Page 2 Conventions in the operation manuals References to the M3 The M3 is available as several models: the 88-key M3- 88, the 73-key M3-73, the 61-key M3-61, and the sound module by itself as the M3-M. References in these manuals to “the M3” refer to all of these models collectively.
Page 3: Table Of Contents
Table of Contents Table of Contents PROG P5: LFO ....... .66 Program mode .
Page 4 COMBI P7–2: KARMA 2 ..... .169 Combination mode ...119 7–2–1: Control A ......169 7–2–2: Control B, 7–2–3: Control C, COMBI Page Select .
Page 5 Table of Contents SEQ P7: KARMA ......243 Sequencer mode ... . . 191 SEQ P7–1: KARMA 1 .
Page 6 Sampling mode....297 Global mode ....355 Sampling Overview ......297 Global Page Select .
Page 7 Table of Contents Chorus, Flanger, and Phaser Effect Guide ....421 (Cho/Fln Phaser) ......458 026: Stereo Chorus.
Page 8 080: P4EQ - Phaser ......489 140: OD/HG // Wah ......511 081: P4EQ - Mt.
Page 9 Table of Contents CCs/Pitch Group ......554 KARMA GE guide ... . . 525 Overview .
Page 10 M3.........
Page 11: Program Mode
Program mode PROG Page Select • Press the MODE PROG switch to select Program mode. Page Main content You can use the following ways to select the pages in Select and play programs. (☞p.2) Simple KARMA editing. (☞p.4) Program mode. P0: Play Audio input settings and resampling 1.
Page 12: Prog P0: Play
The Auto Song Setup feature copies the current Program or bank that is set to the wrong bank type. Use the Global Combination into a Song, and then puts the M3 in record- mode menu command Set Prog User-Bank Type to ready mode.
Page 13 PROG P0: Play 0–1: Main Bank/Program Select menu: Category/Program Select menu 1. Press the popup button at the left of Program Select to open the Bank/Program Select menu. Category 2. Press one of the tabs on the left or right to select a spe- ciﬁc bank.
Page 14: 0-5: Karma Ge
KYBD-61/73/88. 0–5c Note: This setting is valid only if the KYBD-61/73/88 is connected to the M3-M via its To Module connector. C.S. This indicates the currently selected control assignment. Control via the control surface is available in any page.
Page 15 PROG P0: Play 0–5: KARMA GE Even if this is Off (unchecked), the settings will be reset if you select a GE for which a different RTC Model is speciﬁed. If Use RTC Model is Off (unchecked), the Reset Scene option is unavailable.
Page 16: 0-6: Karma Rtc
Program mode Link to Drum Trk [Off, On] 0–6: KARMA RTC This links KARMA with the pattern playback of the drum track. 0–6 On (checked): The KARMA performance will be linked Menu 0–6a with the starting and stopping of the drum track. If this is On, the front panel LINKED LED (located between the DRUM TRACK ON/OFF and KARMA ON/OFF switches) 0–6b...
Page 17 PROG P0: Play 0–6: KARMA RTC P: Shows that the slider or switch is controlling a 0–6b: CCs/Notes Graphic Performance Real-Time Parameter. Parameter No. [01...32] KARMA Module Info: When Module ID is A (KARMA Module A), this area shows Module the GE Real-Time Parameter number 01–32 that you are controlling (7–2: KARMA2–...
Page 18: 0-7: Sampling/Audio In
You can also digitally resample the complete sound of a Program, played polyphonically, live or sequenced, including any effects and KARMA-generated events. Finally, you can also use the M3 as a 4-in, 6-out effects processor. You can combine any and all of these features at once. For...
Page 19 This controls the level of the external audio signal. The the FireWire input/output is 48 kHz. default is 127. Note: For details on FireWire input, please see “M3 Editor/ The analog audio signals from AUDIO INPUTS 1, 2 are Plug-In Editor Manual” (PDF).
Page 20 If audio cables are connected to AUDIO INPUTS 1, 2, the RADIAS’ oscillator or vocoder. any noise carried by the cables will enter into the M3 Send1 [000...127] mixer structure.
Page 21 For example, you can play a guitar diagram “Source Bus = L/R” on page 11. through M3 IFX while listening to a KARMA drum phrase, and record the processed guitar without recording the AUX 1/2, AUX 3/4: These let you sample the signals sent to drums.
Page 22 Sampling START SW: Pressing the SAMPLING REC switch A sample written into RAM memory can be heard will cause the M3 to enter sampling-standby mode, and immediately in Program mode or Sampling mode. Use the sampling will begin when you press the SAMPLING menu command Select Bank &...
Page 23 1. Press the SAMPLING REC switch. The L and R channels of the bus speciﬁed by Source Bus M3 will enter sampling standby mode, and the Level Meter (Prog 0–7b) will be sampled. becomes active.
Page 24: 0-8: Control Surface
Program mode MIX PLAY/MUTE 1–8 switches and the MIX VOL- 0–8: Control Surface UME sliders For the function selected by CONTROL ASSIGN, you can The control surface refers to the eight sliders and eight use the MIX PLAY/MUTE (SOLO) 1–8 switches and MIX switches located on the panel at the left of the display.
Page 25: Osc Mix
PROG P0: Play OSC Mix 0–8b: Control Assign OSC Mix Control Assign [OSC Mix, Mixer Input, RT Control, 0–8 External, Tone Adjust, KARMA] Menu 0–8a This selects the items that will be controlled by the control 0–8b surface. You can also press one of the CONTROL ASSIGN switches to make this selection.
Page 26: Mixer Input
For example on stage, you could use this page screen as a submixer to control the output of other sound modules for OSC Volume: output together with the M3-M’s own sounds. MIX VOLUMES slider 1, 2, 3 FireWire L and R can be used if the EXB-FW option is installed.
Page 27: Rt Control (Realtime Control)
PROG P0: Play RT Control (Realtime Control) Audio Play/Mute: RT Control (Realtime Control) MIX PLAY/MUTE 1...4 switches These switch each audio input between play/muted status. 0–8 Menu 0–8a The switch LED will be lit for Play, or dark for Mutes status. 0–8b Audio Play/Mute 1...4 [Play, Mute]...
Page 28: External
When you select an External Setup, it stays selected even when you change Programs, or switch to Combination or Sequencer modes. This makes it easy to select different M3 sounds without disrupting any external MIDI control, and vice-versa.
Page 29: Tone Adjust
PROG P0: Play Tone Adjust CC# Assign [Off, 000...119] Tone Adjust This read-only parameter shows the MIDI CC sent by the slider. 0–8 Value [000...127] Menu 0–8a This is the current value of the slider’s MIDI CC. 0–8b 0–8g Tone Adjust lets you use all of the sliders, and switches on the Control Surface to edit Program parameters, like the knobs on an analog synth.
Page 30 Program parameter on page 19. settings until the Program is saved. When the Program is saved, the M3 calculates the combined effects of Tone Adjust Stored Value and dedicated CC modulation (from the Real Time Sliders,...
Page 31 PROG P0: Play Tone Adjust When the switch is assigned to a two-state Absolute When the value is +1 or more, this also affects the Amp EG’s parameter, such as Hold, this will always be the same as the Start and Attack Levels, Start Level AMS, and Attack Time Switch Status (see below).
Page 32 Program mode The PROG setting restores the Program’s original values. Unless otherwise speciﬁed, all of the Per-Oscillator For example if you set this to PROG when the oscillator 1 parameters are Absolute. LFO is stopped and oscillator 2 is not stopped, the setting of Note: In the list below, the items in parentheses are (value, the parameter will be used.
Page 33 PROG P0: Play Tone Adjust Start Offset. (0...8, Absolute) Default Tone Adjust Settings This allows you to change the Start Offset of the Multisample speciﬁed by the MS Select parameter. It Tone Adjust provides an elegant physical interface to the applies only when: parameters.
Page 34: Karma
Program mode ▼0–8: Menu Command KARMA • 0: Write Program ☞p.106 0–8 • 1: Panel–SW Solo Mode On ☞p.106 Menu 0–8a • 2: Exclusive Solo ☞p.107 0–8b • 3: Copy X–Y Motion ☞p.107 0–8h • 4: Copy Tone Adjust ☞p.111 •...
Page 35: Prog P1: Basic/Dt/Ctrls
PROG P1: Basic/DT/Ctrls (Basic/Drum Track/Controllers) 1–1: Program Basic PROG P1: Basic/DT/Ctrls (Basic/Drum Track/Controllers) notes will use the legato start point speciﬁed for each 1–1: Program Basic multisample. Note: This is a useful way to simulate the percussive attack This page contains all of the basic settings for the Program. of a tonewheel-type organ.
Page 36 A half-damper pedal is a special type of continuous foot monophonic analog synths work this way pedal, such as the Korg DS-1H. In comparison to a standard footswitch, half-damper pedals offer more subtle control of High: The highest note will sound.
Page 37: 1-2: Key Zone/Scale
3. Release the ENTER switch. intervals. On the M3, you can use this shortcut for parameters that Equal Temperament allows easy modulation, so that a chord specify a key or a velocity. (Dialog boxes such as menu progression played in the key of C sounds roughly the same commands are an exception.)
Page 38: 1-3: Drumtrk Pattern
This setting does not apply to the Equal Temperament, The drum track lets you easily produce a rhythm section Stretch, and User All Notes scales. using the M3’s high-quality drum programs and a rich If you’re using a scale other than Equal Temperament, variety of drum track patterns.
Page 39: 1-4: Drumtrk Program
PROG P1: Basic/DT/Ctrls (Basic/Drum Track/Controllers) 1–4: DrumTrk Program (DrumTrack Program) Wait KBD Trig: When you press the DRUM TRACK ON/ 1–4: DrumTrk Program OFF switch to turn it on (LED lit), the drum pattern will wait to start. When you play the keyboard, or when a MIDI note- (DrumTrack Program) on is received, the drum pattern will start according to the Sync setting.
Page 40 Program mode Audio Volume 1–4c: Bus 1. Press the CONTROL ASSIGN MIXER switch to make T1–8 light. Bus Select [Dkit, L/R, IFX1...5, 1...4, 1/2, 3/4, Off] 2. Use the MIX VOLUMES 3 slider to control the volume. This speciﬁes the bus that will output the drum track program.
Page 41: 1-5: X-Y Setup
PROG P1: Basic/DT/Ctrls (Basic/Drum Track/Controllers) 1–5: X–Y Setup 2a). For more information, please see “Audio Input, S/P DIF 1–5: X–Y Setup IN, FireWire” on page 429. You can use CC#93 to control Send 1, and CC#91 to control Send 2. 1–5 Menu IFX.
Page 42 Program mode Using X–Y Motion to move the X–Y position 4. Recording will end when you off the MOTION switch or when the maximum number of events have been +127 recorded. If there are already events 1. Press the X–Y MODE switch (LED lit). Y-Axis 2.
Page 43 PROG P1: Basic/DT/Ctrls (Basic/Drum Track/Controllers) 1–5: X–Y Setup OSC1 Center Volume [0, 25, 50, 75, 100%] 1–5b: X–Y CC Control This sets the volume of Oscillator 1 at the center of the X axis. It applies only when Equal Power, above, is set to Off. X–Y CC control lets you use movements of the X–Y position in X–Y MODE (or X–Y Motion) as an AMS source to control The volumes at the extreme ends of the X axis are ﬁxed.
Page 44 Program mode Xfade sends out both +X and –X, overlapping throughout 1–5c: X–Y Graphic the X axis. As one increases, the other decreases. Split sends out both +X and –X, with a split in the center. +X X–Y Graphic is sent when the point moves to the right of the center, and The X–Y graph shows a representation of the volume –X is sent when the point moves to the left of center.
Page 45: 1-6: Controllers Setup
PROG P1: Basic/DT/Ctrls (Basic/Drum Track/Controllers) 1–6: Controllers Setup 1–6b: Realtime Control Slider Assign 1–6: Controllers Setup Here you can assign the functions (mainly types of control change) that sliders 5–8 will have when Control Assign 1–6 Menu REALTIME CONTROL is selected. (See “Realtime Control Slider 5–8 Assignments”...
Page 46: 1-7: Pads 1-4 Setup, 1-8: Pads 5-8 Setup
Program mode In Velocity Sensitive mode, hitting the pad very strongly 1–7: Pads 1–4 Setup, produces the preset velocities. When you play more softly, the preset velocities are scaled down accordingly, 1–8: Pads 5–8 Setup maintaining the balance between the notes in the chord. Assigning notes and chords to pads 1–7 You can assign single notes and chords to the pads in three...
Page 47: Prog P2: Osc/Pitch
PROG P2: OSC/Pitch 2–1: OSC1 Basic PROG P2: OSC/Pitch These pages control the ﬁrst and most basic elements of Each of the zones can fade into the next, to create smoother sounds: the Multisamples that the oscillators play, and the velocity transitions.
Page 48 Program mode Some ROM and EXB Multisamples may have fewer than 8 pre-programmed points, in which case only the available points can be selected. Ofs (Start Offset): RAM Multisamples With RAM Multisamples, only Off and 1st are available. Off uses the normal start point, and 1st uses the loop start instead.
Page 49 PROG P2: OSC/Pitch 2–1: OSC1 Basic Layer means that the two Multisamples will be layered 2–1b: OSC1 Multisample together, both at full volume, for the entire range of the crossfade. “Oscillator Mode” Drums Crossfade Curves Linear MS1 (DKit) 2–1 Menu 2–1b Volume Xfade...
Page 50: 2-2: Osc1 Pitch
Program mode With a setting of –12, the effect is reversed; pressing on the 2–2: OSC1 Pitch right edge will lower the pitch, and pressing on the left will raise the pitch. When you lift off of the ribbon, the pitch will snap back to 2–2 Menu the center (unless you’re using the SW1/2 “Ribbon Lock”...
Page 51 PROG P2: OSC/Pitch 2–2: OSC1 Pitch • You can set an initial positive amount with the Intensity Assigning SW1 or SW2 to Portamento On/Off parameter, and then reduce this amount with AMS. In You can turn portamento on/off by using the KYBD-61/73/ this case, the final effect of the EG is simply diminished, 88’s two assignable switches SW1 and SW2.
Page 52: 2-3: Osc2 Basic
Program mode With a setting of 0, modulation will not be applied. With a 2–7: Velocity Zone setting of 12.00, the OSC1 LFO1 will apply a maximum of +/–1 octave of pitch modulation. For example if AMS (LFO1) is set to AfterTouch and you 2–7 Menu press down on the keyboard, pitch modulation from OSC1...
Page 53: 2-8: Pitch Eg
PROG P2: OSC/Pitch 2–8: Pitch EG damper pedal, and then press a key, in order to play a note. 2–8: Pitch EG For instance, this can be useful when modeling the behavior of a piano soundboard. Key is the normal mode. 2–8 Menu When you select Key + Damper, notes will only sound if the...
Page 54 This tends to sound better than straight, linear segments. Classic analog synth envelopes made these curved shapes Level naturally. The M3 goes a step further than vintage synths, Each of the four levels can be either positive or negative. however, and lets you control the amount of curvature Positive levels will make the pitch (or other AMS separately for each of the four envelope segments.
Page 55 PROG P2: OSC/Pitch 2–8: Pitch EG Slope [0L (Linear), 1...9, 10E (Exp/Log)] Br (Break) [–99...+99] This sets the curvature of the Slope segment - the transition This controls the depth and direction of the AMS from the Break level to the Sustain level (which for the Pitch modulation for the Break level.
Page 56 Program mode ▼2–8: Menu Command • 0: Write Program ☞p.106 • 1: Panel–SW Solo Mode On ☞p.106 • 2: Exclusive Solo ☞p.107 • 3: Copy Oscillator ☞p.111 • 4: Swap Oscillator ☞p.111 For more information, please see “Program: Menu Command” on page 106.
Page 57: Prog P3-1: Filter1
PROG P3–1: Filter1 3–1–1: Filter1 PROG P3–1: Filter1 Filtering can make subtle or dramatic changes to the delicate resonance. Many classic analog synths used this oscillator’s timbre. Each oscillator has two multimode general type of ﬁlter. resonant ﬁlters, A and B, as well as a dedicated ﬁlter When 24 dB/oct is selected, only the controls for Filter A are envelope and keyboard tracking generator.
Page 58 Program mode frequency. Since this ﬁlter cuts out both high and low Resonance [00...99] frequencies, its effect can change dramatically depending on Resonance emphasizes the frequencies around the cutoff the cutoff setting and the oscillator’s multisample. frequency. With low resonance settings, you can use the Band Pass ﬁlter When this is set to 0, there is no emphasis, and frequencies to create telephone or vintage phonograph sounds.
Page 59: 3-1-2: Keyboard Track
The M3 keyboard tracking can also be much more complex, since it allows you to create different rates of change over up to four different parts of the keyboard. For instance, you can: •...
Page 60 Program mode With negative values (–), the effect will be in the opposite When Intensity to A (B) is set to +99, a ramp of 50 changes direction; if the ramp goes up, the ﬁlter cutoff will decrease. the ﬁlter frequency by 1 octave for every octave of the keyboard, and a ramp of +99 changes the frequency by 2 Keyboard Track Shape and Intensity octaves for every octave of the keyboard.
Page 61: 3-1-3: Modulation
PROG P3–1: Filter1 3–1–3: Modulation ▼3–1–2: Menu Command 3–1–3: Modulation • 0: Write Program ☞p.106 This page contains the settings for Oscillator 1’s ﬁlter • 1: Panel–SW Solo Mode On ☞p.106 modulation. Among other things, you can: • 2: Exclusive Solo ☞p.107 •...
Page 62 Program mode • You can set an initial positive amount with the Intensity AMS2 (Filter A AMS2) [List of AMS Sources] to A/B parameters, and then reduce this amount with This selects the second modulation source for controlling velocity. In this case, the final effect of the EG is simply Filter A’s cutoff frequency.
Page 63: 3-1-4: Lfo Mod. (Modulation)
PROG P3–1: Filter1 3–1–4: LFO Mod. (Modulation) Now, if you move the joystick down, the effect of the LFO 3–1–4: LFO Mod. (Modulation) will fade away. When the joystick is all the way at the bottom of its range, the LFO will be completely cancelled out.
Page 64: 3-1-5: Eg
Program mode 3–1–5b: Envelope 3–1–5: EG Filter EG 3–1 Attack Break Sustain –5 Level Level Level Menu 3–1 Start Release –5a Level Level Change to filter cutoff Time Attack Decay Slope Release Time Time Time Time 3–1 –5b Note-on or reset Note-off An envelope creates a modulation signal by moving from one level to another over a speciﬁed time, and then moving...
Page 65 Classic analog synth envelopes made these curved shapes moving all the time, but the Break Level is only affected by naturally. The M3 goes a step further than vintage synths, the LFO’s value at the instant that the Decay segment starts.
Page 66 Program mode Time ▼3–1–5: Menu Command These settings let you use three different AMS sources to • 0: Write Program ☞p.106 control the Time parameters of the EG. For each of the three • 1: Panel–SW Solo Mode On ☞p.106 AMS sources, the Attack, Decay, Slope, and Release times each have their own modulation intensities.
Page 67: Prog P3-2: Filter2
PROG P3–2: Filter2 3–2–1: Filter2 PROG P3–2: Filter2 3–2–1: Filter2 This page controls Oscillator 2’s basic ﬁlter 2 settings. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1, as described under “3–1–1: Filter1,”...
Page 68: Prog P4: Amp/Eq
Program mode PROG P4: Amp/EQ Oscillators 1 and 2 have separate controls for volume (also Note: Even when the Drive amount is set to 0, the Driver called “amplitude,” or “amp” for short), pan, and Drive, as circuit still affects the timbre. If your goal is a completely well as dedicated amp envelopes and keyboard tracking pristine sound, use the Bypass control instead.
Page 69: 4-2: Amp1 Modulation
[Off, On] across the entire range. This option is available only when the Oscillator Mode is M3’s keyboard tracking can be fairly complex, if desired. set to Drums. You can create different rates of change over up to four Unlike standard Programs, Drum Kits can have a different different parts of the keyboard.
Page 70 Program mode Center [C–1...G9] Lo Cent (Low-Center) [–Inf, –99...+99, +Inf] This speciﬁes the note that will be the break point in the This sets the slope between the Key Low and Center keys. center of keyboard tracking. At this key, the keyboard For normal key track, use negative values.
Page 71 PROG P4: Amp/EQ 4–2: Amp1 Modulation ▼4–2: Menu Command 4–2b: Amp Modulation • 0: Write Program ☞p.106 You can modulate the Amp level by both velocity and an AMS source. • 1: Panel–SW Solo Mode On ☞p.106 This modulation scales the basic Amp level and Amp EG •...
Page 72: 4-3: Amp1 Eg
Classic analog synth envelopes made these curved shapes Note-on or reset Note-off naturally. The M3 goes a step further than vintage synths, however, and lets you control the amount of curvature separately for each of the four envelope segments. When you change the curvature, the EG times remain the same.
Page 73 PROG P4: Amp/EQ 4–3: Amp1 EG Amp EG Curve Amp EG Level Modulation Curve=0L (Linear) Volume Volume Curve=10E (Exp/Log) Time Time Original Shape Positive AMS on Start, Attack, and Break Volume Volume Time Time Curve=0L (Linear) Curve=10E (Exp/Log) Negative AMS on Start, Positive AMS on Start and Break, Attack, and Break Negative AMS on Attack...
Page 74: 4-5: Amp2/Driver2
Program mode higher velocities. If you instead set At (Attack) to –99, the 4–5: Amp2/Driver2 Attack time will get much shorter at higher velocities. When the AMS source is at its maximum value–for instance, This page controls Oscillator 2’s basic level, pan, and driver when Velocity is at 127–a setting of +8 will make the settings.
Page 75: 4-8: Eq
PROG P4: Amp/EQ 4–8: EQ 4–8: EQ 4–5 Menu 4–5a This three-band EQ, with sweepable mid, is shared by both of the Program’s oscillators 1, 2. In Combinations and Sequencers, each timbre and track has its own individual EQ. You can import the Program’s EQ settings into Tracks and Timbres by using the Combination and Sequencer “Auto Load Program EQ”...
Page 76: Prog P5: Lfo
Program mode PROG P5: LFO Each of the Oscillators 1, 2 has two LFOs, which you can use Random2 (S/H) randomizes both the levels and the timing. to modulate the ﬁlter, amp, pitch, and many other Random3 (S/H) generates a pulse wave with random parameters.
Page 77 PROG P5: LFO 5–1: OSC1 LFO1 frequencies. If it emphasizes the low range, the ﬁlter will Since Offset affects the output values of the LFO, it’s spend more time at the lower frequencies. important to note that it affects the signal after the Shape function, as shown below: LFO Shape How the LFO signal is affected by Shape and Offset...
Page 78: 5-2: Osc1 Lfo2
Program mode Int Mod AMS (Intensity Mod AMS) 5–2: OSC1 LFO2 [List of AMS Sources] This selects a secondary AMS source to scale the intensity of This is Oscillator 1’s second LFO. Its parameters are exactly AMS1. the same as those for the ﬁrst LFO, as described under “5–1: For a list of AMS sources, please see “AMS (Alternate OSC1 LFO1”...
Page 79: 5-8: Common Lfo
PROG P5: LFO 5–8: Common LFO Shape [–99...+99] 5–8: Common LFO Shape adds curvature to the basic waveform. For more details, please see the entry under LFO1 “Shape,” on page 66. 5–8 Menu Note: Shape does not affect the Square and Random3 5–8a waveforms, since their values are always either +99 or –99.
Page 80: Prog P6: Ams/C.ktrk (Ams Mixer/Common Keyboard Track)
Program mode PROG P6: AMS/C.KTrk (AMS Mixer/Common Keyboard Track) Each Oscillator has two AMS Mixers, which are simple but sharp angle of the LFO. For more information, please see powerful tools for combining and modifying AMS signals. “Smoothing” on page 72. The two Oscillators also share two Common keyboard Shape adds curvature to the AMS input.
Page 81 PROG P6: AMS/C.KTrk (AMS Mixer/Common Keyboard Track) 6–1: OSC1 AMS Mix1 For a list of AMS sources, please see “AMS (Alternate 2. Set AMS B to SW1 or 2, and AMS B Amount to +99. Modulation Source) List” on page 588. Now, SW1 or 2 will turn AMS A on and off.
Page 82 Program mode AMS A Offset [–199...+199] Shape This controls the amount of offset for AMS A. This Mixer Type adds curvature to the AMS input. This Setting Offset to +199 shifts an AMS input of –99 all the way applies deformation to the AMS input. You can use this to to +99.
Page 83 PROG P6: AMS/C.KTrk (AMS Mixer/Common Keyboard Track) 6–1: OSC1 AMS Mix1 AMS Mixer Shape examples AMS A [List of AMS Sources] This selects the AMS input source to be quantized. Bipolar Triangle Wave For a list of AMS sources, please see “AMS (Alternate Asymmetric Modulation Source) List”...
Page 84: 6-2: Osc1 Ams Mix2
Program mode Gate Control: 6. On the OSC Pitch page, assign the AMS Mixer to con- trol the pitch. Source [List of AMS Sources] 7. Also on OSC Pitch, set the standard Ribbon amount to This selects the AMS source to control the gate. This way, only the AMS Mixer’s processed version of the Control At Note-On Only [Off, On]...
Page 85: 6-4: Osc 2 Ams Mix1 , 6-5: Osc 2 Ams Mix2
This can be useful for making the timbre consistent across the entire range, or adjusting parameters according to pitch. The M3 keyboard tracking can be fairly complex, if desired. You can create different rates of change over up to four different parts of the keyboard.
Page 86: 6-8: Common Keytrk 2
Program mode set to 0, the value will stay the same between the Low Break The table below shows how the Ramps affect the AMS key and the Center key. output: The Key value will be the break point, and Ramp speciﬁes Ramp value AMS change the slope of the lower region and higher region on the...
