Page 3 CC# is an abbreviation for Control Change Number. Switches and knobs [ ] In explanations of MIDI messages, numbers in square References to the keys, dials, and knobs on the KARMA’s brackets [ ] always indicate hexadecimal numbers. panel are enclosed in square brackets [ ].
Page 4: Table Of Contents
5.3–2: 1LFO2 (OSC1 LFO2) ..... . . 25 1.1–3: KARMA ........5 5.3–3: 2LFO1 (OSC2 LFO1) .
Page 5 6.1–6: TxFltr (Transmit Filter) ..... . 60 1.1-4: KARMA ........47 COMBI: 6.2 Ed-KARMA Mdl.
Page 6 3.1–6: Ptch..16 (Pitch T09...16) .....83 SEQ 6.1: KARMA ......103 SEQ 3.2: Param2 .
Page 7 SEQ 6.4: KARMA RT ......110 S.PLAY 4.1: Select Directory....121 6.4–1: RTP..4 (RT Parameter 1...4) .
Page 8 5. Global mode ..... . . 133 Master Effects (MFX1, 2) ..... 163 1.
Page 9 Mod./P.Shift ....... 186 071: Limit–Cho/Fl (Limiter – Chorus/Flanger) ..205 032: St.Tremolo (Stereo Tremolo) .
Page 10 Installing an EXB-PCM ......265 SmartScan™ are trademarks of Stephen Kay, Karma Lab LLC, Installing the EXB-MOSS ......267 www.karma-lab.com.
Page 11: Program Mode
6.2: Ed-KARMA Mdl Module parameter settings (transpose, pitch range of generated phrase, trig- ger etc.) ( p.29) K GE 6.3: Ed-KARMA GE GE parameter settings and assign- ments to KARMA real-time controls p.32) K RT 6.4: Ed-KARMA RT KARMA RT parameters, Dynamic MIDI settings.
Page 12: Prog 1.1: Play
4 To cancel, press the [./HOLD] key twice to turn off the display. The KARMA series provides rewritable banks A, B, C, D, and E, each containing 128 programs (total 640). As for non- If you press the [./HOLD] key in PROG 1.1: Play, the rewritable program areas, it provides banks G (capital pro- →...
Page 13: 2: P.edit (Performance Editor)
When you press the [REC/WRITE] key, the Update Program dialog box will appear. Here too, you can This sets the tempo of the KARMA function. The tempo can write to the currently selected program. also be adjusted by the [TEMPO] knob.
Page 14 Octave [–03...+00...+03] Decay (Decay Time) [–10…+00…+10] An adjustment of +01 will raise the pitch one octave. This adjusts the Decay Time and Slope Time of the ﬁlter EG An adjustment of –01 will lower the pitch one octave. and amp EG. This setting cannot adjust the pitch higher than 4' (feet) or With an adjustment of +00, the value of the program param- lower than 32' (feet).
Page 15: 3: Karma
1.1–3: KARMA If you select a GE when “Init K.RTC” is On, the KARMA real-time controls knobs [1]–[8] will automatically be set to Make KARMA function-related settings that will be used by the center (12 o’clock) and switches [1]/[2] will be off.
Page 16: 4: K.rtc (Karma Rtc)
This shows the name of the chord detected by the KARMA When you return the knob or switch to the value that is writ- module.
Page 17: Prog 2.1: Ed-Basic
Legato [Off, On] PROG 2.1: Ed–Basic This is available when the “Mode (Voice Assign Mode)” set- ting is set to Mono. Here you can make basic settings for the oscillator(s) that On (checked): Legato is on. When multiple note-on’s occur, will be used.
Page 18: 2: Osc1
2.1–2: OSC1 [C…B] Indicates the tonic note of the speciﬁed scale. The multisample(s) (waveform) or drum kit on which the This setting is not valid for Equal Temperament, Stretch, program will be based can be selected here for oscillator 1 and User All Notes Scale.
Page 19 If a program that uses a multisample from a separately 2.1–2c: Octave, Transpose, Tune, Delay sold EXB-PCM series board is selected, but the neces- sary multisample is not available because the corre- Octave [–2[32’], –1[16’], +0[8’], +1[4’]] sponding EXB-PCM (expansion board) is not installed, Adjusts the pitch in octave units.
Page 20: 3: Osc2
OSC2 Bottom [001...127] 2.1–2e. UTILITY Sets the minimum velocity value that will sound oscillator 2. OSC2 Top [001...127] Sets the maximum velocity value that will sound oscillator 2. It is not possible to set the Bottom Velocity greater than the Top Velocity, nor the Top Velocity less than the Bot- “Write Program”...
Page 21: Prog 2.3: Ed-Osc
SW1 Mode [Toggle, Momentary] PROG 3.1: Ed–Pitch Speciﬁes the on/off state that will occur when you press the [SW1] key in 1.1:Play. Here you can make pitch modulation settings for oscillators Toggle: The key will alternate on/off each time you press 1 and 2.
Page 22: 2: Os1Lfo (Osc1 Lfo)
JS (+X) [–60…+12] 3.1–1c: Portamento Speciﬁes how the pitch will change when the joystick is moved all the way to the right. This turns the portamento effect (smooth change in pitch from one note to the next) on/off, and speciﬁes how it will be A setting of 12 produces 1 octave of change.
Page 23: 3: Osc2
3.1–5: EG As this value is increased, moving the joystick in the +Y (Pitch EG) direction will cause the OSC1 LFO1 to produce deeper pitch modulation. With a setting of 12.00 a maximum of ±1 octave Here you can make settings for the pitch EG, which creates time-variant changes in the pitch of oscillators 1 and 2.
Page 24 3.1–5b: Level Mod. (Level Modulation) 3.1–5c: Time Mod. (Time Modulation) These settings allow the pitch EG “L (Level)” parameters to These parameters let you use alternate modulation to con- be controlled by alternate modulation. trol the “T (Time)” parameters of the pitch EG. AMS1 (Level Mod.
Page 25: Prog 4.1: Ed-Filter1
Frequency (A Frequency) [00…99] PROG 4.1: Ed–Filter1 Speciﬁes the cutoff frequency of ﬁlter 1A. Resonance (A Resonance) [00…99] Indicates settings for ﬁlter 1 that controls the tone of oscilla- tor 1. You can select either a 24 dB/oct low pass ﬁlter with This emphasizes the overtone components that lie in the resonance, or a 12 dB/oct low pass ﬁlter and 12 dB/oct high region of the cutoff frequency speciﬁed by “Frequency (A...
Page 26: 2: Mod.1 (Filter1 Modulation1)
4.1–2: Mod.1 How cutoff frequency is affected by keyboard location and the Ramp (Filter1 Modulation1) setting (“Int. to A,” “Int. to B”=+50) Indicates settings for keyboard tracking which modiﬁes the tone by modulating the ﬁlter 1 cutoff frequency “Frequency Cutoff frequency High Ramp=+99 (A/B Frequency),”...
Page 27: 3: Mod.2 (Filter1 Modulation2)
value for this parameter, the opposite will occur. Changes in cutoff frequency This value is added to the setting of the Filter A “Frequency Note-on Note-on Note-on (A Frequency)”(4.1–1b). Note-off Note-off Note-off AMS2 (Filter A AMS2) [Off, (PEG, AEG, EXT)] Intensity (A AMS2 Intensity) [–99…+99] Selects “AMS2 (Filter A AMS2),”...
Page 28: 5: Eg (Filter1 Eg)
JS–Y Int. to B (LFO1 JS–Y Int. to B) [–99…+99] S (Start Level) [–99…+99] By moving the joystick in the Y direction (toward yourself), Speciﬁes the change in cutoff frequency at the time of note- you can control the depth at which OSC1 LFO1 modulates the cutoff frequency of ﬁlter 1B.
Page 29 S (AMS SW Start) [–, 0, +] A (AMS1 SW Attack) [–, 0, +] Speciﬁes the direction in which “AMS (Level Mod. AMS)” Speciﬁes the direction in which “AMS1 (Time Mod. AMS1)” will affect “S (Start Level).” When “I (AMS Intensity)” has a will affect the attack time.
Page 30: Prog 4.2: Ed-Filter2
Sync Both EGs 5.1–1b: Pan If you select “Sync Both EGs” from the Utility menu and Pan (Amp1 Pan) [Random, L001…C064…R127] press the [F8] key, a check mark will appear at the left of “Sync Both EGs.” In this state, the ﬁlter 1 EG and the ﬁlter 2 Sets the pan (stereo location) of oscillator 1.
Page 31 LFO1 Mod. (LFO1 Modulation): 5.1–2a: Keyboard Track Intensity (LFO1 Intensity) [–99…+99] These parameters let you use keyboard tracking to adjust These parameters let you use “OSC1 LFO1” (5.3–1) to con- the volume of oscillator 1. Use the “Key” and “Ramp” trol the oscillator 1 volume.
Page 32: 3: Eg (Amp1 Eg)
5.1–3: EG (Amp1 EG) 5.1–3b: Level Mod. (Level Modulation) Indicates settings to specify how Amp 1 will cause the vol- These parameters let you use AMS to control the amp 1 EG ume of oscillator 1 to change over time. levels that were speciﬁed in “Amp 1 EG”...
Page 33: Prog 5.1: Ed-Amp
I (AMS1 Intensity) [–99…+99] AMS2 (Time Mod. AMS2) [Off, (EXT, KT)] I (AMS2 Intensity) [–99…+99] Speciﬁes the depth and direction of the effect that “AMS1 (Time Mod. AMS1)” will have. A (AMS2 SW Attack) [–, 0, +] For example, if “AMS1 (Time Mod. AMS1)” is Amp KT +/+, D (AMS2 SW Decay) [–, 0, +] the (Amp) “Keyboard Track”...
Page 34: Prog 5.3: Ed-Lfos
Key Sync. [Off, On] PROG 5.3: Ed–LFOs On (checked): Key Sync. will be On. The LFO will start each time you play a note, and an independent LFO will Here you can make settings for the LFO that can be used to operate for each note.
Page 35: 2: 1Lfo2 (Osc1 Lfo2)
LFO2, which is the second LFO that can be applied to oscil- lator 2 ( “5.3–1: OS1LFO1 (OSC1 LFO1)” and “5.3–2: Even if you change the “ (Tempo)” setting of the KARMA function, the LFO will always perform one cycle every four OS1LFO2 (OSC1 LFO2)”).
Page 36: Prog 6.1: Ed-Karma
PROG 6.1: Ed–KARMA For details on how to select the desired utility, refer to “PROG 1.1–1c: UTILITY.” Here you can make KARMA function settings for use by the Copy KARMA Module program. In Program mode you can use one KARMA mod- ule (module [A]).
Page 37: 2: Key Z/T (Keyz/Thru)
On (checked): Note data from keys outside the key zone will be input directly to the tone generator. (They will not be input to the KARMA module, since they are outside the key zone.) When you play keys outside the key zone, the tone 6.1–2a...
Page 38: 3: Rxfltr (Receive Filter)
Speciﬁes whether MIDI control change messages other than Speciﬁes whether ﬁlters will be applied to the MIDI control the above will be echoed to the tone generator. data received by the KARMA module before it is passed on (echoed) to the tone generator. 6.1–3b: UTILITY On (checked): The corresponding MIDI data will be echoed to the tone generator.
Page 39: Prog 6.2: Ed-Karma Mdl
“KeyZone Top” (6.1–2a), “Transpose” (6.2–1a)). Here you 1, Envelope 2, or Envelope 3 are producing pitch bend mes- can make settings so that the note data input to the KARMA sages, these settings will be ignored, and the “GE Bend” set- module is forcibly restricted to a speciﬁc range.
Page 40 MIDI. The value of the transmitted message is speciﬁed by “Value (Tx CC Value)” (6.2–1c). If the KARMA [ON/OFF] key is on, the speciﬁed MIDI control change message will be transmitted when you Trigger select a program whose KARMA [ON/OFF] key is KARMA GE Phrase / Pattern turned on.
Page 41: 2: Parm2 (Parameter 2)
Speciﬁes the trigger conditions for the phrase or pattern pro- 1st (1st Only Until Module Stops + Dynamic MIDI): After duced by the GE, and set latch on/off. KARMA is turned on, only the ﬁrst note-on will cause trig- gering. Subsequent note-ons will not cause triggering. Note Trigger...
Page 42: Prog 6.3: Ed-Karma Ge
KARMA module. By using these settings in conjunction Manual Advance trigger that is input to the KARMA mod- with the Dynamic MIDI (6.4–3) function, you can use Man- ule to the notes as they are generated. This parameter speci- ual Advance by operating controllers such as the joystick to ﬁes the lower limit of a scaled range that the velocity is...
Page 43 Pol (GE real-time Parameter Polarity) [+, –] [---, ...Dyn4] Speciﬁes the polarity used when you operate the KARMA real-time CONTROLS that you selected for “Asgn.” Here you can assign the controller for the GE parameter. By assigning GE parameters to KARMA real-time CON- In the case of Knob1...8, rotating to the left of center will...
