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Korg MMT RADIAS Owner's Manual: Effect Guide; Overview; About The Effect Inputs And Outputs; About The Delay Time

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The effect section of the RADIAS consists of a two-band
EQ and two insert effects per timbre, and one master ef-
fect for the entire program. You can use the EQ and in-
sert effects to create the sound of each timbre, and use
the master effect to add overall spatial processing.
For each of the insert effects and master effect, you can
choose one of thirty types of full-digital effect. The types
of effects are grouped in the following categories.
Filter and dynamics effects such as EQ and compressor
Reverb, early reflection, and delay
Pitch and phase modulation effects such as chorus and
phaser, rotary speaker, and pitch shifter
About the effect inputs and out-
The insert effects and master effects are stereo-in/ste-
reo-out. The Dry signal (the direct, unprocessed sound)
of the "Dry/Wet" balance will simply pass through the
stereo input as a stereo output. The way in which the
Wet signal (the sound processed by the effect) is output
will depend on the type of effect, and the possible con-
figurations are shown below.
Mono In - Mono Out
Mono In - Stereo Out
Stereo In - Stereo Out
In the block diagram given for each effect in the pages
that follow, the input/output configuration is listed in
the upper left of the diagram.
In order to obtain the best audio quality, use "AmpLev-
el," "OSC1 Level," "OSC2 Level," and "Noise Level" to
adjust the input level to the insert effect and master ef-
fect, and set the "Trim" of each effect to the maximum
level that does not cause clipping. Then use the "Dry/
Wet" and "Output Level" of each effect to adjust the
output level of the effect.
Some effect types do not have a "Trim" or "Output
Level" parameter.
There is no input level meter that indicates the in-
put level to the effect. If the input level is insuffi-
cient, the S/N ratio will be degraded. If the input
level is excessive, clipping may occur.

Effect guide

About the delay time

For delay effects, the actual delay time is determined by
multiplying the delay time with the "TimeRatio." Here
are some examples.
• "TempoSync": Off, "L Delay": 0800 ms, "R Delay":
• "TempoSync": On, "L Delay": 1/4, "R Delay": 1/
Delay time when Tempo Sync is on
When "TempoSync" is on, the delay time will synchro-
nize to the tempo specified by the [TEMPO] knob (or ex-
ternal MIDI clock). This is useful in a live performance,
since the delay time will be synchronized with the ar-
peggiator and step sequencer playback.
If "TempoSync" is on, you will specify the delay time in
terms of a note value.
Here is an example.
• "TempoSync": On, "TimeRatio": 100%, "L Delay":
0400 ms, "TimeRatio": 50% settings will produce an
actual delay of 400 ms for the L-channel and 200 ms
for the R-channel.
8, "TimeRatio": 50% settings will produce an actual
delay of an 8th note for the L-channel and a 16th
note for the R-channel.
1/8, "R Delay Base Note": 3/16 settings will set
the L-channel delay time to an 8th note and the R-
channel delay time to a dotted 8th note.
If the time calculated by Delay Time × "TimeRa-
tio" exceeds the range of the assigned delay time
setting, an indication of Over will appear at the
right of the "TimeRatio" value, and the delay time
will be half of the specified value. If the delay time
is still over the range when halved, it will be cut to
a 1/4, 1/8, 1/16 ... and so on as necessary.


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