Page 87: Prog P7: Karma
PROG P7: KARMA 7–1–1: GE Setup PROG P7: KARMA These pages let you control the Program’s KARMA settings. may wish to try out different Programs while keeping the In Program mode, you can use one KARMA Module KARMA settings the same. (Module [A]).
Page 88 Program mode Btm (Key Zone Bottom) [C–1...G9] ▼7–1–1: Menu Command Speciﬁes the bottom key (lower limit) of the Key Zone. • 0: Write Program ☞p.106 Top (Key Zone Top) [C–1...G9] • 1: Panel–SW Solo Mode On ☞p.106 Speciﬁes the top key (upper limit) of the Key Zone. •...
Page 89: 7-1-3: Midi Filter
For more information, please see the “Voice Name List” (PDF). KARMA Receive/Transmit MIDI Filter KARMA function KARMA Module Receive MIDI MIDI IN Filter Transmit MIDI Tone Filter generator M3’s controllers Dynamic MIDI...
Page 90: 7-1-4: Cc Offset
Program mode P.Bend (Pitch Bend) [Off, On] 7–1–4: CC Offset On (checked): Speciﬁes whether to transmit the MIDI pitch bend messages generated by the GE selected for the KARMA Module. (See “Bend Group” on page 569) 7–1 –4 Note: This setting also applies to the pitch bend messages Menu that may be produced by CC–A, CC–B, Env.
Page 91: 7-1-5: Drumtrack Control
PROG P7–1: KARMA 1 7–1–5: DrumTrack Control ▼7–1–4: Menu Command 7–1–5: DrumTrack Control • 0: Write Program ☞p.106 • 1: Panel–SW Solo Mode On ☞p.106 7–1 –5 • 2: Exclusive Solo ☞p.107 Menu 7–1 • 3: Copy KARMA Module ☞p.114 –5a •...
Page 92: 7-1-6: Random Seeds
Program mode 7–1–6: Random Seeds 7–1 –6 7–1 Menu –6a 4. In the Prog P7–1: KARMA1– Trigger page, set “Note (Trigger/Latch)” Trigger to Any. Here you can make randomization settings for the KARMA function. This lets you capture the endlessly varying phrases generated by randomization.
Page 93 PROG P7–1: KARMA 1 7–1–6: Random Seeds Note: If you set Start Seed to 0: Random, and execute If you set Freeze Loop Length to 1 (measure) and trigger Capture Random Seed (see page 116) after triggering, the this GE, the same four notes will continue looping as (for Start Seed value that was internally set within the module example) F–E–D–C, F–E–D–C, F–E–D–C, …...
Page 94: 7-1-7: Control
Program mode If you play a chord of E2, E4, G#4, B4, and D#5 (i.e., E Maj7) 7–1–7: Control on the keyboard, the input notes will all be transposed to be within an octave of the highest note (D#5): E4, G#4, B4, and D#5.
Page 95 PROG P7–1: KARMA 1 7–1–7: Control D#3 E3 G#3 B3 (EMaj7/D#) resulting pitch bend data will be affected as well. For more information, please see “Bend Group” on page 569. D#3 E3 G#3 B3 (EMaj7/D#) When the “GE-Type” is Real-time, this parameter has no (all identical) effect unless you are using Dynamic MIDI to Direct Index “Force Range”...
Page 96 Program mode synchronization with the MIDI clock from the External With a setting of 001, the velocity data will be input to the MIDI device. Normally you will select Auto. KARMA Module with an unmodiﬁed range of 1–127 (full sensitivity). Dyn: The clock by which the KARMA Module will operate can be triggered by operating the joystick or other controller With a setting of 064, velocity data in the range of 1–127 will...
Page 97 PROG P7–1: KARMA 1 7–1–7: Control Table (Note Map Table) Note Map Table [Custom, Gtable 1...Gtable 64] This displays a small graphic of the current Note Map Table selected for the Module. Changing the Table (Note Map Selects the Custom table (user table) or one of the Global Table) setting (directly or via Real-Time Parameter Control) Note Map Tables.
Page 98: 7-1-8: Trigger
Program mode On (checked): Notes that are released are removed from the 7–1–8: Trigger input source material, thereby changing the effect to use only those notes still being held. This is typically the way simple arpeggiators work, especially if their latch mode is 7–1 turned off.
Page 99 PROG P7–1: KARMA 1 7–1–8: Trigger Envelope (Trigger/Latch): Envelope2, Envelope3: These are the same as for Envelope 1. Each GE provides three Envelopes. They can produce time- variant control of velocity, tempo, duration, pitch bend, and various control changes. ▼7–1–8: Menu Command You can specify triggering conditions and latch conditions •...
Page 100: Prog P7-2: Karma 2
Program mode PROG P7–2: KARMA 2 MIN (GE Real-Time Parameter Minimum Value) 7–2–1: GE RTP [–5000...+5000] This sets the parameter value when the selected controller is (GE Real-Time Parameters) at its minimum point—for instance, when a slider is at the bottom of its throw.
Page 101: 7-2-2: Perf Rtp
PROG P7–2: KARMA 2 7–2–2: Perf RTP (Perf Real-Time Parameters) Note: The correspondence between the KARMA Sliders, 7–2–2: Perf RTP Switches and MIDI control change messages can be speciﬁed in Global P2: Controllers– MIDI CC# Assign. For (Perf Real-Time Parameters) SW1…8 and Slider (SW) 1…8, a MIDI control change message value of less than 64 will be “off,”...
Page 102 Program mode Max (Max Value) [–8192...+8191] Group: Control This sets the parameter value when the selected controller is Force Range [+0000...+0004] at its maximum point—for instance, when a slider is at the top of its throw. Assigns the Force Range (Prog 7–1–7a) function. The available values will depend on the selected parameter.
Page 103 PROG P7–2: KARMA 2 7–2–2: Perf RTP (Perf Real-Time Parameters) +0000: Custom For more information, please see “Update On Release” on +0001…+0064: Global Tables 1…64 page 88. For more information, please see “Table (Note Map Table)” Env1 Trigger [+0000...+0003] on page 87. Env2 Trigger [+0000...+0003] Note Map Transpose...
Page 104 Program mode For more information, please see “Thru Out Z (Thru Out Retrigger Each Time [+0000, +0001] Zone)” on page 78. Assigns the Retrigger Each Time (Prog 7–1–6a) function. Transpose Octave In Thru [–0036...+0036] +0000: Off Assigns the Transpose In Zone (Prog 7–1–1b) function. This +0001: On controls the transposition of note data from the keyboard For more information, please see “Retrigger Each Time”...
Page 105: 7-2-3: Dynamic Midi
PROG P7–2: KARMA 2 7–2–3: Dynamic MIDI Toggle: The parameter will be controlled as a toggle switch. 7–2–3: Dynamic MIDI For example if Source is JS+Y #01, the on/off state will alternate each time you tilt the joystick. Note: If Polarity is +, on and off will alternate each time the 7–2 –3 source controller value exceeds the Top value after having...
Page 106: 7-2-4: Names
[000 (no name)...571: Waveform Select [16]] Select the names for KARMA Sliders 1–8. On the M3, suitable names for the various functions are provided as presets. The long name is shown at the left, and the short name at the right.
Page 107: 7-2-8: Note Map
PROG P7–2: KARMA 2 7–2–8: Note Map Octave Replicate [Off, On] 7–2–8: Note Map When On (checked), any edit that you make within an octave will be made in every octave. This is mainly for applying the table to Melodic GEs, where you want to do 7–2 –8 something like remove every minor third, remap every...
Page 108: Prog P8: Ifx (Insert Effect)
Program mode PROG P8: IFX (Insert Effect) These pages let you can make settings for the insert effects. Control busses (each is a two-channel mono bus) to control For instance, you can: effects in various ways. • Send the output of a oscillator to an insert effect For more information, please see “FX Control Buses”...
Page 109: 8-2: Insert Fx Setup
PROG P8: IFX (Insert Effect) 8–2: Insert FX Setup 8–1d: OSC MFX Send 8–2: Insert FX Setup OSC1: 8–2 Menu OSC1 Send1 (to MFX1) [000...127] 8–2a Sets the volume (send level) at which the output of oscillator 1 will be sent to master effect 1. This applies only when Bus Select (Prog 8–1b) is set to L/R or Off.
Page 110 Program mode Effects must be chained in ascending numeric order. For Send1/2: example, IFX1 can be chained to any of IFX2 through IFX5, and IFX2 can be chained to IFX3 through IFX5. Send1 [000...127] You can chain two or more effects into the same down- Send2 [000...127] stream effect.
Page 111: 8-3: Ifx1
Insert FX Setup page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Page 112: 8-8: Common Fx Lfo
Program mode On (checked): The speed of the Common FX LFO will be 8–8: Common FX LFO determined by the BPM, Base Note, and Times settings (see below). 8–8 [MIDI, 40.00...300.00] Menu Base Note , , ] 8–8a Times [01...32] The frequency of the Common FX LFO will be the length of the Base Note note value multiplied by the Times value, relative to the tempo speciﬁed by the BPM value.
Page 113: Prog P9: Mfx/Tfx (Master/Total Effect)
PROG P9: MFX/TFX (Master/Total Effect) 9–1: Routing PROG P9: MFX/TFX (Master/Total Effect) Here you can make settings for the master effects and total Return 1 [000...127] effect. For instance, you can: This speciﬁes the return level from the master effect to the •...
Page 114: 9-2: Mfx1
Program mode TFX On/Off [Off, On] 9–2: MFX1 This turns total effect on/off. If this is off, the input will be passed directly through. The setting will alternate between on/off each time you press this. 9–2 Menu Separately from this setting, you can use control change 9–2a #95 to turn the total effect off.
Page 115: 9-3: Mfx2
PROG P9: MFX/TFX (Master/Total Effect) 9–3: MFX2 9–3: MFX2 9–4: TFX These pages let you edit the parameters of Master Effect 2 and Total Effect. To select different effects types, use the P9: MFX/TFX– Routing page. The parameters for MFX2, TFX is the same as for MFX1. For more information, please see “9–2: MFX1”...
Page 116: Program: Menu Command
When you select Panel–SW Solo Mode On and add a check mark to the menu item, the MIX PLAY/MUTE 1–8 switches This command writes an edited Program into the M3 will operate as Solo on/off. internal memory. It is available on every page in Program mode.
Page 117 Program: Menu Command Exclusive Solo Alternatively, you can turn this setting on/off by holding Metronome Setup down the ENTER switch and pressing numeric key 1. This function will operate differently depending on the This speciﬁes whether the metronome will sound a count- menu command Exclusive Solo, please see “Exclusive down before sampling begins.
Page 118 Program mode If you check the Program check box, the sample will Select Bank & Sample No. automatically be converted into a program. At the right, set Program and MS to specify the program Select Sample No. is available on the Sampling/Audio In number and multisample number for the converted tab of the Play page, when the sampling Save to parameter program.
Page 119 Program: Menu Command Auto Sampling Setup 3. Press the SAMPLING START/STOP switch or Play but- ton. The selected WAVE ﬁle will be played. 4. Press the SAMPLING START/STOP switch or Stop button once again to stop playback. If the WAVE ﬁle is mono, the same sound will be output to L/R.
Page 120 FireWire connector 2, S/P DIF L/R, use Bus Select to choose IFX1–IFX5, choose can be input to the M3. 1/2 as the AUX Bus following the insert effect you’re using, 3. Use Mono-L/Mono-R/Stereo to specify whether the and set Source Bus to AUX 1/2.
Page 121 Program: Menu Command Copy Tone Adjust - : Not set automatically 2. Use the To ﬁeld to specify how the Switches 1–8, Slid- Values enclosed in parentheses [ ] are automatically set ers 1–8, and Master Slider parameters will be reset. according to the settings you make in the dialog box.
Page 122 Program mode Copy Drum Track Copy Pad Setup Copy Drum Track is available on the DrumTrk Pattern tab Copy Pad Setup is available on the Pads 1–4 Setup or Pads or DrumTrk Program tab of the Basic/DT/Ctrls. 5–8 Setup of Basic/DT/Ctrls page. This command copies settings from the speciﬁed program, This command copies the pad settings of the speciﬁed combination/timbre, or song.
Page 123 Program: Menu Command Sync Both EGs The number following “/” is the total number of indexes in Sync Both EGs the current Multisample. Sync Both EGs is available on the Filter 1/2 EG and Amp 1/ Sample [000] 2 EG pages. This is the number and name of the Index’s Sample.
Page 124 Program mode • Tempo setting. Copy KARMA Module • Time Signature setting. Copy KARMA Module is available on all of the KARMA • KARMA ON/OFF switch setting. pages, as well as the KARMA GE tab or KARMA RTC of the •...
Page 125 Program: Menu Command Copy Scene Initialize KARMA Module Copy Scene Initialize KARMA Module is available on all of the Copy Scene is available on all of the KARMA pages, as well KARMA pages, as well as the KARMA GE tab or KARMA as the KARMA GE tab or KARMA RTC of the Play page.
Page 126 Program mode Procedure Capture Random Seed An example of the procedure in Program mode is shown Capture Random Seed is available on all of the KARMA below. pages, as well as the KARMA GE tab or KARMA RTC of the 1.
Page 127 Program: Menu Command Auto Assign RTC Name 2. To execute the command, press the OK button. To can- cel without executing, press the Cancel button. Please be aware that even with un-edited, factory- preloaded Programs or Combinations, executing this command may assign names that are different from those currently speciﬁed.
Page 128 Write FX Preset is available on all of the effects parameter OK button. To cancel, press the Cancel button. editing pages, including IFX 1–5, MFX 1 and 2, and TFX. This command saves the edited effect into the M3’s internal Copy MFX/TFX memory.
Page 129: Combination Mode
Combination mode COMBI Page Select • Press the MODE COMBI switch to select Combination Page Main content mode. Select and play combinations. (☞p.120) Program selection for each timbre. (☞p.121) You can use the following ways to select the pages in Pan and volume settings etc.
Page 130: Combi P0: Play
The Auto Song Setup feature copies the current Program or Category Popup Bank Tempo Combination into a Song, and then puts the M3 in record- ready mode. If inspiration for a phrase or song strikes you while you’re playing, you can use this function to start recording...
Page 131 Press the OK button to conﬁrm your selection, or press the Cancel button to cancel it. You will return to the main R (EXB-RADIAS) categories. This is shown for timbres that can use the EXB-RADIAS option. For details, please see “EXB-RADIAS for M3 Manual” (PDF).
Page 132 Combination mode Note: This is not shown for an M3 in which the EXB-RADIAS If you do not want the combination to change, you can option is not installed. either change the global MIDI channel so that it does not match the channel on which the program change Category (Timbre Program) [00...17/00...07]...
Page 133: 0-3: Mixer T01-08, 0-4: Mixer T09-16
COMBI P0: Play 0–3: Mixer T01–08, 0–4: Mixer T09–16 Timbre 02...08, 09...16 (Timbre Number): 0–3: Mixer T01–08, Here you can specify the program, Play/Mute status, and Solo On/Off status for timbres 2–8 and 9–16. These are the 0–4: Mixer T09–16 same as for timbre 01.
Page 134 Combination mode Timbre 02...08 (Timbre Number): OSC1 OSC1 OSC2 OSC1: OSC2 OSC1: Amp1 Pan=L001 Amp1 Pan=L032 OSC2: OSC2: Here you can specify the program etc. for each Timbre 2 Left Center Right Amp2 Pan=R127 Left Center Right Amp2 Pan=R096 through 8. These are the same as for timbre 01. For more Pan (CC#10) Pan (CC#10) information, please see “Timbre 01 (Timbre Number):,”...
Page 135: 0-5: Karma Ge
COMBI P0: Play 0–5: KARMA GE RTC Model KARMA T.Sig 0–5: KARMA GE Load GE Options GE Number 0–5 & Name Menu Module 0–5a GE Category Select GE Select 0–5b 0–5b: GE Select The phrases and patterns produced by a KARMA Module are generated by a GE (Generated Effect).
Page 136: 0-6: Karma Rtc
Combination mode Link to DT (Link to Drum Track) [Off, On] 0–6: KARMA RTC This links KARMA with the pattern playback of the drum track. 0–6 On (checked): The KARMA performance will be linked Menu 0–6a with the starting and stopping of the drum track. If even one 0–6b of the modules A–D is On, the front panel LINKED LED (located between the DRUM TRACK ON/OFF and KARMA...
Page 137 COMBI P0: Play 0–6: KARMA RTC Module & GE Name 0–6c: Realtime Controls This indicates the module (M, A, B, C, D) selected by This displays the names and settings of KARMA Sliders 1–8 Module Control. and KARMA Switches 1–8. This name is the name of the GE selected for each KARMA module.
Page 138: 0-7: Sampling/Audio In
M3 performance. The M3 can also be used as a 4-in 6-out effect processor. an external audio source drives a vocoder effect. For more information, please see “Example: Rhythmic Vocoder...
Page 139 COMBI P0: Play 0–7: Sampling/Audio In Input1, Input2: ▼0–7: Menu Command PLAY/MUTE [PLAY, MUTE] • 0: Write Combination ☞p.185 SOLO On/Off [Off, On] • 1: Panel–SW Solo Mode On ☞p.106 Level [000...127] • 2: Exclusive Solo ☞p.107 [L000...C064...R127] • 3: Copy from Program ☞p.185 •...
Page 140: 0-8: Control Surface
Combination mode MIX PLAY/MUTE 1–8 switches and the MIX VOL- 0–8: Control Surface UME sliders For the function selected by CONTROL ASSIGN, you can The Control Surface is the set of 8 sliders, and 8 switches to use the MIX PLAY/MUTE (SOLO) 1–8 switches and MIX the left of the display.
Page 141: Mixer T1-8, Mixer T9-16
COMBI P0: Play Mixer T1–8, Mixer T9–16 Exclusive Solo 0–8b: Control Assign The menu’s Exclusive Solo parameter also affects the way that Solo works. When Exclusive Solo is Off (unchecked), Control Assign [Mixer T1–8, Mixer T9–16, Mixer you can solo multiple Timbres and Audio Inputs at once. Input, RT Control, External, Tone Adjust, KARMA] When Exclusive Solo is On (checked), only one Timbre or This selects the items that will be controlled by the control...
Page 142: Mixer Input
For example on stage, you could use this page screen as a submixer to control the output of other sound modules for output together with the M3-M’s own sounds. FireWire L and R can be used if the EXB-FW option is installed.
Page 143: Rt Control (Realtime Control)
COMBI P0: Play RT Control (Realtime Control) Audio Play/Mute: RT Control (Realtime Control) MIX PLAY/MUTE 1...4 switches These switch each audio input between play/muted status. 0–8 Menu The switch LED will be lit for Play, or dark for Mutes status. Audio Play/Mute 1...4 [Play, Mute] Play: The input will be enabled.
Page 144: External
When you select an External Setup, it stays selected even when you change Programs, or switch to Combination or Sequencer modes. This makes it easy to select different M3 sounds without disrupting any external MIDI control, and vice-versa.
Page 145: Tone Adjust
COMBI P0: Play Tone Adjust CC# Assign [Off, 000…119] Tone Adjust This read-only parameter shows the MIDI CC sent by the slider. 0–8 Value [000…127] Menu This is the current value of the slider’s MIDI CC. 0–8g Tone Adjust provides two important features simultaneously: •...
Page 146 “Tone Adjust Parameters” on page 22 A RADIAS Program A RADIAS Program kept the same “EXB-RADIAS for M3 Manual” (PDF) EDS, and RADIAS will have their own set of parameters, as Note: The EXB-RADIAS option must be installed in order to described in their manuals.
Page 147: Karma
COMBI P0: Play KARMA KARMA Sliders 1–8 KARMA KARMA Slider [000…127] These sliders control KARMA Performance or GE Real-Time 0–8 Menu Parameters, as assigned on the KARMA Perf RTP and GE RTP pages. The current values are shown under the sliders. The parameters assigned to the sliders and their value can be edited in the GE RTP page or the KARMA Perf RTP page.
Page 148: Combi P1: Dt/Xy/Ctrls
Combination mode COMBI P1: DT/XY/Ctrls (Drum Track/X–Y/Controllers) 1–1b: Trigger 1–1: Drum Track Trigger Mode [Start Immediately, Wait KBD Trig] 1–1 Start Immediately: When you press the DRUM TRACK Menu ON/OFF switch to turn it on (LED lit), the drum pattern 1–1a will start according to the Sync setting.
Page 149: 1-2: X-Y Vol T01-08, 1-3: X-Y Vol T09-16
COMBI P1: DT/XY/Ctrls 1–2: X–Y Vol T01–08, 1–3: X–Y Vol T09–16 ▼1–1: Menu Command 1–2: X–Y Vol T01–08, • 0: Write Combination ☞p.185 1–3: X–Y Vol T09–16 • 1: Panel–SW Solo Mode On ☞p.106 (X–Y Volume Control T01–08, T09–16) • 2: Exclusive Solo ☞p.107 •...
Page 150 Combination mode Off (unchecked): X–Y position will not affect the volume. Note that this will work best when the Programs assigned to However, you can use program parameter settings for X–Y each of the four axes have equivalent volumes. For instance, CC or AMS to control the volume.
Page 151 COMBI P1: DT/XY/Ctrls 1–2: X–Y Vol T01–08, 1–3: X–Y Vol T09–16 When Equal Amount is Off, the individual Timbre Center X–Y Assign and Program Volume Volume parameters determine the way in which X–Y –X position affects volume. Program volume increases Program volume increases Note: For an interesting variation on this effect, turn Equal from left to right.
Page 152: 1-4: X-Y Cc T01-08, 1-5: X-Y Cc T09-16
Combination mode Timbre 2...8, 9...16 1–4: X–Y CC T01–08, The parameters for Timbres 2–8 and 9–16 are identical to those for Timbre 01, as described above. 1–5: X–Y CC T09–16 (X–Y CC Control T01–08, T09–16) ▼1–2(3): Menu Command 1–4 • 0: Write Combination ☞p.185 Menu •...
Page 153 COMBI P1: DT/XY/Ctrls 1–4: X–Y CC T01–08, 1–5: X–Y CC T09–16 control change messages can also be sent to an external X–Y CC Modes MIDI device using X–Y MIDI Out (Global 1–2a). Positive Negative Note that, in Combination mode, only the Combi’s X–Y CCs Generates only +X, Generates only –X, can be sent to external MIDI instruments;...
Page 154: 1-6: Controllers Setup
Combination mode 1–4(5)c: Enable Combi X–Y CC, 1–6: Controllers Setup Enable Program X–Y CC 1–6 Menu Timbre 01 1–6a Enable Combi X–Y CC [Off, On] 1–6b This controls whether or not the Timbre will receive the Combi X–Y CCs. If this is On, the Timbre will receive the CCs, and the 1–6d Timbre’s Program will respond to them according to its own AMS settings.
Page 155: 1-7: Pad 1-4 Setup, 1-8: Pad 5-8 Setup
COMBI P1: DT/XY/Ctrls 1–7: Pad 1–4 Setup, 1–8: Pad 5–8 Setup 1–6c: Realtime Modulation Slider Assign 1–7: Pad 1–4 Setup, Here you can assign the functions (mainly types of control 1–8: Pad 5–8 Setup change) that sliders 5–8 will have when Control Assign REALTIME CONTROL is selected.
Page 156 Combination mode Pads and MIDI Channel T01: Piano T02: Strings Pad1 T03: Bell Pad2 KARMA Module A T01: Piano In: Gch/Out:Gch KARMA Module B T02: Strings In: Gch/Out:2ch Pad1 KARMA Module C T03: Bell In: 3ch/Out:3ch Pad2 Notes 1–8 [Off, C–1…G9 / 001…127] These parameters let you edit the 8 notes assigned to each pad, along with a separate velocity for each note.
Page 157: Combi P2: Eq/Option
COMBI P2: EQ/Option 2–1: EQ Trim T01–08, 2–2: EQ Trim T09–16 COMBI P2: EQ/Option Regardless of this setting, subsequent edits to the Program’s 2–1: EQ Trim T01–08, EQ in Program mode will not affect the Combination. On: the Program’s EQ settings will be loaded automatically 2–2: EQ Trim T09–16 along with the Program.
Page 158: 2-3: Eq Gain T01-08, 2-4: Eq Gain T09-16
2–3a 2–8: RADIAS Vocoder 2 2–3b These settings will be available if the EXB-RADIAS option is installed. Please see “EXB-RADIAS for M3 Manual” (PDF) of the option CD-ROM. 2–3c These parameters adjust the three-band EQ (with sweepable mid range) for timbres 1–8 and 9–16.
Page 159: Combi P3: Timbre Param
MIDI channel, the internal tone generator will sound 3–1b according to the internal settings. If this is set to EXT or EX2, playing the M3 will transmit MIDI messages on the MIDI channel speciﬁed here. (Messages will also be transmitted 3–1c simultaneously on the global MIDI channel.)
Page 160: 3-3: Osc T01-08, 3-4: Osc T09-16
Combination mode 001…127: Portamento will be applied with the portamento 3–3: OSC T01–08, time you specify here, even if it is turned off by the program settings. 3–4: OSC T09–16 If the Status (Combi 3–1(2)c) is set to INT, CC#05 (portamento time) and CC#65 (portamento switch) messages will be received and will control and change 3–3...
Page 161: 3-5: Pitch T01-08, 3-6: Pitch T09-16
12 units equal one octave. When Status (Combi 3–1(2)c) is INT, this parameter will affect the pitches sounded by the M3. When Status is EXT, this parameter will affect the note numbers of the MIDI note messages that are transmitted.
Page 162: 3-7: Other T01-08, 3-8: Other T09-16
If Status (Combi 3–1(2)c) is INT, this setting will affect 3–7(8)a: Combination Name, Tempo the pitch produced by the M3. If Status is EXT, this 3–7(8)b: Timbre Info setting will affect the note number of the note messages transmitted via MIDI.
