume of oscillator 1. SCR 1: When editing vocoder settings, this adjusts the volume of input 1 (timbre) to the carrier.

[OSC2 - SRC2] knob

OSC 2: Adjusts the volume of oscillator 2. SCR 1: When editing vocoder settings, this adjusts the volume of input 2 (e.g., external input) to the carrier.

[NOISE] knob

Adjusts the volume of the noise generator.

9. FILTER 1

[CUTOFF - FC OFFSET] knob

CUTOFF: Adjusts the cutoff frequency of filter 1. FC OFFSET: When editing vocoder settings, this adjusts the cutoff frequency offset value of the synthesis filter.

FRMNT SHIFT: When editing vocoder settings, this adjusts the amount of formant shift.

11. FILTER COMMON

[SELECT] button

Selects which filter will be affected by adjusting the EG1 INT knob and KEY TRACK knob. The LED corresponding to the filter you select will light.

[EG1 INT - FC MOD INT] knob

EG 1 INT: Adjusts the amount of EG1 (depth) that will be applied to the filter cutoff frequency. FC MOD INT: When editing vocoder settings, this adjusts the depth of modulation applied to the cutoff frequency of the synthesis filter. The modulation source is selected by the [SOURCE - FC MOD SRC] button of the Virtual Patch section.

[KEY TRACK - E.F.SENS] knob

KEY TRACK: Adjusts the amount of keyboard tracking that will be applied to the filter. This allow notes played higher on the keyboard to have a different filter cutoff than notes played lower on the keyboard. E.F. SENS: When editing vocoder settings, this adjusts the sensitivity of the envelope follower in the vocoder section.

12. AMP

[RESONANCE] knob

RESONANCE: Adjusts the resonance of filter 1. RESONANCE: When editing vocoder settings, this adjusts the resonance of the synthesis filters.

[TYPE] knob

Selects the type of filter used by filter 1. A position between markings will produce a character mid-way between the two filter types, allowing you to adjust the proportion of the two types.

[ROUTING - MODULATOR] button

ROUTING: This specifies the routing (combination) of filters 1 and 2. MODULATOR: When editing vocoder settings, this selects the modulator.

10. FILTER 2

[CUTOFF - THRESHOLD] knob

CUTOFF: Adjusts the cutoff frequency of filter 2. THRESHOLD: When editing vocoder settings, this adjusts the threshold level of the modulator input signal.

[RESONANCE - HPF LEVEL] knob

RESONANCE: Adjusts the resonance of filter 2. HPF LEVEL: When editing vocoder settings, this adjusts the output level of the HPF (High Pass Filter) applied to the modulator input signal (e.g., the INPUT 2 jack).

[TYPE - FRMNT SHIFT] button

TYPE: Selects the type of filter used by filter 2.

[LEVEL - VC LEVEL] knob

LEVEL: Adjusts the volume of the selected timbre. VC LEVEL: When editing vocoder settings, this adjusts the output level of the vocoder.

[PAN - DIRECT LEVEL] knob

PAN: Adjusts the pan position of the selected timbre. DIRECT LEVEL: When editing vocoder settings, this adjusts the direct output level of the modulator (e.g., INPUT 2 jack).

[DEPTH] knob

Adjusts the depth of the DRIVE/WS (Wave Shape) effect.

[DRIVE/WS - HPF GATE] button

DRIVE/WS: Selects which function will be applied to the timbre. The LED for the selected function will light. HPF GATE: When editing vocoder settings, this specifies whether the High Pass Frequency gate is enabled or disabled (on or off).

13. V.PATCH (VIRTUAL PATCH)

[SELECT] button

Selects the patch that you will be editing. The LED of the selected patch will light.

[SOURCE - FC MOD SRC] button

SOURCE: Selects the modulation source. FC MOD SRC (Filter Cutoff Modulation Source): When you’re editing vocoder settings, this selects the modula-

Front and rear panels

tion source that will be applied to the cutoff frequency of the synthesis filter.

[DESTINATION] button

Selects the modulate-able parameter that the selected virtual patch will be applied to.

[INTENSITY] knob

Adjusts the amount of modulation that will be applied by the currently selected virtual patch.

14. LFO1/LFO2

[SELECT] button

Selects the LFO waveform. The LED of the selected waveform will light.

[FREQ] knob

Specifies the LFO rate. The [SELECT] button will blink in time with the specified rate.

15. DISPLAY & BUTTON

ORIGINAL VALUE LED

When you turn a knob or press a button, this LED will light when the setting matches the value stored in the program.

Display

In the Program Play mode, this display shows the program names and program numbers. In the Drum Play mode, this display shows the drum kit numbers and drum kit names. In other modes, this display will show the parameters being edited.

[PROGRAM/VALUE] dial

In the Program Play mode, turning this dial selects programs. In the Drum Play mode, this selects drum kits. In other modes turning this dial modifies the value of the parameter selected by the cursor.

[WRITE] button

Use this button to save any edited settings. When you press this button, you will be given the option of saving or not saving; and you will be able to select where the data will be saved.

[COMPARE] button

Returns the values modified by the knobs and buttons to the values stored in the program. Use this when you want to compare the edited sound with the sound that is stored in the program.

PAGE [+] [–] buttons

Use these to switch pages or tab pages.

CURSOR [π/√] [†/®]

Use these to select the parameter you want to edit.

In this manual, the term “cursor” is used when referring to both the [π/√] and [†/®] buttons. If either the [π/√] or [†/®] button is meant, we will refer to the “cursor [π/√] button” or “cursor [†/®] button.”

[PROGRAM] button

Press this button to enter the Program Play mode.

[DRUM] button

Press this button to enter the Drum Play mode.

[GLOBAL] button

Press this button to enter the Global mode.

[EDIT/YES] button

When you’re in one of the Play modes, press this button to enter the corresponding Edit mode. This button is also used to finish executing functions such as Copy or Write. In each Edit mode, you can specify a note number or velocity value (e.g., Program Edit mode P03–3: TIMBRE – ZONE tab page “Bottom” or “Top”) by holding down this button and pressing a note on the keyboard.

[EXIT/NO] button

Press this button to return from an Edit mode to the corresponding Play mode. This button is also used to cancel a function such as Copy or Write.

You can switch each timbre on or off by holding down this button and pressing a TIMBRE SELECT [1]–[4] button.

16. TIMBRE SELECT

[1], [2], [3], [4] buttons

In the Program Play mode, these buttons select the timbre that can be edited from the front panel. By holding down the [EXIT/NO] button while pressing one of the timbre select buttons, you can turn the individual timbre off and on again. In the Program Edit mode, these buttons select the timbre to be edited.

You can’t select a timbre that is turned off (i.e., whose button is dark). If you want to turn the timbre on, you can either make settings in Program Edit mode, or hold down the [EXIT/NO] button and press a [1]–[4] button to switch the corresponding timbre on or off.

[VOCODER] button

Switches the vocoder on/off. In the Edit mode, press this when you want to edit the vocoder settings.

17. EQ (EQUALIZER)

[HI] knob

Adjusts the level of the high frequency range. Turning this toward the right will boost the level of the high frequency range, and turning it toward the left will decrease the level of the high frequency range. You can specify the center frequency of the high frequency range in the Program Edit mode P13–1: EQ/FX – EQ tab page.

Front panel

[LO] knob

Adjusts the level of the low frequency range. Turning this toward the right will boost the level of the low frequency range, and turning it toward the left will decrease the level of the low frequency range. You can specify the center frequency of the low frequency range in the Program Edit mode P13–1: EQ/FX – EQ tab page.

18. INSERT FX

[FX1-FX2] button

Selects which insert effect is available for editing. FX1 parameters is selected when this button is dark, and FX2 is selected when this button is lit.

[ON] button

Turns the insert effect selected by [FX1-FX2] on/off. When this button is lit, the effect is on and will be applied.

[EDIT1], [EDIT2] knobs

These knobs adjust various effect parameters. They will adjust the effect selected by the [FX1-FX2] button. The parameter being adjusted will depend on the type of effect selected.

button to enter record-ready mode; recording will begin when you play the keyboard etc.

[SELECT] button

Selects the arpeggiator or the step sequencer that will be assigned to play the timbre.

[GATE] knob

Adjusts the gate time (duration) specified for each step of the arpeggiator or step sequencer.

[TEMPO] knob

Adjusts the playback tempo of the arpeggiator or step sequencer. This setting will also affect other parameters that are tied to the internal tempo, such as playback speed of a modulation sequencer, an LFO rate, or an effect delay rate.

[TAP TEMPO REST/TIE] button

During playback, you can enter a tempo manually by lightly tapping this button a few times at the desired tempo (Tap Tempo). When you’re recording using the step sequencer, this button allows you to enter ties and rests.

TEMPO LED

This will blink at quarter note intervals of the current tempo.

19. MASTER FX

[ON] button

Switches the master effect on/off. When this button is lit, the effect is on.

[EDIT] knob

Adjusts various master effect parameters. The parameter being adjusted will depend on the effect type you’re using.

20. ARPEGGIATOR/STEP SEQUENCER

[ON] button

This turns the arpeggiator and step sequencers on/off. The arpeggiator and step sequencers are all turned on together

[LATCH] button

This button turns on and off the Latch function that affects the arpeggiator and the step sequencers. When this function is on (lit), the arpeggiator and/or step sequencers will continue playing even after you take your hand off the keyboard. The latch setting can be set independently for the arpeggiator and each step sequencer.

[TYPE/STEP REC] button

The function of this button depends on the setting of the [SELECT] button, which can be set to ARPEGGIATOR, STEP SEQ 1, or STEP SEQ 2. If ARPEGGIATOR is selected, pressing this button will scroll through the different arpeggiator types. If STEP SEQ 1 or 2 is selected, then this button will act as the recording button for that step sequencer. Press this

21. EG1 (FILTER)/EG2 (AMP)

[ATTACK] knob

Adjusts the attack time (rise time from the key on).

[DECAY] knob

Adjusts the decay time (the time from the end of the attack time until the sustain level is reached).

[SUSTAIN] knob

Adjusts the sustain level (the level at which the sound is held).

[RELEASE] knob

Adjusts the release time (the time it takes the sound to completely stop after you release the key).

22. PORTAMENTO

[TIME] knob

Adjusts the way in which portamento is applied.

23. MOD SEQUENCER

[ON] button

Switches the modulation sequencer on/off. When the button will be lit, the modulation sequencer will be on, and will be active during playback.

[REC] button

Records your knob movements in realtime into the modulation sequencer.

Front and rear panels

[SELECT] button

In addition to selecting the function of the 16 knobs above the 16 panel keys, this button also selects which Mod Sequencer is available for editing. If EDIT is selected, the sixteen knobs can be used to edit the program parameters labelled above each knob. (portamento, EG1, EG2, etc.). If MOD1, MOD2, or MOD3 is selected, the sixteen knobs will edit the data at the corresponding step of the modulation sequencer. When you’re editing vocoder settings, the sixteen knobs adjust the level or pan of each synthesis filter (output band).

24. 16 KEYS

[SELECT] button

This button selects the function of the 16 panel keys [1]– [16]. The functions that can be selected will depend on the mode. The LED of the selected function will light. If you select PROGRAM, the sixteen keys can be used to select the programs in the current bank. In the Drum Play mode, the sixteen keys can be used to play drum instruments from the front panel. If you select TRIGGER, the sixteen keys will toggle individual arpeggiator notes on/off, or indicate the steps of the step sequencer.

If you select PAGE, the sixteen keys will select editing pages or global mode pages. If you select KEYBOARD, keys [1]–[16] will function as a simple polyphonic MIDI keyboard, and will play the sound of the current program.

The simple MIDI keyboard function of keys [1]– [16] is available only if the dedicated keyboard is not connected.

PROGRAM BANK/TRIGGER [UP], [DOWN] buttons

The function of these buttons will depend on the state of the [SELECT] button. If the [SELECT] button is set to PROGRAM, these buttons will select the program bank or drum kit (Drum Play mode). If the [SELECT] button is set to TRIGGER, these buttons will select which step of the arpeggiator or step sequencer will be edited. If the [SELECT] button is set to PAGE or KEYBOARD, these buttons have no function.

LENGTH LED 1...4

These indicate the length of the arpeggiator or step sequencer that is currently being played or edited. One length indicates sixteen steps.

Rear panel

1. MAIN OUTPUT

L/MONO, R jacks

These are the main stereo audio output jacks. Use these jacks to connect the RADIAS to your powered monitor speakers, stereo amp, mixer, or multitrack recorder, etc. If you’re using a monaural connection, use the L/MONO jack.

2. INDIV. OUTPUT

L, R jacks

These are sub stereo audio output jacks.

The output destination of each timbre can be set to either MAIN OUTPUT or INDIV. OUTPUT. The output destination of each timbre is specified in the Program Edit mode P03–2: TIMBRE – OUT tab page. (☞p.78 “P03–2: OUT (Timbre Output)”)

3. INPUT

INPUT 1 jack

You can connect a synthesizer or audio device to this jack. The input signal can be used as the waveform for oscillator 1. When using the RADIAS as a vocoder, this jack will be the input for the external carrier.

INPUT 2 jack

You can also connect a synthesizer or audio device to this jack. In conjunction with the INPUT 1 jack, the input signal can be used as the waveform for oscillator 1. When using the RADIAS as a vocoder, this jack will be the input for the external modulator.

[SOURCE SELECT] switch

Set this appropriately for the source that’s connected to the INPUT 2 jack.

Use the DYNAMIC MIC setting if you’re connecting a mic to the INPUT 2 jack. Use the LINE setting if you’re connecting a line-level device such as a synthesizer or audio device to the INPUT 2 jack. Use the CONDENSER MIC setting if you’re connecting the headset mic that came with the RADIAS to the CONDENSER MIC jack.

CONDENSER MIC jack

Connect the mic that came with the RADIAS to this jack.

Do not connect anything other than the included mic to the CONDENSER MIC jack.

4. ASSIGNABLE

PEDAL jack

Connect a foot pedal (expression pedal) to this jack.

SWITCH jack

Connect a foot switch to this jack.

Rear panel

5. TO KYBD (TO KEYBOARD) connector

Connect the RADIAS’ dedicated keyboard to this connector.

6. USB connector

Use a USB cable to connect the RADIAS to your computer via this jack. This connection is used to transmit/ receive MIDI data, and to exchange data with the included RADIAS Sound Editor software.

7. MIDI

MIDI IN connector

This connector receives MIDI messages. Connect it to the MIDI OUT connector or MIDI THRU connector of an external MIDI device.

MIDI OUT connector

This connector transmits MIDI messages. Connect it to the MIDI IN connector of an external MIDI device.

MIDI THRU connector

Received MIDI messages are passed on without change from this connector. Use this when you want to send the same stream of MIDI messages to more than one device.

8. ON/STANDBY

[ON/STANDBY] switch

Turns the power on/off.

9. AC9V

AC9V connector

Connect the included AC/AC power supply here.

Make all your connections with the power off (on all units!). If you don’t, you may damage your speaker system or damage your RADIAS and/or other equipment. Please use caution.

6. Connecting your computer

to AC outlet

Computer

Setup

USB cable

ASSIGNABLE SWITCH

DAMPER

3. Connecting pedals and switches

PEDAL

AC/AC power supply

1. Connecting the AC/AC power supply

4. Connecting external MIDI equipment

MIDI IN

MIDI cable

MIDI OUT

5. Connecting the audio inputs – INPUT jacks

Mic

CD player, analog record player, etc.

AUDIO OUTPUT/ AUX OUT etc.

MIC1

BAL

UNBAL

LINE IN 3

LINE IN 2

LINE IN 1

LOW CUT

75Hz

18dB/OCT

+10dB

-40dB

TRIM

AUX

MON/

EFX

+15

EFX

+15

12kHz

-15

+15

MID

2.5kHz

-12

+12

Monitor

LOW

80Hz

+15

-15

PAN

OUTPUT

MUTE

ALT 3–4

SOLO

INPUT

2. Connecting external audio

OUTPUT

INPUT

ALL BAL/UNBAL

LEFT(1/MONO)

RIGHT

BAL

MONO

UNBAL

LINE IN 4

LINE IN 6

LINE IN 5

BAL

LOW CUT

75Hz

UNBAL

18dB/OCT

LEVEL

-10

+10dB

-40dB

LINE IN 7-8

LINE IN 13-14

LINE IN 9-10

LINE IN 11-12

TRIM

AUX

MON/

EFX

+15

EFX

+15 +15

+15

12kHz

-15

+15

MID

2.5kHz

-12

+12

LOW

80Hz

+15

-15

PAN

9–10

13–14

11–12

7–8

MUTE

ALT 3–4

SOLO

TAPE

STEREO AUX RETURNS

AUX SEND

MIC4

MIC6

MIC3

MIC5

MIC2

equipment

MAIN OUTS

BAL/UNBAL

MONO

BAL OR UNBAL

LEVEL +4

-10

AUX 1

MON/ EFX

+15

PRE

POST

EFX

+15

HI 12kHz

-15 +15

MID

2.5kHz

-12 +12

LOW 80Hz

+15

-15

PAN

PHANTOM CONTROL ROOM

SOLO

Powered monitors, etc.

1. Connecting the AC/AC power supply

Connect the included AC/AC power supply to the RADIAS. After you’ve connected the AC/AC power supply to the RADIAS, plug it into an AC outlet.

2. Connecting external audio equipment

Connect the OUTPUT jacks of the RADIAS (MAIN OUTPUT, INDIV. OUTPUT) to your audio equipment (e.g., mixer or powered monitors). If you’re using a monaural connection, connect the L/MONO jack. To take full advantage of the RADIAS’ superb sound, we recommend that you output in stereo.

3. Connecting pedals and switches

Jacks are provided so that you can connect both a foot switch and a foot pedal (both sold separately) to the RADIAS for additional control.

PHONES

+20

+10

NORMALLED

AUX 1 MASTER

2 AUX

EFX TO

AUX 1

+20

MONITOR

SELECT

RETURNS

SOURCE

LEFT RIGHT

MAIN

CLIP+28

MIX

+10 +7

ALT

3-4

TAPE

-2

-4

-7

ASSIGN

-10

TO MAIN MIX

-20

NORMAL(AFL)

-30

LEVEL SET(PFL)

SOLO

0dB=0dBu

MODE

POWER

RUDE SOLO LIGHT

/ PHONES

MAIN MIX

ASSIGNABLE PEDAL jack

By connecting a pedal such as the Korg EXP-2 or XVP-10 to this jack. you can send control messages such as breath control, volume, pan, expression, etc. while keeping your hands free for performing. The function controlled by the pedal can be specified in the Global mode P08: PEDAL & SW page “A.Pedal.” The factory default setting for the assignable pedal is Expression (Exp Pedal).

☞p.119 “A.Pedal (Assignable Pedal)”

ASSIGNABLE SWITCH jack

This jack is used for a switch type of pedal such as the Korg PS-1 pedal switch or Korg DS-1H damper pedal. The foot switch can be used for various functions including switching programs, changing octaves, or turning portamento or the arpeggiator on/off. The pedal can be set to act as a momentary pedal, or as a toggle type of switch pedal. The function controlled by the switch can be specified in the Global mode P08: PEDAL & SW page “A.SwFunc.” The factory default setting for the assignable switch is Damper.

Specify the pedal polarity in the Global mode P08: PEDAL & SW page.

☞p.119 “P08–1: PEDAL/SW”

☞p.119 “A.SwFunc (Assignable Switch Function)”

4. Connecting external MIDI equipment

The RADIAS can be used as a multitimbral MIDI sound module, or as a controller for other MIDI equipment.

Using the RADIAS as a sound module

If you are using the RADIAS as a sound module, use a MIDI cable to connect the RADIAS’ MIDI IN connector to the MIDI OUT connector of your external MIDI device.

Using the RADIAS as a master keyboard

If you want to play an external MIDI device from the RADIAS’ keyboard, use a MIDI cable to connect the RADIAS’ MIDI OUT connector to the MIDI IN connector of your external MIDI device.

MIDI channel settings – Getting ready to play

If you’re using the RADIAS as a sound module or as a master keyboard, you’ll need to set the RADIAS’ global MIDI channel to match the MIDI channel of the external MIDI device that you’ve connected. To set the RADIAS’ global MIDI channel, use the Global mode P04: MIDI page “MIDI Ch” setting.

Setup

Here’s the procedure for setting the MIDI channel.

1 Make sure that the RADIAS is correctly connected to your external MIDI device. 2 Press the [GLOBAL] button.

You will enter the Global mode. The display will show the Global mode P01: GLOBAL page.

3 Use the 16KEYS [SELECT] button to select PAGE (the

PAGE LED will light), and then press the 16KEYS [4] button.

The display will show the P04: MIDI page.

4 Use the cursor buttons to select “MIDI Ch,” and use

the [PROGRAM/VALUE] dial to specify the MIDI channel.

With the factory settings, the global MIDI channel is set to 1. Set this to match the MIDI channel of the external MIDI device you’ve connected.

5 Make sure that the “Routing” setting is set to USB+MIDI or MIDI.

“Routing” speciﬁes whether MIDI data will be transmitted/received via the USB connector or the MIDI connectors. If this is set to USB, use the cursor buttons to select “Routing” and then use the [PROGRAM/VALUE] dial to choose USB+MIDI or MIDI. With this setting, MIDI data will be transmitted/received via the MIDI connectors.

6 Press the [PROGRAM] button to return to the Program Play mode. 7 Set the MIDI channel of the connected external MIDI device to match the RADIAS’ MIDI

channel setting.

For details on how to do this, refer to the owner’s manual of the external device.

Any Global parameters that you edit will revert to their prior state if you turn off the power without writing the changes into memory. If you want to keep your changes, be sure to perform the Write operation. For details on Write, refer to p.68 “5. Saving global parameters (Write).”

A RADIAS program consists of up to four timbres, and you can specify the MIDI channel individually for each timbre. If you’re playing the RADIAS from an external MIDI device, only the timbre(s) set to the same channel as the global channel will produce sound.

Setup

5. Connecting the audio inputs – INPUT jacks

You can connect any audio source (synthesizer, CD player, etc.) to the INPUT jacks. Via this connection, the audio coming from this external source can be processed in the same way as the RADIAS’ internal sound generator, or used as the carrier or modulator for the vocoder. You can also use the RADIAS as an effect processor for an external audio source. For details on these settings, refer to p.26 “Processing an external audio source.”

6. Connecting your computer

The RADIAS provides both MIDI connectors and a USB connector.

Both can transmit and receive MIDI data in the same way. Use the type of connection that’s appropriate for your setup. You’ll need to set the Global mode P04: MIDI page “Routing” appropriately for the connection you use. (☞p.116 “Routing”)

Data transfer is faster via the USB connection, so we recommend that you use the USB connector.

If you use MIDI cables to connect the RADIAS to your computer, you’ll need to purchase a separate MIDI interface of the appropriate type for your computer. For details on connecting the MIDI interface to your computer and how to set the MIDI ports, refer to the owner’s manual for your MIDI interface.

