KORG M3 - Manual (Page 67)

Detailed Editing with Programs Using Filters
59
Quick Start
Introduction
Setup
Program
Combination
Sequencer
Sampling
Global
Media
Effect
KARMA
Drum Track
Other
Appendices
parameters described below, on the Filter1/2–
Modulation page:
The Intensity to A and Intensity to B settings control
the basic amount of EG modulation for filter
frequencies A and B, respectively, before other
modulation.
The Velocity to A and Velocity to B settings let you use
velocity to scale the amount of EG modulation.
The AMS setting selects a AMS modulation source to
scale the amount of the Filter EG applied to Filters A
and B. The two filters share a single AMS source, with
separate intensity Into A or to B settings.
LFO modulation
You can modulate the filter via LFO1, LFO2, and the
Common LFO. Among other applications, LFO
modulation of the filter can produce the classic “auto-
wah” effect.
The Filter1/2– LFO Mod. page lets you set up the
following parameters separately for each LFO:
Intensity to A and Intensity to B specify how much
the LFO changes the tone.
JS-Y Intensity to A and JS-Y Intensity to B specify the
depth of the wah effect produced by the LFO when the
KYBD-61/73/88’s joystick is moved toward yourself,
or when CC#2 is received.
The AMS setting selects a AMS modulation source to
scale the amount of the LFO applied to Filters A and B.
The two filters share a single AMS source, with
separate intensity settings.
For example if, AMS is set to After Touch, applying
pressure to the keyboard produces an “auto-wah”
effect.
Keyboard Track
Most acoustic instruments get brighter as you play
higher pitches. At its most basic, keyboard tracking re-
creates this effect by increasing the cutoff frequency of
a lowpass filter as you play higher on the keyboard.
Usually, some amount of key tracking is necessary in
order to make the timbre consistent across the entire
range.
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:
• Make the filter cutoff increase very quickly over the
middle of the keyboard, and then open more
slowly–or not at all–in the higher octaves.
• Make the cutoff increase as you play lower on the
keyboard.
• Create abrupt changes at certain keys, for split-like
effects.
How Key Track works: Keys and Ramps
The keyboard tracking works by creating four ramps,
or slopes, between five keys on the keyboard. The
bottom and top keys are fixed at the bottom and top of
the MIDI range, respectively. You can set the other
three keys–named Low Break, Center, and High
Break–to be anywhere in between.
The four Ramp values control the rate of change
between each pair of keys. For instance, if the Low-
Center Ramp is set to 0, the value will stay the same
between the Low Break key and the Center key.
You can think of the resulting shape as being like two
folding doors attached to a hinge in the center. At the
Center key (the main hinge), the keyboard tracking has
no effect. The two folding doors swing out from this
center point to create changes in the higher and lower
ranges of the keyboard.
Keyboard Track Shape and Intensity
Low Break Key Center Key High Break Key
Intensity = +99 (Original Shape)
Intensity = –99 (Inverted)
Intensity = +50 (Less Effect)
Intensity = 0 (No Effect)