Page 163: Combi P4: Zone/Delay
COMBI P4: Zone/Delay 4–1: Key Z T01–08, 4–2: Key Z T09–16 (Keyboard Zones T01–08, T09–16) COMBI P4: Zone/Delay 4–1(2)d: Keyboard Zones 4–1: Key Z T01–08, 4–2: Key Z T09–16 Timbre 01 (Timbre Number): (Keyboard Zones T01–08, T09–16) Top Key [C–1...G9] Speciﬁes the top key (upper limit) of the notes that will 4–1 sound each timbre.
Page 164: 4-3: Vel Z T01-08, 4-4: Vel Z T09-16
Combination mode Top Key and Bottom Key settings can also be input by 4–3: Vel Z T01–08, holding down the ENTER switch and playing a note on the keyboard. 4–4: Vel Z T09–16 It is not possible to set the bottom key above the top key of the same timbre.
Page 165: 4-5: Delay T01-08, 4-6: Delay T09-16
COMBI P4: Zone/Delay 4–5: Delay T01–08, 4–6: Delay T09–16 Bottom Slope [000…120] 4–5: Delay T01–08, Speciﬁes the number of velocity steps over which the original volume will be reached, starting from the Bottom 4–6: Delay T09–16 Velocity. 0: The volume will be at the original value from the bottom 4–5 velocity.
Page 166 Combination mode Timbre 02...08, 09...16 (Timbre Number): These are the delay time settings for timbres 2–8 and 9–16. They are the same as for timbre 1. For more information, please see “Timbre 01 (Timbre Number):,” above. ▼4–5(6): Menu Command • 0: Write Combination ☞p.185 •...
Page 167: Combi P5: Midi Filter
Off (unchecked): Transmission and reception of MIDI data In the case of EXT or EX2, operating a controller on the M3 is disabled. will transmit MIDI data on the channel of that timbre. MIDI Note: MIDI CC# = MIDI control change message numbers.
Page 168: 5-1-3: -2 T01-08, 5-1-4: -2 T09-16
Enable Realtime Control Slider-1 [Off, On] message reception.) For more information, please see “Alternate Modulation Sources (AMS)” on page 587. Speciﬁes whether Slider 1 MIDI CC#74 (the M3’s ﬁlter cutoff frequency) will be transmitted and received. Enable JS+Y [Off, On]...
Page 169: 5-1-7: -4 T01-08, 5-1-8: -4 T09-16
COMBI P5–1: MIDI Filter 1 5–1–7: –4 T01–08, 5–1–8: –4 T09–16 5–1–7: –4 T01–08, 5–1–8: –4 T09–16 5–1 –1 5–1 Menu –1a 5–1 –1b 5–1 –1c Here you can specify whether the effects of sliders 5–8 will be transmitted when the CONTROL ASSIGN REALTIME CONTROL switch is selected.
Page 170: Combi P5-2: Midi Filter 2
Combination mode COMBI P5–2: MIDI Filter 2 ▼5–2–1(2): Menu Command 5–2–1: –5 T01–08, • 0: Write Combination ☞p.185 5–2–2: –5 T09–16 • 1: Panel–SW Solo Mode On ☞p.185 • 2: Exclusive Solo ☞p.185 5–2 –1 • 3: Copy from Program ☞p.185 5–2 Menu –1a...
Page 171: Combi P7: Karma
COMBI P7: KARMA 7–1–1: GE Setup A COMBI P7: KARMA Here you can make KARMA function settings for the Normally, when you select a new Combination, its KARMA combination. In Combination mode, you can use all four settings will be loaded as well. In some cases, however, you KARMA Modules (A, B, C, and D).
Page 172 Combination mode For details on these parameters, please see “Zone:” on This is useful when using a pad on a speciﬁc MIDI Channel page 77. to send data into a Module. Turning Gch Also On (checked) allows a keyboard (sending on the Global Channel) to also Btm (Key Zone Bottom) [C–1…G9] control the same Module.
Page 173: 7-1-2: Ge Setup B, 7-1-3: Ge Setup C, 7-1-4: Ge Setup D
COMBI P7–1: KARMA 1 7–1–2: GE Setup B, 7–1–3: GE Setup C, 7–1–4: GE Setup D 5. Set KARMA Module [B] as follows. Module – Timbre MIDI Display: GE Select: Any riff from the Keyboard GE category This shows the timbres that will be sounded by each KARMA Module, according to the MIDI output channel In (Input Channel): Gch settings of each KARMA Module and the MIDI channel of...
Page 174: 7-1-5: Midi Filter/Cc Offset
Combination mode bend range. This ensures that the pitch bend data 7–1–5: MIDI Filter/CC Offset generated by the KARMA Module’s GE will function as intended. At this time, pitch bender data produced by operating the joystick will automatically be adjusted to 7–1 produce the same bend effect as when KARMA is off –5...
Page 175: 7-1-6: Cc Offset
COMBI P7–1: KARMA 1 7–1–6: CC Offset 7–1–6: CC Offset 7–1–7: Scene Matrix 7–1 7–1 –6 –7 7–1 7–1 Menu Menu –6a –7a These parameters specify the MIDI control change messages (CC Offset parameters) transmitted when the KARMA 7–1–7a: Module Control Scene Matrix function is turned on.
Page 176 Combination mode unrelated KARMA GEs one a time and use them in a song. ▼7–1–7: Menu Command In this case, you do not usually want them to be connected to each other. • 0: Write Combination ☞p.185 • 1: Panel–SW Solo Mode On ☞p.106 Enable RTC (Enable RTC By Master): •...
Page 177: 7-1-8: Random Seeds
COMBI P7–1: KARMA 1 7–1–8: Random Seeds Index (Index Seed): 7–1–8: Random Seeds Controls the randomizable characteristics for the Index Group, similar to those explained under “Rhythm (Rhythm 7–1 Seed):,” above. For more information, please see “Index –8 7–1 Group” on page 546. Menu –8a Cluster (Cluster Seed):...
Page 178 Combination mode For more information, please see “How the Start Seed setting affects the phrase” on page 82. Freeze Loop Length [Off, 01…32] Speciﬁes the number of measures in the phrases that are repeatedly generated by the KARMA module. After being triggered, the module will generate a phrase of the number of measures you specify here, and will then repeat that phrase.
Page 179: Combi P7-2: Karma 2
COMBI P7–2: KARMA 2 7–2–1: Control A COMBI P7–2: KARMA 2 Note Map: 7–2–1: Control A Mode (Note Map Mode) [Off, On-Main, On-Repeat, On-All] 7–2 –1 Table (Note Map Table) 7–2 Menu –1a [Custom, Gtable 1…Gtable 64] Transpose (Note Map Transpose) [–12…+12] Chord Track (Note Map Chord Track) [Off, On]...
Page 180: 7-2-5: Trigger A
Combination mode Module itself will be triggered automatically, starting the 7–2–5: Trigger A phrase or pattern. For example you could make settings so that harp glissando phrases speciﬁed for each KARMA Module are triggered 7–2 –5 consecutively. Alternatively, you could make settings so that Menu 7–2 the four KARMA Modules are connected in series, and play...
Page 181: Combi P7-3: Karma 3
COMBI P7–3: KARMA 3 7–3–1: GE RTP M–A (GE Real-Time Parameters Master A) COMBI P7–3: KARMA 3 POL. (GE Real-Time Parameter Polarity) [+, –] 7–3–1: GE RTP M–A For more information, please see “GE RT Parm 1–8, 9–16, 17–24, 25–32:” on page 90. (GE Real-Time Parameters Master A) Note: Normally, the MIN, MAX, VALUE, and POL.
Page 182: 7-3-5: Ge Rtp A
Combination mode ▼7–3–5: Menu Command 7–3–5: GE RTP A • 0: Write Combination ☞p.185 (GE Real-Time Parameters A) • 1: Panel–SW Solo Mode On ☞p.106 • 2: Exclusive Solo ☞p.107 7–3 –5 • 3: Copy KARMA Module ☞p.114 7–3 Menu –5a •...
Page 183: Combi P7-4: Karma 4
COMBI P7–4: KARMA 4 7–4–1: Perf RTP (Perf Real-Time Parameters) COMBI P7–4: KARMA 4 Group: PE (Performance) 7–4–1: Perf RTP For more information, please see “Group: PE (Perf Real-Time Parameters) (Performance)” on page 92. Group: Mix 7–4 –1 7–4 For more information, please see “Group: Mix” on page 92. Menu –1a In Combination and Sequencer modes, you will also be able...
Page 184: 7-4-2: Dynamic Midi
Combination mode Polarity (Dynamic MIDI Polarity) [+, –, +/–, –/+] 7–4–2: Dynamic MIDI For more information, please see “Polarity (Dynamic MIDI Polarity)” on page 95. 7–4 –2 7–4 ▼7–4–2: Menu Command Menu –2a • 0: Write Combination ☞p.185 • 1: Panel–SW Solo Mode On ☞p.106 •...
Page 185: 7-4-3: Names Master
[000 (no name)...571: Waveform Select [16]] Select the names for KARMA Sliders 1–8. On the M3, suitable names for the various functions are provided as presets. The long name is shown at the left, and the short name at the right.
Page 186: 7-4-8: Note Map
Combination mode 7–4–8: Note Map 7–4 –8 7–4 Menu –8a Edit the Custom Note Map Table stored with the Combination. 7–4–8a: Note Map Table [Custom, Global 1…64] Note In [C–1…G9] Note Out [Remove, C–1…G9] Octave Replicate [Off, On] Reset For more information, please see “7–2–8: Note Map” on page 97.
Page 187: Combi P8: Ifx (Insert Effect)
COMBI P8: IFX (Insert Effect) 8–1–1: Routing1 T01–08, 8–1–2: Routing1 T09–16 COMBI P8: IFX (Insert Effect) You can also specify the bus routing for the program used by • Make detailed settings for insert effects each timbre 1–16. For instance, you can: •...
Page 188: 8-1-3: Insert Fx Setup
Combination mode If you want to edit these routings, use the DrumKit IFX 8–1–3: Insert FX Setup Patch menu command. For more information, please see “DrumKit IFX Patch” on page 190. 8–1 –3 8–1 Menu –3a 8–1 –3b 8–1–3a: Combination Name For more information, please see “2–1: EQ Trim T01–08, 2–2: EQ Trim T09–16”...
Page 189: 8-1-4: Ifx1
COMBI P8–1: IFX 8–1–4: IFX1 AUX/Ctrl: 8–1–4: IFX1 AUX (AUX Bus) [Off, 1, 2, 3, 4, 1/2, 3/4] Ctrl (FX Control Bus) [Off, 1, 2] 8–1 –4 8–1 Menu –4a Send1/2: Send1 [000...127] Send2 [000...127] For more information, please see “8–2: Insert FX Setup” on page 99.
Page 190: 8-1-5: Ifx2, 8-1-6: Ifx3, 8-1-7: Ifx4
Insert FX Setup page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Page 191: Combi P8-2: Ifx
COMBI P8–2: IFX 8–2–1: Routing2 T01–08, 8–2–2: Routing2 T09–16 COMBI P8–2: IFX each timbre will be ignored, and the signal will be sent in 8–2–1: Routing2 T01–08, monaural. 1/2, 3/4: The output of the timbre will be sent in stereo to the 8–2–2: Routing2 T09–16 corresponding pair of AUX buses.
Page 192: 8-2-8: Common Fx Lfo
Combination mode 8–2–8: Common FX LFO 8–2 –8 8–2 Menu –8a 8–2 –8b The two Common FX LFOs allow you to synchronize LFO- based modulation for multiple effects, such as phasers, ﬂangers, ﬁlters, and so on. The Common LFOs control only the frequency, MIDI synchronization, and reset options;...
Page 193: Combi P9: Mfx/Tfx (Master/Total Effect)
COMBI P9: MFX/TFX (Master/Total Effect) 9–1: Routing COMBI P9: MFX/TFX (Master/Total Effect) Here you can make settings for the master effects and total 9–1c: TFX effect. For instance, you can: • Route a sound to an master effects and total effect TFX: •...
Page 194: 9-2: Mfx1
P9: MFX/TFX– Routing page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Page 195: Combination: Menu Command
Copy from Program Write Combination This command is available on every page in Combination This command writes an edited Combination into the M3 mode. It copies Effects and/or KARMA settings from a internal memory. It is available on every page in selected Program to the current Combination.
Page 196 Combination mode DKit Setting is checked. In conjunction with this, the Metronome Setup Drum Kit IFX Patch setting will be reset to the default setting. This speciﬁes whether the metronome will sound a count- • If IFXs is checked, the Bus Select setting of the copy- down before sampling begins.
Page 197 Combination: Menu Command Copy Tone Adjust Resample Combination Play: Makes settings so you can Reset Tone Adjust play a combination and resample your performance. REC Audio Input: Makes settings so you can sample an Reset Tone Adjust is available on the Control Surface page external audio source while listening to yourself play a when CONTROL ASSIGN is set to TONE ADJUST.
Page 198 Combination mode 4. As appropriate for the content that you want to copy, Detune BPM Adjust turn “GE RTP Control & Scenes” On (checked). (see “Settings copied by Copy KARMA Module”) Detune BPM Adjust is available on the Pitch tab of the 5.
Page 199 Combination: Menu Command Initialize KARMA Module • 7–4: KARMA4– Names controller name settings. • KARMA Sliders 1–8 and KARMA Switches 1–8 settings in each scene (→064/0). • 7–4: KARMA4– Note Map settings. • KARMA Sliders 1–8 and KARMA Switches 1–8 names If you turn “Perf.
Page 200 Note: The slot’s MIDI control channel, as speciﬁed by the Ch parameter on the P9: MFX/TFX– MFX1 and TFX page, will not be copied. Write FX Preset This command saves the edited effect into the M3’s internal memory. For more information, please see “Write FX Preset” on page 118.
Page 201: Sequencer Mode
M3 can be used together to • The musical data and control events that you recorded give you a wide range of possibilities for music production can be edited in various ways (including event editing or live performance.
Page 202 Slice function of Sampling mode lets you divide a from an external MIDI sequencer. (Normally, you’ll use rhythm loop sample and create performance data that Combination mode if you want to use the M3 as a master corresponds to the divided samples. In Sequencer mode keyboard.)
Page 203 • with Drum Track checked • To: Drum Track set to Track 10 • Check Multi REC Standby for tracks 01 and 10 5. The M3 will automatically enter record-ready mode, and the metronome will sound according to the Metro- nome setting (Seq 0–1–8b).
Page 204: Seq Page Select
Sequencer mode SEQ Page Select • Press the MODE SEQ switch to select Sequencer mode. Page Main content You can use the following ways to select the pages in Song selection, playback, and recording. (☞p.195) Sequencer mode. Program selection for each track. (☞p.197) 1.
Page 205: Seq P0: Play/Rec
Bar event. When MIDI Clock (Global 1–1a) is set to Internal (or Auto, if no MIDI clocks are being received), the M3 will If the number of beats in a measure increases when you...
Page 206 A Song Select message is transmitted when you switch Alternatively, you can set the tempo by pressing the TAP songs on the M3. When a Song Select message is TEMPO switch at the desired interval. received from an external device, the song will be switched.
Page 207 If you switch programs while This is shown for tracks that can use the EXB-RADIAS recording, the program change data will be recorded, option. For details, please see “EXB-RADIAS for M3 and the program will switch at that point in the song Manual” (PDF).
Page 208 Sequencer mode Mute: The track will be muted (silent). ▼0–1–1(2): Menu Command Note: You can use the MIX PLAY/MUTE 1–8 switches to • 0: Memory Status ☞p.271 control the setting. The switch LED will change as follows. • 1: Panel–SW Solo Mode On ☞p.106 Play: lit •...
Page 209: 0-1-3: Mixer T01-08, 0-1-4: Mixer T09-16
SEQ P0–1: Play/REC 0–1–3: Mixer T01–08, 0–1–4: Mixer T09–16 OSC1/EXi1 OSC1/EXi1 OSC2/EXi2 OSC1/EXi1: OSC2/EXi2 OSC1/EXi1: 0–1–3: Mixer T01–08, Amp1 Pan=L001 Amp1 Pan=L032 OSC2/EXi2: OSC2/EXi2: Left Center Left Center Right Right Amp2 Pan=R127 Amp2 Pan=R096 0–1–4: Mixer T09–16 Pan (CC#10) Pan (CC#10) C064 C064 L032...
Page 210: 0-1-5: Playloop T01-08, 0-1-6: Playloop
Sequencer mode ▼0–1–3(4): Menu Command 0–1–5: PlayLoop T01–08, • 0: Memory Status ☞p.271 0–1–6: PlayLoop T09–16 • 1: Panel–SW Solo Mode On ☞p.106 • 2: Exclusive Solo ☞p.107 0–1 • 3: Rename Song ☞p.271 –5 Menu 0–1 • 4: Delete Song ☞p.271 –5a •...
Page 211: 0-1-7: Sampling/Audio In
In Sequencer mode, you can sample the external audio input source you specify here, or sample a song played back by the M3 or your own keyboard performance. You can also use the M3 as a 4-in/6-out effect processor. For example, here are some ways you might use this.
Page 212 • 11: Copy From Combi (Copy from Sampling START SW: Pressing the SAMPLING REC switch Combination) ☞p.273 will cause the M3 to enter sampling-standby mode, and • 12: Copy from Program ☞p.273 sampling will begin when you press the SAMPLING •...
Page 213: 0-1-8: Preferences
SEQ P0–1: Play/REC 0–1–8: Preferences For more information, please see “Sequencer: Menu 0–1–8: Preferences Command” on page 271. 0–1 –8 Menu 0–1 –8a 0–1 –8b Here you can specify the realtime recording method, adjust levels and make other settings for audio recording, and adjust the metronome settings.
Page 214 MIDI Clock (Global 1–1a) to External MIDI Select this method when you wish to repeatedly record a so that the M3 will synchronize to your external sequencer. speciﬁed area of a track, and continue adding data. This is Tempo changes cannot be recorded.
Page 215: Seq P0-2: Play/Rec Control
SEQ P0–2: Play/REC Control 0–2–1: KARMA GE • 7: Save Template Song (Save as User Template ▼0–1–8: Menu Command Song) ☞p.272 • 8: FF/REW Speed ☞p.272 • 0: Memory Status ☞p.271 • 9: Set Location (Set Location for Locate Key) ☞p.272 •...
Page 216: 0-2-2: Karma Rtc
Sequencer mode • 10: GM Initialize ☞p.273 0–2–2: KARMA RTC • 11: Copy From Combi (Copy from Combination) ☞p.273 • 12: Copy from Program ☞p.273 0–2 –2 0–2 • 13: Copy X–Y Motion ☞p.107 Menu –2a • 14: Copy KARMA Module ☞p.188 0–2 –2b •...
Page 217: 0-2-8: Control Surface
SEQ P0–2: Play/REC Control 0–2–8: Control Surface 0–2–2c: RealTime Controls 0–2–8: Control Surface 1, 2, 3, 4, 5, 6, 7, 8: The Control Surface is the set of 8 sliders, and 8 switches to the left of the display. It can do other things as well, KARMA Switch including editing sounds, controlling KARMA, and sending MIDI messages to external devices.
Page 218: Mixer T1-8, Mixer T9-16
Sequencer mode MIX PLAY/MUTE 1–8 switches and the MIX VOL- Mixer T1–8, Mixer T9–16 UME sliders Reset controls 0–2 0–2 –8 –8a The front panel RESET CONTROLS switch resets the Menu desired sliders and switches of the control surface to their 0–2 values when the song was selected.
Page 219: Mixer Input
For example on stage, you could use this page screen as a submixer to control the output of other sound modules for output together with the M3’s own sounds. FireWire L and R can be used if the EXB-FW option is installed.
Page 220: Rt Control (Realtime Control)
Sequencer mode Audio Play/Mute: RT Control (Realtime Control) MIX PLAY/MUTE 1...4 switches These switch each audio input between play/muted status. 0–2 0–2 –8 The switch LED will be lit for Play, or dark for Mutes status. –8a Menu 0–2 Audio Play/Mute 1...4 [Play, Mute] –8b Play: The input will be enabled.
Page 221: External
When you select an External Setup, it stays selected even when you change Programs, or switch to Combination or Sequencer modes. This makes it easy to select different M3 sounds without disrupting any external MIDI control, and vice-versa.
Page 222: Tone Adjust
Sequencer mode CC# Assign [Off, 000…119] Tone Adjust This read-only parameter shows the MIDI CC sent by the slider. 0–2 0–2 Value [000…127] –8 –8a Menu This is the current value of the slider’s MIDI CC. 0–2 –8b 0–2 –8g Tone Adjust provides two important features simultaneously: •...
Page 223 This shows the full name of the parameter assigned to the “Tone Adjust Parameters” on page 22 controller. You can change this using the “Assign” parameter, below. “EXB-RADIAS for M3 Manual” (PDF) EDS, and RADIAS will have their own set of parameters, as Value described in their manuals.
Page 224: Karma
Sequencer mode KARMA Sliders 1–8 KARMA KARMA Sliders [000…127] These sliders control KARMA Performance or GE Real-Time 0–2 0–2 –8 –8a Parameters, as assigned on the KARMA Perf RTP and GE Menu RTP pages. 0–2 –8b ▼0–2–8: Menu Command • 0: Memory Status ☞p.271 0–2 •...
Page 225: Seq P1: Dt/Xy/Ctrls
SEQ P1: DT/XY/Ctrls 1–1: Drum Track SEQ P1: DT/XY/Ctrls (Drum Track/X–Y/Controllers) using the program of the track that is set to the same channel 1–1: Drum Track as this MIDI channel. Tch: The MIDI channel of the output will automatically be set to match the MIDI channel (Seq 3–1(2)c) of the track 1–1 Menu...
Page 226: 1-2: X-Y Vol T01-08, 1-3: X-Y Vol T09-16
Sequencer mode Velocity: 1–2: X–Y Vol T01–08, Bottom [001...127] 1–3: X–Y Vol T09–16 [001...127] (X–Y Volume Control T01–08, T09–16) This is valid if Trigger Mode is set to Wait KBD Trig. It speciﬁes the range of velocities that will start the drum pattern.
Page 227 SEQ P1: DT/XY/Ctrls 1–2: X–Y Vol T01–08, 1–3: X–Y Vol T09–16 (X–Y Volume Control T01–08, T09–16) Off (unchecked): X–Y position will not affect the volume. you might create a Song with four Programs, each sounding However, you can use program parameter settings for X–Y at the same volume and assigned to a different axis.
Page 228 Sequencer mode Note: For an interesting variation on this effect, turn Equal X–Y Assign and Program Volume Amount Off, and instead set all of the Track Center –X Volumes to 50%. The Tracks will still fade together Program volume increases Program volume increases smoothly, but with a more gentle effect towards the from left to right.
Page 229: 1-4: X-Y Cc T01-08, 1-5: X-Y Cc T09-16
SEQ P1: DT/XY/Ctrls 1–4: X–Y CC T01–08, 1–5: X–Y CC T09–16 (X–Y CC Control T01–08, T09–16) Track 2...8, 9...16 1–4: X–Y CC T01–08, The parameters for Tracks 2–8 and 9–16 are identical to those for Track 01, as described above. 1–5: X–Y CC T09–16 (X–Y CC Control T01–08, T09–16) ▼1–2(3): Menu Command...
Page 230 Sequencer mode Note that, in Sequencer mode, only the Song’s X–Y CCs can X–Y CC Modes be sent to external MIDI instruments; the individual Positive Negative Program’s X–Y CCs are only used internally. Generates only +X, Generates only –X, increasing from left to right. increasing from right to left.
Page 231: 1-6: Controllers Setup
SEQ P1: DT/XY/Ctrls 1–6: Controllers Setup 1–4(5)c: Enable Combi X–Y CC, 1–6: Controllers Setup Enable Program X–Y CC 1–6 Menu Track 01 1–6a Enable Seq X–Y CC [Off, On] This controls whether or not the track will receive the Song’s 1–6b X–Y CCs.
Page 232: 1-7: Pad T01-08, 1-8: Pad T09-16
Sequencer mode SW2 (SW2 Assign) [Off, ..., After Touch Lock] 1–7: Pad T01–08, Mode (SW2 Mode) [Toggle, Momentary] 1–8: Pad T09–16 This assigns the function of SW2. The functions that can be assigned to SW2 are the same as for SW1, with the substitution of SW2 Mod.
Page 233 SEQ P1: DT/XY/Ctrls 1–7: Pad T01–08, 1–8: Pad T09–16 Pad 2...4, 5...8 These are the same as for Pad 1, as described above. Pads and MIDI Channel T01: Piano T02: Strings Pad1 T03: Bell Pad2 KARMA Module A T01: Piano In: 1ch/Out:1ch KARMA Module B T02: Strings...
Page 234: Seq P2: Eq/Option
Sequencer mode SEQ P2: EQ/Option Regardless of this setting, subsequent edits to the Program’s 2–1: Trim T01–08, EQ in Program mode will not affect the Song. On: the Program’s EQ settings will be loaded automatically 2–2: Trim T09–16 along with the Program. This is the default setting. Off: the Program’s EQ settings won’t be loaded.
Page 235: 2-3: Eq T01-08, 2-4: Eq T09-16
2–7: RADIAS Vocoder 1, 2–8: RADIAS Vocoder 2 These settings will be available if the EXB-RADIAS option is installed. Please see “EXB-RADIAS for M3 Manual” (PDF) Here you can make settings for the mid-sweepable three- of the option CD-ROM. band EQ for each MIDI track.
Page 236: Seq P3: Track Param (Track Parameters)
M3, the internal tone generator of • 5: Copy From Song ☞p.271 the M3 will sound, and at the same time MIDI data will also • 6: Load Template Song ☞p.271 be transmitted to an external device.
Page 237: 3-3: Osc T01-08, 3-4: Osc T09-16
SEQ P3: Track Param (Track Parameters) 3–3: OSC T01–08, 3–4: OSC T09–16 • 10: GM Initialize ☞p.273 3–3: OSC T01–08, • 11: Copy From Combi (Copy from Combination) ☞p.273 3–4: OSC T09–16 • 12: Copy from Program ☞p.273 For more information, please see “Sequencer: Menu 3–3 Command”...