If you use an external MIDI sequencer or a sequencer program on the computer you’ve connected, playing the RADIAS’ keyboard will cause notes to be sounded in duplicate if your sequencer’s Echo Back setting is turned on. Go to the RADIAS’ Global mode P04: MIDI page and turn “Local Ctrl” off (☞p.116 “Local Control”) so that the internal connection is disconnected. However, be aware that if Local Control is off, there will be no sound if you play the RADIAS’ keyboard when using the RADIAS by itself.

Connections via the MIDI connectors

Use MIDI cables and a MIDI interface to connect the RADIAS to your computer.

Connections via the USB connector

Use a USB cable to connect the RADIAS to your computer. For details on the appropriate settings to make on the RADIAS so that you can use the RADIAS Sound Editor software, refer to p.71 “Using the included RADIAS Sound Editor software.” For details on installing the software, connecting and adjust the RADIAS’ settings, and using the software, refer to “USB-MIDI driver installation and settings” and the RADIAS Sound Editor software owner’s manual on the CD-ROM included with your RADIAS.

Connecting the RADIAS’ dedicated keyboard RD-KB

For details on how to connect the keyboard, refer to the owner’s manual included with the keyboard RD-KB.

Quick Start

The RADIAS contains demo songs, numerous programs, and a wide range of advanced features and functions. For a quick introduction to all this fun, follow along with this Quick Start guide.

Turning on the power and adjusting the volume

By now, you’ve used the preceding pages to hook up your RADIAS correctly, and you’re ready to begin exploring.

Turning the power on/off

Be sure all the other equipment connected to the RADIAS is off before turning the RADIAS on.

1 Press the rear panel [ON/STANDBY] switch to turn

on the power.

The start -up screen will appear in the display, and then the display will show the Program Play mode screen. Each time you turn the power on, the RADIAS will be in the Program Play mode.

2 Turn on the other equipment that’s connected to the

RADIAS.

When you’re ready to turn the power off, first turn off the power of the connected equipment, and then press the [ON/STANDBY] switch on the RADIAS’ rear panel to turn off the power.

Adjusting the volume

Begin with the [VOLUME] knob all the way down. Play a few notes on the keyboard and gradually raise the volume to an appropriate level using the [VOLUME] knob. This knob also adjusts the headphone volume.

Demo playback

The RADIAS contains demo songs that take advantage of its rich sounds and expressive potential.

Playing the demo songs

1 While holding down the [DRUM] button, press the

[GLOBAL] button for approximately one second.

The demo songs will play consecutively, starting with the ﬁrst song. During playback, the display will show the song name.

2 You can press the cursor buttons to switch demo

songs during playback.

3 Press the [EXIT] button to stop demo playback and

return to the Program Play mode.

Quick Start

Playing programs – Program Play mode

The RADIAS contains a total of 256 programs, organized into sixteen banks (A–P) with sixteen programs in each bank. Here’s how to select and play different programs.

Entering the Program Play mode

The RADIAS defaults to the Program Play mode each time the power is turned on.

1 Press the [PROGRAM] button.

When the RADIAS is in the Program Play mode, the [PROGRAM] button will be lit, and the top line of the display will read PROGRAM PLAY. The rest of the display will show various information such as the tempo, program category, bank, number, program name, and the names of the timbres used by the program.

Below the program name is a list of the timbre names that are active (turned on) in the current program. Timbres that are off are shown as “------------”.

A symbol at the left of a timbre name indicates the timbre that can be edited by the front panel knobs and buttons. To specify the timbre that you want to edit from the front panel, use the Program Edit mode P02–1: COMMON – PROG tab page “PanelEdit” setting (☞p.75 “PanelEdit”).

If the arpeggiator is assigned to a timbre, an “ ” symbol is shown at the right of the timbre name. If a step sequencer is assigned to a timbre, a “ ” symbol (step sequencer 1) or “ ” symbol (step sequencer 2) is shown at the right of the timbre name. If a drum kit is assigned to a timbre, a “ ” symbol is shown at the right of the timbre name. In the illustration at the above right, step sequencer 1 is assigned to timbre 1 and timbre 2, the arpeggiator is assigned to timbre 3, and a drum kit and step sequencer 2 are assigned to timbre 4.

Selecting and playing a program

You can select a program in a variety of ways. Go ahead and get familiar with selecting and listening to the wide variety of programs provided by the RA- DIAS.

Using the 16KEYS PROGRAM BANK/TRIGGER [UP]/[DOWN] buttons and [1]–[16] keys

This method lets you quickly select a specific program.

1 Use the 16KEYS [SELECT] button to choose PROGRAM (the PROGRAM LED will light). 2 Use the PROGRAM BANK/TRIGGER [UP] or [DOWN] button to select a bank.

There are 16 banks, A–P. Use these buttons to choose a bank.

3 Use the 16KEYS [1]–[16] to select a program number.

Program numbers 1–16 in each bank correspond to 16KEYS [1]–[16]. This way, you can directly select the desired program from within the bank.

Playing programs – Program Play mode

Using the [PROGRAM/VALUE] dial

You can use the [PROGRAM/VALUE] dial to select programs.

Turn the dial toward the right to step through the programs in ascending order, or toward the left in descending order.

Selecting programs by category

Each program can be assigned to a category. You can select programs by from within a category. This is convenient when you want to find a program with the same type of sound.

1 Use the cursor [π/√] button to move the cursor to the

category indication in the display.

2 Use the [PROGRAM/VALUE] dial to select the

desired category.

The factory-set categories are listed below.

1: Bass 9: Bell/Decay 2: Lead 10: Acoustic 3: Synth Hard 11: S.E/Hit/Drum 4: Synth Soft 12: Arp/Seq 5: Motion 13: Split 6: Strings/Pad 14: Audio In 7: Keyboard 15: Vocoder 8: Guitar/Pluck 16: User

3 Use the cursor [π/√] button to move the cursor to the

word “Category.”

4 Use the [PROGRAM/VALUE] dial to select a program.

You’ll be able to select only programs that are assigned to that category. With the factory settings, sound programs of same variety are assigned to each category.

For details on how to assign a category to a program, refer to p.36 “Assigning a category.”

Playing the RADIAS from the 16KEYS [1]–[16] keys

You can use the 16KEYS [1]–[16] as a keyboard, to play the RADIAS from the front panel.

If the dedicated keyboard is connected, you can't use the 16KEYS [1]–[16] keys to play the sounds.

1 Use the 16KEYS [SELECT] button to choose KEYBOARD (the KEYBOARD

LED will light).

Quick Start

2 Play the RADIAS using the 16KEYS [1]–[16] keys.

The current program will play. The 16KEYS [1]–[16] keys are assigned to the following pitches.

Changing the octave

You can change the range of the 16KEYS [1]–[16] keys by octaves, with a maximum range of a maximum of two octaves up or two octaves down. The LED indicator will show the currently selected octave.

Use the OCTAVE [UP] button or [DOWN] button to shift the pitch in one-octave steps.

Arpeggiator

The arpeggiator detects the notes being played on the keyboard, and automatically plays these notes one at a time in a variety of arpeggiated styles (i.e., arpeggiates the notes of the chord).

Hold down a chord on the keyboard, and it will sound as shown at right (Arpeggio type: Up)

On the RADIAS, you can select one of six arpeggio types, and also specify the duration and spacing of each note in the arpeggio.

Assigning the arpeggiator to a sound

Here’s how to assign the arpeggiator to a specific timbre in a program.

1 Select a program where the arpeggiator isn’t already assigned to a timbre.

Try using a simple bell-type sound with a short sustain.

2 Use the TIMBRE SELECT [1]–[4] buttons to choose which timbre(s) will be played by the

arpeggiator.

The button of the selected timbre will blink.

3 Use the ARPEGGIATOR/STEP SEQUENCER

[SELECT] button to select ARPEGGIATOR.

When the arpeggiator is assigned to a timbre, the “ ” indication will appear at the right of the timbre name.

4 Use the ARPEGGIATOR/STEP SEQUENCER [ON]

button to turn the arpeggiator on.

The button will light when the arpeggiator is on.

If a step sequencer is assigned to another timbre, the step sequencer will also be turned on at this time.

Arpeggiator

5 Hold down a chord on the keyboard.

You will hear the arpeggio pattern.

6 Turn the Latch function on.

Press the [LATCH] button. When Latch is on, the latch button will light. With the Latch on, the arpeggio will continue playing even after you remove your hand from the keyboard. With the Latch off, the arpeggio will stop playing when you remove your hand from the keyboard. Pressing the [LATCH] button will turn the Latch feature on and off.

7 Use the [TYPE/STEP REC] button to select the arpeg-

gio type.

The display will show the arpeggio type. The arpeggio type will change each time you press the button. Press the PAGE [+][–] button or [EXIT/NO] button to return to the previous screen.

8 Use the [TEMPO] knob or the [TAP TEMPO/REST-

TIE] button to adjust the tempo.

Turn the [TEMPO] knob toward the right to speed up the tempo, or toward the left to slow down the tempo. You can set the tempo manually simply by tapping the [TAP TEMPO/REST-TIE] button several times at regular intervals. The tempo you specify is shown in the upper right of the display. The TEMPO LED will blink at quarter-note intervals of the speciﬁed tempo.

9 Turn the [GATE] knob to adjust the duration of the notes.

Turning the knob toward the right will lengthen the duration of the notes, and turning it toward the left will shorten the duration.

Other settings for the arpeggiator

The arpeggiator also allows you to set the Octave, Key Sync, Scan Zone, Resolution, Swing, and whether or not each step will be heard. For details on these parameters, refer to p.47 “Editing the arpeggiator,” and p.96 “4. ARPEGGIATOR.”

Quick Start

Step Sequencer

You can use the two step sequencers to record and play back a phrase or pattern.

This section explains how to play a step sequence and make some simple edits. For details on recording and editing, refer to p.50 “Step sequencer recording and editing.”

Playing a program using the step sequencer

Some of the factory programs already contain sequence data. For this example, we can select and play one of these programs.

1 Select a program from the “Arp/Seq” category that

has a step sequence assigned to one of the timbres.

If a step sequencer is assigned, a “ ” or “ ” will be displayed at the right of the timbre name.

☞p.21 “Selecting programs by category”

2 If the ARPEGGIATOR/STEP SEQUENCER [ON] but-

ton is not lit, press the [ON] button to make it light.

The button will light when turned on.

If the arpeggiator is assigned to another timbre, the arpeggiator will also be switched on/off at this time.

3 Press the TIMBRE SELECT [1]–[4] button of the timbre being played by the step sequencer.

Select a timbre which has “ ” or “ ” displayed to the right of the timbre name. The selected timbre button will blink.

4 Hold down a key on the keyboard.

The step sequencer will begin playing.

If the step sequencer does not begin playing, try playing other notes of the keyboard. Some programs may limit the range of notes that triggers the step sequencer.

If you are playing the RADIAS on its own without connecting its dedicated keyboard, you can set the 16KEYS [SELECT] button to KEYBOARD, and use the 16KEYS [1]–[16] to make the step sequencer play.

Other settings for the step sequencers

In addition to the settings mentioned above, you can link step sequencers 1 and 2, adjust the length of the steps, specify the “Run Mode,” transposition, scan zone, resolution, swing, the gate time for each step, velocity and the note numbers that will be played. For details on these parameters, refer to p.50 “Step sequencer recording and editing,” and p.99 “5. Step Sequencer.”

Modulation Sequencer

The modulation sequencer applies time-varying change to sound parameters in a way similar to an analog sequencer. When the sound is played, it will change over time according to the values stored for each of the sixteen steps. Since three modulation sequencers are provided for each timbre, this can be used to create very complex sounds.

Playing a program that uses the modulation sequencer

All factory programs already contain modulation sequencer data. we can select and play one of these programs.

1 Select a program from the “Motion” category that uses modulation sequencing.

If modulation sequencing is being used, the MOD SEQUENCER [ON] button will be lit. Keep in mind, this button will only reﬂect the Mod Sequencer status if the selected timbre; you may ﬁnd it necessary to use the TIMBRE SELECT [1]–[4] buttons to locate the timbre using Mod Sequencing.

☞p.21 “Selecting programs by category”

In some programs, the modulation sequencer, the arpeggiator, and both step sequencers may be turned on. Therefore, you may wish to mute the other timbres by holding down the [EXIT/NO] button and pressing their respective TIMBRE SELECT [1]–[4] button.

2 Play the keyboard.

The sound of the program will change over time as the modulation sequence runs.

3 Use the [TEMPO] knob or [TAP TEMPO REST/TIE] button to adjust the speed at which the

sound changes.

The speed of the changes produced by the modulation sequencer can be adjusted in the same way as the arpeggiator or step sequencers.

☞p.22 “Assigning the arpeggiator to a sound”

4 Use the MOD SEQUENCER [SELECT] button to

select a modulation sequencer (MOD1–MOD3).

The LED of the selected sequence will light, and the assigned parameter will appear in the display.

You can’t change the parameter that’s assigned to the modulation sequencer in the Program Play mode. To assign the parameter, use the Program Edit mode P12: MOD SEQ – SEQ1–SEQ3 tab pages (☞p.92 “P12 MOD SEQ (Modulation Sequencer)”).

Quick Start

Audio In

You can use the RADIAS’ filters, amp, and effects to process an external audio source in the same way as an internal oscillator waveform. The following section describes how to connect a CD player or an MD player and modify the incoming audio.

Processing an external audio source

Turn off the power of both devices before you connect any external device. You should also turn the RADIAS’ AUDIO IN [1/INST] and [2/VOICE] knobs to the 0 position.

1 Connect the output jacks of your external audio device to the RADIAS’ INPUT jacks.

If you’re connecting in stereo, connect to both the INPUT 1 and INPUT 2 jacks. ☞p.18 “5. Connecting the audio inputs – INPUT jacks”

The INPUT jacks are monaural phone plugs. If necessary, use the appropriate conversion adaptor for the cables you’re using.

2 Turn on the power of both devices. 3 Select a program in the Program Play mode.

We recommend that you select an initialized program (program name is “Init Program”) from the P bank.

4 Use the OSCILLATOR 1 [WAVE] button to select AUDIO IN. 5 Input an audio source from your external audio device, and use

the AUDIO IN [1/INST] or [2/VOICE] knobs to adjust the input level.

Adjust the input level so that the AUDIO IN LEDs do not light red.

6 Play the keyboard.

The audio source will be processed using the current settings, and will be sent to the outputs as you continue playing.

7 Use the knobs and buttons of the front panel to process the audio source that is being input.

For details on how to set the various parameters, refer to p.37 “Program parameter editing.”

Pitch-related parameters have no effect on an audio source from the INPUT jacks.

Vocoder

Here’s how to select one of the RADIAS’ vocoder programs and try out some of the vocoder function.

On the front panel, functions labeled in white characters on a dark background are vocoder parameters.

Playing a vocoder program

Before you connect a mic, set the AUDIO IN [2/VOICE] knob to the 0 position.

1 Connect the mic that came with your RADIAS to the CONDENSER MIC jack.

☞p.18 “5. Connecting the audio inputs – INPUT jacks”

2 Set the rear panel [SOURCE SELECT] switch to CONDENSER MIC.

☞p.14 “Rear panel”

3 Turn on the power of the RADIAS. 4 Select a program from the vocoder category.

The TIMBRE SELECT [VOCODER] button will be lit for programs that use the vocoder. In addition, there will be a “V” symbol at the right of the program name shown in the display. Some of the factory programs do not use an external input as the modulator source for the vocoder. In this example we’re trying to use the vocoder with the connected mic, so select a program that uses the external input. How can you tell? Choose a vocoder program that does not produce sound when you play the keyboard (without talking into the microphone).

☞p.21 “Selecting programs by category”

Vocoder

5 Press the [VOCODER] button so that the front panel knobs and buttons will control the

vocoder.

6 Speak or sing into the mic, and use the AUDIO IN 2 knob to adjust the input level.

Adjust the level so that the LED above the AUDIO IN 2 knob does not light red. You can turn up the AMP [DIRECT LEVEL] knob to hear the direct sound from the microphone. This lets you make adjustments while listening to the incoming signal.

7 While you speak or sing into the mic, play the keyboard.

The sound processed by the vocoder effect will be output. If you have difﬁculty hearing the result, try adjusting the MIXER [SRC1] knob.

If you are playing the RADIAS on its own without connecting its dedicated keyboard, you can set the 16KEYS [SELECT] button to KEYBOARD, and use the 16KEYS [1]–[16] to play the sound.

Quick Start

Playing a Drum Kit – Drum Play mode

The RADIAS provides thirty-two drum kits, each consisting of sixteen drum instruments. You can assign these instruments to note numbers and play them from the keyboard, and one timbre in each program can be assigned a drum kit.

In the Drum Play mode you can play drum kits directly from the keyboard. Here’s how to select and play a drum kit.

1 Press the [DRUM] button.

The display will indicate that you’re in the Drum Play mode. From top to bottom, the display shows the number and name of the drum kit, and the name, note number, and group of the selected drum instrument.

2 Use the [PROGRAM/VALUE] dial to select a drum

kit.

Turn the dial to select one of the thirty-two drum kits.

3 Play the keyboard.

The drum instrument assigned to each note will sound. In the factory-set drum kits, drum instruments are assigned to the C2–D#3 keys. The display will indicate the name, note number, and group of the drum instrument you played. You can also play the drum kit using 16KEYS [1]–[16].

In the Drum Play/Edit modes, each drum instrument will sound on the global MIDI channel.

In the Drum Play/Edit modes, the operation of the effects, arpeggiator, and step sequencer will behave according to the timbre that was assigned to a drum kit in the program that was selected when you hit the [DRUM] button to enter the Drum Play mode. If no drum kit was assigned to the program, the settings of initial program will be used. In this case, you will only be able to change the on/off switch settings for the assigned effect or the arpeggiator.

Editing

A program consists of a large number of parameters; the names and synth parameters of all four timbres, the program common settings such as program name, vocoder settings etc. If you want to create a program “from scratch,” you’ll need to understand what each of these parameters does. An easier way to get started is to start by choosing one of the factory programs or timbre templates and editing the parameters to understand what they do.

Basic editing procedure

This section explains the basic operations for editing and setting parameters. You can edit the sound of a program in either the Program Play mode or in the Program Edit mode. If a drum kit is assigned to a program, you can edit those drum sounds in the Drum Play mode or in the Drum Edit mode.

Editing in the Program Play mode

In the Program Play mode you can select and play programs, and you can also use the front panel knobs and buttons to edit the sound of the program as you play, for example by raising the filter cutoff frequency or by making the attack slightly slower.

Selecting the timbre to edit

If the program consists of more than one timbre, here’s how to select the timbre to be edited.

1 Use the TIMBRE SELECT [1]–[4] buttons to select the

timbre you want to edit.

The button for the selected timbre will blink. A symbol is shown in front of the timbre name in the display. The front panel knobs and buttons and the timbre parameters shown in the display will apply to the timbre that is selected.

When you switch programs (or perform a Program Dump), the lowest-numbered active timbre is selected.

2 Operate the button or knob for the parameter you want to edit.

Each time you press the button, the function assigned to that button will switch between on and off; or pressing the button will advance through a list of available values for that parameter. The button or LEDs will light to indicate the current status. The parameter for a knob can be adjusted just like an analog control, as shown by the markings around the knob. In the case of both knobs and buttons, the ORIGINAL VALUE LED will light when the current setting matches the value stored in the program.

Editing in the Program Edit mode

If you want to edit a parameter that is not assigned to a knob or button, or if you want to view the parameter values in the display while you edit them, you’ll need to enter the Program Edit mode.

Entering the Program Edit mode

1 From the Program Play mode, press the [EDIT/YES]

button.

This will open up the Program Edit mode. From the top down, the display shows the page number and page name, and the parameter names and values.

Editing

Selecting the timbre to edit

If the program consists of more than one timbre, here’s how to select the timbre you want to edit.

2 Use the TIMBRE SELECT [1]–[4] buttons to select

the timbre you want to edit.

The button for the selected timbre will blink. The front panel knobs and buttons and the timbre parameters shown in the display will apply to the timbre that is selected.

If you want to edit the vocoder, press the [VOCODER] button.

You can’t select a timbre that’s currently off (a timbre whose button is unlit). To turn on a timbre that’s currently turned off, hold down the [EXIT/NO] button while selecting the timbre using the TIMBRE SELECT [1]–[4] buttons. This can also be used to turn any timbre off.

Depending on the Program Edit mode P02–1: COMMON – PROG tab page “PanelEdt” (panel edit) setting, the timbre you select here may not necessarily match the front panel knobs and buttons (☞p.75 “PanelEdit”).

Selecting pages and tab pages

The Program Edit mode consists of multiple pages. To select a page you can use the PAGE [+][–] buttons or the 16KEYS [1]–[16].

Press the PAGE [+] or [–] button.

You will step through the pages or tab pages one at a time. If a page contains more than one tab page, a symbol is shown in the lower right of the page. Press the PAGE [+] button to step through the tab pages.

Use the 16KEYS [SELECT] button to choose PAGE, and press a 16KEYS [1]–[16] key.

This method lets you move directly to the page containing the parameter you want to edit. The following table shows how the 16KEYS [1]–[16] keys correspond to the various pages. If a page contains more than one tab page, you can step through the tab pages by repeatedly pressing the corresponding [1]–[16] key.

[1]–[16] key Page Tab pages

[1] P01: NAME PROG TIMBRE [2] P02: COMMON PROG DRUM E.F [3] P03: TIMBRE TMBR OUT ZONE MIDI CC-A CC-B [4] P04: VOICE VOICE UNISON [5] P05: PITCH [6] P06: OSC/MIXER OSC1 OSC2 MIXER [7] P07: FILTER FILTER1 FILTER2 [8] P08: AMP

[9] P09: EG EG1 EG2 EG3 [10] P10: LFO LFO1 LFO2 [11] P11: PATCH P1 P2 P3 P4 P5 P6 [12] P12: MOD SEQ COMN SEQ1 SEQ2 SEQ3 [13] P13: EQ/FX EQ IFX1 IFX2 MFX [14] [15] P15: STEP SEQ1/2 COMN TRIG STEP COMN TRIG STEP [16] P16: UTILITY PROG TMBR MOD FX ARP

P14: ARPEGGIATOR

COMN TRIG STEP

Selecting and editing a parameter

1 Use the cursor buttons to select the parameter you

want to edit.

When you press one of the cursor button, the cursor will move to the next parameter, and it will be highlighted in the display.

If there are numerous parameters, a ▼ symbol is shown at the right edge of the page, indicating that you can access additional parameters below those shown in the screen by scrolling. As you press the cursor [†/®] button to move the cursor downward, the additional parameters will appear. When the cursor no longer moves when you press the cursor [†/®] button, you have reached the last parameter of that page.

