Owners Manual

Precautions

Location

Using the unit in the following locations can result in a malfunction. In direct sunlight Locations of extreme temperature or humidity Excessively dusty or dirty locations Locations of excessive vibration Close to magnetic elds
CE mark for European Harmonized Standards
CE mark which is attached to our companys products of AC mains operated apparatus until December 31, 1996 means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC). And, CE mark which is attached after January 1, 1997 means it conforms to EMC Directive (89/336/EEC), CE mark Directive (93/68/EEC) and Low Voltage Directive (73/23/EEC). Also, CE mark which is attached to our companys products of Battery operated apparatus means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/ EEC).

Power supply

Please connect the designated AC/AC power supply to an AC outlet of the correct voltage. Do not connect it to an AC outlet of voltage other than that for which your unit is intended.

Regarding the LCD screen

The LCD screen of the RADIAS is a precision device created using extremely high technology, and careful attention has been paid to its product quality. Although you may notice some of the issues listed below, please be aware that these are due to the characteristics of LCD screens, and are not malfunctions. There may be pixels in the screen that are always dark (unlit) or always bright (lit). Depending on the displayed content, the brightness of the screen may appear uneven. Depending on the displayed content, horizontal stripes of shading may be visible. Depending on the displayed content, ickering or moire patterns may be visible.
Interference with other electrical devices
Radios and televisions placed nearby may experience reception interference. Operate this unit at a suitable distance from radios and televisions.

Handling

To avoid breakage, do not apply excessive force to the switches or controls.
If the exterior becomes dirty, wipe it with a clean, dry cloth. Do not use liquid cleaners such as benzene or thinner, or cleaning compounds or ammable polishes.

Keep this manual

After reading this manual, please keep it for later reference.

Data handling

Malfunctions due to incorrect operation may cause the contents of memory to be lost, so we recommend that you save important data on an external data filer (storage device). Please be aware that Korg will accept no responsibility for any damages which may result from loss of data.
Keeping foreign matter out of your equipment
Never set any container with liquid in it near this equipment. If liquid gets into the equipment, it could cause a breakdown, re, or electrical shock. Be careful not to let metal objects get into the equipment. If something does slip into the equipment, unplug the AC/AC power supply from the wall outlet. Then contact your nearest Korg dealer or the store where the equipment was purchased.
THE FCC REGULATION WARNING (for U.S.A.)
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures: Reorient or relocate the receiving antenna. Increase the separation between the equipment and receiver. Connect the equipment into an outlet on a circuit different from that to which the receiver is connected. Consult the dealer or an experienced radio/TV technician for help. Unauthorized changes or modication to this system can void the users authority to operate this equipment.

Press the [DRUM] button. The display will indicate that youre in the Drum Play mode. From top to bottom, the display shows the number and name of the drum kit, and the name, note number, and group of the selected drum instrument. Use the [PROGRAM/VALUE] dial to select a drum kit. Turn the dial to select one of the thirty-two drum kits. Play the keyboard. The drum instrument assigned to each note will sound. In the factory-set drum kits, drum instruments are assigned to the C2D#3 keys. The display will indicate the name, note number, and group of the drum instrument you played. You can also play the drum kit using 16KEYS [1][16]. In the Drum Play/Edit modes, each drum instrument will sound on the global MIDI channel. In the Drum Play/Edit modes, the operation of the effects, arpeggiator, and step sequencer will behave according to the timbre that was assigned to a drum kit in the program that was selected when you hit the [DRUM] button to enter the Drum Play mode. If no drum kit was assigned to the program, the settings of initial program will be used. In this case, you will only be able to change the on/off switch settings for the assigned effect or the arpeggiator.

Editing

A program consists of a large number of parameters; the names and synth parameters of all four timbres, the program common settings such as program name, vocoder settings etc. If you want to create a program from scratch, youll need to understand what each of these parameters does. An easier way to get started is to start by choosing one of the factory programs or timbre templates and editing the parameters to understand what they do.

