Korg RADIAS User Manual

Owner’s Manual

2E

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.

ii

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

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

iv

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

v

Table of Contents

vi

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.

2

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.

3

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.

4

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

Synth

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

I.FX1/2

I.FX1/2

Drive/WS Position
= PreAmp

EQ

EQ

EQ

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

5

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.

6

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.

7

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.

8

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”)

9

Front and rear panels

Front panel

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

9

8

21

24

651

3

2

4
23

22

7

20

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

10

11

12

13

15

14

16

17

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.

18

19

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”

10

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-

11

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.

12

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.

13

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

9

8

7

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)”)

6

5

4

3

2

1

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.

14

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.

15

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

BAL

OR

OR

UNBAL

UNBAL

LINE IN 3

LINE IN 2

LINE IN 1

LOW CUT

LOW CUT

75Hz

75Hz

18dB/OCT

18dB/OCT

B

B

V

V

d

d

0

0

1

1

-

-

G

G

A

A

I

I

C

C

N

N

I

I

M

M

U

U

U

10

10

60

60

+10dB

+10dB

-40dB

-40dB

TRIM

TRIM

U

U

AUX

AUX

1

1

MON/

MON/

EFX

EFX

+15

+15

U

U

2

2

EFX

EFX

+15

+15

U

U

EQ

EQ

HI

HI

12kHz

12kHz

-15

-15

-15

+15

+15

U

U

MID

MID

2.5kHz

2.5kHz

-12

-12

-12

+12

+12

U

U

Monitor

LOW

LOW

80Hz

80Hz

+15

+15

-15

-15

-15

PAN

PAN

L

R

R

OUTPUT

1

2

MUTE

MUTE

MUTE

ALT 3–4

ALT 3–4

ALT 3–4

dB

dB

dB

10

10

10

SOLO

SOLO

5

5

5

U

U

U

5

5

5

10

10

10

20

20

20

30

30

30

40

40

40

50

50

50

60

60

60

INPUT

2. Connecting external audio

OUTPUT

INPUT

1

1

L

2

2

R

ALL BAL/UNBAL

LEFT(1/MONO)

RIGHT

BAL

BAL

BAL

BAL

MONO

MONO

MONO

OR

OR

OR

OR

UNBAL

UNBAL

UNBAL

UNBAL

L

L

L

LINE IN 4

LINE IN 6

LINE IN 5

BAL

BAL

BAL

LOW CUT

OR

LOW CUT

OR

OR

LOW CUT

LOW CUT

75Hz

75Hz

75Hz

75Hz

UNBAL

UNBAL

UNBAL

18dB/OCT

18dB/OCT

18dB/OCT

18dB/OCT

B

B

B

B

V

V

V

V

d

d

d

d

0

0

0

0

1

1

1

1

-

-

-

-

R

R

R

G

G

G

G

A

A

A

A

I

I

I

I

C

C

C

C

N

N

N

N

I

I

I

I

M

M

M

M

U

U

U

LEVEL

LEVEL

LEVEL

+4

+4

+4

10

10

10

10

60

60

60

60

-10

-10

-10

+10dB

+10dB

+10dB

+10dB

-40dB

-40dB

-40dB

-40dB

LINE IN 7-8

LINE IN 13-14

LINE IN 9-10

LINE IN 11-12

TRIM

TRIM

TRIM

TRIM

U

U

U

U

U

U

U

AUX

AUX

AUX

AUX

AUX

AUX

AUX

1

1

1

1

1

1

1

MON/

MON/

MON/

MON/

MON/

MON/

MON/

EFX

EFX

EFX

EFX

EFX

EFX

EFX

+15

+15

+15

+15

+15

+15

+15

U

U

U

U

U

U

U

2

2

2

2

2

2

2

EFX

EFX

EFX

EFX

EFX

EFX

EFX

+15
+15

+15

+15

+15

+15

+15

+15

U

U

U

U

U

U

U

EQ

EQ

EQ

EQ

EQ

EQ

EQ

HI

HI

HI

HI

HI

HI

HI

12kHz

12kHz

12kHz

12kHz

12kHz

12kHz

12kHz

-15

-15

-15

-15

-15

-15

+15

+15

+15

+15

+15

+15

+15

U

U

U

U

U

U

U

MID

MID

MID

MID

MID

MID

MID

2.5kHz

2.5kHz

2.5kHz

2.5kHz

2.5kHz

2.5kHz

2.5kHz

-12

-12

-12

-12

-12

-12

+12

+12

+12

+12

+12

+12

+12

U

U

U

U

U

U

U

LOW

LOW

LOW

LOW

LOW

LOW

LOW

80Hz

80Hz

80Hz

80Hz

80Hz

80Hz

80Hz

+15

+15

+15

+15

+15

+15

+15

-15

-15

-15

-15

-15

-15

PAN

PAN

PAN

PAN

PAN

PAN

PAN

R

R

R

R

R

R

R

9–10

13–14

6

11–12

7–8

4

5

3

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

MUTE

ALT 3–4

ALT 3–4

ALT 3–4

ALT 3–4

ALT 3–4

ALT 3–4

ALT 3–4

dB

dB

dB

dB

dB

dB

dB

10

10

10

10

10

10

10

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

SOLO

5

5

5

5

5

5

5

U

U

U

U

U

U

U

5

5

5

5

5

5

5

10

10

10

10

10

10

10

20

20

20

20

20

20

20

30

30

30

30

30

30

30

40

40

40

40

40

40

40

50

50

50

50

50

50

50

60

60

60

60

60

60

60

TAPE

TAPE

STEREO AUX RETURNS

AUX SEND

MIC4

MIC6

MIC3

MIC5

MIC2

equipment

MAIN OUTS

L

R

BAL/UNBAL

MONO

L

BAL
OR
UNBAL

R

LEVEL
+4

-10

U

AUX
1

MON/
EFX

+15

U

PRE

2

POST

EFX

+15

U

EQ

HI
12kHz

-15
+15

U

MID

2.5kHz

-12
+12

U

LOW
80Hz

+15

-15

PAN

R

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

U

U

1

+20

+10

NORMALLED

U

AUX 1 MASTER

2
AUX

EFX TO

AUX 1

+20

MONITOR

SELECT

RETURNS

SOURCE

LEFT RIGHT

MAIN

CLIP+28

MIX

+10
+7

ALT

+4

3-4

+2

0

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

dB

dB

10

10

5

5

U

U

5

5

10

10

20

20

30

30

40

40

50

50

60

60

16

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.

17

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.

18

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.

All Demo Songs: © 2005 KORG Inc. — all rights reserved.

19

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.

20

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).

21

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).

D#

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.

22

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.”

23

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.”

24