In some cases, the setting of one parameter may affect the number or content of other parameters in the page. A symbol is shown in front of parameters that are affected by another parameter in this way. For example in the P04–1: VOICE – VOICE tab page if you change “Assign” from Poly to Mono, the additional parameters “Priority” and “Trigger” will appear.

Basic editing procedure

Changing a value

1 Use the front panel knobs, buttons, or the [PROGRAM/VALUE] dial to

change a value.

In generally, you will use the front panel knobs and buttons. You can use the [PROGRAM/VALUE] dial if there is no knob or button for that parameter, or if you want to make ﬁne adjustments to the value. Turning the dial will increment or decrement the value in steps of one.

You will also use the [PROGRAM/VALUE] dial to specify a program when writing a program, and when entering a name for a program.

If the Global mode P02: MEMORY page “PageJump” setting is On, operating a knob or button in the Program Edit mode will automatically cause the display for that parameter to appear. With the factory settings this is turned On (☞p.115 “PageJump”).

Returning to the Program Play mode

Press the [EXIT/NO] button or the [PROGRAM] button.

You will return to the Program Play mode.

Editing

Compare function

While editing a program, you can compare the edits you have made to the original program or timbre.

1 Press the [COMPARE] button.

The display will indicate “Compare.” Play the keyboard to hear the sound as it was before you began editing it.

You can’t operate the knobs or buttons in the “compare” state.

2 Press the [EXIT/NO] button.

The display will return to its previous state. When you play the keyboard you will once again hear the edits you have already made, and you can continue editing.

Saving an edited program

When editing a sound, you need to save the changes you have made if you want to keep them. If you don’t save your edits, they will be lost the next time you select another program, load a template, or turn the RA- DIAS off. If you want to keep your changes, you must use the Write operation.

In order to write data, the Global mode P02: MEMORY page “Protect” setting must be Off. From the factory, this setting is On (☞p.115 “Protect”).

Programs can be written while in the Program Play mode or the Program Edit mode, drum kits or drum instruments can be written in the Drum Play mode or the Drum Edit mode, and global parameters can be written in the Global mode.

1 In the Program Play mode or the Program Edit mode,

press the [WRITE] button.

The “Write dialogue” dialog box will appear.

2 Specify the write-destination program number in the

“To” ﬁeld.

3 Press the [WRITE] button or the [EDIT/YES] button to

execute the Write operation.

The data will be written, and you will return to the mode in which you were. If you decide to cancel the Write operation, press the [EXIT/NO] button.

Never turn off the power while data is being written. The data may be damaged if you do so.

You can use the cursor [π/√] button to select “Write,” and then choose one of the following three types of content to write.

Program: Save the program. Formant: Save the formant motion data. Prg&Frmnt: Save both the program and the formant motion data.

If there is no newly recorded formant option data (☞p.58 “Recording formant motion data”), the “Write” ﬁeld will show Program. If there is newly recorded formant motion data, “Write” will show Prg&Frmnt.

Basic editing procedure

Loading other timbre sounds/The Template function

The Template function can be a real convenience when you’re creating a program sound or an effect. You can load a program template that is close to the type of sound you have in mind, and then edit it to create a program much more easily than working from scratch. You can also store sounds and effect settings you created as template data for later use.

You can load templates while you’re in the following pages.

Mode Page Tab page Type of template

Program Edit mode

Drum Edit mode P02: COMMON DRUM MAP Drum instrument setting template

The RADIAS makes no distinction between timbre templates and drum instrument templates, and they are held in the same memory area, you can exchange data between them.

When you load a template, edited data that has not been written will be lost. If you want to keep the data you’re editing, you must first write the data before you load the template.

Loading other timbre settings or templates

Here’s how to load other timbre settings or insert effect templates.

P03: TIMBRE TMBR Timbre setting template P13: EQ/FX IFX1, IFX2, MFX Effect setting template

Loading other timbre sounds

1 Go to the Program Edit mode P03–1: TIMBRE –

TMBR tab page.

2 Use the cursor [π/√] button to select the timbre slot

or location where the timbre will be loaded.

You can’t select a template for a timbre that is turned off.

3 Use the [PROGRAM/VALUE] dial to select a timbre.

In addition to loading one of the timbre, you can also load any of the active timbres form any of the programs stored in the RADIAS. As you turn the [PROGRAM/VALUE] dial to the right, you will ﬁrst see the active timbres starting with the currently selected program, and then the templates (“Tmp001:Init P”, etc.). When you stop turning the dial, the timbre or template shown in the display will be loaded to that location.

In the Drum Edit mode (Drum Edit mode P02–1: COMMON, DRUM MAP page), use the 16KEYS [1]–[16] keys to select the instrument into which you want to load a template, and then use the cursor buttons to move the cursor to “Load:” in the top line. (☞p.61 “Loading and editing an another drum instrument or drum instrument template”)

In the Drum Edit mode, first the drum kit instruments and then the templates are displayed.

Loading an insert effect template

1 Go to the Program Edit mode P13–2: EQ/FX – IFX1 tab page. 2 Use the cursor [π/√] button to move the cursor to “Load:”. 3 Use the [PROGRAM/VALUE] dial to select a template.

The template you select will be loaded, and the parameters of the insert effect will be rewritten by the settings of the template.

Editing

Making a template

Here’s how to make a timbre template. Templates you make can be loaded in the same way as the factory templates. You will use the P16: UTILITY page to make templates. (☞p.107 “P16 UTILITY,” p.113 “P16 UTILITY”)

1 Select a program that uses a timbre you want to store as a template, and enter the Program Edit

mode.

2 Use the TIMBRE SELECT [1]–[4] buttons to select the timbre that you want to store as a tem-

plate.

3 Go to the P16–2: UTILITY – TMBR tab page. 4 In “Edit,” choose “MakeTemplate.” 5 In “Dest,” specify the destination number in which

you want to store the template.

6 In “Name,” specify a name for your new template.

To enter a name for the template, use the cursor buttons to move the cursor and use the [PROGRAM/VALUE] dial to specify each character.

☞p.35 “How to assign a name”

7 Change “Sure?” to “Press [YES],” and then press the [EDIT/YES] button.

The “Sure?” ﬁeld will indicate Complete. The template has been stored.

Assigning a name

The RADIAS lets you assign names to the following types of data.

If you fail to execute the Write operation after you’ve entered a name, the name will revert to its prior state. For details on writing, refer to p.32 “Saving an edited program.”

• Programs

The program name is displayed in the Program Play mode. To enter a program name, use the Program Edit mode’s P01: NAME page (☞p.74 “P01–1: PROG (Program Name)”).

•Timbres

Timbre names are displayed along with the program name in the Program Play mode. To enter a timbre name, use the Program Edit mode’s P01: NAME page (☞p.74 “P01–2: TIMBRE (Timbre Name)”).

Because the same drum kit may be used in many programs, you can’t edit the timbre name if you’ve assigned a drum kit. Drum kit names are created in the Drum Edit mode (as described below).

• Categories

Category names are displayed along with program names in the Program Play mode. To enter a category name, use the Global mode’s P10: CATEGORY NAME page (☞p.120 “P10–1: CATEGORY NAME”).

• Drum kits

Drum kit names are displayed in the Drum Play mode. In the Drum Play mode you must first select the drum kit whose name you want to enter. To enter a drum kit name, use the Drum Edit mode’s P01: NAME page (☞p.111 “P01–1: KIT (Drumkit Name)”).

• Drum instruments

In the Drum Play mode you must first select the drum instrument whose name you want to enter.

Basic editing procedure

To enter a drum instrument name, use the Drum Edit mode’s P01: NAME page (☞p.111 “P01–2: INST (Drum Instrument Name)”).

•Templates

Template names are displayed when you are loading templates. You can enter a template name when creating a template in the P16: UTILITY page of the mode in which you’re creating the template (☞p.107 “P16 UTILITY,” p.113 “P16 UTILITY”).

How to assign a name

Here we will use the example of assigning a name to a program. You can use the same procedure to assign names other than program names. Before you proceed, use the Program Play mode to select the program whose name you want to edit.

Using the cursor buttons and the [PROGRAM/VALUE] dial

1 Go to the Program Edit mode P01–1: NAME – PROG

tab page.

2 Use the cursor buttons to move the cursor to the char-

acter you want to change.

3 Use the [PROGRAM/VALUE] dial to choose the

desired character.

4 Repeat steps 2–3 to edit the name of the program.

You can specify a program name of up to twelve characters.

Using the [EDIT/YES] button and the sixteen knobs

With the P01–1: NAME – PROG tab page displayed, you can use the front panel [EDIT/YES] button and the sixteen knobs to edit the program name as follows.

Hold down the [EDIT/YES] button and turn knobs 1–12 (PORTAMENTO [TIME] – LFO2 [FREQ]) to change the ﬁrst through twelfth character of the name.

Hold down the [EDIT/YES] button and turn knob 13 (EQ [LO]) to choose uppercase alphabetical characters for the selected character.

Hold down the [EDIT/YES] button and turn knob 14 (INSERT FX [EDIT1]) to choose lowercase alphabetical characters for the selected character.

Hold down the [EDIT/YES] button and turn knob 15 (INSERT FX [EDIT2]) to select numerals for the selected character.

Hold down the [EDIT/YES] button and turn knob 16 (MASTER FX [EDIT]) to select symbols (including a space) for the selected character.

Deleting a character

1 Use the cursor buttons to move to the character you want to delete. 2 Hold down the [EDIT/YES] button and press the cursor [π/√] button.

The selected character will be deleted.

Inserting a character

1 Use the cursor buttons to move to the location at which you want to inset a character. 2 Hold down the [EDIT/YES] button and press the cursor [†/®] button.

A character will be inserted at the selected location. The inserted character will be the character that was most recently deleted. The ﬁrst time you insert, this will be a space.

Editing

Assigning a category

When you specify a program name, you can also assign that program to a category. If you assign an appropriate category to each program, you’ll be able to find programs more efficiently (☞p.21 “Selecting programs by category”).

1 Go to the Program Edit mode P01–1: NAME – PROG

tab page.

2 Use the cursor buttons to move the cursor to “Cate-

gory.”

3 Use the [PROGRAM/VALUE] dial to select the cate-

gory you want to assign.

Program parameter editing

Synth parameter editing

This section explains how to edit the synthesis parameters that make up an individual timbre. The following section assumes that you have started by pressing the front panel TIMBRE SELECT [1] button to select timbre 1 as the object of editing, and that you are in the Program Edit mode.

You must press the [WRITE] button to write the program if you want to save the results of your editing. If you don’t Write your changes, they will be lost.

Changing the voice assign mode

Here you can set the timbre to play in a monophonic or polyphonic style. Selecting mono will cause other “mono-related” parameters to appear.

1 Go to the P04–1: VOICE – VOICE tab page. 2 In “Assign,” specify how the timbre will be sounded.

Choose Poly if you want to be able to play chords, or Mono if you want to play only single notes.

3 If “Assign” is set to “Mono,” you can also specify

“Priority” and “Trigger.”

“Priority” speciﬁes the key that will be given priority when you hold down more than one key at a time. “Trigger” speciﬁes how subsequent notes will be triggered when you play the next note before releasing the previously played key.

If you want to get a richer sound, use the front panel [UNISON] button to turn on the Unison function. This function stacks multiple notes together. In the P04–2: VOICE – UNISON tab page you can specify the number of notes that will be stacked. (☞p.80 “P04–2: UNISON”)

Oscillator settings

Here’s how to set the oscillator parameters that are the basis of the timbre.

Oscillator 1 settings

1 Use the OSCILLATOR 1 WAVE buttons to select the waveform for

oscillator 1.

Use these buttons to step through the waveforms. The LED of the selected waveform will light. You can choose one of nine different waveforms, including an external audio input (AUDIO IN).

2 Use the OSCILLATOR 1 [OSC MOD] button to select the type of

modulation being applied to oscillator 1.

The type will switch each time you press the button, and the LED for the selected modulation type will light. You can choose one of four modulation types.

If you’ve selected FORMANT, NOISE, SYNTH PCM, DRUM PCM, or AUDIO IN as the waveform, the only available modulation type will be WAVEFORM.

3 Use the [CONTROL 1] and [CONTROL 2] knobs to specify the

waveform parameters.

The parameters that are controlled by the [CONTROL 1] knob and [CONTROL 2] will depend on the waveform and the modulation type you’ve selected.

For details on the oscillator parameters, refer to p.81 “P06–1: OSC 1.”

Editing

Oscillator 2 settings

1 Use the OSCILLATOR 2 [WAVE] button to select the waveform of

oscillator 2.

The waveform will change each time you press the button, and the LED of the selected waveform will light. 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 OSCILLATOR 2 [OSC MOD] button to select the modula-

tion type for oscillator 2.

The type will switch each time you press the button, and the LED for the selected modulation type will light. You can choose one of three modulation types.

3 Use the [SEMITONE] knob 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] knob to adjust the pitch of oscillator 2.

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

Adjusting the volume of each oscillator

1 Use the MIXER [OSC 1] knob to adjust the volume of oscillator 1. 2 Use the MIXER [OSC 2] knob to adjust the volume of oscillator 2. 3 Use the MIXER [NOISE] knob to adjust the volume of the noise generator.

Filter settings

Selecting the routing

1 Use the [ROUTING] button to select the ﬁlter rout-

ing.

Each time you press the button, the routing of ﬁlters 1 and 2 will change. The LED of the selected routing will light. You can choose one of four different routings. If you choose SINGLE, only ﬁlter 1 will be used.

Filter 1 settings

1 Use the FILTER 1 [TYPE] knob to select the type of

ﬁlter being used by ﬁlter 1.

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.

Program parameter editing

2 Use the FILTER 1 [CUTOFF] knob to adjust the cutoff frequency of ﬁlter 1.

Turning the knob toward the right (increasing the value) will make the sound brighter.

3 Use the FILTER 1 [RESONANCE] knob to adjust the resonance of ﬁlter 1.

Turning the knob toward the right (increasing the value) will boost the region near the cutoff frequency. The effect of resonance is also greatly affected by the ﬁlter type and cutoff frequency setting.

Depending on the cutoff frequency and the input sound, raising the resonance value may cause distortion.

4 Use the FILTER [SELECT] button to select FILTER 1, and use the [EG

1 INT] knob to adjust the depth of the effect that EG1 will have on the cutoff frequency of ﬁlter 1.

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).

Filter 2 settings

1 Use the FILTER 2 [TYPE] button to select the type of ﬁlter being used

by ﬁlter 2.

The ﬁlter type will change each time you press the button, and the LED of the selected ﬁlter type will light. The ﬁlter type will have a major effect on the character of the sound.

If the FILTER 1 [ROUTING] button has been set to SINGLE, filter 2 is not used and cannot be edited.

2 Use the FILTER 2 [CUTOFF] knob to adjust the cutoff frequency of

ﬁlter 2.

Turning the knob toward the right (increasing the value) will make the sound brighter.

3 Use the FILTER 2 [RESONANCE] knob to adjust the resonance of

ﬁlter 2.

Depending on the cutoff frequency and the input sound, raising the resonance value may cause distortion.

4 Use the FILTER [SELECT] button to select FILTER 2, and use the [EG 1 INT] knob to adjust the

depth of the effect that EG1 will have on ﬁlter 2’s cutoff frequency.

Editing

Creating time-varying change in the tone (EG1)

EG1 applies time-varying change to the cutoff frequency (the “Cutoff” of FILTER 1 or FILTER 2).

EG1 applies the same effect to filter 1 and filter 2.

You can edit the virtual patching so that EG1 will apply modulation to other parameters as well.

Note on

a: Attack Time c: Sustain Level b: Decay Time d: Release Time

Note off

Time

Envelope settings for tonal change

1 Use the EG 1 [ATTACK] knob to adjust the attack time (the time over which the tone changes

during the beginning of the note).

Turn the knob toward the right to make the tone change more slowly, or turn it toward the left to make the tone change more quickly.

If turning this knob does not produce results, try adjusting the FILTER [EG 1 INT] knob or make sure that the MOD SEQUENCER [SELECT] button is set to make EDIT lit. If an LED other than EDIT is lit, you can’t edit the EG or LFO. (These knobs are used to edit the modulation sequencer data.)

2 Use the EG 1 [DECAY] knob to adjust the decay time (the time over which the tone falls from

its peak).

Turning the knob toward the right (i.e., increasing the value) will make the tone change more slowly until it reaches a stable tone (if sustained).

3 Use the EG 1 [SUSTAIN] knob to adjust the sustain level (the brightness during the sustain).

The brightness produced by the [SUSTAIN] knob will depend on the FILTER [EG 1] knob setting.

4 Use the EG 1 [RELEASE] knob to adjust the release time (the time over which the tone falls

after you release the key).

Turning the knob toward the right will produce a slower change in tone, and turning it toward the left will make the tone change quickly.

Timbre output settings

1 Use the AMP [LEVEL] knob to adjust the volume of the timbre. 2 Use the AMP [PAN] knob to adjust the panning (position in the stereo ﬁeld) of

the timbre.

If this knob is in the center position (CNT), the sound will be sent equally from the left and right outputs (center).

Applying Drive or Wave Shaping

1 Use the [DRIVE/WS] button to select Drive or Wave Shaping.

If you select Drive, the DRIVE LED will light. If you select Wave Shaping, the WS LED will light.

2 Turn the [DEPTH] knob.

Turning the knob toward the right (increasing the value) will increase the effect.

Using note number (key position) to affect the volume

Program parameter editing

1 Go to the P08: AMP page. 2 Use “Key Track” to specify how the note number, or

the key’s position on the keyboard will affect the volume.

With positive (+) settings, the volume will increase as you play above the C4 note and decrease as you play below it. With positive (–) settings, the volume will decrease as you play above the C4 note and increase as you play below it.

Creating time-varying change in the volume (EG 2)

EG2 applies time-varying change to the AMP “Level.”

You can edit the virtual patching so that EG2 will apply modulation to other parameters as well.

If you want to use the front panel knobs to adjust the EG2 parameters, use the MOD SEQUENCER [SELECT] button to make the EDIT indicator light.

Envelope settings for volume change

1 Use the EG 2 [ATTACK] knob to adjust the time required to arrive at full volume after the key

is pressed.

Turn the knob toward the right (increase the value) to make the volume change more slowly, or turn it toward the left (decrease the value) to make the volume change more quickly.

2 Use the EG 2 [DECAY] knob to adjust the time over which the volume falls from its peak level

to the sustained level.

Turn the knob toward the right (increase the value) to make the volume change more slowly until it reaches a steady volume (if sustained).

Editing

3 Use the EG 2 [SUSTAIN] knob to set the sustained volume level.

Turn the knob toward the right (increase the value) to make the sustain volume louder.

4 Use the EG 2 [RELEASE] knob to adjust the time required for the volume to fade away after

you release the key.

Turn the knob toward the right (increase the value) to make the release slower, or turn it toward the left (decrease the value) to make the release faster.

For bell-type sounds, use a higher setting to create a long release.

Using keyboard dynamics to affect the volume

1 Go to the Program Edit mode P09–2: EG – EG2 tab

page.

2 Use “LvlVelInt” to specify how much the dynamics of

your playing on the keyboard will affect the volume level change produced by EG2.

With positive (+) settings, the EG2 will produce greater change in volume as you play more strongly. With negative (–) settings, the EG2 will produce less change in volume as you play more strongly.

LFO settings

An LFO (Low Frequency Oscillator) applies a cyclic change to a parameter. This will produce vibrato if applied to oscillator pitch, a wah effect if applied to filter cutoff, and tremolo if applied to amp level.

LFO2 is internally routed to the pitch of oscillator 1 (P05–1: PITCH page “Vibrato Int”). By making virtual patch settings you can use the LFO to apply modulation to other parameters as well. (☞p.81 “VibratInt (Vibrato Intensity)”)

Selecting the LFO waveform

1 Press the [SELECT] button.

The waveform will switch each time you press the button, and the LED of the selected waveform will light. The shape of the cyclic change will depend on the LFO waveform you select.

Specifying the LFO frequency

2 Turn the [FREQ] knob.

Turning the knob toward the right (increasing the value) will speed up the cyclic change. The speed is indicated by the interval at which the [SELECT] button blinks.

In the P10–1: LFO – LFO1 tab page or LFO2 tab page, you can turn on the “TempoSync” parameter so that the LFO frequency will synchronize to the tempo specified by the [TEMPO] knob. (☞p.91 “TempoSync”)

If you want to use the front panel knobs to adjust the LFO “Freq,” use the MOD SEQUENCER [SELECT] button to make the EDIT indicator light.

Program parameter editing

Applying modulation to various parameters – Virtual Patch (V.PATCH)

Virtual Patch lets you assign fifteen different modulation sources to modulate various sound parameters.

If you want to use the front panel knobs to adjust the virtual patch parameters, use the MOD SEQUENCER [SELECT] button to make the EDIT indicator light.

Virtual Patch settings

1 Use the V.PATCH [SELECT] button to select a patch.

Each time you press this button you will cycle through PATCH 1–6, and the LED of the selected patch will light. When you press a button of the V.PATCH section while in the Program Play mode, the virtual patch settings will appear in the display.

Press the PAGE [+][–] button or [EXIT/NO] button to return to the previous screen.

2 Use the V.PATCH [SOURCE] button to select the modulation source (the signal

that creates the modulation).

Each press of the button will step through the available modulation sources. For details on this parameter, refer to p.91 “P11 PATCH (Virtual Patch).”

3 Use the V.PATCH [DESTINATION] button to select the modulation destination.

Each press of the button will step through the available destination parameters.

4 Use the V.PATCH [INTENSITY] knob to adjust the amount of modulation being applied.

Turn the knob toward the right of center (“+” values) to apply modulation in the positive (+) direction. Turn the knob toward the left of center (“–” values) to apply modulation in the negative (–) direction.

For details on this parameter, refer to p.91 “P11 PATCH (Virtual Patch).”

Modulation Sequencers – Applying time-varying change to the sound

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 timbre, you can create sounds that change in very complex ways.

In the following example, we will select a program in which the modulation sequences are turned off, assign modulation sequencer 1 to a timbre, and use the sixteen knobs to specify the level of modulation being applied at each step of the sequence.

Assigning a modulation sequencer to a timbre

1 In the Program Play mode, select a program in which the modulation sequencers are turned off

(the MOD SEQUENCER [ON] button will be unlit).

Choose a program in which tonal change will be easy to notice.

2 Use the MOD SEQUENCER [SELECT] button to select MOD1 (the MOD1 LED will light).

If you want to assign a parameter to SEQ2 or SEQ3, use the MOD SEQUENCER [SELECT] button to select SEQ2 or SEQ3.

Editing

SEQ COMMON parameter settings

Before you create the sequence data, use the SEQ COMMON parameters to specify the number of steps in the sequence, and how the data will play back.

1 Go to the Program Edit mode P12–1: MOD SEQ –

COMN tab page.

2 Use “LastStep” to specify the length of the sequence

(the number of steps).

You can specify any length from 1–16 steps.

