1-2: Key Zone/Scale - Korg M3 Parameter Manual

1–2: Key Zone/Scale
1–2a
1–2b
Here you can make the following settings.
• Make keyboard split settings for OSC1, OSC2, and Hold.
• Select the basic scale of the program.
1–2a: Key Zone
You can create keyboard splits by setting top and bottom
keys for Oscillators 1 and 2. Also, you can control the
keyboard range over which the Hold parameter takes effect.
Setting Key Zones from the keyboard
In addition to the usual data input methods, you can specify
the key zone values by directly playing a note on the
keyboard or by receiving a MIDI note-on.
1. Select the key zone parameter you'd like to edit.
2. While holding down the ENTER switch, play a note on
the keyboard to specify the value.
3. Release the ENTER switch.
On the M3, you can use this shortcut for parameters that
specify a key or a velocity. (Dialog boxes such as menu
commands are an exception.)
OSC 1 Bottom
This sets the lowest key on which Oscillator 1 will play.
OSC 1 Top
This sets the highest key on which Oscillator 1 will play.
OSC 2 Bottom
This sets the lowest key on which Oscillator 2 will play.
OSC 2 Top
This sets the highest key on which Oscillator 2 will play.
Hold
Hold is like permanently pressing down on the sustain
pedal. In other words, notes continue to sound as if you
were holding down the key - even after you lift your fingers
from the keyboard.
Unless the Sustain Level is set to 0 in Amp EG 1 (and Amp
EG 2 in a Double Program), the sound will play for the
entire length of the sample(s).
On (checked): The Hold function is enabled for the range
set by the Hold Bottom and Hold Top parameters, below.
Off (unchecked): Notes will play normally. This is the
default setting.
Using Hold with Drum Kits
Hold can be especially useful for drum programs, since it
lets the samples ring out naturally. In general, when you set
the Oscillator Mode to Drums, it's good to set Hold to On.
PROG P1: Basic/DT/Ctrls (Basic/Drum Track/Controllers) 1–2: Key Zone/Scale
Once you've turned on Hold for a drum program, the
function is controlled on a note-by-note basis according to
settings within the selected Drum Kit.
If a key's Enable Note Off Receive parameter (Global 5–4a)
1–2
Menu
is unchecked, the note will be held.
If the key's Enable Note Off Receive parameter is checked,
it will not be held.
If you turn off Hold in the Program, no keys will be held -
regardless of their Enable Note Off Receive setting.
Using Hold with Acoustic Pianos
Hold is also useful for simulating the top octaves of an
acoustic piano, in which notes always sustain until they fade
out naturally, regardless of how long you hold the key.
The Hold Bottom and Hold Top parameters are designed
for exactly this purpose. They let you limit the effect of the
Hold parameter to a specific range of the keyboard.
Hold Bottom
This sets the lowest key affected by the Hold function.
Hold Top
This sets the highest key affected by the Hold function.
1–2b: Scale
Type
Selects the basic scale for the Program.
Note that for many of the scales, the setting of the Key
parameter, below, is very important.
Equal Temperament: This is the most widely used scale by
far, in which each semitone step is spaced at equal pitch
intervals.
Equal Temperament allows easy modulation, so that a chord
progression played in the key of C sounds roughly the same
as the same progression played in F#. Sacrificed, however, is
some of the purity of individual intervals offered by the
[C–1...G9]
scales below.
Pure Major: In this temperament, major chords of the
selected key will be perfectly in tune.
[C–1...G9]
Pure Minor: In this temperament, minor chords of the
selected key will be perfectly in tune.
[C–1...G9]
Arabic: This scale includes the quarter-tone intervals used in
Arabic music.
Pythagoras: This scale is based on ancient Greek musical
[C–1...G9]
theory, and is especially effective for playing melodies. It
produces completely pure fifths, with one exception, at the
expense of detuning other intervals– thirds in particular.
[On, Off]
As much as Pythagoras might have like to do so, it's not
possible to make all the fifths pure while also keeping the
octave in tune. For the sake of the octave, one of the fifths–
the interval from the sharp fourth degree to the sharp first
degree–is made quite flat.
Werkmeister (Werkmeister III): This scale was one of the
many temperament systems developed towards the end of
the Baroque period. These "Well-Tempered" tunings were
aimed at allowing relatively free transposition–although
you'll still notice that the different keys maintain their own
distinct characteristics, unlike Equal Temperament.
J.S. Bach was referring to these new scales in his title, "The
Well-Tempered Clavier." As such, this group are particularly
appropriate for late baroque organ and harpsichord music.
Kirnberger (Kirnberger III): This is a second "Well-
Tempered" tuning, dating from the early 18th century.
[Equal Temperament...User Octave Scale15]
[C–1...G9]
[C–1...G9]
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