Page 44: Prog 6.4: Ed-Karma Rt
In RT Parm 1–8, if you select a parameter by “Grp” and 0: Off “Parameter” and check “Module A,” that parameter 1: Lowest can no longer be edited as a KARMA key zone parame- 2: Highest ter (6.1–2a, 6.1–2b) or KARMA module parameter (6.2– 3: C3–B3[1] 1a, 6.2–2a, 6.2–2b).
Page 45 4: Rel2 The value you specify here will be the center value when p.31 “Env1 Latch”/“Env2 Latch”/“Env3 Latch” (6.2–2a) you use “Asgn” to control the parameter from the KARMA real-time CONTROLS knobs, etc. Group: Zone A (Parm Module A)
Page 46: 3: Dynmidi (Dynamic Midi)
If “Pol” (Dyn1...4 Polarity) is “+,” on and off will alter- speciﬁc KARMA functions. nate each time the source controller value exceeds the You can take advantage of this to control KARMA in various “Top (Dyn1...4 Range-Top)” value after having passed ways while you play. For example, Manual Advance (6.2–...
Page 47: Prog 7.1: Ed-Bus
PROG 7.1: Ed–BUS CC#93 will control the Send 1 level for OSC 1 and 2, and control change #91 will control the Send 2 level for OSC 1 and 2. These are controlled on the global MIDI These settings specify the bus on which the output of the channel “MIDI Channel”...
Page 48: 2: Route (Routing)
7.1–2: Route Copy Insert Effect (Routing) This command copies effect settings from Program, Combi- nation, Song, or Song Play mode. 1 Select “Copy Insert Effect” to access the dialog box. 7.1–2a 7.1–2b 2 In “From” select the copy source mode, bank, and num- ber.
Page 49: 2: Ifx 1 (Insert Effect1)
BUS Select [L/R, 1, 2, 1/2, Off] Separately from this setting, you can use control change Speciﬁes the bus to which the sound will be sent after pass- #92 to turn off all insert effects together. A value of 0 ing through the insert effect.
Page 50: 7: Routing (Routing)
7.2–2(...6)a: UTILITY Separately from this setting, you can use CC#94 to switch master effect 1 on/off, CC#95 to switch master “Write Program” (1.1–1c) effect 2 on/off. A value of 0 will be off, and a value of 1– 127 will be the original setting. This is controlled on the global MIDI channel “MIDI Channel”...
Page 51: 2: Mfx 1 (Master Effect1)
7.3–2: MFX 1 (Master Effect1) 7.3–1d: UTILITY 7.3–3: MFX 2 (Master Effect2) Indicates effect parameter settings for the MFX1 and 2 effects that were selected in the Setup page ( p.168). “Write Program” (1.1–1c) For details on how to select the desired utility function, refer to “PROG 1.1–1c: UTILITY.”...
Page 53: Combi
“10’s Hold.” ( p.2 p.61) ”Select by Category,” “Cat.HOLD,” “10’s HOLD”) K GE 6.3: Ed-KARMA GE GE parameter settings and assign- ments to KARMA real-time Controls. You can select programs by transmitting MIDI program p.62)
Page 54 (Tempo) [040...240, EXT] (“OK”) key to cancel it. Sets the tempo of the KARMA function. This can be adjusted by [TEMPO] knob. If a timbre that is muted by the Solo function has been EXT will be displayed if “MIDI Clock” (GLOBAL 2.1–1a) is set to a “Status”...
Page 55: 2: Prog (Timbre Program)
In the same way as in the Combi page, select a combination bre. In the case of the GM2 variation bank or the GM2 and set the tempo of the KARMA function. ( 1.1–1a) drums bank, the variation bank (1)–(9) or drums bank (d) will be indicated.
Page 56 Select by Category RND: The oscillator pan will change randomly at each note- Combinations or the programs used by each timbre can be selected by category. If “Status” (3.1–1a) has been set to INT, MIDI control change #10 (panpot) messages can be received to con- If you have selected “Combi Select,”...
Page 57 For the procedure, refer to “Select by Category” ( p.2). “GE Category”) GE Select [0000: Arp Model 1 Up/Dn...] Select the GE. ( p.5 PROG 1.1–3a: KARMA GE Setup, “GE Select”) 1.1–4b: GE Name, Run Check Box, Solo Check Box GE Name This displays the name of the GE selected in “GE Select.”...
Page 58 The [----] portion preceding the name of the knob or switch shows the abbreviated name of the category of the program 2.1–1a: Program Select, Program Name sounded by the timbre that is played by the KARMA mod- ule controlled by operations of knobs [1]–[8] and switches Program Select [1]/[2].
Page 59: 1: Ctrls (Controls)
These settings assign the function of the [SW1] key and [SW2] key ( p.230 “SW1, SW2 Assign List”). KARMA Since the function assignments of the [SW1] key and [SW2] key made for the program assigned to each timbre are not...
Page 60 MIDI Channel [01...16, Gch] Portamento [PRG, Off, 001...127] Set the MIDI transmit/receive channel for each timbre 1–8. Indicates portamento settings for each timbre 1–8. Gch: The timbre will use the channel that has been selected PRG: Portamento will be applied as speciﬁed by the pro- as the global MIDI channel “MIDI Channel”...
Page 61 OFF] key is off. 1 Select “Detune BPM Adj.” to access the dialog box. Use this when you are using a KARMA module to control multiple timbres that are set to the same MIDI channel, and want a speciﬁc timbre to be silent only when the KARMA function is on.
Page 62: 1: Key (Key Zone)
3.2–2: Other COMBI 3.3: Ed–Key Zone Speciﬁes the delay from note-on until sound is produced for each timbre. Also speciﬁes the scale. These settings specify the keyboard range in which each timbre will sound. The top/bottom key parameters specify the range of notes in which timbres 1–8 will sound, and the top/bottom slope 3.2–2a parameters specify the range over which the original vol-...
Page 63: Combi 3.4: Ed-Vel Zone (Velocity Zone)
3.3–1c: UTILITY 3.3–3b: UTILITY “Write Combination,” “Solo Selected Timbre” (1.1–1c) “Write Combination,” “Solo Selected Timbre” (1.1–1d) COMBI 3.4: Ed–Vel Zone 3.3–2: Slope (Key Slope) (Velocity Zone) Sets the Top/Bottom Velocity parameters to specify the range of velocities that will sound each timbre 1–8, and sets 3.3–2a the Top/Bottom Slope parameters to specify the range over which the volume will change.
Page 64 3.4–2: Slope (Velocity Slope) COMBI 4.1: Ed–MIDI Filter1 These settings allow you to apply ﬁlters to the MIDI data that will be transmitted and received by each timbre 1–8. For 3.4–2a example even if two timbres are being played by the same MIDI channel, you can make settings so that the damper pedal will apply to one but not the other.
Page 65 4.1–2: MIDI 1–2 4.2–2: MIDI 2–2 (MIDI Filter 1–2) (MIDI Filter 2–2) 4.1–2a 4.2–2a 4.1–2b 4.2–2b 4.1–2a: Damper CC#64, Portamento SW CC#65 4.2–2a: JS X/Bend as AMS, Ribbon CC#16 Damper CC#64 [Off, On] JS X/Bend as AMS [Off, On] Speciﬁes whether or not MIDI control change message #64 Speciﬁes whether or not MIDI pitch bend messages (the X hold (damper pedal) messages will be transmitted and axis of this instrument’s joystick) will be received to control...
Page 66 4.4–2: MIDI 4–2 Knob2 [Off, On] (MIDI Filter 4–2) Speciﬁes whether MIDI control change message #71 (inter- nal low pass ﬁlter resonance or high pass ﬁlter cutoff fre- quency) for the A mode of knob [2] and the MIDI control change message assigned to the B mode of knob [2] will be 4.4–2a transmitted and received.
Page 67: 1: Setup
6.1–1d: UTILITY COMBI 6.1: Ed–KARMA Here you can make KARMA function settings for the combi- nation. In Combination mode you can use four KARMA modules (modules [A], [B], [C], and [D]). A combination allows you to make a wide variety of setups, “Write Combination,”...
Page 68: 2: Midi I/O
When you play the keyboard, KARMA module [A] will play the bass of timbre 1, and KARMA module [B] will Gch: The MIDI channel will always match the global MIDI play the piano of timbre 2. (See “KARMA ON/OFF=ON channel “MIDI Channel”...
Page 69 “Timb Thru” ON setting of KARMA module [B]. (See “KARMA ON/OFF=OFF (2)” in the diagram below.) The key zone settings of each of the four KARMA modules are displayed as a solid line. p.27 PROG 6.1–2a: Key Z/Thru, “Zone Map”...
Page 70: 4: Key T (Key Thru)
[Off, On] p.28 PROG 6.1–4a: Tx Filter 6.1–4b: UTILITY If the KARMA function is on and a KARMA module is generating pitch bend data, the Bend Range (3.1–3a) of “Write Combination,” “Solo Selected Timbre” (1.1–1c) the timbre will be controlled as follows.
Page 71: 1: Parm1 (Parameter 1)
6.2–1: Parm1 (Parameter 1) 6.2–1e: UTILITY Here you can set KARMA module parameters. In Combina- tion mode, four KARMA modules ([A], [B], [C], [D]) can be “Write Combination,” “Solo Selected Timbre” (1.1–1c) used. “Copy KARMA Module” (PROG 6.1–1c) “Init KARMA Module” (6.1–1d) Use the [F6] (“...
Page 72: 1: Ge P
p.32 PROG 6.2–2b: Clock Advance 6.2–2c: Module Trigger Trigger by Mod (Trigger by Module) [Off, A, B, C, D] Note and envelope triggering of a KARMA module can be controlled by the operation of another KARMA module. 6.3–1a 6.3–1b When the KARMA module you specify here advances by the length speciﬁed in “Module%,”...
Page 73: 1: Rtp
6.4–1c Input (Dyn1...4 Input Module) [A...D] 6.4–1d Indicates either A, B, C, or D as the KARMA module that will be the Dynamic MIDI “Source” input. 6.4–1e MIDI control data that matches the “Input CHANNEL” (6.1–2a) of the KARMA module that you select here will be 6.4–1(2)a/b/c/d: RT Parm 1...4, RT Parm 5...8...
Page 74: 4: Name1
Conversely, if you select Rhythm Seed 1, 2, 3, and 4 respec- tively for the four KARMA modules and run the same GE under the same conditions, the randomness of the rhythms will be different. If many types of randomness are being 6.4–4b...
Page 75: 1: Bus (Bus T01
COMBI 7.1: Ed–BUS Control change #93 can be used to control the Send 1 level, and #91 to control the Send 2, and modify their respective settings. These messages will be received on Here you can specify the output bus for the program oscilla- the MIDI channel speciﬁed for each timbre in the 3.1: tor of each timbre 1–8.
Page 76: 1: Setup
7.1–2: Route (Routing) 7.2–1a: Ed-InsertFX Setup Speciﬁes the bus to which the program used by each timbre IFX1 — IFX5 [Off, ON] 1–8 will be sent. Here you can also set the send levels to the Insert Effect 1, 5 [000...089: name] master effects.
Page 77: 2: Ifx 1 (Insert Effect1)
7.2–2: IFX 1 (Insert Effect1) COMBI 7.3: Ed–MasterFX 7.2–3: IFX 2 (Insert Effect2) For details on insertion effects, refer to p.159 “7. Effect 7.2–4: IFX 3 (Insert Effect3) Guide.” 7.2–5: IFX 4 (Insert Effect4) 7.3–1: Setup 7.2–6: IFX 5 (Insert Effect5) Here you can select the type of each master effect, turn it These are the parameters for IFX 1, 2, 3, 4, and 5 that were...
Page 78: 2: Mfx1 (Master Effect1)
7.3–4: MEQ (Master EQ) 7.3–1d: MEQ Ctrl The master EQ is a three-band stereo EQ. It is located imme- MEQ Ctrl (MEQ Control Ch) [Ch01...16, G ch] diately before the AUDIO OUTPUT (MAIN OUT) L/ MONO and R from the L/R bus, and adjusts the overall Selects the MIDI channel that will control dynamic tonal character of the sound ( p.220).
Page 79: Sequencer Mode
Insert effect routing, selection, and set- Pattern Play Recording) function, play songs that use the tings. ( p.112) KARMA function, record patterns, and create Cue Lists to 7.3: Master FX Master effect selection and settings. Mas- ter EQ settings. ( p.113)
Page 80 ﬁrst track, and select */* when recording subse- quent tracks. This sets the playback tempo of the song and the tempo of the KARMA function. Recording from measure 2 of track 2 040...240: When the “Tempo Mode” is Manu, this tempo will...
Page 81 1.1–1d: UTILITY If “MIDI Clock” (GLOBAL 2.1–1a) is Internal, changing the song will cause Song Select and Song Position Pointer messages to be transmitted. If “MIDI Clock” is External, Song Select messages can be received from the speciﬁed source to change songs. When the song changes, tracks whose track status (“Status”...