Page 238: 3-5: Pitch T01-08, 3-6: Pitch T09-16
Sequencer mode Portamento [PRG, Off, 001...127] 3–5: Pitch T01–08, Make portamento settings for each MIDI track. The portamento setting you make here will be used when 3–6: Pitch T09–16 the song is played or recorded from the beginning. If you change the setting while recording, it will be recorded as 3–5 part of the musical data.
Page 239: 3-7: Other T01-08, 3-8: Other T09-16
SEQ P3: Track Param (Track Parameters) 3–7: Other T01–08, 3–8: Other T09–16 Bend Range [PRG, –24...+00...+24] 3–7: Other T01–08, Speciﬁes the amount of pitch change that will occur when the pitch bender is operated, in semitone units. 3–8: Other T09–16 PRG: The pitch range speciﬁed by the program will be used.
Page 240 If Status (Seq 3–1(2)c) is INT, this setting will affect the pitch produced by the M3. If Status is EXT, this setting will affect the note number of the note messages transmitted via MIDI.
Page 241: Seq P4: Zones/Delay
SEQ P4: Zones/Delay 4–1: Key Z T01–08, 4–2: Key Z T09–16 (Keyboard Zones T01–08, T09–16) SEQ P4: Zones/Delay 4–1(2)d: Keyboard Zones 4–1: Key Z T01–08, 4–2: Key Z T09–16 Track 01 (Track Number): (Keyboard Zones T01–08, T09–16) Top Key [C–1...G9] Speciﬁes the top key (upper limit) of the notes that will 4–1 sound each MIDI track.
Page 242: 4-3: Vel Z T01-08, 4-4: Vel Z T09-16
Sequencer mode Top Key and Bottom Key settings can also be input by 4–3: Vel Z T01–08, holding down the ENTER switch and playing a note on the keyboard. 4–4: Vel Z T09–16 It is not possible to set the bottom key above the top key of the same track.
Page 243: 4-5: Delay T01-08, 4-6: Delay T09-16
SEQ P4: Zones/Delay 4–5: Delay T01–08, 4–6: Delay T09–16 0: The volume will be at the original value from the bottom 4–5: Delay T01–08, velocity. 120: The volume will decrease as the velocity approaches the 4–6: Delay T09–16 bottom velocity. Bottom Velocity [1…127] 4–5...
Page 244 Sequencer mode Track 02...08, 09...16 (Track Number): These are the delay time settings for MIDI tracks 2–8 and 9– 16. They are the same as for track 1. For more information, please see “Track 01 (Track Number):,” above. ▼4–5(6): Menu Command •...
Page 245: Seq P5: Midi Filter
MIDI channel, one can Settings that regulate MIDI transmission/reception of the be set to respond to damper pedal activity while the other M3 itself are made in MIDI Filter (Global 1–2b). does not. If the user-assignable controllers that can be ﬁltered in the These MIDI ﬁlter settings have no effect on the MIDI...
Page 246: 5-1-3: -2 T01-08, 5-1-4: -2 T09-16
Sequencer mode • 8: FF/REW Speed ☞p.272 5–1–3: –2 T01–08, • 9: Set Location (Set Location for Locate Key) ☞p.272 • 10: GM Initialize ☞p.273 5–1–4: –2 T09–16 • 11: Copy From Combi (Copy from Combination) ☞p.273 5–1 5–1 • 12: Copy from Program ☞p.273 –3 –3a Menu...
Page 247: 5-1-5: -3 T01-08, 5-1-6: -3 T09-16
Speciﬁes whether Slider 1 MIDI CC#74 (the M3’s ﬁlter cutoff frequency) will be received. Enable Realtime Control Slider-2 [Off, On] Speciﬁes whether or not Slider 2 MIDI CC#71 (the M3’s ﬁlter resonance) will be received. Enable Realtime Control Slider-3 [Off, On] Speciﬁes whether or not Slider 3 MIDI CC#79 (the M3’s ﬁlter...
Page 248: 5-1-7: -4 T01-08, 5-1-8: -4 T09-16
Sequencer mode For more information, please see “Sequencer: Menu 5–1–7: –4 T01–08, Command” on page 271. 5–1–8: –4 T09–16 5–1 5–1 –7 –7a Menu 5–1 –7b 5–1 –7c Here you can specify whether the effects of sliders 5–8 will be received when the CONTROL ASSIGN REALTIME CONTROL switch is selected.
Page 249: Seq P5-2: Midi Filter 2
SEQ P5–2: MIDI Filter 2 5–2–1: –5 T01–08, 5–2–2: –5 T09–16 SEQ P5–2: MIDI Filter 2 ▼5–2–1(2): Menu Command 5–2–1: –5 T01–08, • 0: Memory Status ☞p.271 5–2–2: –5 T09–16 • 1: Panel–SW Solo Mode On ☞p.106 • 2: Exclusive Solo ☞p.107 5–2 5–2 –1...
Page 250: 5-2-3: -6 T01-08, 5-2-4: -6 T09-16
Sequencer mode 5–2–3: –6 T01–08, 5–2–4: –6 T09–16 5–2 5–2 –3 –3a Menu 5–2 –3b 5–2 –3c 5–2–3(4)a: Track Select, Tempo, RPPR 5–2–3(4)b: Track Info For more information, please see “2–1: Trim T01–08, 2–2: Trim T09–16” on page 224. 5–2–3(4)c: MIDI Filter3 Track 01 (Track Number): Enable Other Control Change Messages [Off, On] Speciﬁes whether or not MIDI control messages not covered...
Page 251: Seq P6: Track Edit
SEQ P6: Track Edit 6–1: Track Edit SEQ P6: Track Edit From Measure [001…999] 6–1: Track Edit To End of Measure [001…999] Speciﬁes the range of measures that you wish to edit (or 6–1 copy from) or step-record. Menu Use From Measure to specify the starting measure, and To 6–1a End of Measure to specify the ending measure.
Page 252: 6-2: Track Name
Sequencer mode For more information, please see “Sequencer: Menu 6–2: Track Name Command” on page 271. 6–2 Menu 6–2a 6–2b 6–2c Here you can assign a name to each track. 6–2a: Location, Meter, Tempo, Tempo Mode, Song Select, Track Select, Reso, RPPR 6–2b: Track Info For more information, please see “0–1–1(2)a: Location,...
Page 253: Seq P7: Karma
KARMA ON/OFF switch. If MIDI Clock (Global 1–1b) is set to External MIDI, External USB, or Auto, the M3 can be controlled in the same way by MIDI realtime clock commands from a connected external MIDI device. For more information, please see “Synchronizing the KARMA function”...
Page 254 Sequencer mode GE Select [0000: Arp Model 01 Up/Dn…2092: 7–1–1c: MIDI I/O Tempo Env Repeats] Speciﬁes the MIDI input/output channels for the four This selects the Module’s GE, from among the 2093 presets. KARMA Modules used by a Sequencer mode song. For more information, please see “GE Select”...
Page 255 SEQ P7–1: KARMA 1 7–1–1: GE Setup A recorded on tracks with matching channels. (See the 1. Set MIDI Track 1 as follows. diagram below, “KARMA-MIDI Input/Output Channel.”) Program Select: a Guitar category program Tch: Automatically match the MIDI channel (Seq 3–1(2)c) of MIDI Channel: 01 the track selected by Track Select (Seq 0–1–1(2)c).
Page 256: 7-1-2: Ge Setup B, 7-1-3: Ge Setup C
Sequencer mode • 8: FF/REW Speed ☞p.272 GE Select: a riff of GE category Guitar • 9: Set Location (Set Location for Locate Key) ☞p.272 Input Channel: 01 • 10: Copy from Program ☞p.273 Output Channel: 01 5. Set KARMA Module [B] as follows. For more information, please see “Sequencer: Menu Command”...
Page 257: 7-1-5: Midi Filter
SEQ P7–1: KARMA 1 7–1–5: MIDI Filter ▼7–1–5: Menu Command 7–1–5: MIDI Filter • 0: Memory Status ☞p.271 7–1 • 1: Panel–SW Solo Mode On ☞p.106 –5 • 2: Exclusive Solo ☞p.107 Menu • 3: Copy KARMA Module ☞p.114 7–1 –5a •...
Page 258: 7-1-6: Cc Offset
Sequencer mode 7–1–6: CC Offset 7–1–7: Scene Matrix 7–1 7–1 –6 –7 Menu Menu 7–1 –7a 7–1 –6a These parameters specify the MIDI control change messages (CC Offset parameters) transmitted when the KARMA 7–1–7a: Module Control Scene Matrix function is turned on. Here you can conveniently view and edit the selected Scenes for each of the ﬁve Module Control layers at the same time.
Page 259: 7-1-8: Random Seeds
SEQ P7–1: KARMA 1 7–1–8: Random Seeds ▼7–1–7: Menu Command 7–1–8: Random Seeds • 0: Memory Status ☞p.271 • 1: Panel–SW Solo Mode On ☞p.106 7–1 –8 • 2: Exclusive Solo ☞p.107 Menu • 3: Copy KARMA Module ☞p.114 7–1 •...
Page 260: Seq P7-2: Karma 2
Sequencer mode SEQ P7–2: KARMA 2 ▼7–2–1: Menu Command 7–2–1: Control A • 0: Memory Status ☞p.271 7–2 • 1: Panel–SW Solo Mode On ☞p.106 –1 • 2: Exclusive Solo ☞p.107 Menu 7–2 • 3: Copy KARMA Module ☞p.114 –1a •...
Page 261: 7-2-5: Trigger A
SEQ P7–2: KARMA 2 7–2–5: Trigger A ▼7–2–5: Menu Command 7–2–5: Trigger A • 0: Memory Status ☞p.271 7–2 • 1: Panel–SW Solo Mode On ☞p.106 –5 7–2 • 2: Exclusive Solo ☞p.107 Menu –5a • 3: Copy KARMA Module ☞p.114 •...
Page 262: Seq P7-3: Karma 3
Sequencer mode SEQ P7–3: KARMA 3 ASSIGN to Slider1. If these are set to ASSIGN, you are able 7–3–1: GE RTP M–A to edit the MIN, MAX, VALUE, and POL parameters for Master, A, B, C, and D. (GE Real-Time Parameters Master A) In this way, you can make GE realtime parameter settings independently of Modules A, B, C, and D.
Page 263: 7-3-5: Ge Rtp A
SEQ P7–3: KARMA 3 7–3–5: GE RTP A (GE Real-Time Parameters A) ▼7–3–5: Menu Command 7–3–5: GE RTP A • 0: Memory Status ☞p.271 (GE Real-Time Parameters A) • 1: Panel–SW Solo Mode On ☞p.106 • 2: Exclusive Solo ☞p.107 7–3 –5 •...
Page 264: Seq P7-4: Karma 4
Sequencer mode SEQ P7–4: KARMA 4 ▼7–4–1: Menu Command 7–4–1: Perf RTP • 0: Memory Status ☞p.271 (Perf Real-Time Parameters) • 1: Panel–SW Solo Mode On ☞p.106 • 2: Exclusive Solo ☞p.107 7–4 7–4 –1 • 3: Copy KARMA Module ☞p.114 –1a Menu •...
Page 265: 7-4-2: Dynamic Midi
SEQ P7–4: KARMA 4 7–4–2: Dynamic MIDI 7–4–2: Dynamic MIDI 7–4–3: Names Master 7–4 7–4 –2 –3 7–4 7–4 Menu Menu –2a –3a 7–4 –2b 7–4 –3b Dynamic MIDI is a function that lets you use this Here you can select and edit the names of the master instrument’s controllers and MIDI control messages to KARMA Sliders and Switches.
Page 266: 7-4-4: Name Map A, 7-4-5: Name Map B, 7-4-6: Name Map C, 7-4-7: Name Map D
Sequencer mode 7–4–4: Name Map A, 7–4–8: Note Map 7–4–5: Name Map B, 7–4 –8 7–4–6: Name Map C, Menu 7–4–7: Name Map D 7–4 Here you can select and edit the names of the KARMA –8a Sliders and Switches for modules A, B, C, and D. For more information, please see “7–4–3: Names Master,”...
Page 267: Seq P8: Ifx (Insert Effect)
SEQ P8: IFX (Insert Effect) 8–1–1: Routing1 T01–08, 8–1–2: Routing1 T09–16 SEQ P8: IFX (Insert Effect) You can also specify the bus routing for the program used by • Make detailed settings for insert effects each MIDI track 1–16. For instance, you can: •...
Page 268: 8-1-3: Insert Fx Setup
Sequencer mode ▼8–1–1(2): Menu Command 8–1–3: Insert FX Setup • 0: Memory Status ☞p.271 • 1: Panel–SW Solo Mode On ☞p.106 8–1 8–1 –3 • 2: Exclusive Solo ☞p.107 –3a Menu • 3: Copy Insert Effect ☞p.117 • 4: Swap Scene ☞p.115 •...
Page 269: 8-1-4: Ifx1
Insert FX Setup page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Page 270: 8-1-5: Ifx2, 8-1-6: Ifx3, 8-1-7: Ifx4
Sequencer mode U00…U15: These are areas in which you can store your own settings. ---------------: This shows that no Effect Preset has been selected. You’ll see this if you’ve just selected an effect, written a program, or selected a new Song. Selecting this setting from the menu will not have any effect.
Page 271: Seq P8-2: Ifx Route 2
SEQ P8–2: IFX Route 2 8–2–1: Routing2 T01–08, 8–2–2: Routing2 T09–16 SEQ P8–2: IFX Route 2 FX Control Bus [Off, 1, 2] 8–2–1: Routing2 T01–08, Sends the output of the track to an FX Control bus (two- channel mono FX Ctrl 1 or 2). 8–2–2: Routing2 T09–16 Use the FX Control buses when you want a separate sound to control the audio input of an effect.
Page 272: 8-2-8: Common Fx Lfo
Sequencer mode • 8: Put Effect Setting to Track ☞p.288 8–2–8: Common FX LFO For more information, please see “Sequencer: Menu Command” on page 271. 8–2 –8 Menu 8–2 –8a 8–2 –8b The two Common FX LFO 1, 2 allow you to synchronize LFO-based modulation for multiple effects, such as phasers, ﬂangers, ﬁlters, and so on.
Page 273: Seq P9: Mfx/Tfx (Master/Total Effect)
SEQ P9: MFX/TFX (Master/Total Effect) 9–1: Routing SEQ P9: MFX/TFX (Master/Total Effect) Here you can make settings for the master effects and total 9–1c: TFX effect. For instance, you can: • Route a sound to an master effects and total effect TFX: •...
Page 274: 9-2: Mfx1
P9: MFX/TFX– Routing page. You can’t save your own settings here. P01…P15: These contain preset data that Korg plans to provide in the future. We recommend that you store your settings in U00–U15.
Page 275: Seq P10: Pattern/Rppr
SEQ P10: Pattern/RPPR 10–1: Pattern Edit SEQ P10: Pattern/RPPR Here you can record and edit patterns, assign patterns to 10–1a: Location, Song Select, Track tracks of a song, and make RPPR (Realtime Pattern Play/ Select Recording) settings. You can also convert drum track patterns for use in Program mode or other modes.
Page 276: 10-2: Pattern Name
Sequencer mode Pattern (Pattern Bank) [Preset, User] 10–2: Pattern Name Selects the type of pattern. If Preset is selected, it will not be possible to record. You will 10–1 be able to select and execute the Copy Pattern, Bounce Menu Pattern, Put To Track, and Copy To Track menu commands.
Page 277: 10-3: Rppr Setup
Manual: The pattern will continue repeating as long as you from the external sequencer to trigger RPPR patterns on continue holding the key, and will stop as soon as you M3, set Local Control OFF. release the key. If you want the note data generated by RPPR to be...
Page 278 Sequencer mode pressed). This setting is suitable when you wish to play more information, please see “Using RPPR (Realtime phrase patterns in unison. Pattern Play/Record)” on page 97 of the Operation Guide. Measure: The pattern will synchronize to the measures of Information shows the bank, name, and number of the the pattern that was started by the ﬁrst key.
Page 279: Seq P11: Cue List
Speciﬁes the tempo at which the song in the cue list will be song. played). For more information, please see “ (Tempo)” on The M3 allows you to create twenty cue lists. In a single cue page 121. list you can freely connect up to 99 songs.
Page 280 Sequencer mode Song [000...127] Even when Load FX? is not checked, there may be a time lag in the transition from one song to the next, This shows the number and name of the song for the depending on the musical data in the song. There may currently selected step.
Page 281: Sequencer: Menu Command
Sequencer: Menu Command Memory Status Sequencer: Menu Command Tip: While this command is open, the ENTER switch will Copy From Song operate as the OK button and the EXIT switch will operate as the Cancel button. This command copies all of the setting data and musical data from the speciﬁed song to the currently selected song.
Page 282 Sequencer mode FF/REW Speed This allows you to set the speed at which fast-forward or rewind will occur when you press the FF switch or REW switch. 1. Select “FF/REW Speed” to open the dialog box. This dialog box is the same as in the menu command Copy To Track.
Page 283 In Sequencer mode, when a GM System On message is received from an external device, or if a GM System On message is recorded in the sequence data, the M3 will be reset to settings appropriate for GM just as if you had executed this command.
Page 284 Sequencer mode GM Initialize List Page Parameter Track 1–9, 11–16 Track 10 Program Select G001 g(d)001 Program T01–08, T09–16 Play/Mute, Solo C064 C064 Mixer T01–08, 09–16 Volume Auto Load Prog EQ EQ Trim T01–08, T09–16 Bypass Input Trim High Gain [dB] +00.0 +00.0 Mid Frequency [Hz]...
Page 285 Sequencer: Menu Command Copy X–Y Motion the sample play back at the same level as when it was Copy X–Y Motion resampled. In these modes, the power-on default settings are Recording Here’s how you can copy the X–Y motion setting from any Level at –12.0 (dB) and Auto +12 dB On.
Page 286 Sequencer mode Auto Sampling Setup This command automatically makes various parameter settings for Sequencer mode (e.g., in-track sampling) and two-channel mixdown. You will ﬁnd it convenient to use this command when resampling a song, or when using the song as a guide while sampling an external audio source. When you execute this operation, the relevant parameters will be set automatically.
Page 287 DAT player etc. connected to the S/P DIF IN Threshold, resampling will begin when the input level jack will be input to the M3. (Seq 0–1–7a Audio Input) exceeds the specified value. Note: If you choose FireWire (when the EXB-FW option is •...
Page 288 Sequencer mode Even if you press the SEQUENCER START/STOP switch Auditioning the WAVE file you created during playback, playback and resampling will stop, and a • To audition the WAVE file you created, use the menu WAVE ﬁle will be created. command Select Directory.
Page 289 Sequencer: Menu Command Step Recording you can use this command to change the BPM of the phrase or rhythm. The BPM can be adjusted by modifying the pitch. This command is available when the Detune setting of that (0:060) (0:120) (0:240) (1:000) (2:000)
Page 290 Sequencer mode 8. When you are ﬁnished with step recording, press the • You can edit each event by modifying its data value(s). Done button. When you select a note event, it will sound. If you press the COMPARE switch, you will return to the 5.
Page 291 Sequencer: Menu Command Set Song Length If you check All Tracks, the musical data of all tracks will be BAR (displayed only) Meter: 1/4...16/16 * erased. (Measure line) (Time signature) PROG Bank: I–A…I–F P: 0...127, 4. Press the OK button to execute Erase Track. If you 000...127, 1...128 (G, g(1)...g(d)) decide not to execute, press the Cancel button.
Page 292 Sequencer mode Erase Measure Delete Measure This command erases the speciﬁed type(s) of musical data This command deletes the speciﬁed measures. from the speciﬁed range of measures. The Erase Measure When the Delete Measure command is executed, the command can also be used to remove only a speciﬁc type of musical data following the deleted measures will be moved data.
Page 293 Sequencer: Menu Command Insert Measure Insert Measure Time signature = **/** Track 1 1 (4/4) 2 (4/4) 3 (3/4) 4 (5/4) 5 (2/4) This command inserts the speciﬁed number of measures Before Insert into the speciﬁed track. When you execute the Insert 1 (4/4) 2 (4/4) 3 (3/4)
Page 294 Sequencer mode 6. To execute the Repeat Measure command, press the OK will move backward (i.e., later in the song) by the same button. To cancel, press the Cancel button. number of measures. 1. Select “Move Measure” to open the dialog box. If you execute the Repeat Measure operation on measures 1–4 with “Time”...
Page 295 Sequencer: Menu Command Erase Control Data Pitch Bend: Pitch bend data will be inserted. After Touch: Aftertouch data will be erased. Tempo: Tempo data will be inserted (if you’ve selected the Pitch Bend: Pitch bend data will be erased. master track). Tempo: Tempo data will be erased.
Page 296 Sequencer mode Control Change: Quantization will be applied to control * By varying the Swing settings you can create effects such changes. If you want to quantize only a speciﬁc control as the following. change, specify the number (“No.”). If you want to quantize all control changes, select All.
Page 297 Sequencer: Menu Command Modify Velocity command lets you specify the Beat.Tick range, and to erase Copy KARMA Module only speciﬁc ranges of note data. 9. To execute the Erase Note command, press the OK but- For more information, please see “Copy KARMA Module” ton.
Page 298 Sequencer mode Note: If a pattern had been inserted at the same location Put Effect Setting to Track (where you inserted the exclusive data), that pattern will be expanded to note data. This command inserts effect settings into a track as exclusive events.
Page 299 Sequencer: Menu Command Step Recording (Loop Type) command to access the Event Edit screen. (In the Set Event Measure: 009 Filters dialog box, check Exclusive.) Beat.Tick: 01.000 Notice that a MIDI parameter change system exclusive 11. Press the OK button. message is inserted at measure 9 of track 3.
Page 300 Sequencer mode 4. In Meter, specify the time signature of the pattern. Unlike the Track Bounce operation, the musical data of the bounce source will not be erased. However, this time signature is only temporary, and when you “put” or “copy” the pattern in a track of a song, the If MIDI control data exists in the selected pattern and in the pattern will play according to the time signature of that bounce destination pattern, the resulting playback following...
Page 301 Example:Pattern 20 has been Put at measures 2, 4, and 6 of track 10. When those measures are reached, pattern 20 is called and its data is played. pattern you convert here will be preserved in the M3’s Track 10...
Page 302 Sequencer mode Load Drum Track Pattern Delete Cue List This command loads a user drum track pattern into a user This command deletes the currently selected cue list. pattern. 1. Select “Delete Cue List” to open the dialog box. If you want to edit a user drum track pattern, you must ﬁrst load it into a pattern of the song, and then edit it.
Page 303 Sequencer: Menu Command Copy Song 4. Press the OK button to execute the conversion, or press beginning of the track as M005, 6, 7, 8, M005, 6, 7, 8, the Cancel button to cancel without executing. M005, 6. If you selected a song that already contains settings and •...
Page 304 Sequencer mode 3. In From Measure, specify the ﬁrst measure in the copy source song. In To End of Measure, specify the last measure. 4. In To Song, specify the song into which the data will be converted. If you select a new song, a dialog box will ask you for conﬁrmation.
Page 305: Mode
System Exclusive events supported in Sequencer mode Copy Song System Exclusive events supported in Sequencer mode You can record and play back System Exclusive events, and edit tracks that contain System Exclusive events. SysEx messages that can be recorded in real-time The following exclusive messages can be recorded in real-time: •...
Page 306 Sequencer mode...
Page 307: Sampling Mode
AIFF or WAVE formats, and SoundFont 2.0 format sample files. (Once data has been 64 MB 11:39 5:49 loaded into the M3, it will all be treated as Korg format 256 MB 46:36 23:18 sample data.) • You can export samples created on the M3 as AIFF or Samples that you sample or resample to RAM memory in WAVE files.
Page 308 You can also crossfade USB storage device. When the M3 is turned on, the the overlapping portion of the samples at this time, so...
Page 309 Sampling Overview Note: Changing velocity on the keyboard or pads In Sampling mode, you cannot use keyboard or pad velocity (with PAD MODE set to VELOCITY SENSITIVE) to control the loudness of the sound. However, you will be able to use velocity to control effects if you select Velocity as a Dmod Source.
Page 310: Sampling Page Select
Sampling mode Sampling Page Select • Press the MODE SAMPLING switch to select Sampling Page Main content mode. Record (sample) a sample. Select the sample or multisample to be recorded, make You can use the following ways to select the pages in P0: Recording detailed settings for recording, make AUDIO Sampling mode.
Page 311: Sampling P0: Recording
Sampling P0: Recording 0–1: Recording Sampling P0: Recording This page is where you make basic settings for recording 0–1a: Multisample Select (MS) (sampling), including: • Creating and editing multisamples and indexes Multisample Select (MS) [000...999] • Specifying the writing-destination for the samples you Selects the multisample.
Page 312 Sampling mode Index [xxx (001...128)/yyy (001...128)] OrigKey (Original Key) [C–1...G9] Selects the index for which you wish to sample. Speciﬁes the key that will play the sample at its original pitch (i.e., the pitch at which it was recorded). The pitch will Each zone in a multisample is called an Index.
Page 313 Sampling P0: Recording 0–1: Recording Stereo multisamples and samples are distinguished internally by their names. If you use Rename MS (Rename Multisample) or Rename Sample menu commands to modify multisample or sample names, please pay attention to the above conditions. As a condition of a stereo sample, the sampling rates must be identical.
Page 314 Sampling mode Sample Mode [L–Mono, R–Mono, Stereo] 0–1d: REC Sample Setup Speciﬁes the channel(s) that you want to sample, and specify whether a mono or stereo sample will be created. For more Save to [RAM, MEDIA] information, please see “Source Bus” on page 305. Speciﬁes the destination to which the data will be written L-Mono: The L channel of the Source Bus will be sampled during sampling.