Basic editing procedure

This section explains the basic operations for editing and setting parameters. You can edit the sound of a program in either the Program Play mode or in the Program Edit mode. If a drum kit is assigned to a program, you can edit those drum sounds in the Drum Play mode or in the Drum Edit mode.
Editing in the Program Play mode
In the Program Play mode you can select and play programs, and you can also use the front panel knobs and buttons to edit the sound of the program as you play, for example by raising the filter cutoff frequency or by making the attack slightly slower.
Selecting the timbre to edit
If the program consists of more than one timbre, heres how to select the timbre to be edited.
Use the TIMBRE SELECT [1][4] buttons to select the timbre you want to edit. The button for the selected timbre will blink. A symbol is shown in front of the timbre name in the display. The front panel knobs and buttons and the timbre parameters shown in the display will apply to the timbre that is selected. When you switch programs (or perform a Program Dump), the lowest-numbered active timbre is selected.

Use Trigger to select whether the notes at that step will play. species that the notes at that step will play. species that the notes at that step will not play. If you change a step to , the note numbers previously assigned to that step will be assigned. In the case of a step to which no notes had previously been assigned, note numbers will be assigned according to the following rules. If the timbre to which the step sequencer is assigned is using a drum kit, the DrumKit Inst=01 note number will be assigned. If the timbre to which the step sequencer is assigned is not using a drum kit, the C4 note number will be assigned.
Use the cursor to select the note you want to edit, and use the [PROGRAM/VALUE] dial to edit it. If you select , the note data will be deleted. If you play a key while holding down the [EDIT/YES] button, the corresponding note number will be input. However, you cannot input multiple notes simultaneously using this method. Up to eight notes can be recorded in each step. Move the cursor to , and enter the desired note number. These notes are sounded with priority given to the notes in the order they are selected, starting from the upper left. Make sure that the notes of greatest musical importance are specified starting from the upper left.
Repeat steps 25 to edit other steps.

Vocoder editing

When the TIMBRE SELECT [VOCODER] button is dark, the vocoder is off. Pressing this button will turn the vocoder on, and the button will be lit. You can use one timbre as the carrier, and apply a vocoder effect to it. To edit the vocoder settings, press the TIMBRE SELECT [VOCODER] button and then press the [EDIT] button. You will enter the Vocoder Edit mode. If the Vocoder Edit mode P021: COMMON PROG tab page PanelEdt parameter is set to Link, pressing the TIMBRE SELECT [VOCODER] button will let you use the front panel knobs and buttons to edit the vocoder settings. If you want to keep the changes you make, you must Write them. If you dont perform the Write operation, your changes will be lost. (p.32 Saving an edited program) In the explanation that follows, we will be explaining only the parameters that are unique to vocoder programs. For parameters that are also found in synth programs, refer to p.37 Synth parameter editing. Before you continue, refer to p.27 Playing a vocoder program and connect the included mic.

Use the FILTER1 [MODULATOR] button to select FrmntPly. Play a note. The vocoder will sound with the formant motion data you recorded.
If you want to keep the formant motion data you recorded, execute the Write operation. The formant motion data youre editing will be lost if you select other formant motion data, change programs, or turn the RADIAS power off (STANDBY) without writing, or if you receive a MIDI data dump for this data from a connected external device.
Writing formant motion data
Formant motion data is handled as global data. Sixteen sets of formant motion data can be saved, and this data is used by all programs.
In the Program Play mode, the Program Edit mode, or the Vocoder Edit mode, press the [WRITE] button. The Write dialog box will appear. In the To specify the writing-destination formant motion data number. If you specify the writing-destination as something other than the number youre editing, the formant motion data youre editing will be overwritten onto the specified number when you execute the Write operation, and the data of the number you had been editing will revert to the unedited state. If you specify the writing-destination as something other than the number youre editing, the vocoder parameter Formant (p.105 P081: MODULATOR) will change to the number you specified.
Press the [WRITE] button or the [EDIT/YES] button. The data will be written, and you will return to the state prior to writing. Never turn off the power while data is being written. Doing so may destroy the data. The factory-set formant motion data will be overwritten when you write formant motion data. You can use the cursor [/] button to select Write, and choose one of the following three types of data to write. Program: The program will be saved. Formant: The formant motion data will be saved. Prg&Frmnt: Both program and motion data will be saved. If there is no newly recorded formant motion data (p.58 Formant Motion function), Write will indicate Program. If new formant motion data was recorded, the Write eld will indicate Prg&Frmnt.

Drum parameter editing

Half Open Hihat

What is a drum kit?

Snare2 Kick2

Tambourine

What is a drum instrument?
Each of the sounds (e.g., bass drum or cymbal) making up a drum kit is called a drum instrument. A drum kit contains sixteen drum instruments. A drum instrument has essentially the same structure as the timbre of a program (with the exception of insert effects and modulation sequencers). As with a program, you can make detailed changes to the sound by editing parameters from oscillators to virtual patch settings.

