Korg M3, Parameter Manual

Page: 575 / 647

Repeat (Melodic Repeat) Group General Parameters
565
Triplet Rhythms [0…8]
Selects a setting for the “Rhythm Value” parameter from a
subset of the entire range. The subset consists of the triplet
values along with 0: None and 8: Rhythm Pattern. This is
used to provide real-time control of the “Rhythm Value”
parameter while excluding certain of the in-between values.
Selected Rhythms [0…13]
Same as “Straight Rhythm Values,” except adds the two
most musically useful dotted values also.
Selected Rhythms2 [0…18]
Specially created for Drum GEs, providing the same subset
as Selected Rhythm Values (above), with the addition of the
most useful short note values.
Time Offset (ms) [–127…+127]
Allows a positive or negative millisecond offset to be
applied to very short repeat times, making them slightly
shorter or longer. One use is to “tune” to a certain key
resonant delay effects created with short repeat times.
Only operable when one of the first three settings of the
Rhythm menu are selected (None, 64th triplet, or 64th).
For example, you can use it to adjust a short Rhythm
setting, and then switch to a longer setting via GE RT
Parameter control, and the offset will be ignored,
allowing the longer rhythms to stay in sync.
Use Swing [0, 1]
Sets whether the repeated notes will take on the swing feel
that is set in the Rhythm Group. If 0: Off, the generated
notes may be swung but the repeated notes will not be. Note
that triplet rhythm values are not affected by swing.
When the Rhythm Group “Swing %” parameter
(
☞
p.534) is 0, this parameter has no effect.
Repetitions [0…100, 101: ]
The maximum number of repeated notes to generate. Note
that due to other settings and circumstances, not all of them
may actually be generated. A setting of 101:
causes the
notes to repeat indefinitely, unless something else stops
them.
Decay [–126…+126]
The amount by which each successive repeated note
changes in velocity. Negative numbers cause the delayed
notes to decrease in volume (more common), while positive
numbers
cause the delayed notes to increase in volume.
Interesting effects can be created by a combination of a high
negative
“Initial Velocity” (i.e. –120) and a small positive
“Decay” (i.e. +4). Note that this operates in conjunction with
the Velocity Pattern specified in the Velocity Group.
Initial Velocity [–126…+126]
The velocity above or below the original note that the first
repeated note is generated at, after which the “Decay”
parameter is added to them with each successive repetition.
Note that this operates in conjunction with the Velocity
Pattern specified in the Velocity Group.
Transpose [–24…25]
The amount by which each successive repeated note is
transposed in pitch. When one of the semitone values is
selected, the same value is used for each repeated note.
When the Pattern option is selected, the 25: Index Pattern in
the Index Group is used, so that each repeated note can
transpose a different amount from the previous repeated
note. Depending on the input notes, anything other than 0
or multiples of 12 may produce atonal results; these can be
shifted to tonal results using “Chord Shift,” described
below.
Chord Shift [0…2]
When repeated notes are being transposed in pitch, atonal
results may occur depending on the “Transpose” setting.
When “Chord Shift” is 0: Off, no change occurs in the
transposition. Setting “Chord Shift” to 1: Scalic or 2: Scalic2
causes chord recognition algorithms to shift the notes to
musically correct ones, even in pending repeated notes that
haven’t yet sounded.
Even when the Transpose setting is 0, this can be used to
make the pending repeated notes conform to the new chord,
which is impossible with outboard analog/digital delays.
For example, if “Chord Shift” is 0: Off and you strike a BMaj
chord which will repeat 10 times, and then play a C Major
chord before they have all repeated, the still to be generated
repeats will be BMaj repeats overlapping CMaj repeats
(dissonant). With “Chord Shift” is 1: On, the still to be
generated repeats will shift to the new chord and blend with
the new repeats.
Note: A certain area of the keyboard may need to be assigned
as a Control Area for Chord Scan (in the Dynamic MIDI) to
produce the desired results.
0: Off
The transposed notes are repeated with no further
modification from this setting.
1: Scalic
As the notes are repeated, notes which may be “atonal”
based on the analyzed chord (due to being transposed) are
shifted to tonal notes. Especially useful when “Transpose”
(discussed above) is set to something other than 0 or
multiples of 12. The note tables used to shift the notes have
fewer passing tones than 2: Scalic2 (described below), and
therefore may produce results that are more pleasing.
0: None (Instant) 3: 16th Triplet 6: Half Triplet
1: 64th Triplet 4: 8th Triplet 7: Whole Triplet
2: 32nd Triplet 5: Quarter Triplet 8: Rhythm Pattern
0: None (Instant) 5: 8th Dotted 10: 2 Wholes
1: 64th 6: Quarter 11: 3 Wholes
2: 32nd 7: Quarter Dotted 12: 4 Wholes
3: 16th 8: Half 13: Rhythm Pattern
4: 8th 9: Whole
0: None (Instant) 7: 16th 14: Whole
1: 64th Triplet 8: 8th Triplet 15: 2 Wholes
2: 64tht 9: 8th 16: 3 Wholes
3: 64th Dotted 10: 8th Dotted 17: 4 Wholes
4: 32nd Triplet 11: Quarter 18: Rhythm Pattern
5: 32nd 12: Quarter Dotted
6: 16th Triplet 13: Half
0: Off 1: On
–24…24: –24…+24 semi-tones
25: Index Pattern
0: Off 1: Scalic 2: Scalic2