Page 315: 0-2: Audio In/Setup
Sampling P0: Recording 0–2: Audio In/Setup Example 4) 0–2: Audio In/Setup Applying the internal insert effect IFX1 007: St.Graphic 7EQ to a stereo source connected to AUDIO INPUT 1 and 2, and sampling in stereo 0–2 Input1 Bus Select: IFX1 (0–2a) Menu Input1 Pan: L000 (0–2a) Input1 Level: 127 (0–2a)
Page 316 Sampling mode Sampling START SW: Pressing the SAMPLING REC switch Off: Sampling will begin immediately when you press the will cause the M3 to enter sampling-standby mode, and SAMPLING START/STOP switch from recording-standby sampling will begin when you press the SAMPLING mode.
Page 317: 0-3: Preference
Sampling P0: Recording 0–3: Preference This can be set only if Trigger is set to Sampling START SW. 0–3: Preference For the resampling procedure, please see Resample Auto. Threshold Level [–63dB...0dB] 0–3 When sampling with Trigger set to Threshold, this speciﬁes Menu the level at which sampling will begin.
Page 318: 0-4: Memory Status
Sampling mode effects to a sample and resample it. (In Sampling mode, the 0–4: Memory Status power-on default for this setting is On.) When you are sampling more than one external audio source, or an audio source mixed with your keyboard 0–4 Menu performance, set Recording Level to approximately 0.0 (dB)
Page 319: 0-8: Control Surface
Sampling P0: Recording 0–8: Control Surface • 11: Convert MS To Program (Convert Multisample To Program) ☞p.333 0–8: Control Surface • 12: MS Mono To Stereo ☞p.333 • 12: MS Stereo To Mono ☞p.333 0–8 Menu • 13: Optimize RAM ☞p.334 0–8a •...
Page 320: Mixer
Sampling mode Exclusive Solo 0–8a: Control Assign The menu’s Exclusive Solo parameter also affects the way that Solo works. If you set Exclusive Solo Off (unchecked), Control Assign [Mixer, Mixer Input, RT Control, Multiple Solo mode will be selected, and you’ll be able to External] turn solo on for multiple items of the oscillator and audio This selects the items that will be controlled by the control...
Page 321: Rt Control (Realtime Control)
Sampling P0: Recording RT Control (Realtime Control) Audio Solo: Realtime Control: This will control the timbres of the global MIDI Panel-Switch Solo Mode On and MIX PLAY/MUTE channel. 1–4 switches Realtime Control sliders 1...8 Solo applies to oscillator, and the audio inputs. For more information, please see “OSC Solo:”...
Page 322: External
Sampling mode For more information, please see “Sampling: Menu External Command” on page 329. 0–8 Menu 0–8f External control lets you transmit MIDI messages to external devices. Each slider and switch will transmit an individually assigned MIDI CC# on its MIDI channel. To the pads as well, you can assign a note or MIDI CC# for transmission on a speciﬁed MIDI channel.
Page 323: Sampling P1: Sample Edit
Sampling P1: Sample Edit 1–1: Sample Edit Sampling P1: Sample Edit In this page you can edit sample data (waveform data). You 1–1c: Sample waveform display can make detailed edits while watching the sample waveform display. Here are the main operations you will Sample waveform display perform in this page.
Page 324 Sampling mode • 19: Mix ☞p.338 1–1e: ZOOM • 20: Paste ☞p.338 • 21: Insert Zero ☞p.339 ZOOM • 22: Normalize/Level Adj. ☞p.339 These buttons let you zoom-in and zoom-out the “Sample waveform display” along the horizontal axis (sample • 23: Volume Ramp ☞p.340 addresses) or vertical axis (sample level).
Page 325: Sampling P2: Loop Edit
Sampling P2: Loop Edit 2–1: Loop Edit Sampling P2: Loop Edit In this page you can specify the region of the sample that 2–1c: Sample waveform display will play and the portion that will loop. You can edit the waveform down to the level of individual samples while Sample waveform display watching the sample waveform display.
Page 326 • 12: MS Stereo To Mono ☞p.333 These settings will be preserved if you save the sample • 13: Optimize RAM ☞p.334 as a Korg format sample ﬁle (.KSC, .KMP, .KSF). • 14: Truncate ☞p.342 However, these settings are ignored by Korg-format- compatible devices other than the OASYS, TRITON •...
Page 327: Sampling P3: Multisample Edit
Sampling P3: Multisample Edit 3–1: Multisample Edit Sampling P3: Multisample Edit In this page you can edit multisamples. You can create, Stereo delete, copy, and paste indexes, and assign samples to This area will indicate “Stereo” if a stereo multisample or indexes.
Page 328: 3-2: Preference
Sampling mode If you have not yet executed Cut or Copy, such as 3–2: Preference immediately after power-on, the new index will be created according to the Create Zone Preference settings (0–3a, 3–2a) Position, Zone Range, and 3–2 Original Key Position. Menu 3–2a This deletes the selected index.
Page 329: Sampling P4: Controllers
Sampling P4: Controllers 4–1: Setup Sampling P4: Controllers 4–1b: Realtime Control Slider Assign 4–1: Setup Here you can assign the functions (mainly types of control change) that sliders 5–8 will have when Control Assign 4–1 Menu REALTIME CONTROL is selected. (See “1–6b: Realtime Control Slider Assign”...
Page 330: 4-7: Pads 1-4 Setup, 4-8: Pads 5-8 Setup
Sampling mode • 12: MS Stereo To Mono ☞p.333 4–7: Pads 1–4 Setup, • 13: Optimize RAM ☞p.334 • 14: Select Directory ☞p.334 4–8: Pads 5–8 Setup • 15: Keyboard Display ☞p.334 • 16: Auto Sampling Setup ☞p.334 4–8 Menu For more information, please see “Sampling: Menu 4–8a Command”...
Page 331: Sampling P5: Audio Cd
INPUT jacks in the conventional way. The sound will 5–1b play on the M3 according to the Input Analog (0–2a) set- ting. Adjust the Input 1 (L channel) and Input 2 (R chan- nel) settings for Level, Pan, and BUS (IFX/Indv.) Select (normally set to L/R).
Page 332 Sampling mode playback to set Range Start or Range End to the timing location at that moment. If you press the ENTER switch more than once, the location of the last press will be used. If an edit cell other than Range Start or Range End is highlighted, pressing the ENTER switch once will specify the Range Start, and press it once again will specify the Range End.
Page 333: Sampling P8: Ifx (Insert Effect)
Sampling P8: IFX (Insert Effect) 8–1: Routing Sampling P8: IFX (Insert Effect) Here you can make insert effect settings for use in Sampling 8–1: Routing mode. If you want to apply an insert effect IFX1–5 to the external audio signal while you sample it, choose IFX1–5 as the Bus 8–1 Menu Select (0–2a) parameter for Input1, 2 or S/P DIF L, R, and...
Page 334: 8-2: Insert Fx Setup
Sampling mode 8–1c: OSC MFX Send 8–2: Insert FX Setup Send1 (to MFX1) [000...127] 8–2 Send2 (to MFX1) [000...127] Menu This sets the send levels at which the output of the oscillator 8–2a (multisample) is sent to the master effects. The master effects are sent to the L/R bus.
Page 335: 8-3: Ifx1
Sampling P8: IFX (Insert Effect) 8–3: IFX1 ▼8–2: Menu Command 8–3: IFX1 • 0: Panel–SW Solo Mode On ☞p.329 • 1: Exclusive Solo ☞p.329 8–3 Menu • 2: Copy Insert Effect ☞p.352 8–3a • 3: Swap Insert Effect ☞p.352 For more information, please see “Sampling: Menu Command”...
Page 336: 8-4: Ifx2, 8-5: Ifx3, 8-6: Ifx4, 8-7: Ifx5
Sampling mode 8–4: IFX2, 8–8: Common FX LFO 8–5: IFX3, 8–8 Menu 8–6: IFX4, 8–7: IFX5 8–8a Here you can edit the parameters of the insert effects selected in the P8: IFX– IFX Setup page. The parameters for IFX2–IFX5 are the same as for IFX1. See 8–8b “8–3a: IFX1,”...
Page 337: Sampling P9: Mfx/Tfx
Sampling P9: MFX/TFX 9–1: Routing Sampling P9: MFX/TFX Here you can select the effect types for the master effects 9–1c: TFX and total effect, and turn them on/off. The master effects are output to the L/R bus. The total effect TFX: is inserted in the L/R bus.
Page 338: 9-2: Mfx1
Sampling mode 9–2: MFX1 9–2 Menu 9–2a 9–2a: MFX1 Here you can edit the parameters of the effect you choose for MFX1 in the P9: MFX/TFX– Routing page. Effect dynamic modulation (Dmod) is controlled on the global MIDI Channel (Global 1–1a). For more information, please see “Dynamic modulation (Dmod) and Tempo Synchronization”...
Page 339: Sampling: Menu Command
Sampling: Menu Command Panel–SW Solo Mode On Sampling: Menu Command ENTER + 0–9: shortcuts for menu commands Note: To edit the Start (start address) location at which the sample data (waveform data) will begin playing, the Loop S Each page has a set of menu commands, which provide (loop start address), or End (end address), use P2: Loop Edit.
Page 340 Sampling mode Selected: The currently selected sample will be deleted. Sample Memory The Sample Select (0–1b) for Index (0–1a) will be ---No Assign---. 0000: NewSample_0000 Sample Data “Copy Sample” with Sample Data Unmapped Samples: All samples that are not mapped Sample Data 0001: NewSample_0001 (used) in a multisample or drum kit will be deleted.
Page 341 Sampling: Menu Command Sample Mono To Stereo (Change Sample Type) 1. Use Sample Select (0–1b) to select the copy source sam- Sample Mono To Stereo ple. (Change Sample Type) 2. Select “Move Sample” to open the dialog box. This command converts a mono sample to stereo. This can be executed when a mono sample is selected.
Page 342 Sampling mode Copy MS (Copy Multisample) Move MS (Move Multisample) This command copies the selected multisample to another This command lets you move the currently selected multisample. multisample to the speciﬁed number (i.e., to change the multisample number), or to rearrange the multisample Note: The copy destination multisample number will numbers so that they start from 000 after multisamples have automatically be included in the resulting multisample...
Page 343 Sampling: Menu Command Convert MS To Program (Convert Multisample To Program) indicate “Oscillator Mode conﬂicts.” You will need to change the Oscillator Mode setting of the convert destination program. 5. In To “Program,” select the convert destination pro- gram. When the edit cell is selected, you can use the numeric keys Move 996 to 999 0–9, the VALUE dial, the VALUE slider, and q/u switches to make a selection.
Page 344 Sampling mode 3. Press the SAMPLING START/STOP switch or Play but- Optimize RAM ton. The selected WAVE ﬁle will play. This command optimizes the RAM memory. 4. Press the SAMPLING START/STOP switch once again When you execute the optimize command, any memory to Stop button.
Page 345 “Auto Sampling Setup: Automatically-set parameters and output of the computer connected to the FireWire connector their values” on page 336. can be input to the M3. Note: When you are ready to resample (after executing Auto 2) Use “Mono-L/Mono-R/Stereo” to select the input source, Resample through IFX), perform the following steps.
Page 346 Sampling mode Front & End: The sample data that lies before the Start and after the End will be deleted. Front: The sample data that lies before the Start will be deleted. End: The sample data that lies after the End will be deleted. 5.
Page 347 Sampling: Menu Command Cut This command deletes the data between the Edit Range Start–Edit Range End. Sample data located after the deleted portion will be moved toward the beginning of the sample. 3. The range to be edited is shown by Range “Start” and 1.
Page 348 Sampling mode Insert When you execute this command, the sample data placed in the buffer by executing Copy in the Sampling mode Sample Edit page will be inserted at the Edit Range Start address. The data that follows this address will be moved toward the end of the sample.
Page 349 Sampling: Menu Command Insert Zero The sample number cannot be speciﬁed if “Overwrite” is checked. For more information, please see “About “Overwrite”” on page 329. For stereo samples, use “Save to No.(L)” and “(R)” to specify the save-destination of the L and R channels. 5.
Page 350 Sampling mode 4. If you check Normalize and execute, the data will be normalized. In this case, the Level setting will be ignored. If you wish to specify Level to modify the level of the sample data, do not check Normalize. Each increase of +6 dB will approximately double the height of the waveform shown on the display.
Page 351 Sampling: Menu Command Link sion: 2/3, 1/2, 1/3, 1/4 1/6. The sampling rate following Link conversion will be displayed in Hz. 4. In “Save to No.,” specify the save destination sample This command connects the currently selected sample with number. By default, an unused sample number will be another sample.
Page 352 Sampling mode If you select one side of a stereo sample, it will One vacant sample is used in order to execute Link. Be automatically be detected as a stereo sample, and the other aware that if there are no vacant samples, an error will side of the sample will also be processed by the Link occur.
Page 353 Sampling: Menu Command Time Slice 3. Range “Start” and “End” will show the range of data Original rhythm sample: Sample0 that will be edited. 120BPM 4. Use the radio buttons to select the portion that will be deleted. Front & End: The sample data that lies before the Range Kick Snare Kick...
Page 354 Sampling mode 5. Listen to the samples that were divided by detecting 2. Select “Time Slice” to open the dialog box. their attacks. The sample before slicing is assigned to the C2 note of the keyboard, and the sliced samples are assigned to notes D2 and above.
Page 355 Sampling: Menu Command Time Slice Sensitivity [00...30]: For example in the case of a sample where the decay of the kick is overlapped by the hi-hat, the attack sound of the kick Adjusts the sensitivity at which the attacks are detected. By and the attack sound of the hi-hat should be sliced to create increasing this value, you can detect attacks at even lower two samples.
Page 356 Sampling mode avoid this, you can use Time Stretch to adjust the length of the individual samples. The length of the samples will automatically be optimized according to the Ratio and New BPM settings. Time Stretch Time Stretch The track data that is created will start at the measure speciﬁed by Start Measure, and will repeat for the number of times speciﬁed by “Time.”...
Page 357 (drums) or a melodic sample (e.g., vocal, strings, winds) to match the tempo of another sample or of the sequencer. The M3 provides two ways in which Time Stretch can be executed. This command also supports stereo samples.
Page 358 Sampling mode Source BPM will indicate the playback BPM value at the You can also select the index by holding down the ENTER original key. This BPM value is automatically calculated switch and pressing a note on the keyboard. The index that according to the length from the start address to the end includes that note will be selected.
Page 359 Sampling: Menu Command Time Stretch page 42) parameters “MS1”–“M4” (if “Type” = start address to the end address (if loop is off) or from the Multisample) and create a program. loop start address to the end address (if loop is on). If you already know the BPM value and the calculated value is Be aware that if you exit Time Stretch without using the incorrect, change Source BPM to the correct value.
Page 360 Sampling mode If you set this to xxx/yyy, an individually sliced sample will In To Sample No., specify the save destination sample be selected. xxx is the selected index, and yyy indicates the number. By default, an unused sample number will be total number of sliced samples.
Page 361 Set the MIC/LINE switch to the LINE position, and use the LEVEL knob to adjust the input level. Alternatively, you can monitor the sound by connecting the CD-R/RW drive’s S/P DIF OUT jack to the M3’s S/P DIF IN jack.
Page 362 Sampling mode If your drive does not have audio output jacks, a headphone jack, or an S/P DIF OUT jack, you won’t be able to monitor the audio. 3. In the Sampling P0: Recording– Audio In/Setup page, make settings so that you’ll be able to monitor the audio that you’re ripping.
Page 363 Sampling: Menu Command Swap MFX/TFX Swap MFX/TFX For more information, please see “Swap MFX/TFX” on page 118. Write FX Preset For more information, please see “Write FX Preset” on page 118.
Page 364 Sampling mode...
Page 365: Global Mode
(for User Global Setting) MIDI settings for this instrument. (☞p.363) P1: MIDI External Mode settings. (☞p.369) Basic settings for the entire M3, and controller settings such as the pedals P2: Controllers connected to the rear panel. (☞p.371) CC# assignments for KARMA, X–Y, and Pad (☞p.371)
Page 366: Global P0: Basic Setup
1–9 (lower right diagram). setting of 0, the frequency of A4 will be 440 Hz. If you’re using the M3 as a MIDI sound module and want to The A4 pitch given here is when Equal Temperament is adjust the overall brightness of the sound, set Convert selected as the scale.
Page 367 • 0: Write Global Setting ☞p.382 data. • 1: Load Preload/Demo Data ☞p.382 When you use the M3’s keyboard to play the internal • 2: Set Prog User-Bank Type ☞p.382 sounds, the Convert Position setting has no effect. • 3: Change all bank references ☞p.383 Note: You can use After Touch Calibration (see page 383) to •...
Page 368: 0-2: System Preference
The bank select messages shown in the table below will be received (R) and transmitted (T) for Program banks INT–A – F, G, g(1)…g(9), g(d), USER-A–G and Combination banks INT-A–G, and USER-A–G. Bank Bank Map: KORG Map: GM(2) INT–A 00. 00 R/T 63. 00 R/T INT–B...
Page 369 The remaining amount of sample memory (RAM) can be checked in Sampling mode. For more information, please S/P DIF: The M3 will use the S/P DIF IN as the master clock. see “0–4a: Free Sample Memory” on page 308. 48 kHz word clocks is supported, according to the S/P DIF Sample Rate setting.
Page 370: 0-3: Audio
[Analog, S/P DIF, (FireWire)] Here you can adjust the settings for inputting external audio sources into the M3. Note: Separate settings can be made for the Analog, S/P DIF and (FireWire) inputs. First use this Input setting to select a source, and then set the various parameters for Input1 and Input2.
Page 371 If Bus Select is set to other than Off, and you raise the Level setting, the external audio source will be input to Input1, Input2: the M3. At this time if audio cables are connected to the AUDIO INPUT 1 and 2 jacks, the noise component will PLAY/MUTE...
Page 372 As an alternative, you can connect the main L/R outputs to your personal monitor mixer. 4. When you’re ready for others to hear the results, set L/R Bus Indiv. Assign to 1/2. Now, the M3 stereo mix will go to the main board.
Page 373: Global P1: Midi
This setting speciﬁes whether even-numbered, odd- numbered, or all note numbers will be sounded when note data is received from the M3’s keyboard or from an external Here you can make MIDI-related settings that affect the MIDI device. By connecting the M3 to another M3 and entire M3.
Page 374 Internal setting. If external MIDI Clock messages are from MIDI OUT when the M3’s keyboard or pad is played, received from the MIDI IN or USB B connector, the M3 will and the data that is recorded on the internal sequencer.
Page 375 Sequencer mode as an external multi-timbral sound • 7: Dump Formant Motion ☞p.384 module. When you switch songs on the M3, no track whose • 8: Setup KARMA Ext. MIDI (Setup KARMA External Status is set to EXT or BTH (i.e., any setting other than INT) MIDI Routing) ☞p.386...
Page 376: 1-2: Midi Routing
Off (unchecked): MIDI messages will not be sent to the internal sequencer or an external sequencer. KARMA Module. X–Y CC Control: The M3 will transmit the MIDI control change messages speciﬁed by the X–Y CC Control “+X,” “–X,” “+Y,” and “–Y” settings in each program, combination, or song.
Page 377 • If you want MIDI input from an external MIDI device to trigger the KARMA Module • If you want only the M3 keyboard events that trigger the KARMA Module to be sent from MIDI OUT for For more information, please see “Synchronizing the...
Page 378 Status (Combi 3–1(2)c) is set to EXT or EX2. Check this if you want to edit the M3 from a connected In Sequencer mode, incoming program change messages on computer, or if you want to allow bi-directional editing.
Page 379: 1-3: External Mode 1
382. When you select an External Setup, it stays selected even when you change Programs, or switch to Combination or Sequencer modes. This makes it easy to select different M3 sounds without disrupting any external MIDI control, and vice-versa.
Page 380: 1-4: External Mode 2
Global mode • 9: Reset External Setup ☞p.386 1–4: External Mode 2 • 10: Rename External Setup ☞p.386 For more information, please see “Global: Menu Command” 1–4 on page 382. Menu 1–4a 1–4b This page lets you set up the drum pad assignments for the Control Surface’s EXTERNAL mode.
Page 381: Global P2: Controllers
DAMPER jack. If the polarity does not match, This assigns a control change message to the KARMA operating the damper pedal will not produce the correct LATCH switch. result. If no damper pedal is connected, set this to (–) KORG Standard. Scene [Off, 000...119] (–) KORG Standard: Use this setting for “open-type”...
Page 382 Global mode Slider 1 [Off, 000...119] Slider 2 [Off, 000...119] Slider 3 [Off, 000...119] Slider 4 [Off, 000...119] Slider 5 [Off, 000...119] Slider 6 [Off, 000...119] Slider 7 [Off, 000...119] Slider 8 [Off, 000...119] These assign control change messages to each of the KARMA sliders 1–8.
Page 383: Global P3: Scales
Global P3: Scales 3–1: Scales Global P3: Scales Use the horizontal scroll bar to move to the key range that 3–1: Scales you want to set, and select the key that you want to specify. The note can also be selected by holding down the ENTER switch and playing a note on the keyboard.
Page 384: Global P4: Category
Global mode Global P4: Category Programs, Combinations, and KARMA GEs are organized ▼4–1: Menu Command into categories and sub-categories. Categories make it easy to ﬁnd a particular type of sound, such as keyboards, bass, • 0: Write Global Setting ☞p.382 or drums, or a speciﬁc type of KARMA GE, such as For more information, please see “Global: Menu Command”...
Page 385: Global P5: Drum Kit
When you choose the menu command Write No. (Bank) Contents Drum Kit or press the SEQUENCER REC/WRITE 000(INT)...031(INT) M3 preloaded drum kits switch to access the dialog box and save, all of the drum 032(U-A)...047(U-A) kits will be saved. 048(U-B)...63(U-B) 064(U-C)...79(U-C)
Page 386 Sampling mode or loaded in Media With Rom and EX * drum samples, the Start Offset speciﬁes mode. In Media mode, you can load not only KORG format whether to use the normal start point (Off), or to use one of sample ﬁles, but also AKAI S1000/S3000 format, AIFF...
Page 387 Global P5: Drum Kit 5–1: Sample Setup Ram samples Crossfade Curves With Ram drum samples, only Off and 1st are available. Off Linear uses the normal start point, and 1st uses the loop start instead. 2nd through 8th will be grayed out. Lvl (Amp Level) [–99...+99] Speciﬁes the volume.
Page 388: 5-2: Sample Parameters
Global mode DS2(M Hi): (Drumsample2 Mid High) 5–2: Sample Parameters DS3(M Lo): (Drumsample3 Mid Low) DS4(Low): (Drumsample4 Low) 5–2 Menu 5–1a Here you can edit the sample parameters for the second, third, and fourth drum samples. For more information, please see “DS1 (High): (Drumsample 1 High),” above. ▼5–2: Menu Command 5–2a •...
Page 389: 5-3: Driver/Eq
Global P5: Drum Kit 5–3: Driver/EQ ▼5–3: Menu Command 5–3: Driver/EQ • 0: Write Drum Kits ☞p.387 5–3 • 1: Rename Drum Kit ☞p.387 Menu 5–1a • 2: Copy Drum Kit ☞p.388 • 3: Copy Key Setup ☞p.388 • 4: Swap Key Setup ☞p.388 For more information, please see “Global: Menu Command”...
Page 390: 5-4: Voice/Mixer
Global mode 5–4b: Mixer 5–4: Voice/Mixer Drum kits will sound using the settings of the program that is selected in Program mode. Pan is valid if Use 5–4 Menu DKit Setting (Prog 4–1c) is checked. Bus (IFX/Output) 5–1a Select, FX Control Bus, and Send 1/2 are valid if Use DKit Setting (Prog 8–1c) is checked.
Page 391: 5-8: Velocity Split
Global P5: Drum Kit 5–8: Velocity Split Send1 (to MFX1) [000...127] 5–8: Velocity Split Send2 (to MFX2) [000...127] For each key, specify the send levels to master effects 1 and 5–5 Menu 5–1a These settings are valid when Bus (IFX/Output) Select is set to L/R or Off.
Page 392: Global: Menu Command
OK button and the EXIT switch will operate Data is selected, you’ll be able to select All or Single in as the Cancel button. step 3. Refer to “EXB-RADIAS for M3 owner’s manual.” 3. If you selected Program, Combination, Drum Kit, or Write Global Setting Arpeggio Pattern as the Kind, specify the range of data that you want to load.
Page 393 If the calibration could not be performed correctly, an error message will appear. Please perform the procedure again. After Touch Calibration You can adjust the aftertouch sensitivity of M3 (KYBD-61/ 73/88) keyboard. When this instrument is shipped from the factory, the 2.
Page 394 USB connector. (See page 614) button to begin updating the system software. If you want to transmit the data to another M3 or to a MIDI Note: If an error message of “File/Path not found” appears, data ﬁler, connect the M3’s MIDI OUT connector to the...
Page 395 MIDI device, you must set the global MIDI *: RADIAS Formant Motion can be selected and executed channel of the M3 to the same global MIDI channel that was only if the EXB-RADIAS option is installed. used when the data was transmitted.
Page 396 MIDI input from an external MIDI device or MIDI sequencer. Rename External Setup You can also select this if you want only the M3’s keyboard This lets you rename the external controller setup. performance that triggers the KARMA Module to be sent as For more information, please see “Editing names”...
Page 397 Global: Menu Command Reset Controller MIDI Assign Reset Controller MIDI Assign Copy Scale This automatically assigns the MIDI control change This command copies data from a preset scale or between messages for each controller of the P2: Controllers– MIDI user scales. For details on the preset scales, please see Type CC# Assign page.
Page 398 Global mode Copy Drum Kit This command copies the settings of another drum kit to the currently-edited drum kit. Note: Drum kits 144 (GM)–152 (GM) cannot be edited, but you may copy them to another drum kit and then edit them. 1.
Page 399: Media Mode
ﬁlename extensions are modiﬁed on a computer, the ﬁle will be treated as an undeﬁned ﬁle when it is reloaded back into the M3, and will be handled as a Standard MIDI File. Files handled by the M3 have the shown in the structure (see next page).