0: Category

[BassUser]
The program will be assigned to the category you select here. It is often convenient to select programs by category. For details on selecting programs by category, refer to p.21 Selecting programs by category.
P02 COMMON (Program Common Parameters)
P021: PROG (Program Common)
Here you can turn the vocoder on/off, specify the scale type used by the program, specify the object that the front panel knobs and buttons will edit, and choose the illumination pattern for the 16KEYS [1][16] keys.

1: Program Name

Specifies the name of the program. To specify the name, use the cursor buttons and the [PROGRAM/VALUE] dial, or use the [EDIT/YES] button and the sixteen knobs. The following characters are available:

1: Vocoder VOCODER

For details on entering a name, refer to p.35 How to assign a name.

[Off, On]

Specifies whether this program will use the vocoder. This setting will change the available number of voices.
Off The vocoder is off, and will not be used in the current program. On The vocoder is on, and will be used by the current program. Audio that is input to the INPUT 2 jack will be used to produce the vocoder effect. For details on vocoder editing and on the vocoder parameters, refer to p.56 Vocoder settings and p.104 6. Vocoder Parameters.
Link The front panel controls will edit the timbre selected by the [TIMBRE SELECT] button. Normally you will choose this setting. Timbre1Timbre4 The front panel controls will always edit the timbre specified here, regardless of the timbre selected by the [TIMBRE SELECT] buttons. Vocoder The front panel controls will always edit the vocoder, regardless of the timbre selected by the [TIMBRE SELECT] buttons.

2: Scale

[EqualUser]
Selects the type of scale that the current program will use. You can choose one of ten different scale types. Equal Equal temperament, which is the most commonly used scale. Every semitone is spaced an equal pitch distance from the next. Major Pure major scale. Major chords in the key specified by Scale Key will be completely harmonious. Minor Pure minor scale. Minor chords in the key specified by Scale Key will be completely harmonious. Arabic Arabic scale. It includes the quarter-tone scale characteristic of Arabian music. Pytha Pythagorean scale, a scale based on ancient Greek musical theory. It is particularly effective when playing melodies. Werck Werckmeister scale, an equal tempered scale used in the late Baroque period. Kirn Kirnberger scale, created in the 18th century, and used mainly for tuning harpsichords. Slendro Slendro scale, an Indonesian gamelan scale that divides the octave into five notes. If the Scale Key is C, use the C, D, F, G, and A keys. Pelog Pelog scale, an Indonesian gamelan scale that divides the octave into seven notes. If the Scale Key is C, use the C, D, E, F, G, A, and B keys. User The scale you created in the Global mode P11: USER SCALE page. (p.120 P091: USER SCALE)

Multi The EG will be retriggered each time a new key is pressed.

Note on Note on

Trigger

Single

P04 VOICE
These parameters determine performance characteristics of the timbre.

P042: UNISON

These are the unison-related parameters. Unison is a function that produces a richer tone by playing multiple voices at the same pitch to fatten the sound. This effect can be enhanced by slightly detuning each stacked voice. The RADIAS lets you stack as many as six voices in this way.

P041: VOICE

Here you can specify how the timbre will be played.

1: Assign (Voice Assign)

[Mono, Poly] 1: Sw (Unison On/Off) UNISON
Switches unison on/off. Off Unison is off. On Unison is on. If this is on, use the Mode, Detune, and Spread parameters to specify the number of voices, detuning, and panning.
Selects monophonic or polyphonic operation. Mono The timbre will play monophonically (one note at a time). Poly The timbre will play polyphonically.

2: Priority

[Last, Low, High]
When playing monophonically, and more than one note is held down, this setting specifies the note that will take priority. This parameter is shown if Assign is set to Mono. Last The last key to be pressed down will sound. Low The lowest note being pressed will sound. High The highest note being pressed will sound.

2: Mode

[26 voice]
Specifies the number of voices that are stacked when using the Unison function. When you play a note, the specified number of voices will be heard, producing a richer tone. This parameter is shown and can be edited if Sw is On. Depending on other voice-related settings, the number of voices you specify here may not actually sound.

3: Trigger

[Single, Multi]
This specifies whether the EGs will retrigger when you play a second note before releasing a previously played note. This parameter is shown if Assign is set to Mono. Single The second and subsequent notes will not retrigger the EG. Use this setting if you want to play legato.