3 Use “SeqType” to specify the direction in which the

steps will play back.

In this example, choose Forward.

4 Use “RunMode” to specify how the sequence will loop.

For this example choose Loop.

5 Use “KeySync” to specify how the sequence will be reset by a note-on.

For this example choose Timbre.

6 Use “Resolutn” to specify the note length of each step, based on the tempo of the internal clock.

In this example, set the resolution to 1/16 (sixteenth note resolution). Each step of the sequence will have the duration of a sixteenth note. For details on this parameter, refer to p.92 “P12 MOD SEQ (Modulation Sequencer).”

Specifying the sequence data for each step

1 Go to the P12–2: MOD SEQ – SEQ1 tab page. 2 Use “Knob” to select Fil1Cut.

This assigns SEQ1 to the Filter 1 cutoff.

3 Press the MOD SEQUENCER [ON] button.

The [ON] button LED will light, and the modulation sequencer will be turned on.

4 Use the MOD SEQUENCER [SELECT] button to

select MOD1.

5 Hold down a key so you can hear the sound, and use the sixteen knobs to specify the sequence

data for each step.

The value of each step speciﬁes the amount of change applied to the assigned parameter. If you want to make ﬁner adjustments to the value, use the [PROGRAM/VALUE] dial.

If the MOD SEQUENCER [SELECT] button is set to EDIT, the sixteen knobs are used to edit the sound of the program (for example, the EG or LFO parameters). If the [SELECT] button is set to MOD1 or another modulation sequencer, the sixteen knobs are used to specify the sequence data. The number printed below each knob corresponds to the step number within the sequence. Turn the knob for the step you want to edit. In the P12–2: MOD SEQ – SEQ1 tab page, “Value” indicates the value of each step.

Knobs beyond the “LastStep” value in the P12–1: MOD SEQ – COMN tab page have no effect. (☞p.92 “LastStep”)

Program parameter editing

You can use the above procedure to edit existing sequence data or to edit sequence data you recorded in realtime.

Recording modulation sequence data in realtime – the Motion Rec function

The Motion Rec function lets you tweak a knob in realtime, record the movements of that knob, and apply those changes to the steps in a modulation sequencer. In this example we’ll record movements of the FILTER 1 [CUTOFF] knob in a program that does not yet contain sequence data.

1 In the Program Play mode, select a program in which modulation sequence is turned off (MOD

SEQUENCER [ON] button is unlit).

Choose a program in which tonal change will be easy to notice.

2 Press the MOD SEQUENCER [ON] button to turn the modulation sequencer on. 3 Use the MOD SEQUENCER [SELECT] button to select a modulation sequence (MOD1–3).

For this example choose MOD1.

4 Go to the Program Edit mode P12–1: MOD SEQ – COMN tab page, and set the parameters.

☞p.44 “SEQ COMMON parameter settings”

5 Press the MOD SEQUENCER [REC] button.

You will be in the record-ready mode. The [REC] button will blink, and the 16KEYS [1]–[16] keys will light sequentially.

You can’t enter the record-ready mode unless you choose a sequence.

6 Hold down a key, and turn the FILTER 1 [CUTOFF] knob.

Recording will begin from the step at which you turn the knob. When recording begins, the [REC] button will change from blinking to lit. When you reach the step speciﬁed by “LastStep,” the [REC] button will go dark, and recording will end automatically.

You can’t record movements of the ARPEGGIATOR/STEP SEQUENCER or effect knobs.

If you turn two or more knobs, the knob you turned first will be recorded.

While you’re using the Motion Rec function, the sixteen knobs will operate as sound parameter knobs.

7 Press a key to hear the sound change.

If you are not satisﬁed with your recording, press the [REC] button once again to re-record, or use the sixteen knobs to edit the value of each step.

If you want to keep the recorded settings, you must write the data. The recorded data will be lost unless you write. (☞p.32 “Saving an edited program”)

Editing

Editing the effect parameters

The RADIAS provides a two-band equalizer and two insert effects for each timbre, and one master effect for each program. Here’s how to edit the insert effect and master effect settings.

If you want to use the front panel knobs to edit the sequencer, insert effect, and master effect parameters, make sure that the MOD SEQUENCER [SELECT] button is set to EDIT.

If you want to keep the changes you make, you must write the data. Your changes will be lost unless you write. (☞p.32 “Saving an edited program”)

Insert Effect settings

Here’s how to edit the settings of insert effect 1 (FX1).

1 Select insert effect 1 (FX1) using the INSERT FX [FX1-FX2] button.

When the INSERT FX [FX1-FX2] is lit, insert effect 2 is selected; when this button is dark, insert effect 1 is selected. When you press the INSERT FX [FX1-FX2] button in the Program Play mode, the lower part of the display will show the effect program currently assigned to each of the insert effects and the master effect.

Press the PAGE [+][–] button or [EXIT/NO] button to return to the previous screen.

2 Press the INSERT FX [ON] button.

If the [ON] button is lit, insert effect 1 is applied.

3 Go to the Program Edit mode P13–2: EQ/FX – IFX1 tab

page.

4 Move the cursor to the effect name, and select effect

type.

5 Use the cursor buttons to highlight either “Edit1” or

“Edit2” to select the effect parameters that will be adjusted by the [EDIT1] and [EDIT2] knobs.

Use the [EDIT1] and [EDIT2] knobs to adjust the selected parameters. The available parameters will depend on the effect type.

6 There are other effect parameters in the display that can also be adjusted.

Use the cursor buttons to scroll through the list of available parameters, and use the [PROGRAM/ VALUE] dial to adjust the settings. The effect parameters will depend on the effect type. ☞p.121 “Effect guide”

Master Effect settings

1 Press the MASTER FX [ON] button.

If the [ON] button is lit, the master effect is applied. In the Program Play mode, the lower part of the display will show the effect type just as for the insert effects.

Program parameter editing

2 Go to the Program Edit mode P13–4: EQ/FX – MFX tab

page.

3 Move the cursor to the effect name, and select effect

type.

4 Use “Edit” to select the effect parameter that will be

adjusted by the MASTER FX [EDIT] knob.

The available parameters will depend on the effect type.

5 Make settings for the other effect parameters.

The effect parameters will depend on the effect type. ☞p.121 “Effect guide”

Editing the arpeggiator

Here’s how to edit the arpeggiator parameters in the Program Edit mode. For details on using the buttons and knobs to make settings, refer to p.22 “Assigning the arpeggiator to a sound.”

Assigning the arpeggiator to a timbre, and editing the parameters

In this example, we’ll assign the arpeggiator to timbre 1 and edit the arpeggiator parameters.

Assigning the arpeggiator to a timbre

1 Press the TIMBRE SELECT [1] button. 2 Use the ARPEGGIATOR/STEP SEQUENCER [SELECT] button to select ARPEGGIATOR.

In order to view the Program Edit mode ARPEGGIATOR page, the arpeggiator must already be assigned to the selected timbre.

Editing the parameters

3 Go to the Program Edit mode P14–1: ARPEGGIATOR

– COMN tab page.

4 Use “Type” to select an arpeggio pattern.

For this example select Alt1.

5 Use “Range” to specify the range of the arpeggio pat-

tern.

For this example select 1 octave.

6 Use “KeySync” to specify synchronization with the keyboard.

For this example turn this On. If this is On, the arpeggio pattern will start from the beginning at each note-on.

7 Use “Resolutn” to specify the resolution (the note duration of each step, based on the tempo).

This speciﬁes the duration of each arpeggiated note - quarter note, eighth note, etc.

8 Use “LastStep” to specify the number of steps in the arpeggio pattern.

The number of steps you specify here will be equal to one cycle of the arpeggio pattern.

9 Use “Swing” to specify the amount of swing applied to the timing of the arpeggio pattern.

“Swing” adjusts the timing of even-numbered steps in the arpeggiator, giving the rhythm a sense of swing.

Editing

10 Use “ScanBotom” and “ScanTop” to specify a “key window” - the region of notes on the key-

board that will trigger the arpeggiator.

The arpeggiator will operate when you play keys in the region between “ScanBotom” and “ScanTop.”

Editing each step played by the arpeggio pattern (ARPEGGIATOR – TRIGGER)

You can specify the note played by each step of the arpeggio pattern. On the RADIAS, each of up to 32 steps can be turned on or off, allowing you to create a broad range of possibilities, including unique rhythms.

•••

Step:

1234567 8

Step:

1234567 8

Using the 16 keys to edit the note status

1 Use the 16KEYS [SELECT] button to select TRIGGER. 2 Use the [1]–[16] keys to turn each step on or off.

The sixteen keys correspond to sixteen steps. A step for which the key is lit will sound, and a step for which the key is dark will not sound. Each time you press a key, that step will alternate between sounding and silent.

Notes are on for all 16 steps

1234567 8 910111213141516

: Note on (key lit)

•••

: Note off (key dark)

•••

Notes are off for steps 2, 7, 10, and 15

•••

1234567 8 910111213141516

If you want to edit the notes for the 17th or subsequent step, use the 16KEYS PROGRAM BANK/ TRIGGER [UP] button to make LENGTH LED 2 light so that you can edit steps 17–32, or use the [DOWN] button to make LENGTH LED 1 light so that you can edit steps 1–16.

The note on/off settings for each step are saved with the program when you Write the program into memory.

Program parameter editing

Using the cursor buttons and the [PROGRAM/VALUE] dial to edit the note status

1 Go to the P14–2: ARPEGGIATOR – TRIG tab page. 2 Use the cursor buttons to move to the step you want to

edit.

You can hold down a cursor button to move rapidly.

3 Use the [PROGRAM/VALUE] dial to turn each note

on/off.

The indication means that the arpeggio pattern will sound at that step. The – indication means that the arpeggio pattern will not sound at that step.

Detailed editing of individual steps in an arpeggio pattern (ARPEGGIATOR – STEP)

1 Go to the P14–3: ARPEGGIATOR – STEP tab page. 2 Use “Step” to specify the step that you want to edit.

The gate time (duration), velocity, and note number of the speciﬁed step are shown below “Step.”

3 Use “GateTime” to specify the gate time.

Higher values will lengthen the duration of the note at this step.

4 Use “Velocity” to specify the velocity of the note that will sound.

If you set this to KEY, the notes will sound at the velocity value of the key you played when starting the arpeggiator.

You can also specify the velocity value by moving the cursor to the “Velocity” value and holding down the [EDIT/YES] button while you strike a key.

5 Use “Trigger” to specify whether a note will be sounded at this step.

The indication means that note at this step will be sounded. The – indication means that the note at this step will not be sounded.

Editing

Step sequencer recording and editing

You can use the step sequencers to record and play back phrase patterns or drum patterns. This section explains how to record using the step sequencer, and how to edit the patterns you record.

For details on playback, refer to p.24 “Playing a program using the step sequencer.”

Recording into the step sequencer (STEP REC)

You can use the keyboard to enter the pitch and timing for each step of the sequence data. In the following example, we’ll assign step sequencer 1 to timbre 1, and enter a simple phrase.

If you are playing the RADIAS on its own without connecting its dedicated keyboard, you can set the 16KEYS [SELECT] button to KEYBOARD, and use the 16KEYS [1]–[16] to enter data.

Step sequencer data is always overwritten when you record.

If you want to erase data that’s been recorded in the step sequencer, execute the Program Edit mode P16–5: UTILITY – ARP tab page “InitStepSeq” command. (☞p.110 “InitStepSeq”)

Preparations for recording

1 In the Program Play mode, select a program to which the step sequencer is not assigned.

We recommend that you select an initialized program from the P bank (the program whose name is “Init Program”). If you select a program that uses two or more timbres, use the TIMBRE SELECT [1]–[4] buttons to select timbre 1.

☞p.20 “Entering the Program Play mode”

2 Use the ARPEGGIATOR/STEP SEQUENCER [SELECT] buttons to select STEP SEQ1. 3 Go to the Program Edit mode, and select the P15–1:

STEP SEQ – COMN tab page.

In order to access the Program Edit mode STEP SEQ page, a step sequencer must already be assigned to the currently selected timbre.

4 Use “LastStep” to specify the length of the pattern as

a number of steps.

Each of the two step sequencers can hold up to 32 steps. For this example, we’ll use 16 steps. Each step can store a single note or a chord.

You can also connect the two step sequencers and create a pattern of up to 64 steps.

5 Use “RunMode” to specify the playback method for the step sequencer.

For this example, choose Loop. If this is set to Loop, the recorded sequence data will play as a loop while you continue holding down the key.

6 Use “Resolutn” to specify the resolution of the steps.

Each step will occupy the speciﬁed note value relative to the tempo. For example if you set the resolution to  1/8, each step will occupy an eighth note relative to the tempo.

Program parameter editing

7 Use “Transpose” to specify whether the pitch you play on the keyboard will control the pitch of

the notes generated by the step sequencer.

For this example, turn this On. When this is on, the pitch of the phrase or pattern generated by the step sequencer will change according to the “BaseNote” value (don’t get confused - this is not the same as the “Bass Note”. The Base Note is the “Base” from which the sequence is transposed by the keyboard). If this is off, the same pitches will play regardless of where you play on the keyboard. This is suitable for drum patterns.

8 Use “BaseNote” to specify the note number that will be the basis for the pitches generated by

the step sequencer.

For this example, set this to C4. If “BaseNote” is set to C4, the phrase will play at the recorded pitches when you press the C4 note. When you press the B3 note, the phrase will play one semitone below the recorded pitches.

After you record on the step sequencer, the lowest note of the data will automatically be assigned as the “BaseNote” for that sequence.

9 Use “ScanTop” and “ScanBotom” to specify the range of keys that will be controled the step

sequencer.

The step sequencer will start when you play a key within the range speciﬁed by “ScanTop” and “ScanBotom.”

For more about settings for starting the sequencer and layered or split keyboard settings, refer to p.64 “Key Zone settings.”

10 Use “S.SeqLink” to specify whether the two step sequencers will be linked.

For this example we will turn this Off, and use only step sequencer 1. If this is On, the two step sequencers will be linked, and will play in the order of STEP SEQ1 ➝

STEP SEQ2, effectively creating a single step sequencer with up to 64 steps.

If the step sequencers are linked, you won’t be able to change the playback order of the sequencers. If you want to exchange the order, use P16–5: UTILITY – ARP tab page “SwapStepSeq” to exchange the sequence data. (☞p.110 “SwapStepSeq”)

If the sequencers are linked, the settings of STEP SEQ1 will take priority for all parameters that cannot be set individually.

11 Press the [PROGRAM] button to return to the Program Play mode.

This completes preparations for recording.

Start recording

1 If the ARPEGGIATOR/STEP SEQUENCER [ON] button is on, turn it off. 2 Press the ARPEGGIATOR/STEP SEQUENCER

[TYPE/STEP REC] button.

The [TYPE/STEP REC] button will blink, and the display will ask “Sure?”

3 Press the [TYPE/STEP REC] button or the [EDIT/YES]

button.

You will enter the record-ready mode. “REC Step” will indicate the step to be recorded. Step recording always begins from step 1. “Gate Time” indicates the length of the note played at that step. “Velocity” indicates the velocity of the note played at that step.

Editing

If you use the 16KEYS [SELECT] button to select TRIGGER, the 16KEYS [1]–[16] keys will blink to indicate the step you are currently entering. You can press one of the [1]–[16] keys to select the step you want to enter. To select step 17 or later, use the 16KEYS PROGRAM BANK/TRIGGER [UP] button to make the LENGTH LED light for the steps you want to select.

If you’re using the RADIAS on its own without the dedicated keyboard connected, and you begin recording with the [1]–[16] keys set to KEYBOARD, the function of the [1]–[16] keys will not switch automatically.

If you enter the STEP REC mode while a note is sounding, the currently-sounding note will turn off, and latch will be defeated.

The other step sequencer and the arpeggiator will not operate during recording.

4 Use “GateTime” to specify the length of the note you will record.

“GateTime” speciﬁes the length of the note you are about to enter. You can also use the ARPEGGIATOR/STEP SEQUENCER [GATE] knob to specify this.

5 Use “Velocity” to specify the velocity of the note you will record.

“Velocity” speciﬁes the velocity value of the note you are about to enter. If you set this to KEY, the step sequencer playback will use the velocity value with which you played the note to enter it.

You can also move the cursor to “Velocity” and play a note while holding down the [EDIT/YES] button to enter the velocity value.

Gate Time and Velocity are common to all notes within a single step. You can’t specify independent values for each note in a step. Nor can individual notes within a step be turned on/off.

6 Play a chord C4, E4, and G4 on the keyboard.

When you play the keyboard, the corresponding note data will be entered. You can record a chord of up to eight notes for each step. If you enter a chord, the notes will be recorded in the step in the order you played them. When you release the keyboard, you will be in record-ready condition for step 2.

During recording, you can also specify “REC Step,” “GateTime,” and “Velocity” to modify each note. You can use “REC Step” to move between steps, as far as the “Last Step” you specified before you began recording, and the 16KEYS [1]–[16] keys will light to indicate the step position. “GateTime,” “Velocity,” and “Note” indicate the previously-recorded values.

7 Press the [TAP TEMPO/REST-TIE] button without

playing any key.

That step will be a rest, and you will proceed to step 3. If you want to advance to the next step without record-

ing anything at this step (i.e., to enter a rest), press the [TAP TEMPO/REST-TIE] button without playing any key. If there had been any data at the step where you entered a rest, all data of that step will be erased, and you will proceed to the next step.

8 While holding down a chord of D4, F4, and A4 on the

keyboard, press the [TAP TEMPO/REST-TIE] button.

The notes you entered in step 3 will be connected to step 4. When you release the keyboard, you will proceed to step 5.

If you want to enter a long note that extends beyond one step, hold down the notes and press the [TAP TEMPO/REST-TIE] button. The “Gate Time” will be set to TIE, and you will proceed to the next step. If you

Program parameter editing

press this key repeatedly, the note data for the notes you are holding down will be entered for the corresponding steps.

9 Press the [TYPE/STEP REC] button or the [EXIT/NO] button to stop recording.

In this example we’ve stopped recording at step 5, so the “Last Step” of step sequencer 1 will automatically be set to 4.

When you execute step recording, the following parameters will be automatically updated in certain cases.

“Last Step” (the valid length of the step sequence): The Last Step number will be updated if recording increases the number of steps.

“Seq Base Note” (the note number that will be the pitch reference for step sequence playback): This will be updated to the lowest note number between step 1 and the last step.

Checking the recorded data

1 Turn on the ARPEGGIATOR/STEP SEQUENCER [ON] button, and press the C4 key.

The phrase will play at the recorded pitch.

2 Press the D4 key.

The phrase will begin from D4. In this way, the recorded phrase will change depending on the key you press.

If the phrase does not transpose, turn the P15–1: STEP SEQ – COMN tab page “Transpose” setting On.

Editing each step (STEP SEQ – TRIGGER)

You can view the locations at which the step sequencer will sound, and edit the trigger status of each step. You can also use the 16 KEYS [1]–[16] keys to edit. This specifies whether the note data recorded at each step will sound.

1 Go to the P15–2: STEP SEQ2 – TRIG tab page. 2 Use “NoteSel” to specify the note number you want to

edit.

TRIGGER: The display indicates the “Trigger” on/off status of each step.

C-1–G9: This speciﬁes the note number. If the speciﬁed note number is recorded in the step, a symbol is shown at that step in the display. However if “Trigger” is off for that step, a – symbol is shown.

Drum 01–Drum 16: If a drum kit is assigned to the timbre, you can specify the drum instrument. If the speciﬁed drum instrument will play for that step, a symbol is shown at that step in the display. If a drum kit is not assigned, you can’t select this.

3 Use the cursor buttons to move to the step you want to

edit. You can move rapidly by holding down a cursor button.

4 Use the [PROGRAM/VALUE] dial to edit the trigger

status.

means that this step will sound.

– means that this step will not sound.

Editing

Using the 16KEYS [1]–[16] keys to edit the notes (Drum Pattern editing)

Using the 16KEYS [1]–[16] keys to edit is the appropriate method when you’ve assigned a drum kit and you want to edit the rhythm pattern for each drum instrument. In this case, the note (pitch) shown by the 16KEYS [1]–[16] keys for each step will be the note specified by the Program Edit mode P15–2: STEP SEQ – TRIG tab page “NoteSel” parameter (☞p.100 “NoteSel (Note Select)”).

1 Use “NoteSel” to specify a drum instrument number.

If the speciﬁed drum instrument will play at a step, a symbol is shown in the display for that step.

2 Use the 16KEYS [SELECT] button to select “TRIG-

GER.”

The 16KEYS [1]–[16] keys corresponding to steps at which the speciﬁed drum instrument will sound will be lit. If you want the 16KEYS [1]–[16] keys to indicate step 17 and following, use the 16KEYS PROGRAM BANK/TRIGGER [UP] button to make LENGTH LED 2 light. When you want to return to editing steps 1–16, use the [DOWN] button to make LENGTH LED 1 light.

3 Press the 16KEYS [1]–[16] keys to turn the trigger status on/off for each step.

If you turn on a step that was previously off, one of three things can happen. If the step had originally been on, then turned off, it will retain its original value if it is turned on again. If the step had never been on and has no previous assignment, then if the timbre being played is assigned to a drum kit, Drum Kit Inst 01 will be assigned. If the timbre is not assigned to a drum kit, C4 will be used as the note value.

You can specify up to eight note numbers for each step.

Editing the data of each step (STEP SEQ – STEP)

You can edit the duration, velocity, and note number for each step.

1 Go to the P15–3: STEP SEQ1 – STEP tab page. 2 Use “Step” to specify the step that you want to edit.

The gate time, velocity, and note number of the speciﬁed step will appear.

You can also use the 16KEYS [SELECT] button to select “TRIGGER” and use the 16KEYS [1]–[16] keys to specify a step number. If there are 17 or more steps, use the 16KEYS PROGRAM BANK/TRIGGER [UP] or [DOWN] buttons to switch between ranges of steps.

3 Edit the “GateTime” and “Velocity” values.

If you want to edit another step, use “Step” to select the desired step.

Gate Time and Velocity values are common within each step. You can’t specify these values independently for each pitch within a step.

You can also move the cursor to “Velocity” and play a note while holding down the [EDIT/YES] button to enter the velocity value.

Program parameter editing

4 Use “Trigger” to select whether the notes at that step

will play.

speciﬁes that the notes at that step will play.

– speciﬁes that the notes at that step will not play. If you change a – step to , the note numbers previ-

ously assigned to that step will be assigned. In the case of a step to which no notes had previously been assigned, note numbers will be assigned according to the following rules.

• If the timbre to which the step sequencer is assigned is using a drum kit, the DrumKit Inst=01 note number will be assigned.

• If the timbre to which the step sequencer is assigned is not using a drum kit, the C4 note number will be assigned.

5 Use the cursor to select the note you want to edit, and

use the [PROGRAM/VALUE] dial to edit it.

If you select “–”, the note data will be deleted. If you play a key while holding down the [EDIT/YES] button, the corresponding note number will be input. However, you cannot input multiple notes simultaneously using this method.