Page 400 .PCG file 1 program DOS directory bank I-A...F, U-A...G (Red) All combinations 1 combination 1 combination DOS directory (created by Save SEQ on the M3) bank I-A...F, U-A...G (Purple) All drum kits 1 drum kit 1 drum kit DOS directory User bank INT, U-A...G...
Page 401: Media: File
HDD: Hard disk drive plays selected ﬁle.” RDD: Removable disk drive (e.g., magneto-optical) While a WAVE ﬁle is playing back, the M3 will not sound in response to its keyboard or to note data Volume label: received at MIDI IN. The KARMA will also stop.
Page 402: 0-2: Save
• 2: Lock/Unlock selected ☞p.398 To set the current date and time for the M3 system, use the • 3: Sort ☞p.398 Utility menu command Set Date/Time. For more •...
Page 403: 0-3: Utility
In order for an audio CD to be playable on a conventional • 8: Set Date/Time ☞p.413 CD player, or to be played on the M3 (Media 0–5: Play • 9: Format ☞p.413 Audio CD page, Sampling P5: Audio CD page), the Finalize operation must be executed after all the desired audio CD •...
Page 404 Media mode Free [00:00..., --:--] Use Media Select to select the media containing the ﬁle you want to add, use the Open button and Up button to navigate Displays the time that remains on the media inserted in the to the appropriate directory, and select the Wave ﬁle. USB CD-R/RW drive selected by Media Select.
Page 405: 0-5: Play Audio Cd
[Off, 1, 2, 3, 4, 1/2, 3/4] If you want to monitor the audio, connect the CD-R/RW Send1 [000...127] drive’s audio output jacks (or headphone jack) to the M3’s AUDIO INPUT 1,2 jacks. Alternatively, you can monitor the Send2 [000...127] audio by connecting the CD-R/RW drive’s S/P DIF OUT...
Page 406: 0-6: Edit Wave
You can also edit a large WAVE ﬁle down to a size Only 44.1 kHz or 48 kHz WAVE ﬁles can be played back that can ﬁt in the M3’s sample memory (RAM) and then use using the SAMPLING START/STOP switch.
Page 407: 0-8: Media Information
Media: File 0–8: Media Information If you change Loop On/Off from Off to On, the “sample 0–8: Media Information start” and “sample end” addresses will be set as the initial values of LoopS and End. 0–8 LoopS [000000000...] Menu [000000001...] These parameters specify the loop start address and end address that will be used when playing the WAVE ﬁle.
Page 408: Media: Menu Command
(Where is a …) will appear. of the Multisamples and Samples on the media, instead of the abbreviated DOS names. Note that on media, Multisamples are stored as .KMP (Korg Multisample Parameter) ﬁles, and Samples are stored as .KSF (Korg Sample Format) ﬁles.
Page 409 382) You can load .PCG ﬁles of a bank type that differs you wish to keep, and you wish to load additional from the M3’s current bank type setting. This will also multisamples or samples from media, select Append.
Page 410 EDS or RADIAS (see “Set Prog User-Bank Type” on page 382) You can load .PCG ﬁles of a bank type that differs from the M3’s current bank type setting. This will also 1. If you wish to load a combination other than the one overwrite the bank type.
Page 411 RADIAS is installed. For details, please see the optional All drum kits in the .PCG ﬁle will be loaded. “EXB-RADIAS for M3 Manual” (PDF). 1. To load the data, press the OK button. To cancel with- out loading, press the Cancel button.
Page 412 The program bank and program numbers loaded into the song will follow the Bank Map (Global 0–2a) setting. If Bank Map is KORG, bank A will be selected for bank select 00.00 (MSB. LSB). If Bank Map is GM(2), bank G will be selected.
Page 413 Files with a ﬁlename extension of KSF (Korg Sample File) If you are transmitting the data to another M3, the required contain the parameters and waveform data which make up time interval will depend on the type of data. After a single sample.
Page 414 Media mode Append: The data will be loaded into the numbers after the last multisample or sample number currently existing in sample RAM (i.e., that were previously sampled or loaded). In this case, only the valid multisamples and samples will be packed and loaded.
Page 415 Ofs (Start Offset) (see page 38) on use the Utility Rename menu command to change the the M3 so that the sound will begin from the loop point. last four characters of the ﬁlename to “.AIF” or “.WAV”...
Page 416 – not just a single sound. When you load a single If the loading-destination bank and number exceed U– SoundFont 2.0 ﬁle into the M3, all sound data included in G127, loading will automatically stop. that ﬁle will be loaded together.
Page 417 SoundFont 2.0 ﬁles may use sample data of a sampling 1. Drum Kit: Drum kits for which at least one KEY is set frequency not supported by the M3. In this case, the to RAM in “Drumsample DS1, 2, 3, 4 Bank” (Global 5–...
Page 418 Insert the next volume of media and press the display to When you execute, only the applicable programs will be make the M3 detect the media, or use Media Select (Media loaded into consecutive numbers starting at the bank and 0–1a) to specify the save-destination media.
Page 419 Media: Menu Command Save All If you press the Skip button, the indicated ﬁle will be When you save, ﬁles will be created in the current directory. skipped, and the next ﬁle will be saved. If the data you save extends across two or more media, these ﬁles will be divided.
Page 420 (uppercase) of the 24-character sample name multisample and sample data will be saved to media as + the sample number. Korg format .KMP ﬁles, .KSF ﬁles, and a .KSC ﬁle that collects these ﬁles. Examples) 0000: NewSample_0000 → NEWS0000.KSF This is valid only when the current directory is a DOS direc- tory.
Page 421 Standard MIDI Files. However if you intend to • Reverse (Sampling 2–1d, Rev (Reverse)) playback the data on the M3, we recommend that you use • +12 dB (Sampling 2–1d, +12dB) “Save SEQ” to save the data, since this will allow a higher Samples that are handled by the M3 as stereo will be degree of reproducibility.
Page 422 Media mode 3. Press the text edit button to move to the text dialog box, 2. Use the text edit button to move to the text input dialog and specify the ﬁlename (See OG page 197). box, and specify the ﬁlename. (See OG page 197) 4.
Page 423 Note: If you decide not to copy, press the Abort button. If the drive that you selected in Media Select is This command sets the date and time of the M3’s internal removable media (CD-R/RW, MO disc, removable hard calendar.
Page 424 ISO9660 format. Microdrive) will have no effect. If a ﬁle that was saved by the M3 to CD-R is to be loaded by 1. Make sure that the media you want to check has been another device, you must execute this command to convert inserted.
Page 425 Media: Menu Command Swap Track operation may take longer than estimated if there are Test: Tests whether the data can be written correctly. Data numerous defective sectors on the media. will not actually be written to the CD-R/RW media, but all other processing will occur just as if data were actually 0–4: Make Audio CD Menu Command being written.
Page 426 Media mode created in the same directory as the original ﬁle. Normally Finalize Audio CD you will leave Overwrite.WAV unchecked when you execute this command. This command ﬁnalizes CD-R/RW media to which audio 3. If you are creating a new Wave ﬁle, use “Name” to spec- CD tracks have already been written.
Page 427 Media: Menu Command Mix The From ﬁeld in the dialog box lets you select the data that increase the dynamic range of the sample data. Level will will be inserted. By setting this to RAM, you can insert data raise or lower the level by the amount you specify. that you copied from the speciﬁed region in the Sampling For details on the Overwrite.WAV and Name items shown P1: Sample Edit page.
Page 428 Media mode 6. To execute Erase Punch Noise, press the OK button. If You cannot make settings that would cause Source you decide to cancel, press the Cancel button. BPM or New BPM to exceed a range of 40–480. You cannot make settings that would cause Ratio to exceed a range of 50.00–200.00.
Page 429 Media: Menu Command Transfer WAVE To Track By repeating steps 8 and 10 you can create more samples as Then the appropriate note data will be automatically created desired. in the track. 12. Press the Exit button to exit the Time Stretch operation. You can’t execute this command if the remaining total of RAM1 and 2 is less than the size of the WAVE ﬁle.
Page 430 Media mode...
Page 431: Effect Guide
Effect Guide Overview The M3 provides ﬁve insert effects, two master effects, and a P00: Initial Set: These are the default settings that are total effect, together with a mixer section that controls the recalled when you select an effect type in the Insert FX Setup routing of these effects.
Page 432: Dynamic Modulation (Dmod) And Tempo
These effects parameters are marked with the logo them, or use the M3 as a 4-in (AUDIO INPUT 1, 2, S/P DIF Synchronizing LFOs IN L, R) 6-out effect processor. You can also use an external...
Page 433: Common Fx Lfos
To set the delays to a speciﬁc tempo, separate from the system clock, set BPM to the desired tempo (between 40.00 M3 includes two true- stereo FX Control Buses, which can be and 300.00 BPM). used with the following effects:...
Page 434: Effect I/O
Effect Guide Limiter (Combination) Effect I/O IFX1 Bus Select Bus Select Timbre1 : L/R : IFX1 002: Stereo Limiter To achieve the best tonal quality, signals sent to the effects : Pad Envelope Source Program Program : FX Control 1 should be at the maximum level below clipping.
Page 435 Overview Effect I/O Audio Input AUDIO INPUT LEVEL on the rear panel Input Level (P0) Send1/2 (P0) Some effects may not have these parameters. These settings are made separately for programs, combinations, and songs (Sequencer). If “Use Global Setting” is checked, these settings are made in Global mode P0.
Page 436: Insert Effects (Ifx1
In/Out processed. The M3 can also turn IFX1–IFX5 off separately from the Insert Effects (IFX 1–5) have a stereo input and a stereo setting of the On/Off button by receiving MIDI control output.
Page 437: Routing
Insert Effects (IFX1…IFX5) Routing Routing You can use up to ﬁve channels (IFX 1…5) for the Insert Effects in any mode. Program mode Use Bus Select (Prog 8–1b) to set the destination bus of the oscillator output. L/R: Send the output to the L/R bus. Instead, it is sent to AUDIO OUTPUT (MAIN) L/MONO and R after the TFX.
Page 438 Effect Guide Example: Inserting a separate IFX into each timbre, and inserting Drum Programs in Combination and Sequencer another IFX later modes If you’ve selected a drum program (Oscillator Mode= Drums) for a timbre (in Combination mode) or track (in Sequencer mode), the DKit setting will be available as a choice for Bus Select (see the following diagram).
Page 439 Sampling mode. You can sample while applying the M3’s effects to the external audio sources from these jacks, or use the M3 as a 4- in (AUDIO INPUT 1, 2, S/P DIF IN L, R) 6-out effect processor.
Page 440: Mixer
IFX (last Insert Effect in the chain) signal become effective. channel buses. The M3 provides two (mono two-channel) effect control buses, giving you a wide range of ways to control effects. FX Control buses can be used with vocoder, limiter, and gate-type effects.
Page 441: Controlling The Insert Effects Via Midi
Using the Dynamic Modulation (Dmod) function enables you to control all effect parameters in real-time during performance from the controllers of the M3 or a connected MIDI sequencer. You can also control the Pan: CC#8, Send1, and Send2 parameters in the same way.
Page 442: Master Effects (Mfx1, 2)
Effect Guide Master Effects (MFX1, 2) Separately from the setting of this On/Off button, In/Out MFX1 and MFX2 can be switched off by receiving a MIDI control change CC#94. Value 0 will turn them off, and value 1–127 will turn them on. You can also use Effect Global SW (Global 0–1b) to turn MFX1 and 2 on and off.
Page 443: Routing
Master Effects (MFX1, 2) Routing Combination and Sequencer modes Routing Use Send1 (to MFX1) and Send2 (to MFX2) (P8: “Routing” page) for timbres (Combination) and tracks (Sequencer) to If you are not using any Insert Effects in any mode, the set the Send1 and 2 levels for each timbre and track.
Page 444 Effect Guide IFX Send1 and Send2. If this is set to 1–4 or 1/2, 3/4, the signal will not be sent to the master effects. In Media mode, effects will use the settings of the mode in which you previously were. For details on the optional EXB-FW, please see “FireWire”...
Page 445: Mixer
(series connection) master effects can also be controlled in realtime via Dynamic between the two master effects. Modulation (Dmod) from the M3’s controllers or an external MIDI device during performance or from the sequencer. Program and Sampling modes Effect parameters are controlled on the global MIDI channel (Global 1–1a).
Page 446: Total Effect (Tfx)
Effects” on page 426. Effect can be controlled in realtime via Dynamic Modulation (Dmod). You can use either the built-in M3’s controllers or If you select 000:No Effect, the stereo input will be passed to the stereo output without any processing.
Page 447: Outputs
Outputs Main Outputs Outputs Main Outputs The main L/MONO and R outputs of the M3 are output from the AUDIO OUTPUT (MAIN) L/MONO and R jacks, the S/P DIF OUT (MAIN) jack, and the headphone jack. Individual Outputs The M3 is equipped with four individual audio outputs, which can be used as individual mono outputs, stereo pairs, or any combination of the two.
Page 448: Effect/Mixer Block Diagrams
Effect Guide Effect/Mixer Block Diagrams Program mode...
Page 449 Effect/Mixer Block Diagrams Combination mode, Sequencer mode...
Page 450 Effect Guide Sampling mode...
Page 451: Dynamics (Dynamic)
Dynamics (Dynamic) Dynamics (Dynamic) Compressor - Sensitivity 000: No Effect Level Sensitivity=100 Select this option when you do not use any effects. The Insert Effect/Total Effect section outputs unprocessed Sensitivity=40 signals and the Master Effect section mutes the output. Time 001: Stereo Compressor c: Attack This parameter controls the attack level.
Page 452 Effect Guide Side PEQ Sets the EQ center frequency Limiter - Attack / Release 20...12.00k Cutoff [Hz] for the trigger signal p.442 Threshold Sets the EQ bandwidth for the 0.5...10.0 trigger signal p.442 Sets the EQ gain for the trigger Gain [dB] –18.0...+18.0 signal...
Page 453: 003: Multiband Limiter
Dynamics (Dynamic) 003: Multiband Limiter 004: St.MasteringLimtr (Stereo Mastering Limiter) This effect applies the Limiter to the low range, mid range, and high range of the input signal. You can control This is a stereo limiter that is optimized for mastering songs. dynamics for each range to adjust the sound pressure of the low range, mid range, and high range in a different way from the EQ.
Page 454: 005: Stereo Gate
Effect Guide Gate - Threshold 005: Stereo Gate Output Level This effect mutes the input signal when it falls below a Threshold speciﬁed level. You can also invert the on/off status of the gate, or use note-on/off messages to turn the gate on/off directly.
Page 455: Eq And Filters (Eq/Filter)
EQ and Filters (EQ/Filter) EQ and Filters (EQ/Filter) Parametric 4EQ - Band2 Gain Mod 006: St.Parametric4EQ -mod +15dB (Stereo Parametric 4-Band EQ) Band2 Cutoff +6dB +6dB This is a stereo 4-band parametric equalizer. You can select Band2 Cutoff peaking type or shelving type for Band 1 and 4. The gain of –9dB -mod Band 2 can be controlled by dynamic modulation.
Page 456: 008: St.exciter/Enhncr
Effect Guide You can conﬁgure a 21-Band Graphic EQ ranging from 80 c: Enhancer Delay L [msec] Hz to 18 kHz if you route three Graphic 7-Band EQ effects in d: Enhancer Delay R [msec] series, with a setting of 7:Low, 9:Mid, and 11:High for each These parameters set the delay time for the Enhancer left and right channel.
Page 457: 009: Stereo Isolator
EQ and Filters (EQ/Filter) 009: Stereo Isolator 010: St. Wah/Auto Wah (Stereo Wah/Auto Wah) This is a stereo effect that separates the input signal into low, mid, and high-frequency bands, and controls the volume of This stereo wah effect allows you to create sounds from each band independently.
Page 458: 011: St. Vintage Wah
Effect Guide a: Frequency Bottom f: LFO Type a: Frequency Top f: CmnLFO Offset [deg] The sweep width and direction of the wah ﬁlter are If Type is set to Common 1 or Common 2, modulation will determined by the Frequency Top and Frequency Bottom be applied using the Common FX LFO rather than the LFO settings.
Page 459: 012: St. Random Filter
EQ and Filters (EQ/Filter) Individual, Selects either (individual) LFO, When this is on, the LFO speed LFO Type Common1, Common FX LFO1, or Common is set by BPM, Base Note, and MIDI Sync Off, On Common2 LFO2 p.448 Times, instead of Frequency p.448 Sets the phase offset when CmnLFO...
Page 460: 013: Multi Mode Filter
Effect Guide When this is on, the LFO speed Random Filter LFO is set by BPM, Base Note, and LFO Frequency MIDI Sync Off, On Times, instead of Frequency p.448 MIDI syncs to the system MIDI, tempo; 40–300 sets the tempo 40.00...
Page 461: 015: Talking Modulator
EQ and Filters (EQ/Filter) Dry, 1 : 99... Sets the balance between the When this is on, the LFO speed Wet/Dry 99 : 1, Wet effect and the dry input is set by BPM, Base Note, and MIDI Sync Off, On Times, instead of Frequency Selects a modulation source for Off...Tempo...
Page 462: 016: Stereo Decimator
Effect Guide If you set the Sampling Freq to about 3 kHz and set Pre LPF 016: Stereo Decimator to Off, you can create a sound like a ring modulator. g: Resolution This effect creates a rough sound like a cheap sampler by h: Output Level lowering the sampling frequency and data bit length.
Page 463: (Od Amp Mic)
Overdrive, Amp models, and Mic models (OD Amp Mic) Overdrive, Amp models, and Mic models (OD Amp Mic) When Sw = Moment, the wah effect is usually turned off. It 018: OD/Hi.Gain Wah is turned on only when you press the pedal or operate the joystick.
Page 464: 019: St. Guitar Cabinet
Effect Guide 019: St. Guitar Cabinet 020: St. Bass Cabinet (Stereo Guitar Cabinet) (Stereo Bass Cabinet) This simulates the acoustical character of a guitar amp’s This simulates the acoustical character of a bass amp’s speaker cabinet. speaker cabinet. Stereo In - Stereo Out Stereo In - Stereo Out Left Left...
Page 465: 021: Bass Amp Model
Overdrive, Amp models, and Mic models (OD Amp Mic) Volume 0...100 Sets the output level 021: Bass Amp Model Selects the modulation source Off...Tempo for the output level Sets the modulation amount of This simulates a bass amp. –100...+100 the output level Bass 0...100 Sets the bass (low range) level...
Page 466: 023: Tube Preamp Model
Effect Guide c: Tube1 Bias 023: Tube PreAmp Model This expresses the effect that changes in vacuum tube bias have on the distortion of the waveform. Higher settings of (Tube PreAmp Modeling) this value will produce distortion even at low gain levels. Since this will also change the overtone structure, you can This effect simulates a two-stage vacuum tube preamp.
Page 467: 024: St. Tube Preamp
Overdrive, Amp models, and Mic models (OD Amp Mic) 024: St. Tube PreAmp (Stereo Tube PreAmp Modeling) This is a stereo vacuum tube preamp simulator (see p.456, 023: Tube PreAmp Model (Tube PreAmp Modeling)). Stereo In - Stereo Out Left Left Wet / Dry Wet / Dry...
Page 468: (Cho/Fln Phaser)
Effect Guide Chorus, Flanger, and Phaser (Cho/Fln Phaser) e: L Pre Delay [msec] 026: Stereo Chorus e: R Pre Delay [msec] Setting the left and right delay time individually allows you This effect adds thickness and warmth to the sound by to control the stereo image.
Page 469: 028: St. Biphase Mod
Chorus, Flanger, and Phaser (Cho/Fln Phaser) Dry, 1 : 99... Sets the balance between the L Pre Delay Sets the delay time for the left Wet/Dry 0.0...50.0 99 : 1, Wet effect and the dry input [msec] channel p.458 Selects a modulation source for R Pre Delay Sets the delay time for the right Off...Tempo...
Page 470: 029: Multitap Cho/Delay
Effect Guide 029: Multitap Cho/Delay 030: Ensemble (Multitap Chorus/Delay) This Ensemble effect has three chorus blocks that use LFO to create subtle shimmering, and gives three dimensional This effect has four chorus blocks with a different LFO depth and spread to the sound, because the signal is output phase.
Page 471: 031: Polysix Ensemble
Common FX LFO1, or Common Common2 LFO2 p.448 Sets the phase offset when CmnLFO This models the ensemble effect built into the classic Korg –180...+180 Type = Common 1 or Common Offset [deg] p.448 PolySix programmable polyphonic synthesizer. Sets the depth of LFO g Depth 0...100...
Page 472: 033: St. Random Flanger
Effect Guide 033: St. Random Flanger 034: St. Env. Flanger (Stereo Random Flanger) (Stereo Envelope Flanger) The stereo effect uses a step-shape waveform and random This Flanger uses an envelope generator for modulation. LFO for modulation, creating a unique ﬂanging effect. You will obtain the same pattern of ﬂanging each time you play.
Page 473: 035: Stereo Phaser
Chorus, Flanger, and Phaser (Cho/Fln Phaser) positive value for both Resonance and Wet/Dry, and if you 035: Stereo Phaser set a negative value for both Resonance and Wet/Dry. h: High Damp [%] This effect creates a swell by shifting the phase. It is very This parameter sets the amount of damping of the resonance effective on electric piano sounds.
Page 474: 037: St. Env. Phaser
Effect Guide Sets the resonance amount Resonance –100...+100 037: St. Env. Phaser p.463 Sets the resonance damping High Damp 0...100 amount in the high range (Stereo Envelope Phaser) p.463 –Wet... Sets the balance between the This stereo phaser uses an envelope generator for Wet/Dry –1 : 99, Dry, effect and the dry input...
Page 475: Modulation And Pitch Shift (Mod
Modulation and Pitch Shift (Mod./P.Shift) Modulation and Pitch Shift (Mod./P.Shift) a: AUTOFADE Src 038: Stereo Vibrato b: Fade-In Delay [msec] b: Fade-In Rate This effect causes the pitch of the input signal to shimmer. d: LFO Frequency Mod Using the AutoFade allows you to increase or decrease the When LFO Frequency Mod is set to AUTOFADE, you can shimmering speed.
Page 476: 039: St. Auto Fade Mod
Effect Guide 039: St. Auto Fade Mod. 040: 2Voice Resonator (Stereo Auto Fade Modulation) This effect resonates the input signal at a speciﬁed pitch. You can set the pitch, output level, and pan settings for two This stereo chorus/ﬂanger effect enables you to control the resonators individually.
Page 477: 041: Doppler
Modulation and Pitch Shift (Mod./P.Shift) Dry, 1 :99... Sets the balance between the Wet/Dry 99 : 1, Wet effect and the dry input Frequency 0.02...20.00 Sets the speed of the LFO p.449 [Hz] Selects a modulation source for Off...Tempo Wet/Dry Selects a modulation source for Off...Tempo LFO speed...
Page 478: 042: Scratch
Effect Guide Doppler - Pitch / Pan Depth Scratch Source Pitch Start Playback Position Pan Depth Pan Depth = (+) value = (–) value Recorded Sound Original Pitch Pitch Depth Center Scratch Source Left Right Scratch! JS X -mod Pan Depth + Max Ribbon –...
Page 479: 044: Stereo Tremolo
Modulation and Pitch Shift (Mod./P.Shift) When this is on, the LFO speed is set by BPM, Base Note, and Frequency 0.02...20.00 Sets the speed of the LFO p.449 MIDI Sync Off, On Times, instead of Frequency [Hz] p.448 Selects a modulation source for Off...Tempo MIDI syncs to the system LFO speed...
Page 480: 045: St. Env. Tremolo
Effect Guide 045: St. Env. Tremolo 046: Stereo Auto Pan (Stereo Envelope Tremolo) This is a stereo-in, stereo-out auto-panner. The Phase and Shape parameters lets you create various panning effects, This effect uses the input signal level to modulate a stereo such as making the left and right inputs seem to chase each tremolo (LFO volume modulation).
Page 481: 047: St. Phaser + Trml
Modulation and Pitch Shift (Mod./P.Shift) Phaser Sets the phaser modulation Stereo Auto Pan - LFO Phase 0...100 Depth depth LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees Selects the modulation source L-In L-In L-In Off...Tempo for the phaser modulation...
Page 482: 049: Detune
Effect Guide Fixed Sets the oscillator frequency 049: Detune Frequency 0...12.00k when OSC Mode is set to Fixed [Hz] p.472 Selects the modulation source Using this effect, you can obtain a detune effect that offsets Off...Tempo for the oscillator frequency when OSC Mode is set to Fixed the pitch of the effect sound slightly from the pitch of the Sets the modulation amount of...
Page 483: 050: Pitch Shifter
Modulation and Pitch Shift (Mod./P.Shift) will be raised (or lowered) more and more each time 050: Pitch Shifter feedback is repeated. If Feedback Position is set to Post, the feedback signal will not pass through the pitch shifter again. Even if you specify This effect changes the pitch of the input signal.
Page 484: 052: Pitch Shift Mod
Effect Guide message will not appear. Time Over? is only a display Pitch Shift Mod - Pitch Shift / Depth parameter. Pitch LFO Waveform=Triangle Depth (+value) 052: Pitch Shift Mod. Pitch Shift (+ value) Original Pitch LFO Waveform=Square (Pitch Shift Modulation) Depth (–value) This effect modulates the detuned pitch shift amount using an LFO, adding a clear spread and width to the sound by...
Page 485: 054: Rotary Speaker
Modulation and Pitch Shift (Mod./P.Shift) Dry, 1 : 99... Sets the balance between the Sets the distance between the Wet/Dry 99 : 1, Wet effect and the dry input Mic Distance 0...100 microphone and rotary speaker p.475 Selects a modulation source for Off...Tempo Wet/Dry Sets the angle of left and right...
Page 486: Delay
Effect Guide Delay 055: L/C/R Delay 056: Stereo/CrossDelay This multitap delay outputs three Tap signals to the left, This is a stereo delay, and can by used as a cross-feedback right, and center respectively. You can also adjust the left delay effect in which the delay sounds cross over between and right spread of the delay sound.