Page 82 Load Template Song 2 In “From,” select the copy source song number. This command loads a template song as a song. 3 Select the data that will be copied. The built-in sequencer contains sixteen different preset tem- All: Copy all musical data (e.g., track events and pat- plate songs (P00–15) that contain preset settings for pro- terns) and settings.
Page 83 Save Template Song (Save as User Template Song) 5 In “Pattern,” select the pattern that you wish to copy. If you press the [START/STOP] key, the selected pattern This command saves the program selections, track parame- will play. ters, and effect settings etc. of the song as a user template In To “Track,”...
Page 84: 2: Prog
1.1–2: Prog...8 (Program T01...08) 1.1–2(3)b: PLAY/MUTE/REC, SOLO On/Off 1.1–3: Prog...16 (Program T09...16) PLAY/MUTE/REC [PLAY, MUTE, REC] Speciﬁes the mute status of each track, and select the record- Here you can make basic settings for playback and record- ing tracks for multi-track recording. During playback or sin- ing of songs and select the program that will be used by gle track recording (normal recording), you can select PLAY each track.
Page 85: 4: Mix
1.1–4: Mix..8 Volume [000...127] (Mixer T01...08) Set the volume of tracks 1–16. 1.1–5: Mix..16 (Mixer T09...16) When “Status” (3.1–1(2)a) is INT or BTH, CC#7 Volume Here you can set the pan and volume of each track. can be received to control the volume. The volume of a The pan and volume that you specify here will be used track is determined by multiplying the MIDI Volume when you playback or record from the beginning of the...
Page 86 Manual Punch In Also, you can press and hold down the [REC/WRITE] key to delete all musical data for as long as the key is held. Select this method when you wish to use the [REC/WRITE] key or a foot switch to re-record selected portions of a previ- Multi REC [Off, On] ously-recorded track.
Page 87: 7: K.rtc (Karma Rtc)
The [---] area displayed before each knob or switch name SEQ 1.2: Loop shows the abbreviated category name for the program selected by the track that will be played by the KARMA 1.2–1: Loop...8 module controlled by operating the knob or switch. If there (Track Play Loop T01...08)
Page 88: Seq 2.1: Cue List
Track 1 will loop as follows. 2.1–1a:Location, Meter, Cue List Select, Track Select, M001–M002–M003–M004–M003–M004–M003–M004… Selected Track Information, , Tempo Mode When “Play Intro” is not checked Location [0001:01.000…9999:15.191] This displays the current location within the selected cue list. From the left, the numbers indicate the measure, beat, and clock.
Page 89 the middle of a cue list, you can use the dynamic modu- 2.1–1b: Step, Cue Edit-Song, Rep (Cue Edit-Repeat), lation function or MIDI control changes (effect control) FX (Cue Edit-Load FX) to apply reverb more deeply to certain songs, or raise the LFO speed for other songs, etc.
Page 90 Song/Track parameters will use the settings of the “Step” 01 2.1–1e: UTILITY song. The MIDI channel of each track will be according to the settings of the “Step” 01 song. If “Step” 02 and follow- ing songs have different settings, it may not be possible to convert the playback result of the cue list into a song.
Page 91: Seq 2.2: Controller
Example) 2 Select “Copy Song” to access the dialog box. If Track Play Loop is M005–M008, and the master track contains 10 measures, the data will be expanded from the beginning of the track as M005, 6, 7, 8, M005, 6, 7, 8, M005, 6.
Page 92: Seq2.3: Moss
2.2–1b: SW1/2 Assign SEQ 3.1: Param1 Here yuo can assign functions to the front panel [SW1] and 3.1–1: MIDI...8 [SW2] keys ( p.230 “SW1, SW2 Assign List”). (MIDI T01...08) Since the functions assigned to these switches and knobs by 3.1–2: MIDI...16 (MIDI T09...16) the program of each track will not be valid, you can make...
Page 93: 3: Osc
MIDI Channel [01…16] The portamento setting you make here will be used Speciﬁes the MIDI channel that the track will use to transmit when the song is played or recorded from the begin- and receive musical data. The MIDI channel you specify ning.
Page 94: Seq 3.2: Param2
OFF] key is on, the track will sound as usual. Tune are added. These messages will be received on When the KARMA [ON/OFF] key is off, the track will not the MIDI channel that is specified for each track by sound.
Page 95: 3: Othr
3.2–3: Othr..8 (Other T01...08) SEQ 3.3: Key Zone 3.2–4: Othr..16 (Other T09...16) Here you can specify the range of keys that will be sounded Here you can make additional settings for each track. by each track. Top/Bottom Key settings specify the range of notes that will be sounded by tracks 1–8, 9–16, and Top/Bottom Slope set- 3.2–3a tings specify the range from the top/bottom key until the...
Page 96: 3: Slp
3.3–1(2)c: UTILITY SEQ 3.4: Vel Zone “Memory Status”, “Solo Selected Track”, “Rename Song”, Top/Bottom Velocity specify the range of velocities that will “Delete Song”, “Copy From Song”, “Copy From Combi”, be sounded by tracks 1–8 and 9–16, and Top/Bottom Slope “Load Template Song”, “Save Template Song”, “FF/REW specify the range over which the volume will be adjusted.
Page 97: 3: Slp
3.4–3: Slp..8 (Slope T01...08) SEQ 4.1: MIDI Filter1 3.4–4: Slp..16 (Slope T09...16) Here you can select whether or not to apply ﬁltering to the MIDI data received by tracks 1–16. For example even if two tracks are receiving the same MIDI channels, one can be made to respond to damper pedal activity while the other 3.4–3a does not.
Page 98: 3: 1-2
4.1–1(2)b: UTILITY SEQ 4.2: MIDI Filter2 “Memory Status”, “Solo Selected Track”, “Rename Song”, “Delete Song”, “Copy From Song”, “Copy From Combi”, 4.2–1: M2–1..8 “Load Template Song”, “Save Template Song”, “FF/REW (MIDI Filter2–1 T01...08) Speed”, “Set Location” (1.1–1d) 4.2–2: 2–1..16 (MIDI Filter2–1 T09...16) 4.1–3: 1–2..8 (MIDI Filter1–2 T01...08)
Page 99: Seq 4.3: Midi Filter3
Ribbon CC#16 [Off, On] 4.3–1(2)b, 4.3–3(4)b: UTILITY Speciﬁes whether MIDI control change message #16 (speci- “Memory Status”, “Solo Selected Track”, “Rename Song”, ﬁed as the B-mode assignment of REAL-TIME CONTROLS knobs [1]–[4], or the ribbon controller of a TRITON etc.) will “Delete Song”, “Copy From Song”, “Copy From Combi”, be received.
Page 100: 3: 4-2
4.4–3: 4–2..8 (MIDI Filter4–2 T01...08) SEQ 5.1: RPPR 4.4–4: 4–2..16 (MIDI Filter4–2 T09...16) On this instrument you can use preset patterns P000–149, and user patterns U00–99. One song can contain up to one hundred user patterns. Preset patterns suitable for use in a drum track are provided in memory, and can be selected 4.4–3a from any song.
Page 101 Rename Pattern 5–1–1b: Pattern, Metro. (Metronome) Press the [F5] (“Name”) key to access the dialog box, and Pattern: rename the selected pattern. You may input up to sixteen characters. ( BG p.39) Pattern (Pattern Bank) [Preset, User] Step Rec (Loop) Indicates the type of pattern.
Page 102 Get From Track 3 If you check “All Pattern,” all user patterns in the song will be erased. This command loads musical data from a track into the If “All Patterns” is not checked, only the pattern speci- speciﬁed pattern. ﬁed in 1 will be erased.
Page 103: 2: Rppr Setup
“putting” the pattern. To exit the command, press number, and how the pattern will be played. the [F7] (“Exit”) key. The KARMA function is not operated by patterns Copy To Track played back by RPPR. When RPPR is on, keys for This command copies the speciﬁed area of musical data...
Page 104 KEY (Key Select) [C#2...C8] Sync [Off, Beat, Measure, SEQ] Indicates the key that you wish to edit. The following Speciﬁes how the pattern playback will be synchronized parameters will apply to the key that you select here. when you press the speciﬁed “KEY.” This can also be selected by holding down the [ENTER] key Off: The pattern will begin playing at the moment you press and playing a note on the keyboard.
Page 105: Seq 5.2: Track Edit
5.1–2c: REVERT SEQ 5.2: Track Edit Revert This copies “Pat (Pattern Bank),” “Pattern Select” and 5.2–1: Track Edit “Track” settings from the previously-edited “KEY” whose “Assign” is checked to the currently-edited “KEY.” Here you can edit the settings of the currently selected track Example) and the musical data that has already been recorded, as well Using RPPR to assign preset patterns P00, P01, and P02 to...
Page 106 • Inputting rests It is best to use the “Create/Ers. Ctrl” Create mode to input data whose data whose value changes continuously, such as Press the [F4] (“Rest”) key to input a rest of the length pitch bend, and to use “Event Edit” to input individual data speciﬁed in 4 .
Page 107 3 Press the [F8] (“OK”) key to open the Event Edit dialog The following table shows the types of musical data that can box. be edited by “Event Edit” and the range of their values. BAR (displayed only) Meter: 1/4...16/16 * (Measure line) (Time signature) C–1...G9 *...
Page 108 1 Select “Copy/Bounc. Trk” to access the dialog box. You can also erase control changes by using the Erase mode of “Creat/Ers. Ctrl.” Use this when you wish to specify the type of control change to be deleted, or to use “Beat.
Page 109 Insert Measure Repeat Measure This command inserts the speciﬁed number of measures This command repeatedly inserts the speciﬁed measures for into the speciﬁed track. When you execute the Insert Mea- the speciﬁed number of times. When you execute the Repeat sure command, the musical data following the insert loca- Measure command, the measures will be inserted following tion will be moved backward.
Page 110 5 In “To: Song,” specify the copy destination song. In 3 Specify the region in which the control data will be “Track” (when “All Tracks” is unchecked) specify the inserted. Use “From Measure” to “To Measure” to spec- copy destination track. In “Measure,” specify the ﬁrst ify the measures, and “Beat.
Page 111 3 Specify the region from which the control data will be Ctl.C: Control changes will be quantized. To limit the erased. Use “From Measure” to “To Measure” to specify type of control changes, use “#” to specify the number. the measures, and “Beat. Tick” to specify the beat and AftT: Both channel pressure and poly key pressure data clock.
Page 112 4 Specify the range of notes that you wish to shift or erase. 5 In “Velocity Start” specify the value at which the velocity “Note Range: Btm (Bottom)” speciﬁes the lower limit, data will start, and in “Velocity End” specify the ﬁnal and “Top”...
Page 113: Seq 6.1: Karma
By using the utility menu command “Copy KARMA Mod- GE Name ule,” you can easily copy the KARMA module settings of a This displays the name of the GE selected in “GE Select.” program or combination. Use this when you wish to use...
Page 114: 2: Midi I/O
MIDI input channel speciﬁed for a KARMA track you play) to change programs will also switch to a dif- module will be input to that KARMA module. (See the dia- ferent KARMA module at the same time, causing a different gram below, “KARMA –...
Page 115 “Example 3” at the bottom of this page.) (KARMA function on) 1 Set Track 1 as follows. The Bass riff of KARMA module [B] will be sounded by “Program Select”: a Guitar category program the Bass type program. “MIDI Channel”: 01 [Example 2] 2 Set Track 2 as follows.
Page 116: 3: Key Z (Keyzone)
8 In “Track Select,” select T02:Track02, and play the key- 6.1–3b board. (KARMA function on) The Bass riff of KARMA module [B] will be sounded by 6.1–3a: Zone Map, KeyZone Bottom, KeyZone Top the Bass type program. Simultaneously, the drum pattern of KARMA module Zone Map [C] will be sounded by the Drums program.
Page 117: 5: Rxfiltr (Receive Filter)
“Memory Status,” “Solo Selected Track,” “Rename Song,” “Delete Song,” “Copy From Song,” “Copy From Combi,” 6.1–6a “FF/REW Speed,” “Set Location,” (1.1–1d) “Copy KARMA Module” (PROG 6.1–1c), “Select by Cate- gory” (PROG 3.1–3b) 6.1–6b 6.1–5: RxFiltr p.28 PROG 6.1–4: TxFltr (TX Filter) (Receive Filter) p.60 COMBI 6.1–6: TxFltr (TX Filter)
Page 118: Seq 6.2: Karma Mdl
“Delete Song,” “Copy From Song,” “Copy From Combi,” 6.2–1a: Module Parameters “FF/REW Speed,” “Set Location,” (1.1–1d) “Copy KARMA Module” (PROG 6.1–1c), “Select by Cate- The selected KARMA module is indicated as [A], [B], [C], or gory” (PROG 3.1–3b) [D]. “Init KARMA Module” (COMBI 6.1–1d) Transpose [–36...+36]...