Up to eight notes can be recorded in each step. Move the cursor to “–”, and enter the desired note number. These notes are sounded with priority given to the notes in the order they are selected, starting from the upper left. Make sure that the notes of greatest musical importance are specified starting from the upper left.

6 Repeat steps 2–5 to edit other steps.

Editing

Vocoder editing

When the TIMBRE SELECT [VOCODER] button is dark, the vocoder is off. Pressing this button will turn the vocoder on, and the button will be lit. You can use one timbre as the carrier, and apply a vocoder effect to it.

To edit the vocoder settings, press the TIMBRE SELECT [VOCODER] button and then press the [EDIT] button. You will enter the Vocoder Edit mode. If the Vocoder Edit mode P02–1: COMMON – PROG tab page “PanelEdt” parameter is set to Link, pressing the TIMBRE SELECT [VOCODER] button will let you use the front panel knobs and buttons to edit the vocoder settings.

If you want to keep the changes you make, you must Write them. If you don’t perform the Write operation, your changes will be lost. (☞p.32 “Saving an edited program”)

In the explanation that follows, we will be explaining only the parameters that are unique to vocoder programs. For parameters that are also found in synth programs, refer to p.37 “Synth parameter editing.”

Before you continue, refer to p.27 “Playing a vocoder program” and connect the included mic.

Vocoder settings

Assigning the vocoder

1 In the Program Play mode, select a program.

We recommend that you select an initialized program from the P bank (the program whose name is “Init Program”).

2 Press the TIMBRE SELECT [VOCODER] button.

The vocoder will be turned on, and the [VOCODER] button will blink.

Even if the vocoder is turned off for a program, pressing this button will turn the vocoder on. At this time, the timbre that will sound is the timbre that is selected as the carrier in the Vocoder Edit mode P06–1: CARRIER – LEVEL tab page “InSrc1” parameter.

3 Go to the Vocoder Edit mode P06–1: CARRIER –

LEVEL tab page.

4 Use “InSrc1” to select the timbre (Timbre 1–4) to

which you want to assign the vocoder.

For this example select Timbre 1.

5 Use “InSrc1Lvl” to adjust the volume of input source

In this example, set this to 127. You can also use the front panel MIXER [SRC1] to set this.

6 Use “VcdLvl” to specify the volume when the vocoder is on.

In this example, set this to 64. For details on each parameter, refer to p.104 “6. Vocoder Parameters.”

Adjusting the mic input signal

1 Go to the Vocoder Edit mode P08: MODULATOR

page.

2 Use the FILTER 1 [MODULATOR] button to select

AUDIO.

3 Use “AudioSrc” to select the input source.

For this example select ExtIn2.

Program parameter editing

4 Use “Threshold” to prevent noise during periods when there is no singing or speaking being

captured by the mic.

Higher settings will make it easier for the audio to be cut. Adjust this so that the noise is not obtrusive when you’re not speaking into the mic. You can also use the FILTER2 [THRESHOLD] knob to adjust this setting.

5 Use “GateSens” to adjust the gate sensitivity.

Adjust this so that the sound of the vocoder output is not cut off unnaturally.

Filter settings

1 Go to the Vocoder Edit mode P07: FILTER page. 2 Use the FILTER [E.F.SENS] knob to adjust the sensi-

tivity of the envelope follower.

Raising this value will give the vocoder output a smoother attack and a longer release.

3 Use the FILTER2 [FRMNT SHIFT] button to switch

the amount of shift for the synthesis ﬁlters.

The LED will light to indicate the selected amount of shift. You can dramatically vary the character of the vocoder output by shifting the ﬁlters.

4 Use the FILTER1 [FC OFFSET] knob to adjust the offset of the synthesis ﬁlter cutoff frequency.

You can adjust the shift amount for the carrier ﬁlters over a range of ±2 steps. In conjunction with the [FRMNT SHIFT] button, you can shift the cutoff frequency over a range of ±4 steps.

5 Use the FILTER2 [HPF LEVEL] knob to adjust the consonants of the vocoder sound.

Higher settings of this value will emphasize the consonants (e.g., sibilants).

Adjusting the output level for each band of the synthesis ﬁlters

1 Press the MOD SEQUENCER [SELECT] button to make the “LEVEL” LED light. 2 Use the sixteen knobs to adjust the output level of each ﬁlter.

The output level is zero when a knob is turned to the far left, or 127 when turned to the far right.

Adjusting the pan (stereo position) for each band of the synthesis ﬁlters

1 Press the MOD SEQUENCER [SELECT] button to make the “PAN” LED light. 2 Use the sixteen knobs to adjust the pan of each ﬁlter.

The sound is output from the center (CNT) when a knob is in the middle position, from the Lchannel only when turned to the far left, or from the R-channel only when turned to the far right.

Editing

Formant Motion function

The Formant Motion function plays the vocoder using vocal or other sound data that you recorded ahead of time and saved in the RADIAS. This lets you play the vocoder without having to speak into the mic.

Assigning a formant motion to the modulator

Here’s how to play the vocoder using factory preloaded formant motion data.

1 In the Program Play mode, select a program from the “Vocoder” category.

☞p.21 “Selecting programs by category”

2 Press the TIMBRE SELECT [VOCODER] button. 3 Go to the Vocoder Edit mode P08: MODULATOR

page.

4 Use the FILTER1 [MODULATOR] button to select

FrmntPly.

Alternatively, you can use the P08: MODULATOR page “Modulator” parameter to select this.

5 Use “Formant” to select formant motion data.

For this example, select Motion01. You can choose from sixteen types of formant motion data.

6 Use “Mode” to select how the formant motion data will play back.

If you set this to TrigReset, the formant motion data will be reset to its beginning each time you play a note.

7 Play a note.

The vocoder will sound with the formant motion data.

Recording formant motion data

1 Press the FILTER1 [MODULATOR] button to select AUDIO.

You can also record if FrmntPly is selected.

2 Speak into the mic to play the vocoder program.

☞p.56 “Adjusting the mic input signal”

3 Press the UNISON [FRMNT REC] button.

The UNISON [FRMNT REC] button will light, and you will be in the record-ready mode.

4 Press the UNISON [FRMNT REC] button to begin recording.

The UNISON [FRMNT REC] button will light, and recording will begin.

5 Speak into the mic to record the vocal formants. 6 Press the UNISON [FRMNT REC] button to stop recording.

The UNISON [FRMNT REC] button will go dark.

Recording will end automatically if recording memory becomes full (approximately 7.5 sec).

When you record formant motion data, the selected formant motion data will be in the editing mode, and an “*” will be shown following the formant motion data number.

7 Use the FILTER1 [MODULATOR] button to select FrmntPly. 8 Play a note.

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

If you want to keep the formant motion data you recorded, execute the Write operation.

The formant motion data you’re editing will be lost if you select other formant motion data, change programs, or turn the RADIAS’ power off (STANDBY) without writing, or if you receive a MIDI data dump for this data from a connected external device.

Writing formant motion data

Formant motion data is handled as global data. Sixteen sets of formant motion data can be saved, and this data is used by all programs.

1 In the Program Play mode, the Program Edit mode, or

the Vocoder Edit mode, press the [WRITE] button.

The Write dialog box will appear.

2 In the “To” specify the writing-destination formant

motion data number.

If you specify the writing-destination as something other than the number you’re editing, the formant motion data you’re editing will be overwritten onto the specified number when you execute the Write operation, and the data of the number you had been editing will revert to the unedited state.

Program parameter editing

If you specify the writing-destination as something other than the number you’re editing, the vocoder parameter “Formant” (☞p.105 “P08–1: MODULATOR”) will change to the number you specified.

3 Press the [WRITE] button or the [EDIT/YES] button.

The data will be written, and you will return to the state prior to writing.

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

The factory-set formant motion data will be overwritten when you write formant motion data.

You can use the cursor [π/√] button to select “Write,” and choose one of the following three types of data to write.

Program: The program will be saved. Formant: The formant motion data will be saved. Prg&Frmnt: Both program and motion data will be saved.

If there is no newly recorded formant motion data (☞p.58 “Formant Motion function”), “Write” will indicate Program. If new formant motion data was recorded, the “Write” ﬁeld will indicate Prg&Frmnt.

Editing

Drum parameter editing

What is a drum kit?

A drum kit is a set of sixteen individual sounds such as bass drum or cymbal, each assigned to a different note of the keyboard. The RADIAS contains thirty-two of these drum kits.

What is a drum instrument?

Each of the sounds (e.g., bass drum or cymbal) making up a drum kit is called a “drum instrument.” A drum kit contains sixteen drum instruments. A drum instrument has essentially the same structure as the timbre of a program (with the exception of insert effects and modulation sequencers). As with a program, you can make detailed changes to the sound by editing parameters from oscillators to virtual patch settings.

Basic editing procedure

This section explains how to create a drum kit in the Drum Edit mode, and how a drum kit you created can be used in the Program Play mode.

Kick1

Kick2

Snare1

Snare2

Half

Side Stick

Close Hihat

Open Hihat

Tambourine

Hand clap

Hi T om1

Open Hihat

Close Hihat

Ride Cymbal

Crash Cymbal

Hi T om2

Low T om

1. Selecting Drum instrument

In the Drum Play mode, use the 16KES [1]–[16] keys to select drum intrument.

2. Selecting pages

As in the Program Edit mode, use the PAGE [+][–] buttons and the 16KEYS [1]–[16] keys to select pages. The following table shows how the 16KEYS [1]–[16] keys correspond to pages.

[1]–[16] key Page Tab pages

[1] P01: NAME KIT INST [2] P02: COMMON DRUM MAP [5] P05: PITCH [6] P06: OSC/MIXER OSC1 OSC2 MIXER [7] P07: FILTER FILTER1 FILTER2 [8] P08: AMP

[9] P09: EG EG1 EG2 EG3 [10] P10: LFO LFO1 LFO2 [11] P11: PATCH P1 P2 P3 P4 P5 P6 [16] P16: UTILITY

3. Selecting parameters

As in the Program Edit mode, use the cursor buttons to move the cursor to a parameter.

4. Entering values

Use the [PROGRAM/VALUE] dial to enter a value.

If you want to keep the changes you made, you must execute the Write operation. If you don’t execute Write, your changes will be lost. (☞p.32 “Saving an edited program”)

Drum parameter editing

5. Saving a drum kit and drum instruments – WRITE

If you turn off the power or switch to a different drum kit without Writing an edited drum kit or drum instrument, your changes will be lost. If you want to save the edited drum kit or drum instrument, you must execute the Write operation. Before you can do so, you must turn the Global mode P02: MEMORY page “Protect” setting Off. With the factory settings, this is turned On. (☞p.115 “PageMem (Page Memory)”)

To write drum kits and drum instruments, press the [WRITE] button in the Drum Play mode or the Drum Edit mode. The procedure is the same as for programs. (☞p.32 “Saving an edited program”)

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

Drum instrument editing

To create a drum kit, you will first create the sixteen drum instruments that will make up that drum kit. You can create a drum instrument in one of the following three ways.

Editing the currently selected drum instrument

If the currently selected drum instrument is similar to the drum sound you want to create, you can simply edit that drum instrument. The parameters that make up a drum instrument are the same as for a synth program. Refer to p.37 “Program parameter editing.”

Loading and editing an another drum instrument or drum instrument template

If you want to load and edit a drum instrument or template, proceed as follows.

1 In the Drum Play mode, select a drum instrument. 2 Press the [EDIT/YES] button to enter the Drum Edit mode.

The [DRUM] button and [EDIT/YES] button will light.

3 Go to the P02: COMMON, DRUM MAP page. 4 Use the cursor [π/√] button to move the cursor to

“Load:”.

5 Use the [PROGRAM/VALUE] dial to select a different

drum instrument or template.

Load a drum instrument or template that’s similar to the drum sound you want to create. The data will be loaded as soon as you select it, and the parameters will have the settings of that sound.

The templates you can select are the same sound data that can also be selected for program timbres.

6 Edit the loaded drum instrument or template in the various editing pages.

The parameters that make up a drum instrument are the same as for a synth program. Refer to p.37 “Program parameter editing.”

Editing

Copying a drum instrument from another drum kit

If you want to create a drum sound that’s similar to a drum instrument in another existing drum kit, you can copy that drum instrument.

1 In the Drum Play mode, select the copy-source drum kit and drum instrument. 2 Press the [EDIT/YES] button to enter the Drum Edit mode.

The [DRUM] button and [EDIT/YES] button will light.

3 Select the P16: UTILITY page. 4 Use “Edit” to select Copy Inst. 5 Use “Source” to select the copy-source drum kit and

instrument number.

If you want to change the copy-destination drum instrument, use the 16KEYS [SELECT] button to choose PROGRAM, and use the [1]–[16] keys to select a drum instrument.

6 Change “Sure?” to “Press [YES],” and then press the [EDIT/YES] button.

“Sure?” will indicate Complete; the copy has been completed.

If you want to keep these settings, you must write them. If you don’t execute the Write operation, your changes will be lost. (☞p.32 “Saving an edited program”)

Assigning a note number to a drum instrument

Here’s how to assign note numbers to the sixteen drum instruments of a drum kit.

1 In the Drum Play mode, select a drum kit. 2 Press the [EDIT/YES] button to enter the Drum Edit mode. 3 Select the P02: COMMON, DRUM MAP page. 4 Use the 16KEYS [SELECT] button to select PRO-

GRAM, and use the 16KEYS [1]–[16] keys to specify a drum instrument.

5 Use “PlayNote” to specify the note number (C-1–G9)

assigned to the drum instrument.

6 Repeat steps 4–5 to assign a note number to each

drum instrument.

If you assign the same note number to two or more drum instruments, each of the assigned drum instruments will sound when you play that note of the keyboard.

If you want to keep these settings, you must write them. If you don’t execute the Write operation, your changes will be lost. (☞p.32 “Saving an edited program”)

Drum parameter editing

Assigning a drum kit to a timbre of a program

Here’s how to assign a drum kit you created to one of the timbres in a program. This allows you to play the drum kit in the Program Play mode, or use a step sequencer to play a rhythm pattern while you play other sounds manually. (☞p.64 “Layers and splits”)

1 In the Program Play mode, select a program.

We recommend that you select an initialized program (the program named “Init Program”).

2 Press the [EDIT/YES] button to enter the Program Edit

mode.

3 Go to the P02–2: COMMON – DRUM tab page. 4 Use “DrumTmbr” to select the timbre to which you

want to assign a drum kit.

If you selected an initialized program, select timbre 1.

5 Use “KitNo.” to select the drum kit you want to

assign.

The name of the selected drum kit is shown below “KitNo.”

6 Press the [EXIT/NO] button to return to the Program Play mode.

If you want to keep these settings, you must write them. If you don’t execute the Write operation, your changes will be lost. (☞p.32 “Saving an edited program”)

7 Play the notes to which drum instruments are assigned.

You will hear the drum kit.

If you don’t hear the drum instruments, check that the keyboard “OCTAVE” setting is appropriate.

You won’t hear the drum kit if the timbre key zone settings do not coincide with the location where the drum instruments are assigned.

In the factory-set drum kits, drum instruments are assigned to the C2–D#3 keys.

If other timbres are assigned to the same MIDI channel, those timbres will also sound if their layer settings coincide. If you want to play different timbres in different zones of the keyboard, use the Program Edit mode P03–3: TIMBRE – ZONE tab page “Bottom” and “Top” settings to specify the desired key zone. (☞p.64 “Key Zone settings”)

Editing

Key Zone settings

Layers and splits

The region of keys in which a timbre will sound is called the “key zone.” By specifying the key zone for each timbre you can create a program in which different sounds are heard from different zones of the keyboard. By making key zone settings for each timbre, you can create layered or split sounds. A setup in which two or more timbres sound together when you play the keyboard is called a “layer.”

Timbre A Timbre B

Layer:

Two or more timbres are played together.

A setup in which different timbres are played from different areas of the keyboard is called a “split.”

Timbre A

Timbre B

Split:

Different timbres are played from different areas of the keyboard.

The upper and lower limit for the key zone for each timbre is specified by the P03–3: TIMBRE – ZONE tab page “Top” and “Bottom.”

For example the following illustration shows a program in which timbres 1–3 are layered (multiple programs sounded by a key) and split (different programs sounded by different keyboard areas). Timbre 2 and timbre 3 are layered, and timbre 1 and timbres 2 and 3 are split between B3 and C4.

Timbre 1 Timbre 2 Timbre 3

Bass

Electric piano

Strings

C–1 C4 G9B3

The following example shows how to create a program of this type.

Selecting the sounds for timbres 1–3

In this example, we’ll select an initialized (blank) program, and use the template function to specify a bass program for timbre 1, an electric piano program for timbre 2, and a strings program for timbre 3.

1 In the Program Play mode, select an initialized pro-

gram.

The program named “Init Program” in bank P is an initialized program.

2 Enter the Program Edit mode, and in the P03–1: TIM-

BRE – TMBR tab page, turn the “ON” setting On for timbres 1–3.

3 In the P03–1: TIMBRE – TMBR tab page, use the

“Select” ﬁeld of timbre 1 to select a bass-type sound.

4 Use the “Select” ﬁeld of timbre 2 to select an electric-

piano sound.

5 Use the “Select” ﬁeld of timbre 3 to select a strings-

type sound.

Setting the MIDI channel for timbres 1–3

6 In the Program Edit mode, go to the P03–4: TIMBRE –

MIDI tab page and use “Ch” to set the MIDI channel for each timbre.

Set each timbre to the same MIDI channel. For this example, set all of them to GLB.

Setting the key zone for each timbre

7 In the Program Edit mode, go to the P03–3: TIMBRE –

ZONE tab page and use “Bottom” and “Top” to set the key zone for each timbre.

For this example, make the following settings. Timbre 1: “Bottom”=C-1, “Top”=B3 Timbre 2: “Bottom”=C4, “Top”=G9 Timbre 3: “Bottom”=C4, “Top”=G9

Key Zone settings

In addition to using the [PROGRAM/VALUE] dial for setting bottom and top notes, you can also hold down the [EDIT/YES] button and play the note directly on the keyboard.

8 Return to the Program Play mode, and play the keyboard.

Notes from C-1 to B3 will play only the bass sound, and notes from C4 to G9 will play electric piano and strings sounds.

Step sequencer Start settings

As a continuation of the above program settings, let’s assign a drum kit to timbre 4, and make settings so that a step sequencer assigned to a pattern will start when you play a note in a specific region.

Timbre 1 Timbre 2 Timbre 3

Timbre 4

Bass

Electric piano

Strings

Drum kit

C–1 C4 G9B3

Editing

Selecting a drum kit for timbre 4

1 Go to the Program Edit mode P03–1: TIMBRE – TMBE tab page, and use the “ON” setting to

turn timbre 4 On.

2 Press the front panel TIMBRE SELECT [4] button to

select timbre 4.

3 Go to the P02–2: COMMON – DRUM tab page. 4 Use “DrumTmbr” to select Tmbr4. 5 Use “KitNo.” to select the drum kit you want to assign

to timbre 4.

Assigning a step sequence to timbre 4

For this example, we’ll assign step sequencer 1 to timbre 4.

6 Use the ARPEGGIATOR/STEP SEQUENCER [SELECT] button to select STEP SEQ 1. 7 Enter data for step sequencer 1.

You can enter data for the step sequencer as described in p.50 “Step sequencer recording and editing,” or you can use the Copy Step Sequence (CopyStepSeq) function of the P16–5: UTILITY – ARP tab page to copy drum pattern sequence data used by another program.

Setting the MIDI channel for timbre 4

8 In the P03–4: TIMBRE – MIDI tab page, use “Ch” to

set the MIDI channel for timbre 4.

In the Program Play mode you will be playing the MIDI channel of the timbre selected by Timbre Select, so we will specify a MIDI channel that is different than the channel used by timbres 1–3.

Setting the key zone for timbre 4

9 In the P03–3: TIMBRE – ZONE tab page, use “Bottom” and “Top” to set the key zone for timbre

For this example, set “Bottom”= C-1 and “Top”= G9. The key zone you specify here is not determining the region that you play from the keyboard, but rather the region of sequence data that will be played. This is why we have speciﬁed the full range of notes.

Specifying the region of notes that will start the sequencer (Scan Zone)

10 Go to the P15–1: STEP SEQ – COMN tab page, and

use “ScanBotom” and “ScanTop” to specify the range of notes that will start the sequencer.

For this example, make the following settings. “ScanBotom” = C3, “ScanTop” = G3

With these settings, the sequencer will start when you press a key in the region of C3–G3.

When playing with the above settings, use the TIMBRE SELECT [1]–[4] buttons in the Program Play mode to select either timbre 1, 2, or 3.

Envelope Follower settings

By using the envelope follower you can use the varying level of an external audio signal to modulate a variety of parameters such as the filter cutoff.

In the following example, we’ll explain how you can set up the envelope follower to modulate the Filter1 Cutoff of timbre 1 using the audio signal from a rhythm pattern (or other source) connected to the INPUT jack.

The envelope follower becomes a modulation source, and can be used by one of the six virtual patches to modulate another parameter.

1 Connect a drum machine or CD player to the INPUT 1 jack. 2 Use the TIMBRE SELECT [1] button to select timbre

1, and go to the Program Edit mode P02–3: COMMON – E.F tab page.

3 Set “Source” to ExtIn1. 4 Input a rhythm pattern (or other audio signal) from

your external device to ExtIn1 (Audio In 1), and use the front panel AUDIO IN [1/INST] knob to adjust the input level.

Adjust the level so that the LED does not light red.

5 Adjust “Sens” and “Response” appropriately for the input signal you’re using.

For details on these parameters refer to p.76 “P02–3: E.F (Envelope Follower Common).”

6 Set the Filter1 “Cutoff’ to a low value such as 30. 7 In the P11–1: PATCH – P1 tab page, select Patch 1.

Make the following settings. “Source”: EnvF

“Dest”: Filt1Cut “Intensity”: +32

8 Play the keyboard so that you hear timbre 1.

The ﬁlter 1 cutoff frequency will be modulated according to the rhythm pattern or other audio source you’re using.

Editing

Global parameter editing

In the Global mode you can make settings that apply to the entire RADIAS and edit user scales.

Basic editing procedure

1. To enter the Global mode

Press the [GLOBAL] button.

You will enter the Global mode. The top line of the display will indicate the page number and page name, and the middle area of the display will show parameter names and values.

2. Selecting a page

As in the Program Edit mode or the Drum Edit mode, you can use the PAGE [+][–] buttons and 16KEYS [1]– [16] keys to select pages. The following table shows how the 16KEYS [1]–[16] keys correspond to pages.

