Each RADIAS Timbre is built on two oscillators. A total of nine oscillator algorithms are available, including
the traditional analog synthesis waves - sine, triangle, pulse (square) and sawtooth - as well as Korg DWGS
waves, PCM waves and drum kits, external audio sources and more. Variable Phase Modulation, cross mod,
ring mod, sync, waveform shaping and other advanced modulation capabilities allow you to experience
more sound-creating flexibility than ever before.
Two resonating filters are continuously variable from 24dB low pass (four-pole) thru 12dB low pass (two-
pole), band pass, high pass, up to a "Thru" bypass. For maximum flexibility, the filters can run in series or
side-by-side, or even run in a one oscillator per filter arrangement. Filtering can be applied before or after
the Amp stage.
Twin Low Frequency Oscillators provide a total of five waveforms including Sample/Hold. The speed can
be set manually or set as a note value of the internal/external tempo source, and the wave cycle can be sync'd
to each key-on message. As with the audio oscillators, these low frequency oscillators also enjoy the benefits
of variable waveform shaping.
In addition to the traditional Attack/Decay/Sustain/Release stages, the three enhanced RADIAS envelope
generators feature various linear, logarithmic and exponential curve shapes for creating accurate time-vari-
able modulation. Velocity and note based parameters provide even more detailed and dynamic articulation.
The RADIAS provides a two-band equalizer and two insert effects for each timbre, and one master effect for
each program. The RADIAS includes 128 editable Insert effect programs, and 128 editable Master effect pro-
grams, created using thirty different effect algorithms.
Traditionally, the Amp section of a synthesizer relates to controlling the volume. The RADIAS adds Drive,
"Punch Level" and Wave Shape parameters to the mix. Drive adds controlled harmonic distortion, much
like sending too much oscillator signal into another module on a traditional analog synthesizer. Punch Level
adds a square wave to the attack portion of the sound for an increase in perceived dynamics. The Wave
Shape adds new tonal character to your sound through the Decimator, Hard Clipping and more.
Just as step sequencers provide new pitch data to an oscillator over time, the Modulation Sequencers provide
changes in modulation data over time in a way similar to a classic analog sequencer. Each of the three Mod-
ulation Sequencers can be applied to any one of 41 different parameters. Modulation sequences can be re-
corded in step time, or in real time using the Motion Rec function. Modulation sequences are 16 steps long.
The output of the modulation sequencer can be sent as a new discreet value at each sequencer step; or the
output can be sent as a continuously changing value based on the values assigned to each step.
The six Virtual Patches (V.PATCH) allow any of 15 modulation sources to be routed to any of 15 modulate-
able parameters. They function in a similar way to patch cords on a modular analog synthesizer. Five of the
sources are MIDI Control Change numbers, which can be set in the Global Mode. This arrangement offers
you a high degree of flexibility in creating and controlling sounds.