Page 119: Seq 6.3: Karma Ge
Here you can edit the parameters of the GE selected for each Mode (Clk Adv. Mode) [Auto...Auto+Dyn2] KARMA module. If you assign the GE parameters to the [ 3... , Event] KARMA Real-time Controls, you will also be able to control Size (Clk Adv.
Page 120: Seq 6.4: Karma Rt
Input (Dyn1...4 Input Module) [A...D] p.34 PROG 6.4–1: RTP..4 (RT Parameter 1–4), 6.4–2: RTP..8 Select the KARMA module ([A], [B], [C], or [D]) that will be (RT Parameter 5–8) the input “Source” for Dynamic MIDI. MIDI control data that matches the “Input Channel” (6.1–2a) of the KARMA module you specify here will be used as the 6.4–1: RTP..4...
Page 121: 6: Rndm1 (Random 1)
“Delete Song,” “Copy From Song,” “Copy From Combi,” the oscillator(s) of the program used by the track (“S1 “FF/REW Speed,” “Set Location,” (1.1–1d) (Send1(MFX1))” and “S2 (Send2(MFX2))” PROG 7.2– “Copy KARMA Module” (PROG 6.1–1c), “Select by Cate- 1a). gory” (PROG 3.1–3b) “Init KARMA Module” (COMBI 6.1–1d)
Page 122: 3: Route (Routing)
7.1–1(2)b: UTILITY SEQ 7.2: Insert FX 7.2–1: Setup Here you can select the type of the insert effects, turn them on/off, and make chain settings. “Memory Status”, “Solo Selected Track”, “FF.REW Speed”, “Set Location” (1.1–1d), “DKit IFX Patch” (COMBI 7.1–1b) 7.2–1a Copy Insert Effect PROG 7.1–1c...
Page 123: 2: Ifx1 (Insert Effect1)
7.2–7: Route (Routing) 7.2–1b: Control Channel Control Channel [Ch01...16, All Rt.] Indicates the MIDI channel that will control effect 7.2–7a dynamic modulation (Dmod), pan following the insert effect “Pan (CC#8),” “Send 1 (MFX1),” and “Send 2 (MFX2).” 7.2–7b An asterisk “*” will be displayed at the right of the channel number Ch01–16 for tracks that are routed to an IFX.
Page 124: 2: Mfx1 (Master Effect1)
7.3–2: MFX1 MFX1, 2 Control Ch [Ch01...16, G ch] (Master Effect1) Speciﬁes the MIDI channel that will control dynamic 7.3–3: MFX2 (Master Effect2) modulation (Dmod) for the master effects. Here you can set the parameters of the “Master Effect1” and G ch: The effect will be controlled on the global MIDI chan- “Master Effect2”...
Page 125: Song Play Mode
A jukebox function is provided to playback these SMF ﬁles in any order you specify. You can also use the KARMA function or real-time controllers during playback. 1.1–1: Play In Song Play mode you can playback SMF data and make related settings.
Page 126 MFX2 – – 053: Rev Smth. Hall Return1 – – Return2 – – Other Master Effect and Master EQ parameters – – Default settings * The various KARMA parameters in S.PLAY 6.1–6.4 will maintain their values, and will not change.
Page 127: 2: Prog
1.1–2: Prog..8 PLAY/MUTE [PLAY, MUTE] (Program T01...08) This sets the play/mute status of each track. 1.1–3: Prog..16 (Program T09...16) PLAY: The track will play. MUTE: The track will be muted. Speciﬁes the program used by each track. SOLO ON/OFF [SOLO On, SOLO Off] Switches the Solo function on/off.
Page 128: 6: Preference
1.1–6a KARMA GE: Parm page (6.3–1(2)(3)(4)) and the S.PLAY 6.4: KARMA RT, RTPrm page (6.4–1(2)). The name can be edited in the S.PLAY 6.4–4/5: KARMA RT, Name 1/2 page. 1.1–6b The SCENE [1]/[2] switches allow you to make two sets of settings for the KARMA Real-time Controls knobs and switches.
Page 129: S.play 2.2: Controller
Knob1–B (Knob1–B Assign) [Off...MIDI CC#95] 1 Select Song Play mode. 2 The position of knob 1 at the time you entered Song Play Knob2–B (Knob2–B Assign) [Off...MIDI CC#95] mode will be the center (64). Knob3–B (Knob3–B Assign) [Off...MIDI CC#95] At this time, the knob 1 graphic will show Knob4–B (Knob4–B Assign) [Off...MIDI CC#95] 3 Turn knob 1 all the way to the right (127).
Page 130: S.play 3.1: Param
A GM System On message will cause settings for a GM reset OSC On/Off Ctrl [Norml, by Off, by On] to be transmitted via MIDI. p.51 COMBI 3.2–1: KARMA “OSC On/Off Ctrl.” Musical data Keyboard and controller operations Received data 3.1–3(4)b: UTILITY...
Page 131: S.play 4.1: Select Directory
use the numeric keys to directly select the ﬁle or directory to S.PLAY 4.1: Select Directory be edited. This can be selected and viewed from the page menu if 4.1–1d: UP, OPEN “Jukebox” (1.1–1a) is not checked. Indicates the current directory. Use the [F5] (“Up”) key and [F6] (“Open”) key to select the 4.1–1: Select Directory current directory.
Page 132: S.play 6.1: Karma
KARMA module settings of a program or combination. Use this when you wish to use Song Play mode to play a KARMA phrase or pattern of Pro- 2 To load the jukebox list, press the [F8] (“OK”) key. To gram mode.
Page 133: 2: Midi I/O
KARMA module. The KARMA module(s) that are On (checked) will operate. The MIDI data from each KARMA module will be transmit- ted on the MIDI output channel speciﬁed for that KARMA Solo Check Box...
Page 134: 3: Key Z (Keyzone)
6 In “Play (Track Select),” select T02:Track02, and play the keyboard. 6.1–3: Key Z (KeyZone) The Bass riff of KARMA module [B] will be sounded by the Bass type program. Speciﬁes the range of note data (key zone) that will control [Example 2] each KARMA module.
Page 135: 4: Key T (Key Thru)
(Key Thru) 6.1–5b: UTILITY p.27 PROG 6.1–2b: Key Z/Thru “GM Initialize” (1.1–1b) “Solo Selected Track,” “Set Location” (SEQ 1.1–1d) “Copy KARMA Module” (PROG 6.1–1c), “Select by Cate- gory” (PROG 1.1–3b) “Init KARMA Module” (COMBI 6.1–1d) 6.1–4a 6.1–6: TxFiltr 6.1–4b...
Page 136: S.play 6.2: Karma Mdl
“Init KARMA Module” (COMBI 6.1–1d) 6.2–1a 6.2–1b 6.2–1c 6.2–1d 6.2–1e 6.2–2: Parm2 (Parameter 2) 6.2–1a: Module Parameters 6.2–2a The selected KARMA module is indicated as [A], [B], [C], or [D]. Transpose [–36...+36] Force Range 6.2–2b 6.2–2c 6.2–2d [Off, Lowest, Highest, C3–B3[1], C3–B3[2]] [Off, Fixed, 3...4x ]...
Page 137: S.play 6.3: Karma Ge
Here you can edit the parameters of the GE selected for each p.31 PROG 6.2–2a: Trigger/Latch, “Note Latch” KARMA module. If you assign the GE parameters to the KARMA Real-time Controls, you will also be able to control Env1:/Env2:/Env3: the phrase or pattern in real-time during playback.
Page 138: S.play 6.4: Karma Rt
5...8 6.4–3e: UTILITY “GM Initialize” (1.1–1b) 6.4–1(2)e: UTILITY “Solo Selected Track,” “Set Location” (SEQ 1.1–1d) “Copy KARMA Module” (PROG 6.1–1c) “Init KARMA Module” (COMBI 6.1–1d) 6.4–4: Name1 “GM Initialize” (1.1–1b) 6.4–5: Name2 “Solo Selected Track,” “Set Location” (SEQ 1.1–1d) “Copy KARMA Module”...
Page 139: 6: Rndm1 (Random 1)
“Solo Selected Track,” “Set Location” (SEQ 1.1–1d) track 1–8, 9–16 will be sent. You can also set the amount of “Copy KARMA Module” (PROG 6.1–1c), “Select by Cate- signal that will be sent to the master effects. gory” (PROG 1.1–3b) “Init KARMA Module”...
Page 140: 3: Route (Routing)
7.1–1(2)b: UTILITY S.PLAY 7.2: Insert FX 7.2–1: Setup Here you can select the type of the insert effects, turn them on/off, and make chain settings. “GM Initialize” (1.1–1b), “Solo Selected Track,” “Set Loca- tion,” (SEQ 1.1–1d), “Copy Insert Effect,” “Swap Insert Effect,”...
Page 141: 2: Ifx1 (Insert Effect1)
7.2–1c: UTILITY S.PLAY 7.3: Master FX For details on the master effects, refer to p.159 “7. Effect Guide.” 7.3–1: Setup “GM Initialize” (1.1–1b), “Solo Selected Track,” “Set Loca- tion,” (SEQ 1.1–1d), “Copy Insert Effect,” “Swap Insert Here you can select the type of master effects, turn them on/ Effect,”...
Page 142: 2: Mfx1 (Master Effect1)
7.3–2: MFX1 (Master Effect1) 7.3–1d: Master EQ Gain [dB] 7.3–3: MFX2 (Master Effect2) [–18.0...+18.0] [–18.0...+18.0] Here you can set the parameters for the “Master Effect1” and “Master Effect2” effects that were selected in the Setup High [–18.0...+18.0] page ( p.168). This is the same as in Program mode.
Page 143: Global Mode
(C1…C6) (C2…C7) (C3…C8) nected to the rear panel. MIDI settings for KARMA real-time controls. ( p.145) “Master Tune” can be controlled by the MIDI universal system exclusive message Master Fine Tuning (F0, 7F, nn, 04, 03, vv, mm, F7: nn=MIDI channel, vv/mm= value).
Page 144 Velocity Curve [1…8] AfterT Curve (AfterTouch Curve) This speciﬁes the way in which the volume and/or tone will This speciﬁes the way in which the volume and/or tone will change in response to how hard you play (velocity). change in response to variations in pressure (after touch) When “Convert Position”...
Page 145 Off (unchecked): Even when you switch programs, the sold DS–1H option) is connected to the rear panel DAMPER KARMA module settings will not change. Use this setting jack, here’s how you can adjust the sensitivity if the damper when you wish to change only the program sound without effect is not applied appropriately.
Page 146: 2: Pref. (System Preference)
Loading song data from disk 62. 00 R 62. 00 R Saving template songs in Sequencer mode 63. 127 R (→Korg MUTE) Off (unchecked): Data can be written to internal song mem- Value: decimal, R: Receive, T: Transmit ory. Power On Mode...
Page 147: Global 2.1: Midi
GLOBAL 2.1: MIDI Uncheck this setting if the echo-back from an external sequencer causes this instrument to sound in duplicate. If the KARMA module is operating, events generated by the KARMA module will not be transmitted. 2.1–1: MIDI Even if this is unchecked, MIDI transmission and recep- Here you can make MIDI-related settings that affect this tion will occur as usual.
Page 148 Convert Position [Pre MIDI, Post MIDI] parameter (COMBI 4.1–1a). When you switch combinations, a program change message This setting speciﬁes the location at which the Transpose, will be transmitted on the global MIDI channel, and also Velocity Curve, and After Touch Curve settings will be transmitted simultaneously on the channel of timbres whose applied.
Page 149 These commands allow this instrument’s data to be trans- Program Bank (F) 127.0 40.6 mitted to another connected KARMA, MIDI data ﬁl.er, or computer in the form of system exclusive data. Program Single (A...E) Program Single (F) Selects the data to be dumped from the Utility menu (see the table below) to access the dialog box.
Page 150: Global 3.1: User Scale
Reception GLOBAL 3.1: User Scale Do not touch this instrument’s switches or turn off the power while data is being received. Here you can create sixteen User Octave Scales and one User All Notes Scale. The user scales you create here can be Before receiving data, we recommend that you close the selected in the PROG 2.1–1, COMBI 3.2–1, SEQ 3.2–1/2, various dialog boxes, page menus, or utility commands...
Page 151: 2: All Notes
Copy Scale GLOBAL 4.1: Category Name This command copies a preset scale or user scale to the user scale that you wish to edit. For details on the preset scales, refer to “Type” (PROG 2.1–1c). 4.1–1: P.0..7 (Prog.00...07) 1 Select “Copy Scale” to access the dialog box. 4.1–2: P.8..15 (Prog.08...15) 4.1–3: C.0..7...
Page 152: Global 5.1: Dkit (Drum Kit)
5.1–1: High (High Sample) GLOBAL 5.1: DKit (Drum Kit) Here you can select a drum kit, assign High and Low drum- samples to each key, and set parameters for the High and Here you can create a drum kit by assigning a drum instru- Low drumsamples.
Page 153 Vel. SW L→H (Velocity SW Lo→Hi) [001...127] Trans (Transpose) [–64...+63] Speciﬁes the velocity value at which you will switch from Adjusts the pitch in semitone steps. +12 is one octave up, the Low drumsample to the High drumsample. Velocities and –12 is one octave down. above this value will sound the High drumsample, and Tune [–99...+99]...