3: Detune

[0099 cent]
Specifies the amount of detuning (pitch spread) that will be applied between each stacked voice when using the Unison function.

Adjusts the depth of cross modulation.
LFO1 will vary the depth of cross modulation. Control2 adjusts the depth of this change. Pitch Modulation varies the pitch from the basic pitch for an equal distance up/down in terms of musical notes. In contrast, Cross Modulation varies the pitch from the basic pitch for an equal distance up/down in terms of frequency. When OSC Mod = Unison Unison detunes the pitch of ve oscillators within oscillator 1 and outputs them together to create a richer sound.
Control1: Detune (Unison Detune) [000127]
Adjusting the value will modify the waveform. A setting of 0 produces a simple triangle wave, and a setting of 127 produces a triangle wave that is one octave and a fth higher (i.e., the third harmonic).
Adjusts the pitch distance between the unison oscillators. Higher settings produce a greater spread between oscillators, giving a richer sound.
Control2: Phase (Unison Phase) [000127]
LFO1 will vary the Control1 effect (Waveform Modulation). Control2 adjusts the depth of this change. When OSC Mod = Cross This is the same as when Wave = Saw. When OSC Mod = Unison This is the same as when Wave = Saw. When OSC Mod = VPM This is the same as when Wave = Saw.
Species the phase of each oscillator at note-on. This will affect the tone of the attack. When OSC Mod = VPM
Control1: ModDepth (VPM Depth) [000127]
Adjusts the depth of the VPM effect.
Sin Sine wave is a mild tone that contains only the fundamental frequency with no overtones. When OSC Mod = Waveform
Control2: Wave Sel (Wave Select)

[0164]

Selects the PCM waveform. DrumPCM This provides various PCM waveforms such as drum and percussion sounds.
Control1: Pitch (Drum Pitch) [63+63] [01128]
A setting of 0 produces a simple sine wave. Increasing this value will modify the waveform as follows, changing the overtone structure.

Adjusts the pitch.

Selects the drum PCM waveform. The pitch of the drum PCM waveform will be the same regardless of the note number. You can choose one of 128 different drum PCM waveforms. For details on the drum PCM waveforms provided, refer to p.156 Voice Name List. AudioIn This lets you use the input source specified by Source as the oscillator output.
Control1: Gain [63+63] [L63CNTR63]
Adjusts the depth to which LFO1 will affect the Control1 effect. When OSC Mod = Cross This is the same as when Wave = Saw. When OSC Mod = Unison This is the same as when Wave = Saw. When OSC Mod = VPM This is the same as when Wave = Saw. Formant The formant waveform has a tonal character reminiscent of a human voice.

2: OSC Mod (Oscillator Modulation Type) OSC MOD
[Off, Ring, Sync, RingSync]
Selects the oscillator modulation type. Some settings may produce noise. Off The sound will be output without any modulation being applied. You can adjust Semitone and Tune to produce a spacious-sounding detune effect. For fuller synth bass sounds, set the pitch of oscillator 1 and 2 one octave apart.

P063: MIXER

These parameters specify the output level of each oscillator. The settings you make here will determine the input level to the filter.
Para Filter 1 and filter 2 are connected in parallel.
OSC1 Filter1 OSC2 Filter2 Noise
Indiv Filter 1 is applied to oscillator 1, and filter 2 is applied to oscillator 2 and noise.
1: OSC1 Lvl (OSC1 Level) OSC1
Specifies the output level of oscillator 1.

Filter1

2: OSC2 Lvl (OSC2 Level) OSC2
Specifies the output level of oscillator 2.

Filter2 Noise

3: Noise Lvl (Noise Level) NOISE
Specifies the output level of the noise generator.
2: FiltBal (Filter1 Balance) FILTER TYPE [LPF24LPF12HPFBPFTHRU]
Selects the filter type. Intermediate settings will produce a response that is between the two filter types. LPF12 (12dB/oct), LPF24 (24dB/oct) LPF (Low Pass Filter) is the most common type of filter; it passes the frequencies below the cutoff frequency and cuts the region above. Raising the cutoff frequency (Cutoff value) will produce a brighter tone. The 24dB/octave filter (also known as 4-pole; versus the 12dB /octave also known as a 2-pole filter) cuts the sound below the cutoff frequency at steeper curve and is useful for bass sounds with more punch.