Page 487: 057: St. Multitap Delay
Delay 057: St. Multitap Delay 058: St. Mod Delay (Stereo Multitap Delay) (Stereo Modulation Delay) The left and right Multitap Delays have two taps This stereo delay uses an LFO to sweep the delay time. The respectively. Changing the routing of feedback and tap pitch also varies, creating a delay sound which swells and output allows you to create various patterns of complex shimmers.
Page 488: 059: St. Dynamic Delay
Effect Guide –Wet... Sets the balance between the 059: St. Dynamic Delay Wet/Dry –1 : 99, Dry, effect and the dry input 1 : 99...Wet p.450 Selects a modulation source for (Stereo Dynamic Delay) Off...Tempo Wet/Dry Sets the modulation amount –100...+100 This stereo delay controls the level of delay according to the for Wet/Dry...
Page 489: 060: St. Autopanningdly
Delay Dynamic Delay 060: St. AutoPanningDly Level (Stereo Auto Panning Delay) Threshold This stereo delay effect pans the delay sound left and right Release Envelope using the LFO. Attack Stereo In - Stereo Out (Ducking Delay) Left Wet / Dry High Damp Low Damp Target=Output Level Delay...
Page 490: 061: Tape Echo
Effect Guide d: FB Amt 061: Tape Echo e: FB Amt f: FB Amt This effect simulates a tape echo unit with three playback g: Feedback heads. The distortion and tonal change typical of magnetic The feedback output from Tap 1, 2, and 3 is mixed according tape are also reproduced.
Page 491: 063: Sequence Bpm Dly
Delay Mode/Reverse Time 063: Sequence BPM Dly Reverse Reverse Envelope Select = Input (Sequence BPM Delay) Input This four-tap delay enables you to select a tempo and Time rhythm pattern to set up each tap. Mode = Single Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry Mode = Multi...
Page 492: 064: L/C/R Bpm Delay
Effect Guide 064: L/C/R BPM Delay 065: Stereo BPM Delay The L/C/R delay enables you to match the delay time with This stereo delay enables you to set the delay time to match the song tempo. You can also synchronize the delay time the song tempo.
Page 493: 066: St.bpm Mtap Delay
Delay 066: St.BPM Mtap Delay 067: St.BPM Mod. Delay (Stereo BPM Multitap Delay) (Stereo BPM Modulation Delay) This is a stereo multi-tapped delay that lets you set the delay This is a stereo modulation delay that lets you synchronize time to match the tempo of the song. the delay time to the tempo of the song.
Page 494: 068: St.bpmautopandly
Effect Guide Selects the type of notes to Triangle, L Delay Base Selects the LFO Waveform specify the left channel delay Waveform Sine Note time p.473 Changes the curvature of the Shape –100...+100 Sets the number of notes to LFO Waveform p.449 Times x1...x32...
Page 495: 069: Tape Echo Bpm
Delay Dry, 1 : 99... Sets the balance between the Wet/Dry 069: Tape Echo BPM 99 : 1, Wet effect and the dry input Selects a modulation source for Off...Tempo Wet/Dry This is a tape echo that lets you synchronize the delay time Sets the modulation amount –100...+100 to the tempo of the song.
Page 496: Reverb And Early Reflections (Reverb Er)
Effect Guide Reverb and Early Reﬂections (Reverb ER) Reverb - Hall / Plate Type 070: Reverb Hall Level This hall-type reverb simulates the reverberation of mid-size concert halls or ensemble halls. Reverb Pre Delay Thru Time 071: Reverb SmoothHall Pre Delay Reverb Time This hall-type reverb simulates the reverberation of larger halls and stadiums, and creates a smooth release.
Page 497: 076: Early Reflections
Reverb and Early Reflections (Reverb ER) Changing these parameter values allows you to simulate the Early Reflections - Type type of walls in the room. That is, a larger ER Level simulates a hard wall, and a larger Reverb Level simulates a soft wall.
Page 498: Mono-Mono Serial (Mono-Mono)
Effect Guide Mono-Mono Serial (Mono-Mono) 077: P4EQ - Exciter 078: P4EQ - Wah (Parametric 4-Band EQ - Exciter) (Parametric 4-Band EQ - Wah/Auto Wah) This effect combines a mono four-band parametric equalizer and an exciter. This effect combines a mono four-band parametric equalizer and a wah.
Page 499: 079: P4Eq - Cho/Flng
Mono-Mono Serial (Mono-Mono) i: [F]Output Mode Dry,1 : 99... Sets the balance between the Wet/Dry 99 : 1, Wet effect and the dry input When Wet Invert is selected, the right channel phase of the Selects a modulation source for chorus/ﬂanger effect sound is inverted.
Page 500: 081: P4Eq - Mt. Delay
Effect Guide 081: P4EQ - Mt. Delay 082: Comp - Wah (Parametric 4-Band EQ - (Compressor - Wah/Auto Wah) Multitap Delay) This effect combines a mono compressor and a wah. You can change the order of the connection. This effect combines a mono four-band parametric equalizer and a multitap delay.
Page 501: 083: Comp - Amp Sim
Mono-Mono Serial (Mono-Mono) 083: Comp - Amp Sim 084: Comp - OD/HiGain (Compressor - Amp Simulation) (Compressor - Overdrive/Hi.Gain) This effect combines a mono compressor and an amp This effect combines a mono compressor and an overdrive/ simulation. You can change the order of the effects. high-gain distortion.
Page 502: 085: Comp - P4Eq
Effect Guide 085: Comp - P4EQ 086: Comp - Cho/Flng (Compressor - (Compressor - Chorus/Flanger) Parametric 4-Band EQ) This effect combines a mono compressor and a chorus/ ﬂanger. You can change the order of the effects. This effect combines a mono compressor and a four-band parametric equalizer.
Page 503: 087: Comp - Phaser
Mono-Mono Serial (Mono-Mono) 087: Comp - Phaser 088: Comp - Mt. Delay (Compressor - Phaser) (Compressor - Multitap Delay) This effect combines a mono compressor and a phaser. You This effect combines a mono compressor and a multitap can change the order of the effects. delay.
Page 504: 089: Limiter - P4Eq
Effect Guide Limiter - Threshold / Ratio 089: Limiter - P4EQ Ratio=1.0 : 1 (Limiter - Parametric 4-Band EQ) Output Level Ratio=2.0 : 1 Threshold Ratio=4.0 : 1 This effect combines a mono limiter and a four-band Ration=Inf : 1 parametric equalizer.
Page 505: 090: Limiter - Cho/Flng
Mono-Mono Serial (Mono-Mono) 090: Limiter - Cho/Flng 091: Limiter - Phaser (Limiter - Chorus/Flanger) This effect combines a mono limiter and a phaser. You can change the order of the effects. This effect combines a mono limiter and a chorus/ﬂanger. You can change the order of the effects.
Page 506: 092: Limiter - Mt.delay
Effect Guide 092: Limiter - Mt.Delay 093: Exciter - Comp (Limiter - Multitap Delay) (Exciter - Compressor) This effect combines a mono limiter and a multitap delay. This effect combines a mono exciter and a compressor. You You can change the order of the effects. can change the order of the effects.
Page 507: 094: Exciter - Limiter
Mono-Mono Serial (Mono-Mono) 094: Exciter - Limiter 095: Exciter - Cho/Flng (Exciter - Chorus/Flanger) This effect combines a mono exciter and a limiter. You can change the order of the effects. This effect combines a mono limiter and a chorus/ﬂanger. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out...
Page 508: 096: Exciter - Phaser
Effect Guide 096: Exciter - Phaser 097: Exciter - Mt.Delay (Exciter - Multitap Delay) This effect combines a mono limiter and a phaser. This effect combines a mono exciter and a multitap delay. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out...
Page 509: 098: Od/Hg - Amp Sim
Mono-Mono Serial (Mono-Mono) 098: OD/HG - Amp Sim 099: OD/HG - Cho/Flng (Overdrive/Hi.Gain - (Overdrive/Hi.Gain - Amp Simulation) Chorus/Flanger) This effect combines a mono overdrive/high-gain distortion This effect combines a mono overdrive/high-gain distortion and an amp simulation. You can change the order of the and a chorus/ﬂanger.
Page 510: 100: Od/Hg - Phaser
Effect Guide 100: OD/HG - Phaser 101: OD/HG - Mt.Delay (Overdrive/Hi.Gain - Phaser) (Overdrive/Hi.Gain - Multitap Delay) This effect combines a mono overdrive/high-gain distortion and a phaser. You can change the order of the effects. This effect combines a mono overdrive/high-gain distortion and a multitap delay.
Page 511: 102: Wah - Amp Sim
Mono-Mono Serial (Mono-Mono) DECIMATOR 102: Wah - Amp Sim Turn the harmonic noise [D]Pre LPF Off, On caused by lowered sampling on (Wah - Amp Simulation) and off p.452 High Damp Sets the ratio of high-range 0...100 damping This effect combines a mono wah and an amp simulation. [D]Sampling 1.00k...48.00k Sets the sampling frequency You can change the order of the effects.
Page 512: 105: Ampsim - Tremolo
Effect Guide MULTITAP DELAY 105: AmpSim - Tremolo [D]Tap1 Time 0.0...1360.0 Sets the Tap1 delay time [msec] (Amp Simulation- Tremolo) Sets the Tap1 output level Tap1 Level 0...100 p.477 [D]Tap2 Time This effect combines a mono amp simulation and a tremolo. 0.0...1360.0 Sets the Tap2 delay time [msec]...
Page 513: 108: Reverb - Gate
Mono-Mono Serial (Mono-Mono) f: [G]Envelope Select –Wet... Sets the effect balance of the [F]Cho/Flng –1 : 99, Dry, chorus/ﬂanger f: Src Wet/Dry 1 : 99...Wet p.450, p.461 g: [G]Input Reverb Mix Selects the Wet/Dry Off...Tempo modulation source for the g: Threshold chorus/ﬂanger The [G]Envelope Select parameter enables you to select Sets the Wet/Dry modulation...
Page 514: Mono/Mono Parallel (Mono//Mono)
Effect Guide Mono/Mono Parallel (Mono//Mono) 109: P4EQ // P4EQ (Parametric 4-Band EQ // Parametric 4- Limiter Band EQ) through 153: BPM Dl // BPM Dl (Multitap BPM LIMITER Delay // Multitap BPM Delay) are parallel effects. 1.0 : 1... Sets the signal compression Ratio The pan and effect balance of each effect can be set 50.0 : 1, Inf : 1...
Page 515 Mono/Mono Parallel (Mono//Mono) BPM Dly (Multi-tap BPM Delay) MULTITAP BPM DELAY Sets the lower limit of the wah MIDI syncs to the system Freq Bottom 0...100 MIDI, center frequency p.448 tempo; 40–300 sets the tempo 40.00... manually for this individual Sets the upper limit of the wah 300.00 Freq Top...
Page 516: 109: P4Eq // P4Eq
Effect Guide 109: P4EQ // P4EQ 112: P4EQ // Exciter (Parametric 4-Band EQ // (Parametric 4-Band EQ // Exciter) Parametric 4-Band EQ) This effect connects a four-band EQ (p.504) and an exciter (p.504) in parallel. This effect connects two four-band EQ (p.504) units in parallel.
Page 517: 115: P4Eq // Cho/Flng
Mono/Mono Parallel (Mono//Mono) 115: P4EQ // Cho/Flng 118: Comp // Comp (Parametric 4-Band EQ // (Compressor // Compressor) Chorus/Flanger) This effect connects two compressor (p.504) units in parallel. This effect connects a four-band EQ (p.504) and a chorus / Stereo In - Stereo Out ﬂanger (p.505) in parallel.
Page 518: 121: Comp // Od/Hg
Effect Guide 121: Comp // OD/HG 124: Comp // Phaser (Compressor // Overdrive/Hi.Gain) (Compressor // Phaser) This effect connects a compressor (p.504) and an overdrive This effect connects a compressor (p.504) and a phaser (p.504) in parallel. (p.505) in parallel. Stereo In - Stereo Out Stereo In - Stereo Out Compressor...
Page 519: 127: Limiter // Exciter
Mono/Mono Parallel (Mono//Mono) 127: Limiter // Exciter 130: Limiter // Cho/Fl (Limiter // Chorus/Flanger) This effect connects a limiter (p.504) and an exciter (p.504) in parallel. This effect connects a limiter (p.504) and a chorus / ﬂanger (p.505) in parallel. Stereo In - Stereo Out Limiter Wet / Dry...
Page 520: 133: Exciter // Exciter
Effect Guide 133: Exciter // Exciter 136: Exciter // Cho/Fl (Exciter // Chorus/Flanger) This effect connects two exciter (p.504) units in parallel. This effect connects an exciter (p.504) and a chorus / ﬂanger Stereo In - Stereo Out (p.505) in parallel. Exciter Wet / Dry Left...
Page 521: 139: Od/Hg // Od/Hg
Mono/Mono Parallel (Mono//Mono) 139: OD/HG // OD/HG 142: OD/HG // Phaser (Overdrive/Hi.Gain // (Overdrive/Hi.Gain // Phaser) Overdrive/Hi.Gain) This effect connects an overdrive (p.504) and a phaser (p.505) in parallel. This effect connects two overdrive (p.504) units in parallel. Stereo In - Stereo Out Overdrive / Hi-Gain Stereo In - Stereo Out Wet / Dry...
Page 522: 145: Wah // Cho/Flng
Effect Guide 145: Wah // Cho/Flng 148: Cho/Fl // Cho/Fl (Wah // Chorus/Flanger) (Chorus/Flanger // Chorus/Flanger) This effect connects a wah (p.505) and a chorus / ﬂanger (p.505) in parallel. This effect connects two chorus / ﬂanger (p.505) units in parallel.
Page 523: 151: Phaser // Phaser
Mono/Mono Parallel (Mono//Mono) 151: Phaser // Phaser This effect connects two phaser (p.505) units in parallel. Stereo In - Stereo Out Phaser Wet / Dry Left LFO: Tri / Sine Phaser Resonance Resonance Phaser LFO: Tri / Sine Right Wet / Dry Phaser 152: Phaser // BPMDly (Phaser // Multitap BPM Delay)
Page 524: Double Size
Effect Guide Double Size Double-size effects can be used only with insert effects IFX1, 155: PianoBody/Damper 2, 3, 4 and master effect MFX1. (PianoBody/Damper Simulation) 154: St. Mltband Limiter This effect simulates the resonance of the piano sound board caused by the string vibration, and also simulates the (Stereo Multiband Limiter) resonance of other strings that are not being played when you press the damper pedal.
Page 525: 156: Vocoder
Double Size Note: If Use Global setting is on for a program, 156: Vocoder combination, or song, the setting made in Global will be used. If Use Global setting is off, and in Sampling mode, the setting for each program/combination or song, or the This effect applies the timbral character of a different signal Sampling mode setting, will be used.
Page 526: 157: Od/Hypergain Wah
Effect Guide 157: OD/HyperGain Wah 158: GuitarAmp + P4EQ (Overdrive/Hyper Gain Wah) (Guitar Amp Model + Parametric 4-Band EQ) This distortion effect has two modes: overdrive and hyper- gain that produces a strong distortion. A higher high-gain This combines a guitar amp simulation (which even setting is required for this effect relative to a normal-size faithfully replicates the distortion and tone control circuitry) effect.
Page 527: 159: Basstubeamp+Cab
Double Size Dry, 1 : 99... Sets the balance between the Wet/Dry 159: BassTubeAmp+Cab. 99 : 1, Wet effect and the dry input Selects a modulation source for Off...Tempo Wet/Dry (Bass Tube Amp Model + Cabinet) Sets the modulation amount –100...+100 for Wet/Dry This simulates a bass amp (with gain and drive) and speaker...
Page 528: 160: St. Mic + Preamp
Effect Guide Tap4 (240) Sets the Tap4 (LFO phase=240 0...2000 160: St. Mic + PreAmp [msec] degrees) delay time Depth 0...30 Sets the Tap4 chorus depth (Stereo Mic Modeling + PreAmp) Always On, Always Off, Selects on, off, or modulation On➝Off source for the control of Tap4 Status...
Page 529: 162: St. Pitch Shifter
Double Size 162: St. Pitch Shifter 163: St. PitchShift BPM (Stereo Pitch Shifter) (Stereo Pitch Shifter BPM) This is a stereo pitch shifter. The pitch shift amount for the This stereo pitch shifter enables you to set the delay time to left and right channels can be reversed from each other.
Page 530: 164: Rotary Speakerod
Effect Guide a: Sw 164: Rotary SpeakerOD This parameter determines how to switch on/off the overdrive via a modulation source. (Rotary Speaker Overdrive) When Sw = Toggle, overdrive is turned on/off each time the pedal or joystick is operated. This is a stereo rotary speaker effect. It has an internal Overdrive will be switched on/off each time the value speaker simulator that simulates overdrive (recreating the of the modulation source exceeds 64.
Page 531: 166: St/Cross Long Delay
Double Size 166: St/Cross Long Delay 167: Hold Delay (Stereo/Cross Long Delay) This effect records the input signal and plays it back repeatedly. You can control the start of recording and reset This is a stereo delay, and can by used as a cross-feedback via a modulation source.
Page 532: 168: Lcr Bpm Long Dly
Effect Guide b: Loop BPM Sync 168: LCR BPM Long Dly c: BPM d: Loop Base Note (L/C/R BPM Long Delay) d: Times If Loop BPM Sync is on, the Times setting is ignored; the The L/C/R delay enables you to match the delay time with loop time is determined by BPM, Loop Base Note, and the song tempo.
Page 533: 169: St. Bpm Long Dly
Double Size 169: St. BPM Long Dly 170: Early Reﬂections (Stereo BPM Long Delay) This early reﬂection effect has more precise early reﬂections with twice the maximum length of a normal-size effect (see The stereo delay enables you to match the delay time with p.487, 076: Early Reﬂections).
Page 534 Effect Guide...
Page 535: Karma Ge Guide
This section of the manual explains the GE parameters of the “Swing %” on page 539. KARMA function built into the M3, organized according to The parameter value is displayed by “Value” at the right of the groups that make up the Generated Effects.
Page 536 KARMA GE guide [Env]: [1]: Envelope 1 is controlled [2]: Envelope 2 is controlled [3]: Envelope 3 is controlled [1, 2]: Envelopes 1 and 2 are controlled [2, 3]: Envelopes 2 and 3 are controlled [1, 3]: Envelopes 1 and 3 are controlled [A]: Envelopes 1, 2 and 3 are controlled #No.: VE: Velocity...
Page 537: About Karma
About KARMA Overview About KARMA Overview Theory Of Operation KARMA stands for Kay Algorithmic Realtime Music A performance of a musical phrase can be thought of as Architecture, named after its inventor, Stephen Kay. having many different “attributes” which determine the overall effect of the resulting music.
Page 538: Karma Architecture (Diagram)
KARMA GE guide KARMA Architecture (Diagram)
Page 539: Ge (Generated Effect) Group
Note Series and Input Sort settings. This can be used to effects, such as gating a synth pad with a hi-hat track and an simulate the operation of the Korg Triton Arpeggiator, for external audio gate/compressor. This GE Type can also be example.
Page 540 KARMA GE guide external audio gate/compressor. In KARMA however, the durations of notes may overlap according to Duration Velocity Pattern can be used to control the value of each CC settings. that is generated for a note-on (the volume of each “slice”), 1: On and the Duration Pattern (☞p.543) can be used to control the The normal behavior of certain aspects of the GE will be...
Page 541: Note Series Group
Note Series Group Overview Note Series Group Note Type [0…9] Overview 0: Regular 4: Whole Tone 8: Tritones The Note Series Group controls the creation of a “Note 1: Scalic 5: Diminished 9: Fifths Series” in memory, which is the foundation of a large 2: Scalic 2 6: Augmented percentage of Generated Effects.
Page 542 KARMA GE guide Input Sort [0…4] Symmetry [0, 1] 0: Up 1: Down 2: Actual 3: Random 0: Off 1: On Sets how the notes (and corresponding velocities) from the When set to 1: On, additional notes are extrapolated at the end input source material are arranged prior to creating the Note of the Note Series beyond the number speciﬁed by the Series.
Page 543 Note Series Group Parameters settings can also be used creatively to force a riff to cycle Not available if “GE Type” = 1: Generated-Gated. For around inside a certain range. more information, please see “GE Type” on page 529. Voicing [0…8] Filter Template [0…77]...
Page 544: Phase Group
KARMA GE guide Phase Group Start Mode [0…3] Overview 0: T-only when Triggered A Generated Effect has two different “Phases.” Each of them 1: 1-when entering Phase1 is a separate collection of certain parameters including 2: 2-when entering Phase2 Rhythm, Velocity, Cluster, Pan and Index Patterns, among others.
Page 545 Phase Group General Parameters 1: TS-Time Signature Pattern or Cluster Pattern which would cause movement beyond that point have no effect. This can be used to Makes the Time Signature parameters (“Tsig Numerator/ Denominator” ☞p.537) available in the Phase Speciﬁc simulate the Triton Arpeggiator setting “Arpeggio Type”: As Played (Fill).
Page 546: Phase Specific Parameters
KARMA GE guide Oct/5th Phs. Transpose [–36…+36] Phase Speciﬁc Parameters Allows the Phase’s Transpose value to be quantized to the nearest octave or ﬁfth, so that when being changed in real- For each of the two Phases, a group of Phase Speciﬁc time, only transposition by octaves or ﬁfths is possible.
Page 547: End Loop Parameters
Phase Group End Loop Parameters Template for emulating the operation of the TRITON series arpeggiator parameters “Octave” and “Octave Motion” Events [1…96] Vel CP. If 2: Generated-Drum, the Note Series can be applied as pitch bend, discussed elsewhere. TSig Numerator [0…31] 0…31: 1…32 End Loop Parameters...
Page 548: Pattern Parameters
KARMA GE guide Pattern Parameters Pattern Items [1…16 (steps)] Sets the number of steps in the Phase Pattern. Pattern Step1…16 [0, 1] 0: Phase1 1: Phase2 Sets which phase (Phase 1 or Phase 2) will be used for generating data when a speciﬁc step of the Phase Pattern is entered during playback.
Page 549: Rhythm Group
Rhythm Group Overview Rhythm Group Swing Note selected, the 16th notes are swung in an 8th note Overview feel. While this is not necessarily natural “swing,” interesting shiftings of timings can be produced. Note that the setting of this parameter can be modiﬁed by the “Swing The Rhythm Group controls the rhythmic characteristics of Use Multiplier”...
Page 550: Pattern Grid & Associated Parameters
“no bend” row, bends can be prevented from occurring on various steps of the Rhythm Pattern. Pattern grids cannot be viewed or edited on the M3.
Page 551: Random Weighting Parameters - Pools
Rhythm Group Random Weighting Parameters - Pools choices will be logarithmically weighted towards the shorter Random Weighting Parameters and longer rhythms, and away from the middle rhythms. A Factor of 0 with any shaped curve yields a linear - Pools table (straight diagonal line), and each of the values in the pool will have an equal chance of being chosen.
Page 552: Associated Parameters
KARMA GE guide Note: While exponential and logarithmic curves may seem to Template Parameters have a similar shape, they have slight differences which can The two Template Parameters select from 63 or 64 different affect the outcome of the random choices. For more Rhythm Pattern Templates, and load the parameters into the information, please see “Random Weighting Curves”...
Page 553: Duration Group
Overlap, or 5: Rhythm %, the Duration Pattern Grid is not utilized. About Duration Patterns Pattern grids cannot be viewed and edited in the M3. Duration Patterns control the duration of notes for each “rhythm event” that is generated according to the settings in the Rhythm Group.
Page 554: Random Weighting Parameters - Pools
KARMA GE guide All notes will therefore have the same length. Note that this Duration Value [–500…+5000] is independent of the current tempo - if it is set to 50 ms, it The range and function of this parameter depend on the will always be 50 ms, regardless of tempo.
Page 555: Random Weighting Parameters - Ties
Duration Group Random Weighting Parameters - Ties Random Weighting Parameters - Ties ☞p.541 “Rhythm Group”: “Random Weighting Parameters - Ties”. Ties-Random Factor [–99…+99] ☞p.541 “Rhythm Group”: “Ties-Random Factor”. Ties-Weighting Curve [0, 1] 0: Exponential 1: Logarithmic ☞p.541 “Rhythm Group”: “Ties-Weighting Curve”. The following table summarizes the effect of the various Weighting Curves and the Factor ﬁeld on random ties: Values that receive priority:...
Page 556: Index Group
Since the ﬁrst value in the Index Pattern is not used until Pattern girds cannot be viewed or edited on the M3. after the ﬁrst Index has been generated, a Index Pattern of {1, 1, 1, –2} will cause the generation of the ﬁrst four notes in the Notes Series, after which it jumps back to the 2nd note in the Note Series and so on.
Page 557: Random Weighting Parameters
Index Group Random Weighting Parameters Random Walk Max Step [1…9] Patterns, since it will cause the index into the Drum Pattern to jump around and not move forward in a linear fashion. Sets the largest step that can be taken when Index Pattern Index Pattern= 2, Cluster Size = 6 Type is set to 2: Random Walk, as described above.
Page 558 KARMA GE guide Invert [0, 1] Template Parameters The two Template Parameters select from 63 or 64 different 0: Off 1: On Index Pattern Templates, and load the parameters into the When 1: On, the index will be inverted with regards to the current Phase’s Pattern Grid and associated parameters.
Page 559: Cluster Group
If the Cluster Pattern was {3, 1, 1, 3, 1, 2} (and the Index Pattern “Cluster Mode” 0: Single ☞p.547), then the Pattern grids cannot be viewed or edited on the M3. following result would be produced by the same input...
Page 560: Associated Parameters
KARMA GE guide Cluster Pool values that receive priority: Weighting Factor Curve + (positive) – (negative) Exp/Log larger smaller Exp-S/Log-S middle smaller/larger Associated Parameters Template Parameters The two Template Parameters select from 63 or 64 different Cluster Pattern Templates, and load the parameters into the current Phase’s Pattern Grid and associated parameters.