Page 154: 2: Low (Low Sample)
Rename Drum Kit 5.1–2a: Low (Low Sample) This command renames the selected drum kit. You can input a name of up to sixteen characters. ( BG p.39) Drumsample Bank [ROM, EXB*, EXB*] Speciﬁes the bank of the Low drumsample ( “Drum Sam- Copy Drum Kit ple Bank”...
Page 155: Global 6.1: Controller
ASSIGNABLE SWITCH jack. If a Korg PS-1 (sold separately) pedal switch is connected, the pedal switch polarity will be (↓), so select “(–) KORG Standard” for this setting. If you have connected a pedal switch with a positive (↑) polarity, select “(+)” for this set- ting.
Page 156: 2: Karma1
When this operation is executed, the MIDI control change 6.1–3: KARMA2 message assignments you made for the KARMA Real-time Controls knobs and keys in 6.1–2: KARMA 1 and 6.1–3: Here you can assign control change messages to the KARMA2 will be reset to the default settings or Off.
Page 157 6.1–3a: KARMA Real-time Controls ON/OFF (ON/OFF Assign) [Off...CC#95] Assigns a control change message to the KARMA Real-time Controls [ON/OFF] key. SCENE (SCENE Assign) [Off...CC#95] Assigns a control change message to the KARMA Real-time Controls [SCENE] key. LATCH (LATCH Assign) [Off...CC#95] Assigns a control change message to the KARMA Real-time Controls [LATCH] key.
Page 159: Disk Mode
If you change the ﬁlename extension of the following ﬁles, they will be handled as undeﬁned ﬁles when you The KARMA manages data on disks and other media in a attempt to load them again; they will not be loaded cor- hierarchical manner, using ﬁles and directories.
Page 160: Disk Page Menu
1.1–1c: Label DISK PAGE MENU This displays the volume label of the ﬂoppy disk when load- In Disk mode you can press the [F1]–[F4] keys located below ing or saving. the tab to select the desired page. When you insert a ﬂoppy disk and press the [DISK] key or a function key to make this instrument recognize the disk, its Load Load the contents of the selected ﬁle or directory...
Page 161 1) Load .PCG: selected icon 2) Load Programs: selected icon All data in the .PCG ﬁle will be loaded. All program data from a .PCG ﬁle will be loaded. 1 To load the data, press the [F8] (“OK”) key. To cancel 1 Use the “Load ****** .SNG too”...
Page 162 6) Load Combination Bank [A...F] : selected icon 11) Load Global Setting: selected icon All combinations in the selected bank will be loaded into the Global setting data in the .PCG ﬁle will be loaded. bank you specify. This includes Global mode parameters other than drum kits.
Page 163: 2: Save
“Transmit Interval Time” to specify the time interval that will be inserted between each item of exclusive data. If you are transmitting the data to another KARMA, the required time interval will depend on the type of data. After transmitting all combination data, you must allow an interval of approximately 2 seconds.
Page 164 3 Press the [F6] (“S.Item”) key to access the “Select Save 3 Press the [F6] (“S.Item”) key to move to the “Select Save Items” dialog box, and select the data that you wish to Items” dialog box where you will specify the data to be save.
Page 165: 3: Utility
Save Exclusive (Receive and Save MIDI Exclusive Data) 1.1–3: Utility This command receives exclusive data, accumulates it in the unused portion of the internal memory, and saves the data Here you can rename, copy, or delete the selected disk or to media as an .EXL ﬁle.
Page 166 Create Directory [Example] PRELOAD1.* : PRELOAD1.PCG, PRELOAD1.SNG, ... This command creates a new directory within the current PRELOAD?.PCG : PRELOAD1.PCG, PRELOAD2.PCG, directory. PRELOAD3.PCG, ... 1 Select “Create Directory” to access the following dialog When wildcards are used, only ﬁles will be subject to box.
Page 167: 4: Media Information
When the dialog box appears, “Volume Label” will 1.1–4: Media Information show the volume label that had been speciﬁed before formatting. If a disk that has no volume label or a non- DOS disk is inserted, this will indicate “NEW VOL- UME.”...
Page 169: Effect Guide
Dynamic modulation (Dmod) is a function that lets you use the controllers of this instrument or MIDI messages to con- The effects section of KARMA consists of ﬁve-channel Insert trol speciﬁc effect parameters*1, allowing realtime control Effects, two-channel Master Effects, a single-channel Mas- while you play.
Page 170: Insert Effects (Ifx 1, 2, 3, 4, 5)
Sequencer mode Double-size effects Input Volume (SEQ 1.1) Double-size effects 090–102 use twice the area of what S1/2 (Send1/2) (SEQ 7.1) other effects use. You can select them for Insert Effects IFX2, IFX3, and IFX4. Effect Trim parameter (SEQ 7.2, 7.3) Note that if you select a double-size effect for IFX2, you can- Output Effect W/D parameter...
Page 171 If you wish to connect IFX in series, make “Chain” (PROG The following ﬁgure shows an example of Combination 7.2–1a) settings. If you set “Chain” of IFX1 to , the output mode. The Timbre 1 output is sent to IFX1 and the Timbre 2 of IFX1 will be sent to the input of IFX2.
Page 172: Mixer
Insert Effect = Stereo In - Stereo Out OSC1 OSC2 OSC1: Amp1 Pan=L001 OSC1: Amp1 Pan=L032 OSC2: Amp2 Pan=R127 OSC2: Amp2 Pan=R096 Left Center Left Center Right Right Post IFX Pan(CC#8) Post IFX Pan(CC#8) C064 C064 L032 L032 L000 L000 R096 R096 R127...
Page 173: Controlling The Insert Effects Via Midi
4. Controlling the Insert Effects via Master Effects (MFX1, 2) MIDI Using the Dynamic Modulation (Dmod) function enables 1. In/Out you to control all effect parameters in real-time during per- formance from the controllers of this instrument or a con- The I/Os of Master Effects MFX1 and MFX2 are mono-in/ nected MIDI sequencer.
Page 174: Routing
2. Routing If the program “Oscillator Mode” (PROG 2.1–1a) is Drums, the “USE DKit Setting” (PROG 7.1–1b) will be used. You can use up to two channels (MFX1 and 2) for the Master If this is checked, the setting for each key of the selected Effects in any mode.
Page 175: Mixer
3. Mixer The following examples are in Combination mode. In ﬁgure (1), “BUS Select” is set so that Timbre 1 is routed to IFX1, The send levels determine the input levels of oscillators Timbre 2 to IFX2, Timbre 3 to IFX3, Timbre 4 to IFX4, Tim- (Program), timbres (Combination), tracks (Sequencer and bres 5 and 6 to IFX5, and Timbres 7 and 8 to L/R.
Page 176: Controlling The Master Effects Via Midi
4. Controlling the Master Effects via Master EQ MIDI The Master EQ (stereo, three-band EQ) is located right You can use the Dynamic Modulation (Dmod) function to before AUDIO OUTPUT (MAIN) L/MONO, R. Low and control all Master Effects parameters in real-time from this High EQs are of the shelving type, and Mid EQ is a peaking instrument’s controllers or from an external MIDI sequencer.
Page 177 Combination, Sequencer, Song Play mode Effect / Mixer Block Diagram in Combination / Sequencer / Song Play Mode 7.2: Insert Effect 7.3: Master Effect IFX / Indiv.Out BUS Select Send1 Send2 L/R BUS BUS Select Timbre / Track 1 = L/R BUS Select Timbre / Track 2 = IFX1...
Page 178: Filter/Dynamic
Filter/Dynamic Level (Output Level) 0...100 Sets the output level of the compressor (Source) Off...Tempo Filter and dynamics control effects Selects the modulation source for the compressor output level (Amount) –100...+100 Sets the modulation amount of the compressor output level Pre EQ Trim 0...100 000: No Effect Sets the EQ input level...
Page 179: 004: Mltband Limit (Multiband Limiter)
Envelope (Envelope Select) L/R Mix, L Only, R Only, L/R Individually Limiter - Attack / Release Selects from linking both channels, controlling only from left channel, Threshold only from the right channel, or controlling each channel individually Ratio 1.0:1...50.0:1, Inf:1 Sets the signal compression ratio Threshold –40...0dB...
Page 180: 005: St.gate (Stereo Gate)
c: Threshold, d: Attack, e: Release W/D (Wet/Dly) Dry, 1:99...99:1, Wet This parameter sets the signal level below which Gate is applied Sets the balance between the effect and dry sounds when “Envelope” is set to L/R Mix, L Only, or R Only. (Source) Off...Tempo The Attack and Release parameters set the Gate attack time and...
Page 181: 007: St.para.4Eq (Stereo Parametric 4-Band Eq)
007: St.Para.4EQ Pre Low-cut 0...10 Sets the low range cut amount of the distortion input (Stereo Parametric 4-Band EQ) Level (Output Level) 0...50 Sets the output level This is a stereo 4-band parametric equalizer. You can select (Source) Off...Tempo peaking type or shelving type for Band 1 and 4. The gain of Selects the modulation source for the output level Band 2 can be controlled by dynamic modulation.
Page 182: 008: St.graphic7Eq (Stereo Graphic 7-Band Eq)
009: St.Wah/AutoW d: B2 Dyn.G Src, d: (Amount), f: G You can control the gain of Band 2 using the modulation source. (Stereo Wah/Auto Wah) Parametric 4EQ - Band2 Dynamic Gain Control -mod This stereo wah effect allows you to create sounds from vin- +15dB Band2 Cutoff tage wah pedal simulation to auto-wah simulation, and much...
Page 183: 010: St.random Filter(Stereo Random Filter)
010: St.Random Filter a: FreqBottm, a: FreqTop The sweep width and direction of the wah ﬁlter are determined (Stereo Random Filter) by the “FreqBottm” and “FreqTop” settings. Sweep Mode=D-mod This stereo band pass ﬁlter uses a step-shape waveform and Frequency Frequency random LFO for modulation.
Page 184: 011: St.exct/Enhcr (Stereo Exciter/Enhancer)
When “LFO Wave” is set to Random, the “Step” parameter uses a Enh Dep (Enhancer Depth) 0...100 random LFO cycle. Sets the determines to what degree the Enhancer effect is applied Random Filter LFO LFO Frequency (Source) Off...Tempo Selects the modulation source of the Enhancer width (Amount) –100...+100 LFO Step Freq...
Page 185: 013: Talking Mod (Talking Modulator)
Envelope Pre LPF 1...100 BPM/MIDI Sync Off, On Sets the upper limit of the frequency range for which very low har- Switches between using the frequency of the LFO speed and using monics are added the tempo and notes Fx:009, Envelope Sens (Envelope Sensitivity) 0...100 MIDI, 40...240...
Page 186: 014: St.decimator (Stereo Decimator)
014: St.Decimator 015: St.AnalogRecd (Stereo Decimator) (Stereo Analog Record) This effect creates a rough sound like a cheap sampler by low- This effect simulates the noise caused by scratches and dust ering the sampling frequency and data bit length. You can on analog records.
Page 187: Pitch/Phase Mod
e: L Dly, e: R Dly Pitch/Phase Mod. Setting the left and right delay time individually allows you to control the stereo image. Pitch/phase modulation effects 017: St.HarmnicCho 016: St.Chorus (Stereo Harmonic Chorus) (Stereo Chorus) This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without mak- This effect adds thickness and warmth to the sound by modu- ing the sound thinner.
Page 188: 018: Mlttap Chodly (Multitap Chorus/Delay)
e: Hi/Lo Split W/D (Wet/Dly) Dry, 1:99...99:1, Wet This parameter sets the frequency that splits the high and low Sets the balance between the effect and dry sounds range. Only the high range will be sent to the chorus block. (Amount) –100...+100 Sets the modulation amount of the effect balance...
Page 189: 020: St.flanger(Stereo Flanger)
020: St.Flanger both “Feedback” and “W/D”, and if you set a negative value for both “Feedback” and “W/D”. (Stereo Flanger h: High Damp This effect gives a signiﬁcant swell and movement of pitch to This parameter sets the amount of damping of the feedback in the high range.
Page 190: 022: St.env.flanger (Stereo Envelope Flanger)
022: St.Env.Flanger 023: St.Phaser (Stereo Envelope Flanger) (Stereo Phaser) This Flanger uses an envelope generator for modulation. You This effect creates a swell by shifting the phase. It is very will obtain the same pattern of ﬂanging each time you play. effective on electric piano sounds.
Page 191: 024: St.rndm Phasr (Stereo Random Phaser)
024: St.Rndm Phasr 025: St.Env.Phaser (Stereo Random Phaser) (Stereo Envelope Phaser) This is a stereo phaser. The effect uses a step-shape waveform This stereo phaser uses an envelope generator for modula- and random LFO for modulation, creating a unique phasing tion.