LPF (Low Pass Filter)

P07 FILTER
These are the individual parameters for filter 1 and filter 2, as well as parameters that affect the entire filter section. Both filters are self resonating.

P071: FILTER1

12dB/oct 24dB/oct

Frequency Cutoff

Activates the drive or wave shape functions. This setting will affect the maximum number of voices. Off Drive and wave shape functions will be off. Drive Drive will be applied. The amount of distortion is adjusted by the output level of each oscillator in the P063: OSC/MIXER MIXER tab page (or the MIXER [OSC1] knob, etc.). WavShape Wave shape will be applied according to the wave shape type selected by WS Type.
3: Cutoff (Cutoff Frequency) CUTOFF [000127] 4: Resonance RESONANCE [000127] 5: EG1 Int (EG1 Intensity) EG1 INT [63+63] 6: KeyTrack (Keyboard Track) KEY TRACK [2.0+2.0] 7: VeloSens (Velocity Sens) [63+63]
These are the same as for FILTER 1. Refer to p.86 P071: FILTER1.

4: Position

[PreFilt1, PreAmp]
Specifies the position at which the drive or wave shape functions will be applied. PreFilt1 Drive or wave shape will be applied before filter 1. PreAmp Drive or wave shape will be applied after the filter and before the amp.

P08 AMP (Amplier)

These are the parameters related to the volume of the timbre.

5: Depth

Specifies the depth at which the drive or wave shape functions will be applied.

P081: AMP

6: WS Type (Wave Shape Type) [DecimatorLvl Boost]
Selects the type of wave shape. This is shown and can be edited if Drive/WS is set to WS. This setting will affect the maximum number of voices. Some settings may produce noise. Decimator Lowers the sampling frequency.
1: Level (Amp Level) LEVEL
Specifies the volume of the timbre.

Depth: 000

Depth: 064

Depth: 127

If a drum kit is assigned to the timbre, the parameter adjusted by the front panel [LEVEL] knob will be the P022: COMMON DRUM tab page Level parameter.
Hard Clip Flattens any portion of the waveform above the limit.
This may produce high output volumes than other wave shape types.
7: PunchLvl (Punch Level)
OctSaw Cuts the portion of the waveform above the threshold level and moves it within the limits to the inverse position upward or downward.
Depth: 000 Depth: 064 Depth: 127
Creates a more snappy attack by adjusting the amount of pulse waveform that is added to the oscillator output only during the attack. Increasing this value will emphasize the attack. If the attack is slowed down by the EG etc., this will have no effect.
8: KeyTrack (Keyboard Track)
MultiTri Sending a sawtooth wave through this will produce a triangle wave.
Specifies how keyboard tracking will affect the volume. With positive (+) settings, the volume will increase as you play upward from the C4 key, and decrease as you play downward. With negative () settings, the volume will decrease as you play upward from the C4 key, and increase as you play downward. If this value is 0, keyboard tracking will not affect the volume. Keyboard tracking works according to the pitch as controlled by pitch bend, transpose, and modulation sequencer. It does not reflect pitch changes produced by vibrato or virtual patching.

Mono In - Mono Out Wet Mono In - Stereo Out Stereo In - Stereo Out

+ Effect

Delay time when Tempo Sync is on
When TempoSync is on, the delay time will synchronize to the tempo specified by the [TEMPO] knob (or external MIDI clock). This is useful in a live performance, since the delay time will be synchronized with the arpeggiator 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: 1/8, R Delay Base Note: 3/16 settings will set the L-channel delay time to an 8th note and the Rchannel delay time to a dotted 8th note.

Dry Wet

Effect Effect Effect
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 AmpLevel, OSC1 Level, OSC2 Level, and Noise Level to adjust the input level to the insert effect and master effect, 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 input level to the effect. If the input level is insufficient, the S/N ratio will be degraded. If the input level is excessive, clipping may occur.
If the time calculated by Delay Time TimeRatio 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.
Delay time for the insert effects
Broadly speaking, there are two types of effect for which you can specify a delay time. Delay effects Modulation effects such as chorus that internally use a xed delay time If you use such an effect in the two insert effects, the delay time of the effects can be set for a maximum of 1.0 seconds for each timbre. Here are some examples. Insert effect 1 uses St.Delay, and insert effect 2 uses St.Auto Panning Delay. 500 ms of delay time is assigned to each effect.
IFX1 St. Delay 500 msec 1.0 sec IFX2 St. Auto Panning Delay 500 msec
Insert effect 1 uses St.Chorus, and insert effect 2 uses St.Delay. 160 ms of delay time is assigned to St.Chorus, and 840 ms of delay time is assigned to St.Delay.
IFX1 St. Delay 840 msec 1.0 sec 160 msec IFX2 St. Chorus