Key Page Function

[1] P01: GLOBAL Overall settings such as master tune [2] P02: MEMORY Memory-related settings [3] P03: PRELOAD Restoring the factory settings [4] P04: MIDI MIDI-related settings such as MIDI CH and MIDI Clock [5] P05: MIDI DUMP Dumping data to other MIDI devices [6] P06: MIDI FILTER MIDI ﬁlter settings [7] P07: MIDI MAP[CC#] MIDI Map settings for control changes [8] P08: PEDAL/SW Pedal and foot switch function assignments

[9] P09: USER SCALE User scale settings [10] P10: CATEGORY NAME Editing the category names [11] P11: CALIB[A.SW] Calibrating the assignable switch [12] P12: CALIB[A.PEDAL] Calibrating the assignable pedal

3. Selecting a parameter

As in other edit modes, use the cursor buttons to move the cursor to the desired parameter.

4. Entering a value

Use the [PROGRAM/VALUE] dial to enter a value.

5. Saving global parameters (Write)

Changes you make to the Global parameters will revert to their former state if you turn off the power without saving them. If you want to save your changes, you must execute the Write operation.

1 In the Global mode, press the [WRITE] button.

The write conﬁrmation screen will appear.

2 If you want to write the changes, press the [WRITE]

button once again. If you decide to cancel without writing, press the [EXIT/NO] button.

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

When you execute the Write operation in the Global mode, the Global data will be saved regardless of the memory protect setting (Global mode P02: MEMORY page “Protect”). (☞p.115 “Protect”)

Global parameter editing

Global data includes the formant data (☞p.58 “Formant Motion function”), but this data cannot be saved in the Global mode. You must save it in the Program Play mode, the Program Edit mode, or the Vocoder Edit mode. (☞p.59 “Writing formant motion data”)

Editing parameters

Disabling memory protect

The RADIAS provides a memory protect setting that prevents data from being rewritten inadvertently. If you want to write the changes you’ve made, you must first turn memory protect off so that writing is possible (i.e., memory protect is disabled).

1 Press the [GLOBAL] button.

You will enter the Global mode.

2 Go to the P02: MEMORY page. 3 Turn “Protect” Off.

Now you will be able to execute Write operations.

Restoring the factory settings

When the RADIAS is shipped from the factory, it contains “preloaded data.” Here’s how you can restore the RADIAS’ programs or global settings to the preloaded condition.

When you perform this operation, all of the data in the RADIAS will be overwritten by the factory settings. Before you proceed, make sure that it is OK to do this, and back-up any data you wish to keep.

You won’t be able to restore the preloaded data if Memory Protect is on. Before you proceed, turn off the memory protect off (☞p.69 “Disabling memory protect”).

As an example, here’s how to load a single program.

1 Press the [GLOBAL] button to enter the Global mode. 2 Select the P03: PRELOAD page. 3 Use the [PROGRAM/VALUE] dial to select 1 PROG.

The 1 PROG setting lets you load a single program.

4 Use “Source” to specify the bank and number of the

program you want to load, and use “Dest” to specify the bank and number of the program location into which you want to load the preloaded data.

For details on other types of data you can load, refer to p.116 “P03–1: PRELOAD.”

5 Change “Sure?” to “Press [YES],” and then press the [EDIT/YES] button.

The “Sure?” indication will indicate Complete; the data has been loaded.

6 Press the [EXIT/NO] button.

You will return to the screen of step 2.

Editing

Setting the MIDI channel to match an external device

If you’re using the RADIAS as a MIDI sound module or as a master keyboard, you must set the RADIAS’ global MIDI channel to match the MIDI channel of your external MIDI device. For details on this setting, refer to p.17 “MIDI channel settings – Getting ready to play.”

Synchronizing with an external MIDI device

You can sync a sequencer, rhythm machine, or other external MIDI device to the tempo of the RADIAS’ arpeggiator, or synchronize the RADIAS’ arpeggiator to MIDI clock data from an external MIDI device. Settings for synchronization with a connected external MIDI device are made using the Global mode P04: MIDI page “Clock” parameter.

1 Use a MIDI cable to connect the RADIAS to your external MIDI sound module. 2 Turn on the power of the RADIAS and your external MIDI sound module. 3 Press the [GLOBAL] button to enter the Global mode. 4 Go to the P04: MIDI page. 5 Use “Clock” to specify how the RADIAS will syn-

chronize with the external MIDI device.

With the Internal setting, the RADIAS will transmit MIDI Clock messages at the tempo speciﬁed by the arpeggiator’s [TEMPO] knob. With the Ext-USB or Ext-MIDI setting, the step sequencer or arpeggiator will operate in synchronization with the tempo of the external MIDI device. (☞p.117 “Clock”)

6 Make MIDI clock settings on your external MIDI device.

If you set the RADIAS’ “Clock” to Internal, set your external MIDI device to receive MIDI Clock messages (i.e., to operate as a slave). If you set the RADIAS’ “Clock” to Ext-USB or Ext-MIDI, set your external MIDI device to transmit MIDI Clock messages (i.e., to operate as the master).

For details on synchronization settings for your external MIDI device, refer to the owner’s manual of your device.

Saving data on an external device (Data Dump)

You can transmit the RADIAS’ settings as MIDI exclusive data, and save them on a connected MIDI data filer or other MIDI device. Before you proceed, connect a device that is able to receive MIDI data dumps (e.g., a data filter, computer, or another RADIAS unit) and set the global MIDI channel to match.

As an example, here’s how to transmit data for a single program.

1 Press the [GLOBAL] button to enter the Global mode. 2 Go to the P05: MIDI DUMP page. 3 Use the [PROGRAM/VALUE] dial to select 1 PROG.

With the 1 PROG setting, only the currently selected program will be transmitted.

4 Prepare your external MIDI device to receive a MIDI

data dump.

5 Change “Sure?” to “Press [YES],” and then press the

[EDIT/YES] button. The data will be transmitted.

When transmission is ﬁnished, the “Completed” indication will appear.

Global parameter editing

6 Press the [EXIT/NO] button.

You will return to the screen of step 1.

Do not operate the RADIAS’ knobs, buttons, keyboard, or wheels etc. while data is being transmitted.

In order to receive a data dump into the RADIAS, you must first turn the Global mode P02: MEMORY page “Protect” Off, and set the P06: MIDI FILTER page “SystemEx” to . Data dumps cannot be received if these parameters are set otherwise. (☞p.115 “Protect,” p.118 “SystemEx (System Exclusive)”)

Using the included RADIAS Sound Editor software

You can use the included RADIAS Sound Editor software to edit the RADIAS from your computer. To use the RADIAS Sound Editor software, make the following settings on the RADIAS.

When using the RADIAS Sound Editor software, large amounts of data must be transferred between the RADIAS and your computer, so we recommend that you use a USB connection, which will provide faster data transmission.

1 Connect the RADIAS to your computer.

☞p.18 “6. Connecting your computer”

2 Go to the Global mode P02: MEMORY page. 3 Turn “Protect” Off.

4 Go to the Global mode P04: MIDI page. 5 Set “Routing” to USB or USB+MIDI.

6 Go to the Global mode P06: MIDI FILTER page. 7 Set “SystemEx” to . 8 Press the [PROGRAM] button to return to the Pro-

gram mode.

For details on installing the software, making settings after connection, and operation, refer to the owner’s manual for the RADIAS Sound Editor software on the included CD-ROM.

If you want to save these settings, you’ll need to write Global data. (☞p.68 “5. Saving global parameters (Write)”)

Editing

Parameter

Program parameters

Drum parameters

Global parameters

Effect guide

Program parameters

Program parameters are the individual parameters that together determine the sound of a program.

If you want to keep the edits you’ve made to a program, you must execute the Write operation. Refer to p.32 “Saving an edited program.”

1. Name

P01 NAME

These parameters specify the name and category of the program, and the names of the timbres used in the program.

P01–1: PROG (Program Name)

Here you can name or rename the selected program, and assign it to a specific category.

P01–2: TIMBRE (Timbre Name)

Here you can specify the name of the timbre selected by the front panel TIMBRE SELECT [1]–[4] buttons.

1: Timbre Name [space, !…’]

Specifies the name of the timbre. The available characters and the entry method are the same as for the program name.

For details on entering a name, refer to p.35 “How to assign a name.”

2. Program Common

These parameters are common to the entire currently selected program.

0: Category [Bass…User]

The program will be assigned to the category you select here. It is often convenient to select programs by category. For details on selecting programs by category, refer to p.21 “Selecting programs by category.”

1: Program Name [space, !…’]

Specifies the name of the program. To specify the name, use the cursor buttons and the [PROGRAM/VALUE] dial, or use the [EDIT/YES] button and the sixteen knobs.

The following characters are available:

For details on entering a name, refer to p.35 “How to assign a name.”

Parameters displayed in uppercase and enclosed in angle brackets (< >) are parameters that can be edited using the front panel knobs or buttons.

P02 COMMON (Program Common Parameters)

P02–1: PROG (Program Common)

Here you can turn the vocoder on/off, specify the scale type used by the program, specify the object that the front panel knobs and buttons will edit, and choose the illumination pattern for the 16KEYS [1]–[16] keys.

1: Vocoder VOCODER [Off, On]

Specifies whether this program will use the vocoder.

This setting will change the available number of voices.

2. Program Common

Off

The vocoder is off, and will not be used in the current program.

The vocoder is on, and will be used by the current program. Audio that is input to the INPUT 2 jack will be used to produce the vocoder effect. For details on vocoder editing and on the vocoder parameters, refer to p.56 “Vocoder settings” and p.104 “6. Vocoder Parameters.”

2: Scale [Equal…User]

Selects the type of scale that the current program will use. You can choose one of ten different scale types.

Equal

Equal temperament, which is the most commonly used scale. Every semitone is spaced an equal pitch distance from the next.

Major

Pure major scale. Major chords in the key specified by “Scale Key” will be completely harmonious.

Minor

Pure minor scale. Minor chords in the key specified by “Scale Key” will be completely harmonious.

Arabic

Arabic scale. It includes the quarter-tone scale characteristic of Arabian music.

Pytha

Pythagorean scale, a scale based on ancient Greek musical theory. It is particularly effective when playing melodies.

Werck

Werckmeister scale, an equal tempered scale used in the late Baroque period.

Kirn

Kirnberger scale, created in the 18th century, and used mainly for tuning harpsichords.

Slendro

Slendro scale, an Indonesian gamelan scale that divides the octave into five notes. If the “Scale Key” is C, use the C, D, F, G, and A keys.

Pelog

Pelog scale, an Indonesian gamelan scale that divides the octave into seven notes. If the “Scale Key” is C, use the C, D, E, F, G, A, and B keys.

User

The scale you created in the Global mode P11: USER SCALE page. (☞p.120 “P09–1: USER SCALE”)

Link

The front panel controls will edit the timbre selected by the [TIMBRE SELECT] button. Normally you will choose this setting.

Timbre1…Timbre4

The front panel controls will always edit the timbre specified here, regardless of the timbre selected by the [TIMBRE SELECT] buttons.

Vocoder

The front panel controls will always edit the vocoder, regardless of the timbre selected by the [TIMBRE SELECT] buttons.

5: 16KeysLit (16 Keys Light)

[Off, Mod.Seq, MSeq&DKit, Arp/S.Seq]

Selects the illumination pattern for the 16KEYS [1]–[16] keys.

Off

When selecting a program, the LED corresponding to the program number will light.

Mod.Seq

If the timbre selected by the [TIMBRE SELECT] buttons uses a modulation sequencer, the 16KEYS [1]–[16] keys will light according to the step that is playing.

MSeq&DKit

If the timbre selected by the [TIMBRE SELECT] buttons uses a modulation sequencer, the 16KEYS [1]–[16] keys will light according to the step that is playing.

If the timbre selected by the [TIMBRE SELECT] button has a drum kit assigned to it, the 16KEYS [1]–[16] keys will light according to the drum instrument that is playing.

Arp/S.Seq

If the timbre selected by the [TIMBRE SELECT] button uses the arpeggiator or a step sequencer, the 16KEYS [1]–[16] keys will light according to the step that is playing.

3: ScaleKey [C…B]

Specifies the tonic (“key” or “root note”) for the scale you selected in “Scale.”

4: PanelEdit [Link, Timbre1…Timbre4, Vocoder]

Specifies what will be edited by the front panel buttons and knobs.

Program parameters

P02–2: DRUM (Drum Common)

These are the parameters used with a drum kit. These parameters will be available only if you have assigned a drum kit to one of the timbres in the current program. Here you can select the drum kit to be assigned to the timbre, and adjust the overall volume and panning of the entire drum kit.

1: DrumTmbr (Drum Timbre)

[Off, Timbre1…Timbre4]

Selects which timbre will be assigned a drum kit.

You can’t edit voice-related parameters for a timbre that is assigned a drum kit.

2: KitNo. [01…32]

Selects which of the internal kits is assigned to the timbre. The [Name] field below indicates the drum kit name.

☞p.28 “Playing a Drum Kit – Drum Play mode”

3: Level [000…127]

Specifies the overall volume of the entire drum kit. Higher values produce a louder volume.

If a drum kit is assigned to a timbre, you can use the front panel [LEVEL] knob to adjust this parameter.

4: Pan [L63…CNT…R63]

Specifies the overall panning (stereo position) of the entire drum kit. R63 is right channel only, CNT is center, and L63 is left channel only.

If a drum kit is assigned to a timbre, you can use the front panel [PAN] knob to adjust this parameter.

5: NoteSft (Note Shift) [–48…+48]

Shifts the keyboard assignments of the entire drum kit. This is an easy way for you to shift the assignment of each drum instrument to the keyboard (as specified in the Drum Edit mode) to a position that’s appropriate for the timbre’s key zone setting (☞p.78 “P03–3: ZONE (Timbre Zone)”). If this is set to 0, the keyboard assignments made in the Drum Edit mode will be used without change. A setting of –12 shifts the assignments one octave downward, and a setting of +12 shifts them one octave upward.

For example, suppose that you have a drum kit that assigns the sixteen drum instruments Kick–Hand Clap to the notes C4 through D#5, as shown in the illustration. Setting “NoteShift” to –12 would shift the assignments of the sixteen drum instruments to the C3–D#4 position.

Kick

Snare

Side Snare

Side Stick

Open Hihat

Half Open Hihat

Close Hihat

Hi T om1

Hi T om2

Low T om

Crash Cymbal

Ride Cymbal

Splash Cymbal

China Cymbal

Cow bell

Hand clap

NoteShift: -12

Kick

Snare

Side Snare

Side Stick

Open Hihat

Half Open Hihat

Close Hihat

Hi T om1

Hi T om2

Low T om

Crash Cymbal

Ride Cymbal

Splash Cymbal

China Cymbal

Cow bell

Hand clap

P02–3: E.F (Envelope Follower Common)

These are the envelope follower (EF) parameters. The envelope follower detects the “shape” of the change in volume level coming from an external audio source, or from the signal coming from an internal bus.

Based on the settings you make here, both envelope data and gate data can be obtained from the detected envelope. You can use envelope data as a modulation source for a virtual patch. For example, you can use an audio input signal to modulate the filter cutoff of an internal sound generator. You can use gate data as a trigger to play an internal sound generator. For example, the detected envelope could control the note-on/off of a program played by the sound generator.

Unlike the envelope follower of the vocoder, the envelope follower settings you make here detect the envelope from the overall audio signal that is being input. The envelope follower of the vocoder divide the input signal into sixteen bands, and then detect the envelope of each band.

2. Program Common

1: Source [Off, ExtIn1, ExtIn2, ExtIn1+2, IntBus]

Selects the input source for the envelope follower.

Off

This turns the envelope detecting function off. We recommend that you turn this off if you’re not using the envelope follower as a modulation source, or if you’re using the keyboard as the trigger to play the internal sound generator.

ExtIn1

The INPUT 1 jack will be the input source. Connect the output of your external synthesizer or audio device to the INPUT 1 jack.

ExtIn2

The INPUT 2 jack will be the input source. Connect an external mic or vocal source to the INPUT 2 jack.

ExtIn1+2

Both the INPUT 1 and INPUT 2 jacks will be the input source.

IntBus

The internal bus will be the input source. The output of the timbre will be input via the internal bus.

To use the internal bus as the input source, you must use the P03–2: TIMBRE – OUT tab page to assign the output of a timbre to the internal bus. (☞p.78 “P03–2: OUT (Timbre Output)”)

2: Sens (Sensitivity) [000…127]

Adjusts the amplitude of the input signal. If the amplitude of the input signal is too low, you can increase this value to increase the amplitude of the envelope being detected. You can also increase this value if you want the detected envelope to be like a square wave for use as a gate signal.

3: Response [000…127]

Specifies the time over which the audio is converted to envelope data. With lower values of this parameter, the rise and fall of the input signal will be detected quickly. With higher values of this parameter, a slowly changing envelope without a sense of attack will be detected.

000…127

A note-on will be sent when the level of the detected envelope exceeds the value you specify here. If this is set to 0, a note-on will be sent regardless of the input from the internal input jack or the internal bus. Once the note-on is sent, this state will be maintained until you switch programs or turn off the power.

TrigThre

Off

Note-on messages will not be transmitted, regardless of the input.

Note on

Note off

Time

5: Trigger Note 1…8 [C-1…G9, Off]

Specifies the note number(s) of the note-on/off messages that are transmitted according to the “TrgThre” setting. You can specify up to eight notes.

C-1…G9

The specified note number will be transmitted.

Off

No note-on/off message will be transmitted.

P03 TIMBRE

(Timbre Common Parameters)

These are the parameters for each timbre of the program. You can set the displayed parameters individually for each of the four timbres.

P03–1: TMBR (Timbre)

Here you can turn each timbre on and off, and assign the arpeggiator or a step sequencer to each timbre.

4: TrgThre (Trigger Threshold) [000…127, Off]

This specifies the trigger level at which the detected envelope will play the internal sound generator. A note-on will be sent when the envelope exceeds the specified level, and a note-off will be sent when the envelope falls below the specified level. When a note-on is sent, the note number specified by “Trigger Note No.” will be sent on the MIDI channel of the timbre selected by the TIMBRE SELECT [1]–[4] buttons to the internal sound generator. If the arpeggiator or step sequencer is assigned to the selected timbre, the arpeggiator or step sequencer can be driven by the note message that is sent.

1: On (Timbre On) [Off, On]

Switches each timbre on/off.

If a drum kit is assigned to a timbre, a symbol is shown at the right.

Off

The timbre will be off. Timbres that are off will not sound.

Program parameters

The timbre will be on, and can be played by the keyboard or by note-on messages from the MIDI IN connector.

You can switch a timbre on/off by holding down the [EXIT/NO] button and pressing the corresponding TIMBRE SELECT [1]–[4] button.

2: Select [A01T1…P16T4, Tmp001…Tmp128]

Loads settings from another timbre or a template. Move the cursor to the timbre, and use the [PROGRAM/VALUE] dial to select a timbre or template.

In the “Select” field, you can only select timbres that are turned on in the current program or any other program. When you select a timbre, the sound parameters, modulation sequences, and insert effect settings will be loaded. When you select a sound template, the modulation sequences and insert effect settings will be set to off.

If a drum kit is assigned to the timbre, you can select and load the timbres in other programs that are also assigned to a drum kit, or load one of the 32 drum kits. When you select a drum kit timbre from another program, the insert effect settings will also be loaded. When you select one of the 32 drum kits, the insert effect settings will be turned off.

2: IndOut (Individual Output) [IndL/R, IntBus]

Specifies the destination of the INDIV. L and R bus. Use “OutBal” if you’ve sent the signal to the INDIV.L and R bus.

IndL/R

Sends the signal to the INDIV. L and R jacks.

IntBus

Routes the signal to the internal bus. This lets you use the signal as an input source for the vocoder or envelope follower.

P03–3: ZONE (Timbre Zone)

Each timbre can be set to play a particular range of notes on the keyboard. This allows you to create “split” programs where adjoining regions are assigned to different timbres, or “layered” programs, where the same region is assigned to different timbres. These parameters specify the key zone (keyboard region) in which each timbre will sound. For more about split and layer settings, refer to p.64 “Key Zone settings.”

P03–2: OUT (Timbre Output)

These are the output-related parameters for each timbre.

1: OutBal (Output Balance)

[MainOut, M63I01…M63I63…M01I63, IndOut]

The output of each timbre can be sent to the main outputs, or to the individual outputs, or to both - and you can adjust the mix between them.

MainOut

The sound will be processed through the master effect and sent from the MAIN L/MONO and R jacks.

M63I01…M63I63…M01I63

Sets the balance between the main output sand the individual outputs. The sound will be processed through the master effect before being sent from the MAIN L/ MONO and R jacks.

IndOut

Sends the output of the timbre to the INDIV.L and R bus.

1: Bottom [C-1…G9]

Specifies the lowest note of the key zone where this timbre will play.

2: Top [C-1…G9]

Specifies the highest note of the key zone where this timbre will play.

P03–4: MIDI (Timbre MIDI Parameters)

A variety of MIDI functions can be set independently for each timbre. You can specify the MIDI transmit/receive channel for each timbre, and whether each timbre will receive program change messages, pitch bend messages, and aftertouch messages. The corresponding MIDI message will be received if this parameter is set to (Enable), or ignored if this is set to ✕ (Disable).

2. Program Common

1: Ch (MIDI Channel) [01…16, GLB]

Specifies the MIDI transmit/receive channel. By setting two or more timbres to the same MIDI channel and using the P03–3: TIMBRE – ZONE tab page to specify their key zone appropriately, you can create split setups in which timbres are played from separate key zones, or layered settings in which timbres are played together. By setting each timbre to a different MIDI channel, you can use the RADIAS as a multi-timbral sound module, and control it from an external sequencer or other device.

If you set this appropriately in conjunction with the program change (“Pchg”) setting, you’ll be able to call up a new timbre using a program change message.

01…16

The specified value will be the MIDI transmit/receive channel. If the specified MIDI channel matches the global MIDI channel (specified in the Global mode), a “G” indication is shown beside the numerical value.

If you connect an external MIDI sequencer, you must set the MIDI transmit/receive channel of each timbre to match the MIDI channel of the corresponding tracks on your sequencer.

GLB (Global)

The MIDI transmit/receive channel of the timbre will always match the global MIDI channel. To set the global MIDI channel, use the Global mode 3: MIDI page “MIDI Ch.” (☞p.116 “MIDI Ch”)

P03–5: CC-A (Controller’s CC)

These settings specify whether MIDI control change messages such as Modulation Wheel and Damper Pedal assigned to the RADIAS’ controllers will be received by each timbre. The corresponding MIDI message will be received if this parameter is set to (Enable), or ignored if this is set to ✕ (Disable).

The effect control source (“Ctrl Src” parameter) can use MIDI control changes or aftertouch regardless of this setting. For example if you set “Dmpr” to ✕ (not received), and select Damper as the effect control source, you can use damper messages to control only the effect.

1: Cntrl (Controller’s CC) [x, o]

Specifies whether MIDI control change message CC#01 (modulation wheel) and CC#02/CC#16/CC#80/CC#81 will be received by the timbre.