Page 192: 026: St.biphasemod(Stereo Biphase Modulation)
026: St.BiphaseMod 027: St.Vibrato (Stereo Biphase Modulation) (Stereo Vibrato) This stereo chorus effect adds two different LFOs together. This effect causes the pitch of the input signal to shimmer. You can set the Frequency and Depth parameters for each Using the AutoFade allows you to increase or decrease the LFO individually.
Page 193: 028: St.autofd Mod (Stereo Auto Fade Modulation)
“AUTOFADE Src”=Gate1, “Freq”=1.00 Hz Freq Mod (LFO Frequency Mod) D-mod, AUTOFADE “LFO Freq Mod”=AUTOFADE, “ ”=+3.00 (Amount) Switches between D-mod and AUTOFADE for the LFO frequency modulation Fx:027 The effect is off when a value for the dynamic modulation W/D Mod (Wet/Dry Mod) D-mod, AUTOFADE source speciﬁed for the “AUTOFADE Src”...
Page 194: 030: Doppler
V2 Level (Voice2 Level) 0...100 Freq (LFO Frequency) 0.02...20.00Hz Sets the Voice2 output level Sets the LFO speed Fx:009, L6...R6 (Source) Off...Tempo Sets the Voice2 stereo image Selects the modulation source of LFO speed W/D (Wet/Dly) Dry, 1:99...99:1, Wet (Amount) –20.00...+20.00Hz Sets the balance between the effect and dry sounds Sets the modulation amount of LFO speed...
Page 195: 031: Scratch
031: Scratch f: Direct Mix With Always On, a dry sound is usually output. With Always This effect is applied by recording the input signal and mov- Off, dry sounds are not output. With Cross Fade, a dry sound is ing the modulation source.
Page 196: Mod./P.shift
b: LFO Phase Mod./P.Shift This parameter determines the difference between the left and right LFO phases. A higher value will simulate the auto-pan effect in which the sound is panned between left and right. Other modulation and pitch shift effects 033: St.Env.
Page 197: 034: St.auto Pan (Stereo Auto Pan)
034: St.Auto Pan this parameter to be effective. Stereo Auto Pan - LFO Phase (Stereo Auto Pan) LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees L-In L-In L-In This Auto Pan effect pans sound between left and right. It is R-In R-In R-In...
Page 198: 036: St.ring Mod (Stereo Ring Modulator)
P W/D (Phaser W/D) –Wet...–2:99, Dry, 2:99...Wet Note Offset –48...+48 Sets the balance between the phaser effect and dry sounds Sets the pitch difference from the original note when OSC Mode is set to Note (Key Follow) T Shape (Tremolo Shape) –100...+100 Sets the degree of the tremolo LFO shaping Fx:020...
Page 199: 037: Detune
037: Detune Mode Slow, Medium, Fast Switches Pitch Shifter mode Using this effect, you can obtain a detune effect that offsets Shift (Pitch Shift) –24...+24 the pitch of the effect sound slightly from the pitch of the Sets the pitch shift amount by steps of a semitone input signal.
Page 200: 039: Pitchshft Mod (Pitch Shift Modulation)
039: PitchShft Mod 040: Rotary SP (Pitch Shift Modulation) (Rotary Speaker) This effect modulates the detuned pitch shift amount using an This effect simulates a rotary speaker, and obtains a more real- LFO, adding a clear spread and width to the sound by pan- istic sound by simulating the rotor in the low range and the ning the effect sound and dry sound to the left and right.
Page 201: Er/Delay
only when you press the pedal or operate the joystick. ER/Delay Rotation will occur when the value of the modulation source is less than 64, and will stop when the value is 64 or Early reﬂection and delay effects greater. b: (Sw) This parameter sets how the rotation speed (slow and fast) is 041: Early Reﬂect...
Page 202: 042: Auto Reverse
042: Auto Reverse by the Src parameter is 64 or higher. When “Envelope” is set to Input, the input signal will be recorded This effect records the input signal and automatically plays it only when its level exceeds the Threshold level. When recording is completed, reverse playback starts immedi- in reverse (the effect is similar to a tape reverse sound).
Page 203: 044: St/Cross Dly (Stereo/Cross Delay)
044: St/Cross Dly 045: St.MltTap Dly (Stereo/Cross Delay) (Stereo Multitap Delay) This is a stereo delay, and can by used as a cross-feedback The left and right Multitap Delays have two taps respectively. delay effect in which the delay sounds cross over between the Changing the routing of feedback and tap output allows you left and right by changing the feedback routing.
Page 204: 046: St.mod. Delay (Stereo Modulation Delay)
046: St.Mod. Delay e: LFO Sync, e: Src, f: L Phase, f: R Phase The LFO can be reset via a modulation source. (Stereo Modulation Delay) The “Src” parameter sets the modulation source that resets the LFO. For example, you can assign Gate as a modulation source so This stereo delay uses an LFO to sweep the delay time.
Page 205: 048: St.autopandly (Stereo Auto Panning Delay)
a: Ctrl Target Pan Freq (Panning Frequency) 0.02...20.00Hz This parameter selects no level control, delay output control Sets the panning speed (effect balance), or feedback amount control. Pan Dep (Panning Depth) 0...100 Sets the panning width a: Pol, b: Threshold, b: Offset, c: Attack, d: Release (Source) Off...Tempo The “Offset”...
Page 206: 050: St.bpm Delay (Stereo Bpm Delay)
HiDamp (High Damp) 0...100% R Fb (R Feedback) –100...+100 Sets the damping amount in the high range Fx:043 Sets the feedback amount for the right channel LoDamp (Low Damp) 0...100% (Amount R) –100...+100 Sets the damping amount in the low range Fx:043 Sets the modulation amount of the right channel feedback InLvl Mod (Input Level Dmod [%])
Page 207: Reverb
Reverb HiDamp (High Damp) 0...100% Sets the damping amount in the high range Fx:043 LoDamp (Low Damp) 0...100% Reverb effects Sets the damping amount in the low range Fx:043 InLvl Mod (Input Level Mod [%]) –100...+100 These effects simulate the ambience of reverberation in con- Sets the modulation amount of the input level Fx:037, cert halls.
Page 208: 056: Rev Room (Reverb Room)
without delay, emphasizing the attack of the sound. wall, and a larger “Reverb Level” simulates a soft wall. Reverb - Hall / Plate Type Reverb - Room Type Level Level (Early Reflections) Reverb Reverb Pre Delay Thru Time Time Pre Delay Thru Pre Delay Reverb Time Pre Delay...
Page 209: Mono → Mono Chain
059: P4EQ–Wah Mono → Mono Chain (Parametric 4-Band EQ – Wah/Auto Wah) Effects that combine two mono effects connected in This effect combines a mono-type four-band parametric series equalizer and a wah. You can change the order of the connec- tion.
Page 210: 060: P4Eq-Cho/Fl
060: P4EQ–Cho/Fl 061: P4EQ–Phaser (Parametric 4-Band EQ – Chorus/Flanger) (Parametric 4-Band EQ – Phaser) This effect combines a mono-type four-band parametric This effect combines a mono-type four-band parametric equalizer and a chorus/ﬂanger. equalizer and a phaser. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Left...
Page 211: 062: P4Eq-M.dly
062: P4EQ–M.Dly 063: Comp–Wah (Parametric 4-Band EQ – Multitap Delay) (Compressor – Wah/Auto Wah) This effect combines a mono-type four-band parametric This effect combines a mono-type compressor and a wah. You equalizer and a multitap delay. can change the order of the connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left...
Page 212: 064: Comp-Ampsim (Compressor - Amp Simulation)
064: Comp–AmpSim [OD] Mode (Drive Mode) OverD, Hi-Gain Switches between overdrive and high-gain distortion (Compressor – Amp Simulation) Drive 1...100 Sets the degree of distortion Fx:006 This effect combines a mono-type compressor and an amp Level (Output Level) 0...50 simulation. You can change the order of the effect connection. Sets the overdrive output level Fx:006, (Source)
Page 213: 067: Comp-Cho/Fl (Compressor - Chorus/Flanger)
B1 (Band1 Cutoff) 20...1.00kHz [F] Cho/Flng W/D –Wet...–2:98, Dry, 2:98...Wet Sets the center frequency of Band 1 Sets the effect balance of the chorus/ﬂanger Fx:010, 020 0.5...10.0 Out (Output Mode) Normal, Wet Inv Sets the bandwidth of Band 1 Fx:006 Selects the output mode for the chorus/ﬂanger CMP →...
Page 214: 069: Comp-M.dly (Compressor - Multitap Delay)
070: Limiter–P4EQ W/D (Wet/Dly) Dry, 1:99...99:1, Wet Sets the balance between the effect and dry sounds (Limiter – Parametric 4-Band EQ) (Source) Off...Tempo Selects the modulation source of the effect balance This effect combines a mono-type limiter and a four-band (Amount) –100...+100 parametric equalizer.
Page 215: 071: Limit-Cho/Fl (Limiter - Chorus/Flanger)
071: Limit–Cho/Fl 072: Limit–Phaser (Limiter – Chorus/Flanger) This effect combines a mono-type limiter and a phaser. You can change the order of the effect connection. This effect combines a mono-type limiter and a chorus/ ﬂanger. You can change the order of the effect connection. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry...
Page 216: 073: Limiter-M.dly (Limiter - Multitap Delay)
073: Limiter–M.Dly Pre EQ Trim 0...100 Sets the EQ input level (Limiter – Multitap Delay) LoEQ (Pre Low EQ Gain) –15...+15dB Sets the gain of Low EQ This effect combines a mono-type limiter and a multitap HiEQ (Pre High EQ Gain) –15...+15dB delay.
Page 217: 076: Exct-Cho/Fl (Exciter - Chorus/Flanger)
076: Exct–Cho/Fl LoEQ (Pre Low EQ Gain) –15...+15dB Sets the gain of Low EQ (Exciter – Chorus/Flanger) HiEQ (Pre High EQ Gain) –15...+15dB Sets the gain of High EQ This effect combines a mono-type limiter and a chorus/ [PHS] LFO (LFO Waveform) Tri, Sine ﬂanger.
Page 218: 079: Od/Hg-Ampsim (Overdrive/Hi.gain - Amp Simulation)
079: OD/HG–AmpSim 080: OD/HG–Cho/Fl (Overdrive/Hi.Gain – Amp Simulation) (Overdrive/Hi.Gain – Chorus/Flanger) This effect combines a mono-type overdrive/high-gain dis- This effect combines a mono-type overdrive/high-gain dis- tortion and an amp simulation. You can change the order of tortion and a chorus/ﬂanger. You can change the order of the the effect connection.
Page 219: 081: Od/Hg-Phaser (Overdrive/Hi.gain - Phaser)
081: OD/HG–Phaser 082: OD/HG–M.Dly (Overdrive/Hi.Gain – Phaser) (Overdrive/Hi.Gain – Multitap Delay) This effect combines a mono-type overdrive/high-gain dis- This effect combines a mono-type overdrive/high-gain dis- tortion and a phaser. You can change the order of the effect tortion and a multitap delay. connection.
Page 220: 083: Wah-Ampsim (Wah/Auto Wah - Amp Simulation)
083: Wah–AmpSim Resolution 4...24 Sets the data bit length Fx:014 (Wah/Auto Wah – Amp Simulation) Level (Output Level) 0...100 Sets the decimator output level Fx:014 This effect combines a mono-type wah and an amp simula- [AMP] Ampliﬁer Type SS, EL84, 6L6 tion.
Page 221: 086: Ampsim-Trml (Amp Simulation - Tremolo)
086: AmpSim–Trml 087: Cho/Fl–M.Dly (Amp Simulation – Tremolo) (Chorus/Flanger – Multitap Delay) This effect combines a mono-type amp simulation and a trem- This effect combines a mono-type chorus/ﬂanger and a mult- olo. itap delay. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Left...
Page 222: 088: Phasr-Cho/Fl (Phaser - Chorus/Flanger)
088: Phasr–Cho/Fl 089: Reverb–Gate (Phaser – Chorus/Flanger) This effect combines a mono-type reverb and a gate. This effect combines a mono-type phaser and a chorus/ Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out ﬂanger. Left Wet / Dry Reverb Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out...
Page 223: Double Size
091: St.MltbandLmt Double Size (Stereo Multiband Limiter) Double-size effects This is a stereo multiband limiter. (Available for Insert Effects IFX2, 3, and 4) Stereo In - Stereo Out Band-Pass Filters Left Wet / Dry Limiter Envelope - Control 090: Piano Body Limiter Envelope - Control Gain Adjust...
Page 224: 093: Vocoder
Off, On L (Carrier) Trim 0...100 Switches Wah on/off Fx:006, Sets the input level of left channel (Carrier) (Source) Off...Tempo R (Modulator) Trim 0...100 Selects the modulation source that switches the Wah on and off Sets the input level of right channel (Modulator) Fx:006 Formant Shift –2...+2...