Dry/Wet

[Dry, 99:11:99, Wet]

Sets the balance between the effect and dry sounds.
Env Sel (Envelope Select) only MFX [LR Mix, LR Indv.]
When L/R Mix is selected for this parameter, the left and right channels are linked to control the Limiter using the mixed signal. With L/R individually, the left and right channels control the Limiter individually. You can switch between LR Mix and LR Indiv. settings only when using this effect type for the master effect. When using this effect type for an insert effect, this parameter is fixed at LR Mix.
Sens (Sensitivity) [001127]
p.123 1. St.Compressor (Stereo Compressor)

Ratio [1.0:150.0:1Inf:1]

Sets the signal compression ratio.

Threshold [40+00dB]

Sets the level above which the compressor is applied. Compression is applied only when the signal level exceeds the Threshold value.
Limiter - Threshold / Ratio Ratio=1.0 : 1 Output Level Ratio=2.0 : 1 Threshold Ratio=4.0 : 1 Ration=Inf : 1 Louder
The Sensitivity parameter sets the sensitivity of the compressor. If this parameter is set to a higher value, lower level sounds will be boosted. With a higher Sensitivity, the overall volume level is higher. To adjust the final volume level, use the Output Level parameter.
Level Compressor - Sensitivity Level Wet Sensitivity=100 Louder Dry Sensitivity=40
Louder Input Level Dry Ratio=1.0 : 1 Ratio=2.0 : 1 Ratio=4.0 : 1 Threshold Ratio=Inf : 1 Time

[0000.10500.0ms]

Output Level Threshold

Gate - Threshold

Sets the attack time. A higher attack time will cause the compression to be applied more slowly.
Limiter - Attack Threshold Dry

Louder

Louder Input Level Gate - Attack / Release Threshold

Ratio=Inf : 1 Attack=1

Wet Wet Ratio=Inf : 1 Attack=100
Attack=0.1ms Release=0.3ms
Attack=500ms Release=500ms Attack Release

GainAdjst (Gain Adjust)

[Inf, 40+24dB] GainAdjst (Gain Adjust) [Inf, 40+24dB]
Sets the output gain. Adjust the output level using the Gain Adjust parameter, since compression causes the entire level to be reduced.

Sets the output gain.

3. St.Gate (Stereo Gate)
This effect mutes the input signal if its level is lower than the specified level.
Stereo In - Stereo Out Left
4. St.Filter (Stereo Filter)

This is a stereo filter.

Filter
Dry / Wet LFO Control Source Response

Filter Gate

Dry / Wet Right Dry / Wet
Dry/Wet Dry/Wet [Dry, 99:11:99, Wet]
Filter (Filter Type) [LPF24 (24dB/oct), LPF18 (18dB/oct), LPF12 (12dB/oct), HPF12 (12dB/oct), BPF12 (12dB/oct)]

Wah Type [Y-CRY, RM-A, RM-B, J-CRY, VOX, M-VOX]
Sets the LFO speed. This parameter will be displayed and can be set if Mod Src is LFO and TempoSync is Off. p.125 LFO Freq (LFO Frequency)
Selects the wah type. If ModSource is Auto/Ctrl (other than PitchBend), settings of Freq=0, Resonance=0, and ModInt=+63 will produce the response of a modeled wah. If ModSource is LFO/Ctrl (PitchBend), settings of Freq=32, Resonance=0, and ModInt=45 will produce the response of a modeled wah.
Wah Freq (Frequency) [63+63]
Sets the LFO frequency as a proportion of the tempo set by the [TEMPO] knob. This parameter will be displayed and can be set if Mod Src is LFO and TempoSync is On. p.125 Sync Note (LFO Sync Note)
LFO Wave (LFO Waveform) [Saw, Squ, Tri, Sin, S&H]
Sets the wah center frequency.