2: Dmpr (Damper Pedal) [x, o]

Specifies whether MIDI control change message CC#64 Hold (damper pedal) will be received by the timbre.

2: Pchg (Program Change) [x, o]

Specifies whether MIDI program change messages will be received. In the Program Play mode, incoming MIDI bank select messages and MIDI program select messages on a MIDI channel that matches the “Ch” setting will switch the timbre to a different timbre saved in the RADIAS - including timbres used in other programs.

For more about program changes and bank select messages, refer to p.146 “Program change/Bank select.”

3: PBnd (Pitch Bend) [x, o]

Specifies whether MIDI pitch bend messages will be received by the timbre.

4: AT (After Touch) [x, o]

Specifies whether MIDI aftertouch messages will be received by the timbre.

3: (Foot Pedal/Sw) [x, o]

Specifies whether foot pedal and foot switch messages will be received by the timbre.

P03–6: CC-B (Other Control Change)

These settings specify whether portamento on/off and other MIDI control change messages will be received.

1: Prtmnto (Portamento) [x, o]

Specifies whether MIDI control change message CC#65 Portamento on/off will be received by the timbre.

2: OtherCC (Other Control Change) [x, o]

Specifies whether other MIDI control change messages not covered by the preceding items will be received by the timbre.

Program parameters

3. Synth Parameters

These are the synthesis parameters that are used to create a timbre. Each of the four timbres has the same pages. Use the TIMBRE SELECT [1]–[4] buttons to select the timbre you want to edit.

If a drum kit is assigned to a timbre, the parameters of the P04: VOICE–P12: MOD SEQ pages are not available for that timbre.

P04 VOICE

These parameters determine performance characteristics of the timbre.

P04–1: VOICE

Here you can specify how the timbre will be played.

Multi

The EG will be retriggered each time a new key is pressed.

Note on

Trigger

Single

Multi

Note on

P04–2: UNISON

These are the unison-related parameters. Unison is a function that produces a richer tone by playing multiple voices at the same pitch to “fatten” the sound. This effect can be enhanced by slightly detuning each stacked voice. The RADIAS lets you stack as many as six voices in this way.

1: Assign (Voice Assign) [Mono, Poly]

Selects monophonic or polyphonic operation.

Mono

The timbre will play monophonically (one note at a time).

Poly

The timbre will play polyphonically.

2: Priority [Last, Low, High]

When playing monophonically, and more than one note is held down, this setting specifies the note that will take priority. This parameter is shown if “Assign” is set to Mono.

Last

The last key to be pressed down will sound.

Low

The lowest note being pressed will sound.

High

The highest note being pressed will sound.

3: Trigger [Single, Multi]

This specifies whether the EGs will retrigger when you play a second note before releasing a previously played note. This parameter is shown if “Assign” is set to Mono.

Single

The second and subsequent notes will not retrigger the EG. Use this setting if you want to play legato.

1: Sw (Unison On/Off) UNISON [Off, On]

Switches unison on/off.

Off

Unison is off.

Unison is on. If this is on, use the “Mode,” “Detune,” and “Spread” parameters to specify the number of voices, detuning, and panning.

2: Mode [2…6 voice]

Specifies the number of voices that are stacked when using the Unison function. When you play a note, the specified number of voices will be heard, producing a richer tone. This parameter is shown and can be edited if “Sw” is On.

Depending on other voice-related settings, the number of voices you specify here may not actually sound.

3: Detune [00…99 cent]

Specifies the amount of detuning (pitch spread) that will be applied between each stacked voice when using the Unison function.

3. Synth Parameters

This parameter is available if the unison “Sw” function is On.

The “Detune” setting has no effect for OSC1 (oscillator 1) if the P06–1: OSC1 “Wave (OSC1 Wave)” is set to DrumPCM.

4: Spread [000…127]

Specifies how far the panning of the voices is spread apart when using the Unison function. The panning of each stacked voice will be spread by the amount you specify here. This parameter is available if the unison “Sw” function is On.

P05 PITCH

These are the pitch-related parameters.

These parameter setting has no effect for OSC1 (oscillator 1) if the P06–1: OSC1 “Wave (OSC1 Wave)” is set to DrumPCM.

P05–1: PITCH

4: VibratInt (Vibrato Intensity)

[–2400…+2400cent]

Specifies the depth of the vibrato that will occur when the modulation wheel is moved to its maximum position. LFO2 will apply vibrato to the pitch of the oscillators.

5: BendRange [–12…+12]

Specifies the amount of pitch change (in semitone units) that can be produced by the pitch bender. This value specifies the amount of pitch change that will occur when the pitch bender is moved all the way in the positive (+) direction.

Portamnto (Portamento Time)  TIME 

Specifies the portamento time. Portamento is a function that creates a smooth transition in pitch between one note and the next. With a setting of 000 there will be no portamento. With higher settings, it will take longer to reach the pitch of the next note played.

[000…127]

7: PrtmCurve (Portamento Curve) [LogHard…Expo]

Specifies the curve used by the portamento effect.

1: Transpose [–48…+48]

Shifts the pitch produced by the oscillators in steps of a semitone (100 cents). You can adjust this in a range of four octaves upward or downward.

The front panel [OCTAVE] buttons shift the pitch range assigned to the keyboard and the 16KEYS [1]–[16] keys in steps of one octave; they do not change the pitch of the sound you hear, nor is the setting saved when you Write. Use this Transpose setting when you want to change the pitch of the oscillators themselves.

2: Tune [–50…+50 cent]

Adjusts the pitch produced by the oscillators in steps of one cent. You can adjust this in a range of –50 – +50 cents.

3: AnalgTun (Analog Tune) [000…127]

By adding a slight randomness to the pitch of each note as it is played, this lets you simulate the pitch instability and oscillator “drift” that was characteristic of analog synthesizers. Higher settings will produce greater variations in pitch.

First note-on

1: Expo 2: Linear 3: LogSoft 4: LogMid 5: LogHard

Second note-on

Pitch

Time (=“Portamento Time”)

P06 OSC/MIXER

These are the parameters that specify the algorithm, waveform and output of each oscillator. The RADIAS provides two oscillators for each timbre. You can use these two oscillators to create a variety of complex waveforms.

P06–1: OSC 1

Program parameters

1: Wave (OSC1 Wave)  WAVE [π], [†] 

[Saw…AudioIn]

Selects the waveform of oscillator 1 (OSC 1). The parameters controlled by the “Control1” knob and “Control2” knob will be different based on the waveform you select here and on the “OSC Mod” setting.

Saw

This sawtooth wave is appropriate for creating a wide range of sounds typical of analog synthesizers, including basses and pads.

With some settings, this will produce noise.

When “OSC Mod” = Waveform

Control1: Waveform (Waveform Modulation)

Adjusting the value will modify the waveform. A setting of 0 produces a simple sawtooth wave, and a setting of 127 produces a sawtooth wave one octave higher.

Control2: LFO1Mod (LFO1 Modulation Intensity)

LFO1 will vary the “Control1” effect (Waveform Modulation). Control2 adjusts the depth of this change. By setting the LFO1 “Wave” (P12–1: LFO – LFO1 tab page “Wave”) to Tri and applying this effect, you can produce a result similar to detuning the waveform, producing a richer sound.

When “OSC Mod” = Cross

When you’re using cross modulation, the waveform selected by “Wave” will be the carrier.

Control1: ModDepth (Cross Modulation Depth)

Adjusts the depth of cross modulation.

Control2: LFO1Mod (LFO1 Modulation Intensity)

LFO1 will vary the depth of cross modulation. Control2 adjusts the depth of this change. Pitch Modulation varies the pitch from the basic pitch for an equal distance up/down in terms of musical notes. In contrast, Cross Modulation varies the pitch from the basic pitch for an equal distance up/down in terms of frequency.

When “OSC Mod” = Unison

Unison detunes the pitch of ﬁve oscillators within oscillator 1 and outputs them together to create a richer sound.

Control1: Detune (Unison Detune) [000…127]

Adjusts the pitch distance between the unison oscillators. Higher settings produce a greater spread between oscillators, giving a richer sound.

Control2: Phase (Unison Phase) [000…127]

Speciﬁes the phase of each oscillator at note-on. This will affect the tone of the attack.

When “OSC Mod” = VPM

Control1: ModDepth (VPM Depth) [000…127]

Adjusts the depth of the VPM effect.

[000…127]

127

[000…127]

Control2: Harmonics (VPM Harmonics) [01…32]

Speciﬁes the frequency of the VPM modulator as a multiple (harmonic) of the oscillator 1 fundamental.

Square

This is a pulse wave suitable for electronic sounds and wind instruments. By adjusting the pulse width you can produce sounds reminiscent of clavi or sax.

When “OSC Mod” = Waveform

Control1: Waveform (Waveform Modulation)

[000…127]

Adjusts the pulse width. A setting of 0 produces a simple square wave. At a setting of 127, the pulse width will disappear completely, and there will be no sound.

063127

Control2: LFO1Mod (LFO1 Modulation Intensity)

[000…127]

LFO1 will vary the “Control1” effect (Pulse Width). Control2 adjusts the depth of this change. By setting the LFO1 “Wave” (P12–1: LFO – LFO1 tab page “Wave”) to Tri and applying this effect, you can create a pulse width modulation effect, giving the sound more depth.

When “OSC Mod” = Cross

This is the same as when “Wave” = Saw.

When “OSC Mod” = Unison

This is the same as when “Wave” = Saw.

When “OSC Mod” = VPM

This is the same as when “Wave” = Saw.

Tri

Triangle wave has fewer overtones than sawtooth wave or square wave, and is suitable for mild tone such as bass or pads.

When “OSC Mod” = Waveform

Control1: Waveform (Waveform Modulation)

[000…127]

Adjusting the value will modify the waveform. A setting of 0 produces a simple triangle wave, and a setting of 127 produces a triangle wave that is one octave and a ﬁfth higher (i.e., the third harmonic).

Control2: LFO1Mod (LFO1 Modulation Intensity)

127

[000…127]

LFO1 will vary the “Control1” effect (Waveform Modulation). Control2 adjusts the depth of this change.

When “OSC Mod” = Cross

This is the same as when “Wave” = Saw.

When “OSC Mod” = Unison

This is the same as when “Wave” = Saw.

When “OSC Mod” = VPM

This is the same as when “Wave” = Saw.

3. Synth Parameters

Sin

Sine wave is a mild tone that contains only the fundamental frequency with no overtones.

When “OSC Mod” = Waveform

Control1: Waveform (Waveform Modulation)

[000…127]

A setting of 0 produces a simple sine wave. Increasing this value will modify the waveform as follows, changing the overtone structure.

Control2: LFO1Mod (LFO1 Modulation Intensity)

127

[000…127]

Adjusts the depth to which LFO1 will affect the “Control1” effect.

When “OSC Mod” = Cross

This is the same as when “Wave” = Saw.

When “OSC Mod” = Unison

This is the same as when “Wave” = Saw.

When “OSC Mod” = VPM

This is the same as when “Wave” = Saw.

Formant

The formant waveform has a tonal character reminiscent of a human voice.

Control1: Formant (Formant Width) [000…127]

Adjusts the frequency components that are characteristic of vocal formants. This is equivalent to changing the shape of your mouth (i.e., changing the vowel sound).

Control2: Offset (Formant Offset) [–63…+63]

Moves the entire formant frequency spectrum upward or downward. This is equivalent to changing the size of your mouth. A setting of 0 produces the standard formant locations.

Noise

Generates noise. “Control1” boosts the pitched component within the noise, and “Control2” adjusts the brightness.

Control1: Resonance [000…127]

Adjusts the amount of resonance for the ﬁlter provided within the noise oscillator. Higher values will emphasize the frequency points for the pitched component within the noise.

Control2: LPF/HPF [LPF63…CNT…HPF63]

Adjusts the mix balance between the low-pass and high-pass ﬁlters; this will vary the brightness of the sound.

SynthPCM

This provides various PCM waveforms taken from acoustic instruments and digital synthesizers. You can choose one of 64 different PCM waveforms. For details on the PCM waveforms provided, refer to p.156 “Voice Name List.”

Control1: --- has no effect

Control2: Wave Sel (Wave Select) [01…64]

Selects the PCM waveform.

DrumPCM

This provides various PCM waveforms such as drum and percussion sounds.

Control1: Pitch (Drum Pitch) [–63…+63]

Adjusts the pitch.

Control2: Wave Sel (Wave Select) [01…128]

Selects the drum PCM waveform. The pitch of the drum PCM waveform will be the same regardless of the note number. You can choose one of 128 different drum PCM waveforms.

For details on the drum PCM waveforms provided, refer to p.156 “Voice Name List.”

AudioIn

This lets you use the input source specified by “Source” as the oscillator output.

Control1: Gain [–63…+63]

Adjusts the volume of the audio input.

Control2: Balance [L63…CNT…R63]

Adjusts the balance between the L channel (INPUT 1 jack) and R channel (INPUT 2 jack) of the input signal.

If the P04–2: VOICE – UNISON tab page “Sw” is On, the audio input can be used as stereo, and certain parameters will be set automatically. In this case, please note the following points.

• Regardless of the “Balance” (Control2) setting, the signal of the Int.Bus L or Ext.In 1 signal will be ﬁxed at “Balance” = L63, and the signal of the Int.Bus R or Ext.In 2 signal will be ﬁxed at “Balance” = R63.

• The oscillator will be ﬁxed at “2 voice” regardless of the “Unison Mode” setting.

• If “Unison Spread” is set to 0, the L channel and R channel of the timbre output will both be set to a “PAN” of CNT (Center). If “Spread” is set to 127, the L channel and R channel of the timbre output will be set to a “PAN” of L63 and R63 respectively.

2: Source [ExtIn, IntBus]

Selects the audio input source. This is valid only if “Wave” is set to AudioIn. Use Control1 “Gain” to adjust the input volume, and Control2 “Balance” to adjust the balance.

ExtIn

The waveform received from the INPUT 1 and 2 jacks will be used. The input from the INPUT 1 jack is sent to the L channel of the oscillator, and the input from the INPUT 2 jack is sent to the R channel. If the P4–2: VOICE – UNISON tab page “SW” setting is Off, the sound will be mixed to monaural.

IntBus

The internal bus will be used. The input from the L channel of the bus is sent to the L channel of the oscillator, and the input from the R channel is sent to the R channel.

Program parameters

In order to use the internal bus, you must make settings in the P03–2: TIMBRE – OUT tab page to assign the timbre output to the internal bus.

3: OSC Mod OSC MOD

[Waveform, Cross, Unison, VPM]

Selects the modulation type for oscillator 1.

You can’t apply modulation if “Wave” is set to Formant, Noise, Synth PCM, Drum PCM, or Audio In. This field will be shown as Waveform.

The maximum number of voices will change depending on the combination of “Wave” and “OSC Mod” settings.

Waveform (Waveform Modulation)

Use “Control1” to modify the waveform. For details on how the waveform will change, refer to p.82 “Wave (OSC1 Wave) Ü WAVE [π], [†] á.”

Cross (Cross Modulation)

Cross Modulation uses the output waveform of oscillator 2 (the modulator) to modulate the frequency of oscillator 1 (the carrier) at high speed to produce a modulated sound. The waveform selected by “Wave” will be the carrier.

Cross Mod Depth

Unison Detune

OSC1–1

OSC1–2

OSC1–3

OSC1–4

OSC1–5

OSC1 Output

If “Wave” is Saw, Squ, Tri, or Sin, you can adjust the following parameters for the selected waveform.

Control1: Detune (Unison Detune) [000…127]

Adjusts the difference in pitch between the unison oscillators. Higher values will broaden the pitch difference between the oscillators, producing a richer sound.

Control2: Phase (Oscillator Phase) [000…127]

Speciﬁes the phase of each oscillator at note-on. This will affect the tone of the attack. A setting of 127 will change the pitch and volume.

0 (0º) 63 (90º) 127 (180º)

Saw

OSC2

OSC1 Freq Mod

OSC1

OSC1 output

OSC2 output

If “Wave” is Saw, Squ, Tri, or Sin, you can adjust the following parameters for the selected waveform.

Control1: ModDepth (Cross Modulation Depth)

[000…127]

Adjusts the depth of cross modulation.

Control2: LFO1Mod (LFO1 Modulation Intensity)

[000…127]

Adjusts the depth to which LFO1 will vary the amount of cross modulation. Pitch Modulation varies the pitch from the basic pitch for an equal distance up/down in terms of musical notes. In contrast, Cross Modulation varies the pitch from the basic pitch for an equal distance up/down in terms of frequency.

Unison

Unison skews the pitch of five oscillators within a single oscillator and outputs them together to create a richer sound. This is not to be confused with the unison parameter under voice (P04:VOICE-UNISON) which requires using additional voices of polyphony.

Squ

Tri

Sin

VPM

VPM (Variable Phase Modulation) uses a sine wave at a harmonic (integer) multiple of the oscillator 1 fundamental to modulate the phase of oscillator 1, producing metallic-sounding overtones. In contrast to Cross Modulation which produces sounds that have a modulating character in the waveform, VPM uses a sine wave at a harmonic multiple of oscillator 1 to modulate the phase of oscillator 1, meaning that the waveform will remain static while overtones are added. The sine wave used for modulation is built into oscillator 1, so the waveform of oscillator 2 will not affect the sound of oscillator 1.

If “Wave” is Saw, Squ, Tri, or Sin, you can adjust the following parameters for the selected waveform.

3. Synth Parameters

When “OSC Mod” = VPM

Control1: Mod Depth (VPM Depth) [000…127]

Adjusts the depth of VPM.

Control2: Harmonics (Mod Harmonics) [01…32]

Speciﬁes the frequency of the VPM modulator as a harmonic multiple of oscillator 1.

4: Control1  CONTROL1  5: Control2  CONTROL2 

“Control1” and “Control2” adjust parameters of the selected waveform. The parameters and the available values will depend on the waveform that is selected. (☞p.82 “Wave (OSC1 Wave) Ü WAVE [π], [†] á”)

P06–2: OSC 2

These are the parameters for the oscillator 2 waveform.

Ring

This type of modulation generates frequencies at the sum and difference of oscillators 1 and 2. You can adjust “Semitone” and “Tune” to create metallic sounds with little sense of pitch. This is useful for sound effects.

OSC2 Wave

OSC1 Wave

OSC2 Output

OSC1 Output

Sync

This type of modulation synchronizes oscillator 2 to the phase of oscillator 1, forcibly resetting the phase of oscillator 2. This is effective on lead synth sounds. Use “Semitone” and “Tune” to adjust the overtones.

OSC2 Wave

Sync

OSC1 Wave

OSC2 Output

OSC1 Output

RingSync

This applies Ring and Sync modulation simultaneously.

1: Wave  WAVE  [Saw, Squre, Tri, Sin]

Selects the waveform for oscillator 2.

This setting will affect the maximum number of voices.

Saw

Sawtooth wave is suitable for creating a broad range of typical analog synthesizer sounds such as synth bass and synth brass.

Squre

Square wave is suitable for electronic sounds or woodwind sounds such as clarinet.

Tri

Triangle wave has fewer overtones and a stronger fundamental than sawtooth wave or square wave. It is suitable for mild bass sounds.

Sin

This is a sine wave.

2: OSC Mod (Oscillator Modulation Type)  OSC MOD 

[Off, Ring, Sync, RingSync]

Selects the oscillator modulation type.

Some settings may produce noise.

OSC2 Wave

Sync

OSC1 Wave

OSC2 Output

OSC1 Output

3: Semitone  SEMITONE  [–24…+24]

Specifies the amount of detuning relative to oscillator 1 in semitone steps. Values of ±12 produce a pitch difference of one octave, and values of ±24 produce a pitch difference of two octaves. At a value of 0, the pitch will be the same as OSC1.

4: Tune  TUNE  [–63…+63]

Specifies the amount of detuning relative to oscillator 1. Values of ±63 produce a pitch difference of ±2 octaves, and values of ±48 produce a pitch difference of ±1 octave. Values near 0 produce fine adjustments in the pitch.

If “OSC Mod” is set to Sync, adjusting the “Semitone” or “Tune” parameters will change the pitch of the overtones. The pitch of the fundamental will not change.

Off

The sound will be output without any modulation being applied. You can adjust “Semitone” and “Tune” to produce a spacious-sounding detune effect. For fuller synth bass sounds, set the pitch of oscillator 1 and 2 one octave apart.

Program parameters

P06–3: MIXER

These parameters specify the output level of each oscillator. The settings you make here will determine the input level to the filter.

1: OSC1 Lvl (OSC1 Level)  OSC1  [000…127]

Specifies the output level of oscillator 1.

2: OSC2 Lvl (OSC2 Level)  OSC2  [000…127]

Specifies the output level of oscillator 2.

3: Noise Lvl (Noise Level)  NOISE  [000…127]

Specifies the output level of the noise generator.

P07 FILTER

These are the individual parameters for filter 1 and filter 2, as well as parameters that affect the entire filter section. Both filters are self resonating.

P07–1: FILTER1

Para

Filter 1 and filter 2 are connected in parallel.

OSC1

Filter1

OSC2

Filter2

Noise

Indiv

Filter 1 is applied to oscillator 1, and filter 2 is applied to oscillator 2 and noise.

OSC1

Filter1

OSC2

Filter2

Noise

2: FiltBal (Filter1 Balance)  FILTER TYPE 

[LPF24…LPF12…HPF…BPF…THRU]

Selects the filter type. Intermediate settings will produce a response that is between the two filter types.

LPF12 (–12dB/oct), LPF24 (–24dB/oct)

LPF (Low Pass Filter) is the most common type of filter; it passes the frequencies below the cutoff frequency and cuts the region above. Raising the cutoff frequency (“Cutoff” value) will produce a brighter tone. The 24dB/octave filter (also known as 4-pole; versus the 12dB /octave also known as a 2-pole filter) cuts the sound below the cutoff frequency at steeper curve and is useful for bass sounds with more “punch.”

1: Routing  ROUTING 

[Single, Serial, Para, Indiv]

Specifies the routing (connection) between filter 1 and filter 2.

This setting will affect the maximum number of voices that can be played at one time.

Single

Only filter 1 is used.

Serial

Filter 1 and filter 2 are connected in series.

OSC1

OSC2

Noise

Filter1

Filter2

LPF (Low Pass Filter)

–12dB/oct

–24dB/oct

Cutoff

Frequency

BPF (–12dB/oct)

BPF (Band Pass Filter) passes the frequencies in the region of the cutoff frequency, and cuts all other frequency regions. Use this when you want to emphasize just a specific portion of the sound.

BPF (Band Pass Filter)

Cutoff

Frequency

HPF (–12dB/oct)

HPF (High Pass Filter) passes the frequencies above the cutoff frequency and cuts the region below. Use this when you want to make the tone thinner. However, raising the cutoff frequency too far will drastically reduce the volume.

3. Synth Parameters

HPF (High Pass Filter)

Frequency

Cutoff

THRU

The sound will output directly, without passing through the filter.