Page 225: 094: Mlttap Chodly (Multitap Chorus/Delay)
094: MltTap ChoDly T1 Fb (Tap1 Feedback) –100...+100 Sets the Tap1 feedback amount (Multitap Chorus/Delay) (Source) Off...Tempo Selects the modulation source for the Tap output level, feedback This effect has six chorus blocks with different LFO phases. amount, and effect balance You can produce a complex stereo image by setting a different (Amount) –100...+100...
Page 226: 096: Rotary Sp Od (Rotary Speaker Overdrive)
Feedback –100...+100 Speed (Speed Switch) Slow, Fast Sets the feedback amount Fx:038 Switches the speaker rotation speed between slow and fast. HiDamp (High Damp) 0...100% (Source) Off...Tempo Sets the damping amount in the high range Selects the modulation source that toggles between slow and fast InLvl Mod (Input Level Dmod [%]) –100...+100 (Sw)
Page 227: 097: Early Reflect(Early Reflections)
097: Early Reﬂect HiDamp (High Damp) 0...100% Sets the damping amount in the high range Fx:043 (Early Reﬂections) LoDamp (Low Damp) 0...100% Sets the damping amount in the low range Fx:043 This early reﬂection effect has more precise early reﬂections InLvl Mod (Input Level Dmod [%]) –100...+100 with twice the maximum length of a normal-size effect...
Page 228: 100: Lcr Bpm Ldly(L/C/R Bpm Long Delay)
100: LCR BPM LDly f: Time Over? > You can set the delay time up to 2,730msec. If the delay time (L/C/R BPM Long Delay) exceeds this limit, the error message “OVER!” appears on the dis- play. Set the delay time parameters so that this message will not The L/C/R delay enables you to match the delay time with appear.
Page 229: 102: Hold Delay
The effect is off when a value for the modulation source W/D (Wet/Dly) Dry, 1:99...99:1, Wet speciﬁed for the “REC Control Src” parameter is 63 or Sets the balance between the effect and dry sounds smaller, and the effect is on when the value is 64 or higher. (Source) Off...Tempo Selects the modulation source of the effect balance...
Page 230: Master Eq
Master EQ Master EQ Use 7.3–4: Master EQ in Program, Combination, Sequencer, and Song Play modes. You cannot use the Master EQ in Sampling mode. You cannot use the Master EQ for the Insert Effects or Mas- ter Effects. High Left L/Mono Right...
Page 231: Appendices
8. Appendices Alternate Modulation Source (AMS) About Alternate Modulation Sources About Alternate Modulation There are 42 Alternate Modulation sources (AMS) that can Alternate Modulation can be speciﬁed for the following 29 control Alternate Modulation destinations. types, in total, 55 alternate modulation destinations shown If you select two or more Alternate Modulation destinations in the diagram below.
Page 232: Ams (Alternate Modulation Source) List
AMS (Alternate Modulation Source) List do not use Alternate Modulation (PEG) Pitch EG pitch EG (FEG) Filter EG ﬁlter EG within the same oscillator (AEG) Amp EG amp EG within the same oscillator (LFO) LFO1 LFO1 within the same oscillator (LFO) LFO2 LFO2 within the same oscillator...
Page 233 Flt KT +/+ (Filter Keyboard Track +/+) JS+Y&AT/2 (Joy Stick +Y & After Touch/2) Flt KT +/– (Filter Keyboard Track +/–) The effect will be controlled by the joystick +Y (vertically Flt KT 0/+ (Filter Keyboard Track 0/+) upward) and by after touch. In this case, the effect of after Flt KT +/0 (Filter Keyboard Track +/0) touch will be only half of the speciﬁed intensity.
Page 234: Alternate Modulation Settings
• Pitch, tone, EG or LFO can be controlled by the tempo of Pitch LFO1/2 Intensity (PROG 3.1–2a, 3.1–4) the KARMA function or sequencer. Pitch modulation intensity of the LFO1/2 can be controlled by an EG, keyboard tracking, controllers, or tempo etc.
Page 235 Filter LFO 1/2 Intensity (PROG 4.1–4a) • If you select the same controller as an AMS and set separate intensities for Filter A (Low Pass Filter) The LFO 1/2 ﬁlter modulation intensity can be controlled by “Intensity (A AMS1/2 Intensity)” and Filter B (High EG, keyboard tracking, controller, or tempo.
Page 236 Amp LFO 1/2 Intensity (PROG 5.1–2b, 5.2) Each EG time is determined by the Alternate Modulation value at the moment that the corresponding EG point is The amp modulation intensity of LFO 1/2 can be controlled reached. For example, the Alternate Modulation value at the by EG, keyboard tracking, controllers, or tempo etc.
Page 237: Dynamic Modulation Source (Dmod)
When After Touch is at its maximum, the effect balance will Dynamic Modulation Source (Dmod) be 60:40. Dynamic Modulation (Example) You can control certain effect parameters using the joystick, Wet / Dry REAL TIME CONTROLS knobs, etc. “on the ﬂy.” Control- Wet / Dry=10:90 Amt= +50 ling effects in this way is referred to as Dynamic Modula-...
Page 238 Kb1[+] (Knob Mod1: CC#17 [+] ) In Program mode, dynamic modulation of the insertion Kb2[+] (Knob Mod2: CC#19 [+] ) effects and master effects is controlled via the global Kb3[+] (Knob Mod3: CC#20 [+] ) MIDI Channel. Kb4[+] (Knob Mod4: CC#21 [+] ) In Combination, Sequencer and Song Play modes, dynamic modulation for the insertion effects and mas- These differ from Kb1#17 (Knob Mod1: CC#17)–Kb4#21...
Page 239: About The Bpm/Midi Sync Function
Delay. You can apply modulation that is synchronized to the tempo, or specify the delay time in terms of a note value so that the effect will synchronize to the tempo of the KARMA function, or external sequencer during a live performance even if you change the tempo.
Page 240: Sw1/2 Assign
SW1/2 Assign The following functions can be assigned to the [SW1] or [SW2] keys. • For a Program, Combination, Song, or Song Play mode make the settings in 2.2: Ed-Ctrl/Controller page “SW1/ 2 Assign” (2.2–1b). SW1, SW2 Assign List no function SW1 Mod.(CC#80) (SW1 Modulation:CC#80) Select this when using the switch as an Alternate Modulation or Effect Dynamic Modulation SW2 Mod.(CC#81) (SW2 Modulation:CC#81)
Page 241: Knob 1
Knob 1...4 B Assign The following functions can be assigned to the REALTIME CONTROLS [1]-[4] knobs in B mode. • For Program, Combination, Song, or Song Play mode, make these settings in 2.2: Ed-Ctrl/Controller page “Knob B Assign” (2.2–1a). Realtime Control Knobs B Assign List No function Knob Mod.
Page 242: Foot Switch Assign
Knob1-A: LPF Cutoff (Filter LPF Cutoff: CC#74) You can assign the function of an assignable switch (sepa- Control the low pass ﬁlter cutoff frequency of the ﬁlter. rately sold Korg PS-1 option) connected to the ASSIGN- Simultaneously, CC#74 will be transmitted. ABLE SWITCH jack.
Page 243: Foot Pedal Assign
Foot Pedal Assign You can assign the function that will be controlled by an assignable pedal (separately sold Korg XVP-10 or EXP-2 option) connected to the ASSIGNABLE PEDAL jack. • This setting is made in GLOBAL 6.1: Controller “Foot Pedal Assign” (6.1–1a).
Page 244: Dynamic Midi Sources & Destinations
Velocity...Vel Out Z: Velocity Group K.SW1/K.SW2 Depending on the combination of source and destination The KARMA Realtime Controls switch [1] or [2] will be the (Dynamic MIDI Destinations), the selected destination may source. not function as you intend. Refer to the explanations of com- bining sources and destinations in each section of “Dynamic...
Page 245: Dynamic Midi Destinations
(Param Module A/B/C/D)” (6.4–3a/b/c/d) settings Vel In Z (Velocity In Zone) will be ignored. Velocity values of notes within the key zone of the KARMA Setting examples module (PROG 6.1–2a, COMBI/SEQ/S.PLAY 6.1–3a) will be Joystick operations in the +Y direction will control GE the source.
Page 246 When the KARMA Realtime Controls [LATCH] key is on, transpose function will be turned off, and the KARMA latch will be on for KARMA module [A], and latch will be function will resume normal operation. off for KARMA module [B].
Page 247 Control “Melodic Repeat” for the notes generated by the the key zone) to trigger phrases and notes produced by the KARMA module. This is valid only when the GE selected by KARMA function. At this time, play the lower range of the the KARMA module uses the “Melodic Repeat”...
Page 248 BufferLatch If you select the source from the Short Note...Black Control latching of the note data that is input to the KARMA Note note group or Velocity...Vel Out Z velocity group, module (i.e., so that the note data will be held even when set “Act (Dyn1...4 Src Action)”...
Page 249 KARMA module, controlling the phrase or pattern. If you release the C4 and then play a single B4 note, B4 will be input to the KARMA module. In this case if you turned Buffer Latch on when you played the single C4 note, the...
Page 250: Midi Transmission When This Instrument's Controllers Are Operated
MIDI change will be recorded. channel. KARMA modules [A][B][C][D] can be controlled when the Simultaneously, the message will also be transmitted on the “Input Channel” and “Output Channel” (SEQ 6.1–2a) speci- MIDI channel (“MIDI Channel”...
Page 251 Master ﬁne tune Master coarse tune Setting These can be assigned to CC#00–95 for KARMA Realtime Controls or Chord Triggers. The CC# indicated by [*] are automatically assigned Assignable when you execute the Global mode 6.1–2(3): KARMA 1(2) page utility menu command “Reset KARMA Ctrls Assign”...
Page 252: This Instrument Operations When Control Changes Are Transmitted/Received
CC#29 is assigned to KARMA Realtime Control knob 8 30 KARMA Realtime Controls SCENE On/Off 0...63 (Off), 64...127 (On) same as on/off when CC#30 is assigned to KARMA Realtime Control [SCENE] key 31 KARMA Realtime Controls LATCH On/Off 0...63 (Off), 64...127 (On) same as on/off when CC#31 is assigned to KARMA Realtime Control [LATCH] key...
Page 253 You can assign any control change number (CC#00–95) adjust the effect from the program parameter setting to the KARMA Realtime Controls knobs and keys. In toward the minimum value or maximum value. The inter- this case, the transmitted value will be 0–127 for knobs nal program parameters listed in (*4, *5) will be con- [1]–[8], and 0 (Off) or 127 (On) for all others.
Page 254 “EXB-MOSS option”) *6 Controlled on the global MIDI channel. *7 If you assign a CC# to a KARMA Realtime Controls knob or switch and operate it, the speciﬁed CC# will be transmitted, and at the same time the KARMA music workstation will also be controlled.
Page 255: Midi Applications
You can also use a MIDI patch bay to control multiple MIDI MIDI applications devices. I About MIDI KARMA MIDI OUT MIDI stands for Musical Instrument Digital Interface, and is a world-wide standard for exchanging various types of MIDI IN...
Page 256: I Messages Transmitted And Received By This Instrument
MIDI channel of a timbre whose “Status” is set to INT If the KARMA function is on, playing this instrument’s key- (p.49 “Status” and “MIDI Channel”). board will not cause the KARMA function to operate, and...
Page 257 Program Change/Bank Select As needed, you can independently turn all program changes on/off, specify whether or not incoming messages will be able to change combinations, and turn reception/transmis- Changing the program/bank sion of bank select messages on/off. Program change [Cn, pp] •...
Page 258 Volume messages, and the volume will change. When this MIDI CC#00–CC#95 can be selected for the B mode of message is received, the result will be the same as when the REALTIME CONTROLS [1]–[4] knobs and KARMA controller is operated. REALTIME CONTROLS.
Page 259 Controlling panpot (stereo position) • In Combination, Sequencer, and Song Play modes, the actual send level of the timbre/track is determined by Panpot (CC#10) [Bn, 0A, vv] multiplying this value with the send 1/2 settings for each (vv: value, where 00 is far left, 64 is center, and 127 is far oscillator (PROG 7.1–1a).
Page 260 MIDI instrument (such as MIDI sequencer, or when you wish to control the KARMA the TRITON), the speciﬁed effect (e.g., alternate modulation function from an external MIDI device.
Page 261 00) to change the value in steps of one. KARMA Knob8 (CC#29) [Bn, 1D, vv] This instrument can receive the following three RPN mes- These correspond to KARMA Realtime Controls knobs [1]– sages (tuning, transpose, and pitch bend range). [8].
Page 262 “I am a Korg Future instrument, with system version ...” switches. (BG p.37 “Saving data”) GM system on [F0, 7E, nn, 09, 01, F7] •...
Page 263 Simultaneously, the performance of the formed by a MIDI exclusive Program Write Request or Com- KARMA function will be transmitted via MIDI. (In Com- bination Write Request message, in addition to the usual bination, Sequencer, and Song Play modes, data will be method of using this instrument’s switches.
Page 264 Local Control Off: Notes from the KARMA function or recording, and then start the external sequencer. With RPPR will not be transmitted from MIDI OUT. The KARMA this method, the MIDI messages will be recorded function or RPPR will only sound the notes (on this instru- without the two devices being synchronized.