Resonance [63+63]

Selects the LFO waveform when Mod Src is LFO. p.125 LFO Wave (LFO Waveform)
Sets the resonance amount.
Mod Src (Modulation Source) [Auto, LFO, Ctrl]

LFO Shape

Selects the source that will control the center frequency of the wah. When Mod Src is set to Auto will select an auto-wah that sweeps according to envelope changes in the input signal level. Auto-wah is frequently used for funk guitar parts and clav sounds. When Mod Src is set to LFO, the effect uses LFO to sweep in cycle. When Mod Src is set to Ctrl, you can control the filter directly via the modulation source in the same way as a wah pedal.
Mod Int (Moduration Intensity) [63+63]
Adjusts the shape of the LFO waveform if Mod Src is LFO. p.125 LFO Shape
Specifies whether the LFO will be reset at note-on. This parameter will be displayed and can be set if Mod Src is LFO. p.125 Key Sync (LFO KeySync)
InitPhase (LFO Init Phase) [000180]
Adjusts the depth of the modulation produced by the modulation source.
Specifies the starting position of the waveform. This parameter will be displayed and can be set if Key Sync is Timbre. p.125 InitPhase (LFO Init Phase)
Ctrl Src (Control Source)

[Off, VelocityMIDI5]

B1 Freq (B1 Frequency)

[20Hz20.0kHz]

Selects the control source used when Mod Src is set to Ctrl. The selected source will control the center frequency of the wah. This parameter will be displayed and can be set if Mod Src is Ctrl. p.125 Ctrl Src (Control Source)

Arp Sw OFF OFF OFF OFF OFF OFF OFF OFF OFF OFF ON OFF ON ON OFF OFF OFF OFF OFF OFF OFF OFF OFF OFF OFF OFF ON OFF ON OFF OFF ON OFF OFF OFF OFF OFF OFF OFF OFF OFF OFF ON OFF ON ON OFF ON OFF OFF OFF OFF ON ON ON OFF OFF
Programmer David Polich KORG Inc. KORG Inc. David Polich Phill Macdonald Phill Macdonald Oliver Munyak KORG Inc. KORG Inc. KORG Inc. Richard Devine KORG Inc. Phill Macdonald Oliver Munyak Richard Devine KORG Inc. David Polich KORG Inc. Oliver Munyak Oliver Munyak Martin Richardson David Polich David Polich KORG Inc. Phill Macdonald David Polich Richard Devine Jerry Kovarsky Richard Devine Martin Richardson Richard Devine Phill Macdonald Phill Macdonald Oliver Munyak KORG Inc. KORG Inc. David Polich KORG Inc. KORG Inc. KORG Inc. Oliver Munyak Phill Macdonald Martin Richardson David Polich Phill Macdonald Martin Richardson Oliver Munyak Richard Devine David Polich KORG Inc. KORG Inc. Phill Macdonald KORG Inc. Richard Devine David Polich KORG Inc. KORG Inc.
No. N15 N16 O01 O02 O03 O04 O05 O06 O07 O08 O09 O10 O11 O12 O13 O14 O15 O16 P01 P02 P03 P04 P05 P06 P07 P08 P09 P10 P11 P12 P13 P14 P15 P16
Program Name Source Code FrNkNsTeIn Ens Vocoder *2 CPU Lover *2 Dual Formant *2 Airy Vocoder *2 Munchy Land *2 Mono Vocoder *2 AutoChordVoc *2 RadioAktiv *2 Comb-Coder *2 VocoderPulse *2 Spectrum Mod *2 Danger Voice *2 AudioIn INIT *2 Audio Grain *2 StLineFilter *3 StLineGating *3 Init Program Init Program Init Program Init Program Init Program Init Program Init Program Init Program Init Program Init Program Init Program Init Program Init Program Init Program Init Program Init Program
Category Arp/Seq S.E Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Vocoder Audio In Audio In Audio In Audio In User User User User User User User User User User User User User User User User
Timbre 1 Name Carrier Vntg Modular Fat Saw Pad 5th Carrier Formant OSC Unison Pad Munchy Land MonoSynPulse Unison Pad Saw Carrier Comb-Coder Simple Pulse Formant Mod Dist Voice AudioIn Init Grain Loop St.AudioIn St.AudioIn InitTimbre1 InitTimbre1 InitTimbre1 InitTimbre1 InitTimbre1 InitTimbre1 InitTimbre1 InitTimbre1 InitTimbre1 InitTimbre1 InitTimbre1 InitTimbre1 InitTimbre1 InitTimbre1 InitTimbre1 InitTimbre1
Timbre 2 Name For Arp=Off Vntg Lazer Behind Seq ----------------------Arp Saw -----------AudioIntBus ---------------------------------Arp Saw ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------