Page 561: Velocity Group
Velocity Group Overview Velocity Group generate notes. The Velocity Range Bottom and Top Overview parameters become operable, allowing you to scale the amount of sensitivity. The Velocity Group controls most of the aspects that affect Using this mode allows the velocities received as input to the velocities of the notes in the Generated Effect.
Page 562: Pattern Grid & Associated Parameters
When the “GE Type” (☞p.529) is 0: Generated-Riff, nuances (if desired). setting this to 1: Multi will have no effect unless there is Pattern grids cannot be viewed or edited on the M3. a Cluster Pattern containing values of more than just one.
Page 563 Velocity Group Associated Parameters Template Parameters The two Template Parameters select from 63 or 64 different Velocity Pattern Templates, and load the parameters into the current Phase’s Pattern Grid and associated parameters. A Velocity Pattern Template consists of: • the configuration of the Velocity Pattern Grid •...
Page 564: Ccs/Pitch Group
(caused to go in the opposite direction, 127–0) by using the Polarity Parameter, which is an easy way to reverse the Pattern grids cannot be viewed or edited on the M3. direction of the pattern. A CC Pattern will loop as long as note generation continues.
Page 565: Random Weighting Parameters
CCs/Pitch Group Random Weighting Parameters Index CC Pool values that receive priority: The 1–5: Index to options allow the data to be generated Weighting Factor based on the position of the index in the Note Series from Curve + (positive) –...
Page 566: Global Parameters
KARMA GE guide Pitch Offsets On/Off [0, 1] Global Parameters 0: Off 1: On CC-A [–1…126] When On: 1, the Pitch Offset pattern speciﬁed by the Phase 2 CC Pattern grid is applied as transpose values to notes as CC-B [–1…126] they are generated.
Page 567: Waveseq Group
Velocity Pattern and a twelve The WaveSeq Group controls a set of parameters that allow step Cluster Pattern are also independently looping, for the waveforms of the M3's programs to be varied in real- example. time, creating popular “wave-sequence” style effects.
Page 568: Pattern Grid & Associated Parameters
9th value of the both generate waveform changes for their respective pattern. oscillators simultaneously, all the time. Pattern grids cannot be viewed or edited on the M3. The Phase 2 parameters will have no effect on a single- Row 1…16 Waveform [0000...1027] oscillator or drum program.
Page 569: Random Weighting Parameters
WaveSeq Group Random Weighting Parameters Keyboard Track (C2) [0, 1] Random Weighting Parameters 0: Off 1: On The Random Weighting Parameters are made available When 1: On, allows the speciﬁed 16 Waveform Choices to when at least one step (column) in the WaveSeq Pattern Grid track the keyboard (lowest note played, with reference to C2 contains multiple values selected (constituting a “random - Note# 36).
Page 570: Envelope Group
KARMA GE guide Envelope Group Overview Parameters Each Generated Effect has 3 envelopes which can be applied The parameters are the same for all three of the envelopes, to various options such as Velocity, Tempo, Pitch Bend, and are discussed below. Duration, Repeat Time, and any CC (Control Change).
Page 571 Envelope Group Parameters of the envelope scales the durations between 0–100% of the “Envelope Latch” on page 89) properly - see the “Loop minimum duration length and that value. The minimum Mode” parameter below. and maximum duration values depend on the “Duration The following Level and Time parameters may also be Mode”...
Page 572 KARMA GE guide Attack Smooth [0, 1] 0: Off The envelope will proceed through all its segments in a 0: Off 1: On normal fashion. 1: S-Start Level ↔ Sustain Level When set to 0: Off, retriggering an envelope will start it at its preset Start Level regardless of its current position.
Page 573: Level Combinations
Envelope Group Level Combinations Level Combinations Time Combinations Sta/Att Level (Start/Attack Level) [0…99] Att/Dec Time (Attack/Decay Time) [0…99] Controls an Envelope’s Start and Attack Levels at the same Controls an Envelope’s Attack and Decay Times at the same time - both will be set to the same value. time - both will be set to the same value.
Page 574: Repeat (Melodic Repeat) Group
KARMA GE guide Repeat (Melodic Repeat) Group Overview General Parameters Melodic Repeat allows any note to be repeated in a delay- Rhythm [0…25] like fashion, with many additional features and 0: None (Instant) 10: 8th triplet 20: Whole enhancements. When the GE Type is one of the “Generated” types (i.e.
Page 575 Repeat (Melodic Repeat) Group General Parameters Triplet Rhythms [0…8] Decay [–126…+126] The amount by which each successive repeated note 0: None (Instant) 3: 16th Triplet 6: Half Triplet changes in velocity. Negative numbers cause the delayed 1: 64th Triplet 4: 8th Triplet 7: Whole Triplet notes to decrease in volume (more common), while positive numbers cause the delayed notes to increase in volume.
Page 576: Range Parameters
KARMA GE guide 2: Scalic2 Tempo Env. Lock [0, 1] Same as 1: Scalic (above), except that the note tables used to 0: Off 1: Lock shift the notes have more passing tones for each chord; therefore, 2: Scalic2 sounds more modal in nature. When a Tempo Envelope is being used (in the Envelope Group), setting this to 1: Lock causes the repeated notes to Stop Mode...
Page 577: Ge Mode = Real-Time Parameters
Repeat (Melodic Repeat) Group GE Mode = Real-Time Parameters When the pitches of repeated notes exceed this range, the quickly eat up a lot of the polyphony of your sound setting of the “Rebound” parameter comes into effect. modules. Note: These settings are only effective when the “Range 1: Fixed Mode”...
Page 578 KARMA GE guide Chord Quantize (RT) [0, 1] 0: Off 1: On Causes one of two different types of behavior, depending on the setting of the “Key Mode (RT)” parameter above. When “Key Mode (RT)” is 0: Down When a chord is played on the keyboard, there is a certain amount of “slop”...
Page 579: Bend Group
Bend Group Overview Bend Group 14: Next Note +1 Overview Bends each note to what will be the note 2 notes from the current note. For example, if the notes to be generated were {C, E, G, B, C…}, then the C will bend to the G, the E will The Bend Group allows various shapes of automatic pitch bend to the B, etc.
Page 580 KARMA GE guide 0: Bend Length [0…25] Bends the current note to whichever note or by whichever 0: 64th triplet 9: 8th triplet 18: Whole triplet semitone size is selected in the “Amount” parameter. The 1: 64th 10: 8th 19: Whole timing and length of the bend is determined by the “Length,”...
Page 581: Ge Mode = Real-Time Parameters
Bend Group GE Mode = Real-Time Parameters Width % [0…100 (%)] 1: Up The bend window is not started until the input source note Speciﬁes the width of the “hammer” when the 1: Hammer is released. Note that for this kind of bend effect to be or 2: Hammer Bend shape is selected.
Page 582: Drum Group
“Poly/Pools” setting (discussed later on). bar Percussion Pattern, etc. They normally will not reset to Pattern grids cannot be viewed or edited on the M3. the beginning of the Pattern unless a new Trigger is received, or unless the Phase Pattern has been conﬁgured to restart them at the beginning of certain Phases.
Page 583: Associated Parameters
Drum Group Associated Parameters Straight Multipliers [0…5] Associated Parameters 0: 25% 2: 100% 4: 200% Play On/Off [0, 1] 1: 50% 3: 200% 5: 800% Selects from a quantized set of “straight” values for the 0: Off 1: On “Rhythm Multiplier” ﬁeld of the associated Drum When 1: On, the Drum Pattern is played during Note Pattern(s).
Page 584: Random Weighting Parameters - Pools
KARMA GE guide Pattern Transpose [–36…+36] Random Weighting Parameters Allows each Drum Pattern to be individually transposed in semitones. This is additive to the transpose in the KARMA - Pools Module. For more information, please see “7–1–7a: Module Parameter-Control” on page 84. The Random Weighting Parameters - Pools are made Octave Transpose [–36…+36]...
Page 585: Associated Parameters
Drum Group Associated Parameters 0: Exponential kick With a positive Factor (+), choices will be exponentially snare weighted towards the Drum Sounds/Notes more often. hi-hat With a negative Factor (–), choices will be exponentially rest weighted towards the rests more often. Keyboard Track [0, 1] 1: Logarithmic...
Page 586 Resync Index Rows [ri] of the Phase Pattern, in the speciﬁed This can be used to simulate the Korg Triton Arpeggiator Drum Pattern’s section of the Phase Pattern Drum Activity setting “Fixed Tone Mode”: Trigger As Played.
Page 587 Drum Group Associated Parameters –1: As Stored The Resync Index settings for the speciﬁed Drum Pattern will be set to whatever values they are stored to internally in the GE. They could be all On or all Off, or any combination of On and Off.
Page 588: Direct Index Group
KARMA GE guide Direct Index Group 1: Bottom Overview If the length of the Note Series is greater than the range of the selected controller, the indexes will be shifted to the bottom, so that the lowest Direct Index note will be the Direct Index means to take a controller and map it into the lowest note in the Note Series.
Page 589: Duration Parameters
Direct Index Group Duration Parameters 2: Retrigger uses Melodic Repeat to generate further notes; setting this to “GE” ensures that the user’s release of a key has no effect on All sustaining Direct Index notes will be changed to the the actual durations.
Page 590: Repeat Parameters
KARMA GE guide 13: Next Index Repeat Parameters Bends each note to the next index in the Note Series (note that this may be an up or down bend depending on how the Note Series is constructed and sorted). For example, if the Melodic Rpt On/Off [0, 1] Note Series contains {C, E, G, B, C…}, then when the E is...
Page 591 Direct Index Group Bend Parameters Bend Length [0…25] 0: 64th triplet 9: 8th triplet 18: Whole triplet 1: 64th 10: 8th 19: Whole 2: 64th dotted 11: 8th dotted 20: Whole dotted 3: 32th triplet 12: Quarter triplet 21: 2 bars 4: 32th 13: Quarter 22: 3 bars...
Page 592: Appendices
KARMA GE guide Appendices Length Of Bends Using Auto-Bend “GE Type” 0: Generated-Riff, 1: Generated-Gated or 2: Generated-Drum Auto-Bend refers to a feature of KARMA that can generate a bend along with every generated note. It can be used to Bend Group “Length”...
Page 593 Appendices Using Auto-Bend +12 Bend with Note Duration +12 Bend Hammer Bend with various Widths 100% 100% 100% Start Start Start 100% Bend +12 Width 100% Bend +12 Bend 0 Bend 0 Quarter Note Eighth Note Note Duration 100% Start +12 Bend with Note Value/Fixed (ms) Duration 100ms 100% 100%...
Page 594: Random Weighting Curves
KARMA GE guide Random Weighting Curves Weighting Curve Shapes and Their Effects When using the various grid-based Patterns, more than one value selected in a column creates a “pool” of random choices. Different areas of the pool may be selectively favored using a Weighting Curve. 4 different shapes are available, which act to favor certain areas of the pool over others when each random choice is made.
Page 595 Appendices Random Weighting Curves Comparison of Exponential and Logarithmic Curves Exponential Curves and Logarithmic Curves have similar shapes. They are different, however, as the following diagram illustrates: Factor +40 Factor +40 Factor +20 Factor +20 Factor +10 Factor +10 CURVE: LOG CURVE: LOG-S Factor 0 Factor 0...
Page 596 KARMA GE guide This characteristic can be used to even more ﬁnely tune the effect you are trying to achieve. For example, the top and bottom curves in both the Log and Exp diagrams (Factor 40 and –40) above are shown together below: Log (Factor +40) Exp (Factor +40) Upper...
Page 597: Appendices
Appendices Alternate Modulation Sources (AMS) AMS Mixers Alternate Modulation The AMS Mixers combine two AMS sources into one, or Overview process an AMS source to make it into something new. For instance, they can add two AMS sources together, or use Alternate Modulation lets you use controllers, envelopes, one AMS source to scale the amount of another.
Page 598: Ams (Alternate Modulation Source) List
Slider 6 (USER 2). For more each note. This can be received from external MIDI devices information, please see “SldrMod5: #17 (Slider or generated by the internal sequencer. The M3 keyboard Modulation5: CC#17)” on page 588. itself does not generate poly aftertouch, however.
Page 599 Alternate Modulation Sources (AMS) AMS (Alternate Modulation Source) List 2. Under Panel Switch Assign, assign SW1 to SW1 Mod. Gate1 (CC#80) and SW2 to SW2 Mod. (CC#81). Gate1+Damper These assignments are stored separately for each Program, Gate 1 is triggered by a new note after all notes have been Combination, and Song.
Page 600: Alternate Modulation Settings
Appendices Amp KTrk (Amp Key Track) Alternate Modulation settings This is the output of the oscillator’s Amp Key Track generator. For more information, please see “4–2: Amp1 Modulation” on page 59. When you operate an AMS (Alternate Modulation Source), the modulation destination will be affected as shown in the Common KTrk1 &...
Page 601 Alternate Modulation Sources (AMS) Alternate Modulation settings AMS source Amp EG Pitch & Filter LFO1 & 2 Common Filter & Amp Common Note EXT(+/–) *1 EXT(+) *3 & value range 0...+99 –99...0...+99 Key Track Key Track Number –Max...0...+Max 0...127 –99...0...+99 –99...0...+99 –99...0...+99 1 &...
Page 602 Appendices Filter EG Intensity (Prog 3–1–3a) increase the volume to a maximum of eight times that of the current volume (for positive (+) changes of the Filter EG intensity can be controlled by the Common LFO, AMS), or to decrease the volume to zero (for negative (–) Common keyboard tracking, a controller or tempo etc.
Page 603 Alternate Modulation Sources (AMS) Alternate Modulation settings increasing velocity, the EG levels will change more notes are off. For example, this will ensure that a filter greatly. At the maximum velocity, the Start Level will sweep always starts from the same place. stay at +00, but the Attack Level will change to +99 and •...
Page 604: Dynamic Modulation Sources (Dmod)
Appendices Dynamic Modulation Sources (Dmod) You can control certain effect parameters using the joystick, Dynamic Modulation Source X–Y, ribbon controller, etc. “on the ﬂy.” These parameters can also be controlled by KARMA, the X– List Y control and EG, or the sequencer. Controlling effects in this way is referred to as Dynamic dynamic modulation is not used Modulation.
Page 605 Dynamic Modulation Sources (Dmod) Dynamic Modulation Source List Gate1, Gate1+Dmpr (Gate1, Gate1+Damper) negative change. (With negative values, the result will be the opposite.) The effect is at maximum during note-on, and will stop when all keys are released. With Gate1 + Damper, the effect SldrM5 [+] (Slider Modulation5 [+]) will remain at maximum even after the keys are released, as SldrM6 [+] (Slider Modulation6 [+])
Page 606: Controller Assignments
Appendices Controller Assignments Sldr Mod. 5 (CC#17) X–Y CC Control Realtime control slider 5 (slider modulation 5 CC#17) Sldr Mod. 6 (CC#19) X–Y CC control lets you use movements of the X–Y position Realtime control slider 6 (slider modulation 6 CC#19) in X–Y MODE (or X–Y Motion) as an AMS source to control Sldr Mod.
Page 607: Sw1/2 Assignments
CC which is used by AMS, Dmod, or the standard CC routings, then it will affect the corresponding Note that Lock affects only the physical controls. Even if M3 parameters. Lock is On, incoming MIDI messages can still change the joystick, ribbon, and aftertouch values.
Page 608: Realtime Control Slider 5-8 Assignments
CC routings, then it will affect the corresponding the one with the higher value scales down from that M3 parameters. maximum. FX Control 1 & 2 (CC#s12 & 13) These assignments are intended for Effect Dynamic Modulation (Dmod).
Page 609: Foot Switch Assignments
The foot switch will control the effect of the KARMA slider. Play or Combi P0: Play pages, respectively. KARMA Switch–8 When you use this control, the M3 will also transmit the corresponding MIDI Program Change and Bank Select The foot switch will control the effect of the KARMA messages.
Page 610: Foot Pedal Assignments
Whatever the ribbon is assigned to control, the pedal will described below. control as well. This setting is made for the entire M3, on the Global P2: Value Slider (CC#18) Controllers– Foot Controllers page. Pedal operation will control the effect of the VALUE slider.
Page 611: Dynamic Midi Sources & Destinations
Dynamic MIDI Sources & Destinations Dynamic MIDI Sources Dynamic MIDI Sources & Destinations slider’s values affect any destination parameters assigned Dynamic MIDI Sources through Real-Time Parameters Control. JS+Y (CC#01) The sources (Dynamic MIDI Sources) are organized into the The +Y direction (away from yourself) of the joystick following groups (CC#01) will be the source.
Page 612 Appendices XY –Y Mod. (CC#88) Note The -Y direction (toward from yourself) of the X–Y Mode Use Bottom and Top (Prog 7–2–3b) to specify the range of (CC#88) will be the source. note numbers. Notes within the speciﬁed range will be the source.
Page 613: Dynamic Midi Destinations
Dynamic MIDI Sources & Destinations Dynamic MIDI Destinations • When Polarity is –, you can use the controller to slow Dynamic MIDI Destinations down the tempo. When the value of the controller selected as the source is at the value specified for “Bottom,” the tempo will be at The KARMA function allows you to hook up nearly any the regular specified setting.
Page 614 Appendices Auto Transp Range (Auto Transpose Range generated. The repeated notes created by “Melodic Repeat” will normally continue playing their speciﬁed number for [Continuous] repeats even when you turn off the KARMA ON/OFF Controls the amount of transposition for the auto transpose switch.
Page 615 Dynamic MIDI Sources & Destinations Dynamic MIDI Destinations • Drum Group: “NTT (Note Table Transposition) On/Off” Examples of use Play a chord in either the left hand or right hand to control For KARMA modules affected by the Chord Scan the phrase or pattern generated by the KARMA module.
Page 616 Appendices Trigger Notes & Envs Polarity = –: [Momentary, Toggle, Continuous] Down Trigger Notes [Momentary, Toggle, Continuous] Trigger Env 1 [Momentary, Toggle, Continuous] 0 • • • • • • • • • 64 • • • • • • • • 127 Trigger Env 2 [Momentary, Toggle, Continuous] Polarity = +/–:...
Page 617 Dynamic MIDI Sources & Destinations Dynamic MIDI Destinations 3. Notes will be added until you release the damper pedal and play the keyboard. Since Receive MIDI Filter “Damper (CC#64)” is turned Off (unchecked) in this example, the damper pedal will not produce the conventional damper effect when the KARMA function is on.
Page 618: Midi Transmission When The M3'S Controllers Are
MIDI transmission when the M3’s controllers are operated The following tables show the relation between the MIDI DMS (dynamic modulation source) that correspond to each messages that are transmitted when the M3’s controllers are MIDI message. operated, and the AMS (alternate modulation source) or # indicates a ﬁxed function, and * indicates an assignable...
Page 619 Channel (Seq 3–1(2)c). The CC Default settings are the CC#s recommended as If the Status is INT or BTH, operating one of the M3’s the CC# for each of these controllers. Normally you controllers will affect only that MIDI track. Simultaneously, should use these settings when assigning CC#s.
Page 620: M3 And Midi Ccs
Appendices M3 and MIDI CCs Responses to standard MIDI controllers The following table shows how the M3 responds to MIDI control change messages, and the relation between settings and controller movements on the M3. 0 Bank select (MSB) 0…127 bank select message MSB 1 Modulation 1 0…127...
Page 621 (Registered Parameter Control) messages. In Program, Combination, Sequencer, and Sampling modes, you can *1 In the M3 sequencer, bank select messages are normally use RPC messages to control the bend range and tuning speciﬁed as program change events (“MIDI Event Edit”...
Page 622 [B0, 64, 02] (64H=CC#100) and [B0, 65, 00] (65H=CC#101) Y MIDI Out” on page 366) to the M3 to select the RPN coarse tune. Then you would set this to –12 by transmitting [B0, 06, 34] (06H=CC#6), 34H=52 (corresponds to –12), and [B0, 26, 00] (26H=CC#38, 00H=0).
Page 623: Parameters Controlled By Midi Ccs #70-79
M3 and MIDI CCs Parameters controlled by MIDI CCs #70-79 In most cases, you can use the Write Program menu Parameters controlled by MIDI command to save the edited values, over-writing the previous Program settings. CCs #70-79 In Sampling mode, these CCs will temporarily edit the Program parameters, just as in Program mode.
Page 624: Midi Applications
When using the M3 by itself, leave Local Control turned on. musical data between electronic musical instruments and (If this is off when the M3 is used by itself, playing the computers. When MIDI cables are used to connect two or keyboard will not produce sound.)
Page 625 Input (Seq 1–1a) setting of each song. You will nor- transmitted and received on the global MIDI channel. mally set this to Tch and use the M3’s keyboard to control triggering. The global MIDI channel is the basic channel that the M3 uses for MIDI transmission/reception, and is set by Transmit: The MIDI channel speciﬁed by the Drum Pat-...
Page 626 Status is BTH, EXT, or EX2 when you select the Program Select parame- When the M3’s joystick is moved in the X axis (left/right), a ter (0–1–1(2)b), when you select a song, or when you pitch bend effect will be applied, and pitch bender messages return to the beginning of a measure.
Page 627 (Vertical upward), Modulation 1 Depth messages will be Expression message. transmitted. When these messages are received, the same effect will be applied as when the M3’s joystick is operated. If adjusting the Volume message does not increase the Normally this will apply a vibrato effect (pitch LFO).
Page 628 Realtime Control Slider 5–8 or as the X–Y CC control Ribbon controller (CC#16) [Bn, 10, vv] function, operating that controller will transmit Effect This message will be transmitted when the M3’s ribbon Control 1/2 messages, and the speciﬁed dynamic controller is operated.
Page 629 X–Y Mode Y (CC#119) [Bn, 77, vv] each control change, and how the M3 will respond in each When you move the M3’ X–Y Mode in the X direction, X–Y mode when these are received, refer to “M3 and MIDI CCs”...
Page 630 If you assign the following CC#s to Pads 1–8, the speciﬁed procedure. CC# will be transmitted when you operate the M3, and the M3 itself will be controlled simultaneously. When these 1. Use RPN MSB (CC#101) [Bn, 65, mm] and RPN LSB...
Page 631 Exclusive messages. The operation of sending this system exclusive data to an external device is called a “data dump.” F0: exclusive status By performing a data dump, you can store the M3’s sounds 42: Korg ID and settings on an external device, or rewrite the sounds 3n: [n=0–F] global MIDI channel 1–16...
Page 632 M3, a mode change will be transmitted. When you edit individual parameters, • When you set MIDI Clock to Internal, the M3 will be the parameter change messages will be transmitted. master device, and will transmit MIDI timing clock messages.
Page 633 EXT, or EX2. An external tone generator connected to external sequencer/computer MIDI OUT or USB B will sound, and the tempo of an If you wish to record the MIDI output of the M3’s external sequencer can be controlled. controllers, KARMA function, Drum Track function, and...
Page 634 1. KARMA External Routing settings (Global 1–2a). • If M3 song data that was saved as a format 1 SMF file is loaded into another device, the track configuration may be different than it was before being saved. This is...
Page 635: Midi Implementation
MIDI Implementation MIDI Implementation...
Page 636 Appendices...
Page 637 MIDI Implementation...
Page 638 Appendices...
Page 639: Media Mode Information
AIFF ﬁles AIFF ﬁles When data is loaded into the M3, the following four chunks When exporting, the M3 will use the Common Chunk, are referenced: Common chunk, Sound Data chunk, Marker Sound Data Chunk, Marker Chunk, and Instrument Chunk.
Page 640: About Korg Format Files
Chunk size (18 × number of samples in the Unless stated otherwise, all data is Big Endian. [4 bytes] multisample) • When a Korg format ﬁle saved on the M3 is loaded by Original key [1 byte] the TRINITY, MSB 1: Non Transpose 0: Transpose •...
Page 641 • Sample data chunk Chunk ID (‘SMD1’) [4 bytes] Chunk size (12 + number of sample [4 bytes] databytes) Sampling frequency [4 bytes] Sample rates of sample ﬁles supported by the M3: 48000/47619/44100/32000/31746/31250/29400/24000/ 23810/22254/22050/21333/21164/20833/19600/16000/ 15873/15625/14836/14700/14222/14109/13889/13067/ 12000/11905/11127/11025/10667/10582/10417/9891/ 9800/9481/9406/9259/8711/8000/7937/7813/7418/ 7350/7111/7055/6945/6534/6000/5953/5564/5513/ 5333/5291/5208/4945/4900/4741/4703/4630/4356/ 4000/3968/3906/3709/3675/3556/3527/3472/3267/...
Page 642 .KMP/.KSF ﬁles which are to be handled together. Lines beginning with # are ignored as comment lines. The ﬁrst line of the ﬁle must begin with “#KORG Script Version 1.0” and subsequent lines (except for comment lines) consist only of ﬁlename. Only ﬁles with an extension of KMP/KSF are processed.
Page 643: About Akai Program Files
Key groups 1 and 2 are a layer whose low range is the same. When this is loaded into the M3, three Multisample multisamples will be created, collected by velocity zone, and...
Page 644: Cd-R/Rw Disks On The M3
(Depending on the condition of the disk, it may take substantially longer.) The M3 lets you use USB CD-R/RW disks like you would a ﬂoppy disk or a removable hard disk. You can save Formatting takes up some of the space on the disk, so that individual ﬁles to a disk, over-write them, add new folders,...
Page 645 CD-R/RW disks on the M3 UDF and packet-writing Divided files If data has to be read or processed while writing to a CD-R/ RW, the resulting ﬁles may not be contiguous on the disk. Operations which can cause this include: •...
Page 646 Appendices...
Page 647 Please also retain your receipt as proof of purchase otherwise your product may be disqualified from the manufacturer’s or distributor’s warranty. 4015-2 Yanokuchi, Inagi-city, Tokyo 206-0812 Japan  2007 KORG INC.

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Korg M3 Parameter Manual

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