Page 265 Converting the GS/XG bank/program maps to the About standard MIDI ﬁles GM2 bank/program map Standard MIDI ﬁles (SMF) make it possible for different computer programs or musical instruments made by differ- • When bank select/program change messages used by ent manufacturers to exchange time-based MIDI data. Each GS/XG are received, they will automatically be standard MIDI ﬁle contains one song.
Page 266: Various Messages
Destination measure is empty Various messages Meaning: The measure that was speciﬁed as the destination contains no data. Action: Specify a destination measure that contains data. Are you sure? Destination song is empty Meaning: This message asks you to conﬁrm execution. To Meaning: The song that was speciﬁed as the copy destina- execute press the [F8] (“OK”) key.
Page 267 File is read-only protected Measure number over limit Meaning: You attempted to write to a ﬁle or to delete a ﬁle Meaning: The attempted edit operation would cause the that had a read-only attribute. track length to exceed 999 measures. Meaning: You attempted to save a ﬁle to a ﬂoppy disk that Action: Delete unnecessary measures.
Page 268 No recording track speciﬁed Pattern used in song Continue ? Meaning: When performing realtime multi-track recording, Meaning: When editing, the speciﬁed pattern is used by you attempted to begin recording with no tracks RPPR. If you wish to execute, press the [F8] set to REC.
Page 269 You can’t undo this operation Are you sure ? Meaning: When you exit recording or event editing in Sequencer mode, the memory area for Undo (Compare function) is not allocated. If you wish to keep the data that was just recorded or edited, press the [F8] (“OK”) key.
Page 270: Data Compatibility
.PCG/.SNG ﬁle from EXT-B – EXT-C – a TRITON keyboard model or the TRITON-Rack. Also, the parameters related to the KARMA function will be EXT-C – EXT-D – initialized when such data is loaded.
Page 271: Midi Implementation
MIDI IMPLEMENTATION...
Page 274: Option Boards/Memory
Nor will Korg Inc. be responsible for • Be sure to ﬁrmly tighten the screws used for attach- any damages resulting from the loss or destruction of ment.
Page 275: Checking After Installation
If you have any questions regarding installation, please contact your local Korg distributor . You must leave the AC/AC power supply disconnected until you ﬁnish the entire process of removing the lid, installing the option board, and reattaching the lid.
Page 276 Removing an EXB-PCM 4 The notched side of the EXB-PCM is PIN 1. Install the EXB-PCM with its PIN 1 side aligned with the PIN 1 • Spread the catches of the slot apart to the left and right, mark ( ) of the slot. and (after removing the stoppers from the catches) tilt the EXB-PCM and pull it out.
Page 277: Installing The Exb-Moss
Installing the EXB-MOSS 6 Lift the EXB-MOSS cover to the position shown in the diagram. Before you perform the installation, be sure to read the fore- going section “Please note when installing an option board.” During the installation, be careful not to cut your hand on any sharp edges of this instrument or of the option board.
Page 278 0 Use four screws to fasten the EXB-MOSS to the EXB- A Insert the protrusion of the EXB-MOSS cover into the slit, MOSS cover. and connect the cable to the connector. With the EXB- When doing so, position the EXB-MOSS on the EXB- MOSS cover held at the angle shown in the diagram, MOSS cover as shown in the diagram.
Page 279: Exb-Moss Option
The structure of a MOSS tone genera- EXB-MOSS option tor program By installing the separately sold EXB-MOSS option, you can A MOSS tone generator program is structured as follows. add a MOSS tone generator to this instrument, and add OSC (oscillator) MOSS program bank F.
Page 280: About The Oscillators
KARMA This is a physical model that simulates a warm vintage piano sound. (p.280, “EXB-MOSS owner’s manual” p.24) KARMA can be used in the same way as other program Brass Model banks. This is a physical model that simulates a brass instrument These parameters are set in PROG 6.1: Ed-KARMA, 6.2: Ed-KARMA Mdl,...
Page 281 These .PCG and .SNG ﬁles do not contain settings for ﬂoppy disk will be loaded into program bank F of this the KARMA function. When these ﬁles are loaded, all instrument. parameters related to the KARMA function will be ini- tialized.
Page 282: Selecting Programs/Combinations
3 Press the [F8] (“UTILITY”) key to access the utility menu, For details on how to enter each page, refer to BG p.14. press the [F7] key to select “Load Select,” and press the 2 Select the combination that you wish to edit. [F8] (“OK”) key.
Page 283: Sequencer, Song Play Mode
Operation when transmitting/receiv- 4 Select the COMBI 2.1: Ed-Prog/Mix, Prog page. ing control changes In the same way as the bank A–E, G, g(0)–g(9) and g(d) pro- grams, the sound of bank F programs can be modiﬁed by incoming MIDI control changes CC#70–79, or by operating the REALTIME CONTROL knobs in A-mode or B-mode.
Page 284 CC#77: Pitch LFO Intensity “Modulation AMS1 Intensity,” “Modulation AMS2 Inten- sity” (PROG 3.1: Ed-Pitch, OSC 1/2 page) “Common Pitch Mod. AMS Intensity” (PROG 3.1: Ed-Pitch, Common page) If LFO 1–4 is selected for these AMS, this message will affect that LFO. CC#78: Pitch LFO Delay “LFO1/2, 3, 4 Fade”...
Page 285: Parameters
2 In the index of this manual, ﬁnd the mode name and page number shown in the LCD screen. “Mode” →PROG 2.1: Ed-Basic →p. 291 of this manual p.276 of this manual, “KARMA Parameters” PROG 2.1: Ed–Basic Reference page in KARMA “EXB-MOSS owner’s...
Page 286 PG p.2 PROG 1.1–1: Program These are the same parameters as for non-bank-F programs. p.5 PROG 1.1–3: KARAMA p.5 PROG 1.1–4: K.RTC (KARMA RTC) p.5 PROG 1.1–5: Note (Note Activity) 1.1–2: P Edit (Perform. Edit) This is the same parameter as for programs of banks other than F.
Page 287 2.1–4: Mixer1/2.1–5: Mixer2 KARMA EXB-MOSS OSC1 Level p.34 1–6a: Mixer1: OSC1 (OSC1 Output Level) p.34 1–6a: Mixer1: AMS (Alternate Modulation Source) p.34 1–6a: Mixer1: Intensity (Level AMS Intensity) OSC2 Level p.34 1–6a: Mixer1: OSC2 (OSC2 Output Level) p.34 1–6a: Mixer1: AMS (Alternate Modulation Source) p.34...
Page 288 2.3–2: WShape (Wave Shape) KARMA EXB-MOSS Input Level p.15 1–3c: Wave Shape: Input (Input Level) p.15 1–3c: Wave Shape: AMS (Alternate Modulation Source) Intensity p.16 1–3c: Wave Shape: Intensity (Input Level AMS Intensity) Table Type p.16 1–3c: Wave Shape: Type (Wave Shape Table Type) Offset p.16...
Page 289 2.3–2: Mod. (Modulator) KARMA EXB-MOSS Modulator Wave p.19 1–3b: Modulator: Wave Level p.19 1–3b: Modulator: Level • • • • • • • • • • • • • • • • • • • • • • • •...
Page 290 Cross Modulation p.22 “EXB-MOSS owner’s manual” 2.3–1: Cross KARMA EXB-MOSS Input p.22 1–3a: Wave: Input Carrier Wave p.22 1–3a: Wave: Carrier Wave Edge p.22 1–3a: Wave: Wave Edge Modulation Depth p.22 1–3b: Modulation Depth: Depth AMS1 p.22 1–3b: Modulation Depth: AMS1 (Alternate Modulation Source 1) Intensity p.22...
Page 291 Brass Model p.25 “EXB-MOSS owner’s manual” 2.3–1: Brass KARMA EXB-MOSS Inst Type p.25 1–3a: Inst Type: Inst Type Jump.Bend JS(+X) p.26 1–3a: Jump Bend: JX(+X) (Joystick +X) Jump.Bend JS(-X) p.26 1–3a: Jump Bend: JX(-X) (Joystick -X) Pres.EG p.26 1–3b: Breath Pressure: EG p.26...
Page 292 Plucked String Model p.29 “EXB-MOSS owner’s manual” 2.3–1: String KARMA EXB-MOSS Picking Point p.29 1–3c: String: Picking Point p.30 1–3c: String: AMS (Alternate Modulation Source) p.30 1–3c: String: Intensity (Picking Point AMS Intensity) Damp p.30 1–3c: String: Damp p.30 1–3c: String: KTr (Damp Keyboard Track) p.30...
Page 293 2.3-2: Bow KARMA EXB-MOSS Differential p.32 1–3a: Bow Speed: Differential p.31 1–3a: Bow Speed: EG p.31 1–3a: Bow Speed: Int (Seed Modulation EG Intensity) AMS1 p.31 1–3a: Bow Speed: AMS1 (Alternate Modulation Source 1) p.31 1–3a: Bow Speed: Intensity (Speed AMS1 Intensity) AMS2 p.31...
Page 294 PROG 4.1: Ed–Filter p.38 “EXB-MOSS owner’s manual” 4.1–1: Filter1/4.1–3: Filter2 KARMA EXB-MOSS Routing p.38 3–1a: Routing: Routing Filter2 p.38 3–1a: Routing: Filter2 • • • • • • • • • • • • • • • • • •...
Page 295 5.1–3: AmpEG KARMA EXB-MOSS A (Attack Level) p.41 4–3a: Level: Attack (Attack Level) B (Break Level) p.41 4–3a: Level: Break (Break Level) S (Sustain Level) p.41 4–3a: Level: Sustain (Sustain Level) A (Attack Time) p.41 4–3b: Time: Attack (Attack Time) D (Decay Time) p.41...
Page 296 This is the same parameter as for programs of banks other This is the same parameter as for programs of banks other than F. than F. PG p.26 PROG 6.1: Ed-KARMA. PG p.38 PROG 7.2: Ed-InsertFX PROG 7.1: Ed–BUS PROG 7.3: Ed–MasterFX...
Page 297: Cautions When Using Bank F
Sequencer Mode Cautions when using bank F “EXB-MOSS owner’s manual” p.48 “Cautions when SEQ 2.3: MOSS using bank F” 2.3–1: MOSS p.272 “Editing a combination” Afﬁx the Sondius-XG label p.273 “Sequencer, Song Play mode” Song Play Mode S.PLAY 2.3: MOSS 2.3–1: MOSS Modulation Source List p.272 “Editing a combination”...
Page 298: Exb-Moss Parameter Index
EG1...4: Time ......5.2–1...4: EG1...EG4: L p.285 EXB-MOSS..... KARMA Parameters Breath Noise Brass Model: Breath Pressure .
Page 299 Fbk (Feed Back) Int (Seed Modulation EG Intensity) Comb Filter: Feedback ....2.3–1: Comb F: Feedback p.278 Bowed String Model: Bow Speed... 2.3–2: Bowed Str: Bow: Bow Pressure p.283 Feedback Intensity (Amplitude AMS Intensity) OSC Mixer .
Page 300 Resonance: Input ......2.3–1: Resonance: Input p.279 Intensity (Modulation Depth AMS2 Intensity) Cross Modulation: Wave ....2.3–1: Cross Mod: Mod. Depth p.280 VPM: Carrier .
Page 301 EG1...4: Level......5.2–1...4: EG1...EG4: L: S p.285 Bowed String Model: Peaking EQ ... 2.3–2: Bowed Str: Bow: Peaking EQ p.283 Brass Model: Peaking EQ .
Page 302: Index
Copy From Song 71 Pitch EG 13 Move 97 Copy Insert Effect 38, 112 Attack Time 4 Event Edit 91, 96 Copy KARMA Module 26 Amp EG 22 Copy Key Setup 144 Exclusive 139 Filter EG 18 Copy Master Effect 41, 68, 114...
Page 303 GM Initialize 116 Level Filter 15, 16 GM Initialize Parameters 116 Combination Filter EG 4, 17, 18, 20 Init KARMA Module (Initialize Chain Level 67 Filter Modulation 16, 17 KARMA Module) 26 Rtn 1, 2 (Return 1, 2) 67 Filter Type 15...
Page 304 Master EQ (MEQ) 41, 132, 166, 220 PAGE MENU 1, 43, 69, 115, 133 S.Ofs (High Start Offset) 9 Master EQ Gain[dB] 165 .PCG file 149, 151 Save 149 All 153 Media Performance Editor 3 Exclusive Data 155 Format Type 157 Poly, Mono 7 Jukebox List 122 Free Size 157...
Page 305 Song Play 118 Volume Label 150, 156, 157 Write Combination 44 Drum Kits 143 Global Setting 135 Program 3 Write Protect 157 Zone Map KARMA functions 27, 59, 106, Key Zone 52, 53, 85, 86 Velocity Zone 53, 54, 86, 87...

Korg Karma Parameter Manual

Quick Links

Related Manuals for Korg Karma

Summary of Contents for Korg Karma