3: Cutoff (Cutoff Frequency)  CUTOFF 

[000…127]

Specifies the cutoff frequency. Higher settings will raise the cutoff frequency.

“Cutoff” can be modified by the time-varying changes produced by EG1, position of the notes on the keyboard (keyboard tracking), or keyboard dynamics (velocity). The “EG 1 Int,” “Key Track,” and “Velo Sens” parameters specify the degree to which these will affect “Cutoff.”

With some “Cutoff” settings, the volume may be extremely low or there may be no sound at all.

4: Resonance  RESONANCE  [000…127]

Specifies the resonance. This boosts the region near the “Cutoff” frequency, giving a distinctive character to the sound. Increasing this value will produce a greater effect.

The effect of resonance

LPF

Increasingly negative (–) values will produce a greater effect in the opposite direction.

Cutoff

Note on

Int=–63

Int=0

Note off

Time

Cutoff frequency specified by “Cutoff”

Note on

Int=–32

Note off

6: KeyTrack (Keyboard Track)  KEY TRACK 

[–2.00…+2.00]

Specifies how keyboard tracking (location on the keyboard) will modulate the cutoff frequency. With a setting of 0, keyboard tracking will have no effect. Positive (+) settings will cause the cutoff frequency to rise as you play above the C4 key, or fall as you play below the C4 key. With a setting of +1.0, the change in cutoff frequency will be proportional to the change in pitch. Negative (–) settings will cause the cutoff frequency to fall as you play above the C4 key, or rise as you play below the C4 key.

Keyboard tracking is based on the pitch as controlled by pitch bend, transpose, and modulation sequencer. It does not reflect pitch changes produced by vibrato or virtual patching.

7: VeloSens (Velocity Sens) [–63…+63]

Specifies how velocity (keyboard playing dynamics) will affect the cutoff frequency. Positive (+) values will cause the cutoff frequency to rise as you play more strongly. Negative (–) values will cause the cutoff frequency to fall as you play more strongly.

HPF

BPF

Low resonance setting High resonance setting

High settings of “Resonance” may cause distortion for some cutoff frequencies or input sounds.

5: EG1 Int (EG1 Intensity)  EG 1 INT  [–63…+63]

Specifies the degree to which EG 1 will modulate the cutoff frequency. This will cause the cutoff frequency to change over time. Increasingly positive (+) values will produce a greater effect.

Cutoff

Cutoff frequency specified by “Cutoff”

Note on

Int=+32

Note off

Int=+63

Note on

Note off

Int=0

Time

P07–2: FILTER2

These are the parameters for filter 2. These parameters are available if FILTER1 “Routing” is Serial, Para, or Indiv.

1: LinkSw [Off, On]

Causes filter 2 to operate using the settings of filter 1 parameters.

Off

Filter 1 and filter 2 parameters can be set independently.

Filter 2 will operate using the settings of the filter 1 parameters. Parameters following “Cutoff” will use the filter 1 settings.

Program parameters

2: FiltType (Filter2 Type)  TYPE 

[LPF, HPF, BPF, COMB]

Selects the filter type.

This setting will affect the maximum number of voices.

LPF, HPF, BPF

These are the same –12 dB/oct type filters as for filter 1. Refer to p.86 “FiltBal (Filter1 Balance) Ü FILTER TYPE á.”

COMB

In a comb filter (so named for its resemblance to the teeth of a comb), alternating bands pass and cut the signal, giving a unique character to the sound. Increasing the cutoff frequency (“Cutoff” value) will space the teeth of the comb farther apart, so that more regions are cut.

COMB (Comb Filter)

Frequency

Cutoff

2: Pan  PAN  [L63…CNT…R63]

Adjusts the panning (stereo position) of the timbre.

If a drum kit is assigned to the timbre, the parameter adjusted by the front panel [PAN] knob will be the P02–2: COMMON – DRUM tab page “Pan” parameter.

3: Drive/WS (Drive/Wave Shape)  DRIVE/WS 

[Off, Drive, WavShape]

Activates the drive or wave shape functions.

This setting will affect the maximum number of voices.

Off

Drive and wave shape functions will be off.

Drive

Drive will be applied. The amount of distortion is adjusted by the output level of each oscillator in the P06–3: OSC/MIXER – MIXER tab page (or the MIXER [OSC1] knob, etc.).

WavShape

Wave shape will be applied according to the wave shape type selected by “WS Type”.

3: Cutoff (Cutoff Frequency)  CUTOFF 

[000…127] 4: Resonance  RESONANCE  [000…127] 5: EG1 Int (EG1 Intensity)  EG1 INT  [–63…+63] 6: KeyTrack (Keyboard Track)  KEY TRACK 

[–2.0…+2.0]

7: VeloSens (Velocity Sens) [–63…+63]

These are the same as for FILTER 1. Refer to p.86 “P07–1: FILTER1.”

P08 AMP (Ampliﬁer)

These are the parameters related to the volume of the timbre.

P08–1: AMP

1: Level (Amp Level)  LEVEL  [000…127]

Specifies the volume of the timbre.

4: Position [PreFilt1, PreAmp]

Specifies the position at which the drive or wave shape functions will be applied.

PreFilt1

Drive or wave shape will be applied before filter 1.

PreAmp

Drive or wave shape will be applied after the filter and before the amp.

5: Depth [000…127]

Specifies the depth at which the drive or wave shape functions will be applied.

6: WS Type (Wave Shape Type)

[Decimator…Lvl Boost]

Selects the type of wave shape. This is shown and can be edited if “Drive/WS” is set to WS.

This setting will affect the maximum number of voices.

Some settings may produce noise.

Decimator

Lowers the sampling frequency.

Depth: 000 Depth: 064

Depth: 127

If a drum kit is assigned to the timbre, the parameter adjusted by the front panel [LEVEL] knob will be the P02–2: COMMON – DRUM tab page “Level” parameter.

Hard Clip

Flattens any portion of the waveform above the limit.

3. Synth Parameters

Depth: 000 Depth: 064

Depth: 127

OctSaw

Cuts the portion of the waveform above the threshold level and moves it within the limits to the inverse position upward or downward.

Depth: 000 Depth: 064

Depth: 127

MultiTri

Sending a sawtooth wave through this will produce a triangle wave.

Depth: 000

Depth: 064

Depth: 127

MultiSin

Sending a sawtooth wave through this will produce a sine wave.

Depth: 000

Depth: 064

Depth: 127

This may produce high output volumes than other wave shape types.

7: PunchLvl (Punch Level) [000…127]

Creates a more “snappy” attack by adjusting the amount of pulse waveform that is added to the oscillator output only during the attack. Increasing this value will emphasize the attack.

If the attack is slowed down by the EG etc., this will have no effect.

8: KeyTrack (Keyboard Track) [–63…+63]

Specifies how keyboard tracking will affect the volume. With positive (+) settings, the volume will increase as you play upward from the C4 key, and decrease as you play downward. With negative (–) settings, the volume will decrease as you play upward from the C4 key, and increase as you play downward. If this value is 0, keyboard tracking will not affect the volume.

Keyboard tracking works according to the pitch as controlled by pitch bend, transpose, and modulation sequencer. It does not reflect pitch changes produced by vibrato or virtual patching.

P09 EG (Envelope Generator)

SubOSCSaw, SubOSCSqu, SubOSCTri, SubOSCSin

The selected waveform will sound one octave below oscillator 1. “Depth” adjusts the mix amount relative to oscillator 1.

Pickup

This simulates an electromagnetic pickup. “Depth” adjusts the depth.

Depth: 000

Depth: 064

Depth: 127

The above illustration for Pickup shows differences in the output waveform when a sine wave at C4 is input. The transformation will vary depending on the input pitch.

Lvl Boost

Boosts the output level. “Depth” adjusts the amount of boost.

Depth: 000 Depth: 064

Depth: 127

These are the parameters for the EGs (Envelope Generators), which applies time-varying change to the filter or amp. EG1 is internally connected as the envelope source that controls the cutoff frequency of filter 1 and filter 2. EG2 is internally connected as the envelope source that controls the volume of the amp.

EG3 is an internal parameter only; there are no knobs for it on the front panel.

P09–1…3: EG 1…3

Level

Attack level

Note on

Sustain level

Note off

Time

Attack time

Decay time

Release time

Program parameters

1: Attack  ATTACK  [000…127]

Specifies the time from note-on until the attack level (the maximum value of the envelope) is reached.

2: Decay  DECAY  [000…127]

Specifies the time from when the attack level is reached until the sustain level is reached.

3: Sustain  SUSTAIN  [000…127]

Specifies the sustain level.

4: Release  RELEASE  [000…127]

Specifies the time from note-off until the level reaches 0.

5: Curve [LogHard…Expo]

Selects the curve for the decay and release segments of the envelope.

EG Curve Type

Attack

Decay

1: Log Hard 2: Log Mid 3: Log Soft 4: Linear 5: Expo

Release

Positive (+) values

EG times will become longer when you play softly, and will become shorter when you play strongly.

Negative (–) values

EG times will become longer when you play strongly, and will become shorter when you play softly.

P10 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 “Control1.” LFO2 is internally connected as the modulation source for the oscillator pitch modulation controlled by the modulation wheel (or the modulation wheel of a connected external MIDI device).

If you have difficulty hearing the effect of the LFO, increase the depth or intensity of the modulation destination.

P10–1, 2: LFO 1, 2

6: LvlVelInt (Level Velocity Intensity) [–63…+63]

This allows the amplitude of the EG to be controlled by the velocity of the note-on. Greater values allow velocity to have more of an effect on the amplitude.

Positive (+) values

When you play softly, the EG amplitude will decrease; when you play strongly, the EG amplitude will increase.

Negative (–) values

When you play strongly, the EG amplitude will decrease; when you play softly, the EG amplitude will increase.

7: TimKeyTrk (Decay/ReleaseTime Keyboard Track)

[–63…+63]

This allows keyboard tracking (the position on the keyboard) to affect the EG’s decay time and release time. As you increase this value, keyboard position will make a greater difference in the EG times. The keyboard position is relative to the C4 key.

Positive (+) values

EG time parameters will become shorter as you play above C4, and longer as you play below C4.

Negative (–) values

EG time parameters will become shorter as you play below C4, and longer as you play above C4.

8: TimVelInt (Decay/ReleaseTime Velocity Intensity)

[–63…+63]

This allows velocity to affect the EG’s decay time and release time. As you increase this value, velocity will make a greater difference in the EG times.

1: Wave  SELECT  [Saw, Squ, Squ+, Tri, S&H]

Selects the LFO waveform. For LFO1 you can choose from Saw, Squ, Tri, and S/H. For LFO2 you can choose from Saw, Squ+, Sin, and S/H.

Saw

Squ+

Sin

Squ

Tri

S&H

Amplitude changes irregularly

(Sample & Hold)

2: Shape [–63…+63]

Modifies the shape of the waveform selected by “Wave.”

3. Synth Parameters

S&H

Sin

Shape = –63

Shape = 0

Shape = +63

Saw

Squ

Squ+

Tri

3: TempoSync [On, Off]

If this is On, the LFO frequency will synchronize to the tempo or MIDI clock. If the Global mode P04: MIDI page “Clock” (MIDI clock setting) is Internal, the LFO will synchronize to the tempo specified by the [TEMPO] knob. If the clock setting is External, the LFO will synchronize to the MIDI clock data received from an external MIDI device.

If the “TempoSync” settings of LFO1 or LFO2 are respectively turned On, the “Dest” setting of the P11–1–6: PATCH – P1–P6 tab pages will be ignored if set to LFO1Freq or LFO2Freq.

4: Freq (Frequency)  FREQ  [0.01…100.0Hz]

Specifies the frequency of the LFO. This is shown and can be edited if “TempoSync” is Off. Higher values will make the LFO faster.

5: SyncNote [8/1…1/64]

Specifies the LFO frequency as a note value based on the tempo specified by the [TEMPO] knob. This is shown and can be edited if “TempoSync” is On. Relative to the tempo, the length of the note value specified here will be one cycle of the LFO. For example if this is set to  1/4, each cycle of the LFO will occupy one quarter note.

Note on Note on

Note all off

Voice

The phase of the LFO will be reset for each individual note-on, and each voice will be modulated at an independent phase.

Note on

1VOICE

Note on

2VOICE

7: IniPhase (Initial Phase) [000…180°]

Specifies the starting position of the LFO waveform. This parameter is valid if “KeySync” is set to Timbre or Voice. With a setting of 0, modulation will start from the “zero point” and begin ascending the positive portion of the LFO wave. A setting of 90 will begin at the highest point of the LFO wave, and a setting of 180 will start from the “zero point” and begin descending the negative portion of the LFO wave. In the phase illustrations above, the phase is set to 90.

P11 PATCH (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 six of these combinations.

6: KeySync [Off, Timbre, Voice]

Specifies whether the LFO will reset at each new note-on message.

Off

The phase of the LFO will not be reset when a note-on occurs.

Note on

Timbre

The phase of the LFO will be reset at the first note-on that occurs when no other keys are being pressed, and will continue to affect all the notes played by that timbre in the same way, until once again no keys are being held down.

P11–1…6: P1…P6 (PATCH1…PATCH6)

1: Source  SOURCE  [EG1…MIDI5]

Selects the modulation source.

EG1, EG2, EG3

EG1, EG2, or EG3 will be the modulation source.

LFO1, LFO2

LFO1 or LFO2 will be the modulation source.

Program parameters

Velocity

Keyboard velocity (playing dynamics) will be the modulation source.

P.Bend

Pitch bend will be the modulation source.

M.Wheel

Modulation wheel will be the modulation source.

KeyTrack

Keyboard tracking (position) will be the modulation source.

Keyboard tracking works according to the pitch as controlled by pitch bend, transpose, and modulation sequencer. It does not reflect pitch changes produced by vibrato or virtual patching.

EnvF

The envelope data obtained from the envelope follower will be the modulation source.

MIDI1, MIDI2, MIDI3, MIDI4, MIDI5

The function specified for the Global mode P04: MIDI page parameters “MIDI1,” “MIDI2,” “MIDI3,” “MIDI4,” or “MIDI5” will be the modulation source.

2: Dest (Destination)  DESTINATION 

[Pitch…LFO2Freq]

Selects the parameter that will be the modulation destination.

Pitch

The pitch of the entire timbre will be modulated.

OSC2Pitch

The P06–2: OSC/MIXER – OSC2 tab page “Tune” parameter will be modulated.

OSC1Ctrl

The P06–1: OSC/MIXER – OSC1 tab page “Control1” parameter will be modulated.

OSC1Level, OSC2Level, NoiseLvl

The P06–3: OSC/MIXER – MIXER tab page “OSC1 Lvl,” “OSC2 Lvl,” or “NoiseLvl” parameter will be modulated.

Filt1Type

The P07–1: FILTER – FILTER1 tab page “Type” parameter will be modulated.

Filt1Cut

The P07–1: FILTER – FILTER1 tab page “Cutoff” parameter will be modulated.

Filt1Reso

The P07–1: FILTER – FILTER1 tab page “Resonance” parameter will be modulated.

Filt2Cut

The P07–2: FILTER – FILTER2 tab page “Cutoff” parameter will be modulated.

Drv/WsDpt

The P08–1: AMP page “Depth” parameter will be modulated.

AmpLevel

The P08–1: AMP page “Level” parameter will be modulated.

Pan

The P08–1: AMP page “Pan” parameter will be modulated.

LFO1Freq

The P10–1: LFO – LFO1 tab page “Freq” parameter will be modulated.

LFO2Freq

The P10–2: LFO – LFO2 tab page “Freq” parameter will be modulated.

If “TempoSync” is turned On for LFO1 or LFO2, selecting LFO1Freq or LFO2Freq respectively will have no effect.

3: Intensity  INTENSITY  [–63…+63]

Specifies the depth of the modulation produced by the modulation source.

If this is set to 0, no modulation will occur.

P12 MOD SEQ (Modulation Sequencer)

These are the parameters for the Modulation Sequencers. Modulation sequencers apply time-varying change to the sound parameters in a way similar to the analog sequencers of the past. Three modulation sequencers are provided for each timbre.

P12–1: COMN (SEQ Common)

1: LastStep [01…16]

Specifies the length of the sequence in steps (i.e., the maximum number of steps).

2: SeqType (Sequence Type) [Forward…Alt2]

Specifies the sequence type (the direction in which the sequence will play).

Forward

Play from the first step (Step01).

Forward (Last Step=16)

Step01Step02Step

Run Mode=Loop

Step14Step15Step

3. Synth Parameters

Reverse

Play from the last step (the step number specified by “Last Step”) in reverse.

Reverse (Last Step=16)

Step16Step15Step

Run Mode=Loop

Step03Step02Step

Alt1/Alt2

Alternately play in Forward and Reverse directions. Alt 1 immediately changes direction at the end points, so the first step and last steps are played only once per loop. Alt 2 plays the first step and the last step on both the way up and on the way down, so these steps will be played twice per loop.

Alt1 (Last Step=16)

Run Mode =Loop

Step01Step

Alt2 (Last Step=16)

Step01Step

Step15Step

Step

Step15Step

Playback is always in the Forward direction for Motion Rec.

3: RunMode [OneShot, Loop]

Specifies the loop setting for playback.

OneShot

The sequence will play for only one cycle, and will maintain the value of the last step.

Loop

The sequence will play as a loop, using the sequence type specified by “Seq Type.”

When you're using the Motion Rec function, or “KeySync” is off, playback is always in the Loop mode.

4: KeySync [Off, Timbre, Voice]

Specifies how the sequence will be reset when note-on occurs (i.e., when a key is played).

Off

The sequence will not be reset when note-on occurs.

Timbre

The sequence will be reset when the first note-on occurs for a timbre from a condition of all keys being released. In the case of a program for which different regions of the keyboard play different timbres (i.e., a split program), the reset will occur for the timbre that was played by the note-on.

Voice

The sequence will be individually reset by each new note-on that occurs.

If both the modulation sequencer and the arpeggiator are on, you should set this parameter to Off or Timbre. If this is set to Voice, the sequence will be reset each time the arpeggiator generates a note. If you set this to Timbre, the sequence will be reset each time a chord change occurs.

5: Resolutn (Resolution) [ 31/48…1/1]

Specifies the playback speed of the sequence relative to the tempo (MIDI clock) specified by the [TEMPO] knob. The sequence will advance by one step for each note value you specify here, relative to the tempo. For example if you set this to  1/4, the sequence will advance one step for each quarter note.

P12–2…4: SEQ1…SEQ3

1: Knob [None, Pitch…Pch6Int]

Selects the parameter that will be recorded in the modulation sequencer.

None

The modulation sequence will do nothing.

Pitch

The modulation sequence will modify the overall pitch of the sounding oscillators over a range of ±24 semitones.

Other

The modulation sequence will modify the parameter assigned to a specific panel knob over a range of ±63 (±24 for OSC2 Sem).

If the same parameter is assigned to more than one sequence, an “*” is shown at the right. In this case, assignments will take priority in the order of SEQ3, SEQ2, and SEQ1.

2: Motion [ , ]

Specifies how the recorded values will change when the sequence is played.

(Smooth)

The change will be continuous, with the values recorded at each step connected by straight lines.

2345678910 11 12 13 14 15 16

Steps

Program parameters

If you set “Knob” to OSC1c2 (OSC1 Control 2) when OSC1 “Wave” is set to Synth PCM or Drum PCM, the operation will be the same as Step even if this parameter is set to Smooth.

(Step)

The value recorded at each step will be held until the next step plays.

2345678910 11 12 13 14 15 16

Steps

3: StepSel (Step Select) [01…Last Step]

Selects the step to edit.

4: Value (Step Value) [–24…+24, –63…+63]

Edits the value recorded in the step specified by “StepSel” of the modulation sequence.

The value specified here will be an offset applied to the current value of the parameter that is assigned to the modulation sequence. For example if the current value is +10, and the sequence data contains +10, +10, +20… starting at step 1, the resulting value of the parameter will change as +20, +20, +30… when playback begins.

Use the cursor buttons to move the cursor to the step you want to edit, and use the [PROGRAM/VALUE] dial to edit the value. Alternatively, you can use the MOD SEQUENCER [SELECT] button to select the modulation sequence you want to edit, and use the sixteen knobs to edit the values.

P13 EQ/FX (Equalizer/Effect)

Here you can edit the parameters for the equalizer and effects.

P13–1: EQ

These are the equalizer settings. The equalizer is used to adjust the tonal balance of each

timbre, for example by bringing out certain frequencies that tend to be buried, or reducing other frequencies that are too obtrusive. The equalizer is connected immediately after the timbre output.

1: HiFreq (High Frequency) [1.00…20.0kHz]

Specifies the cutoff frequency of the high equalizer (shelving type).

2: HiGain (High Gain)  HI  [–15.0…+15.0dB]

Specifies the gain of the high equalizer. Positive (+) settings will boost the sound in the region of the cutoff frequency, and negative (–) settings will cut the sound in the region of the cutoff frequency.

3: LoFreq (Low Frequency) [0020…1000Hz]

Specifies the cutoff frequency of the low equalizer (shelving type).

4: LoGain (Low Gain)  LO  [–15.0…+15.0dB]

Specifies the gain of the low equalizer. Positive (+) settings will boost the sound in the region of the cutoff frequency, and negative (–) settings will cut the sound in the region of the cutoff frequency.

Raising the gain excessively may cause the output to distort.

P13–2, 3: IFX1, 2 (Insert Effect 1, 2)

These are the settings for insert effects 1 and 2. Two insert effects (insert effect 1 and insert effect 2) are

provided for each timbre. After the output of a timbre has passed through the EQ, it is connected in series through effect 1 and then effect 2.

Korg RADIAS User Manual

Specifications and Main Features

Frequently Asked Questions

User Manual

About this manual

Table of Contents

Operation

Introduction

Overview

Program Features:

Timbre Features:

Programming Aids:

Modes

How a program is structured

Synthesizer

Drum kits

Front and rear panels

Front panel

Rear panel

Setup

Quick Start

Turning on the power and adjusting the volume

Demo playback

Arpeggiator

Step Sequencer

Modulation Sequencer

Audio In

Vocoder

Editing

Basic editing procedure

Editing in the Program Play mode

Editing in the Program Edit mode

Compare function

Saving an edited program

Loading other timbre sounds/The Template function

Assigning a name

Program parameter editing

Synth parameter editing

Editing the effect parameters

Editing the arpeggiator

Step sequencer recording and editing

Vocoder editing

Drum parameter editing

Key Zone settings

Envelope Follower settings

Global parameter editing

Parameter

Program parameters

1. Name

P01 NAME

2. Program Common

P02 COMMON (Program Common Parameters)

3. Synth Parameters

P04 VOICE

P05 PITCH

P06 OSC/MIXER

P07 FILTER

P09 EG (Envelope Generator)

P10 LFO

P11 PATCH (Virtual Patch)

P12 MOD SEQ (Modulation Sequencer)

P13 EQ/FX (Equalizer/Effect)