Korg TR music workstation Operation Manual
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Korg TR music workstation Operation Manual

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  • Page 1: Operation Guide

    Operation Guide...
  • Page 2 (SD • Never set any container with liquid in it near card etc.). Please be aware that Korg will accept no this equipment. If liquid gets into the equipment, responsibility for any damages which may result from it could cause a breakdown, fire, or electrical loss of data.

  • Page 3: About This Manual

    Thank you for purchasing the Korg TR music workstation . To ensure trouble-free enjoyment, please read this manual carefully and use the instrument as directed. About this manual Conventions in this manual References to the TR The TR is available in 88-key, 76-key and 61-key mod- The owner’s manuals and how to use...

  • Page 4: Table Of Contents

    Table of Contents Selecting and playing a program..21 Selecting a program ......... 21 Selecting and playing a Introduction ......... 1 combination........23 Selecting a combination ......23 Overview.......... 1 Using controllers to modify the Main features ..........1 sound ..........24 Overview of the modes .......3 Joystick ............
  • Page 5 Basic functions ......42 Producing a song........65 Creating the basic song ....... 65 Song editing methods........71 Saving data........42 Creating and playing a Cue List ....73 Types of data that can be saved ....42 Creating and recording RPPR (Realtime Pattern Play/Record) ..........
  • Page 6 Loading data ..........101 Adjusting the contrast (brightness) of the LCD screen ............ 120 Types of data that can be loaded....101 Data loading procedure......101 Using this instrument as a data filer..120 Saving data ..........102 Tap tempo control........120 Types of data that can be saved ....102 Shortcuts ..........

  • Page 7: Introduction

    EQ (stereo-in/stereo-out) can all be used Overview simultaneously. You can select from 89 types of The TR Music Workstation features Korg’s acclaimed effect algorithms, and edit them. HI (Hyper Integrated) synthesis system. • Highly flexible effect routing is possible. Effects can It contains high-quality preset multisamples/pro- also be routed freely to the individual outputs.
  • Page 8 Sequencer EXB-SMPL sampling upgrade TR provides a high-performance 16-track MIDI The following functionality can be added by installing sequencer, with more than sufficient power for use as a the separately sold EXB-SMPL option. stand-alone sequencer. The sequencer can serve as the •...

  • Page 9: Overview Of The Modes

    Combination mode Overview of the modes • Select and play combinations A combination is a set of two or more programs (a The TR has a large number of functions that let you maximum of eight), and allows you to produce play and edit programs and combinations, record and complex sounds that could not be created by an play sequence data, and manage data on media.
  • Page 10 • Korg format, AKAI, AIFF, and WAVE format sample data can be loaded. Sample data can also be saved in Korg format, or exported in AIFF or WAVE format (if the separately sold EXB-SMPL option is installed).

  • Page 11: Front And Rear Panel

    Front and rear panel Front panel 1. [SW1] key, [SW2] key 5. REALTIME CONTROLS These keys are on/off switches for the functions to which they were assigned in Program, Combination, Sequencer and Sampling modes (if the EXB-SMPL option is installed). When on, the key will light ☞...
  • Page 12 [3] EG-INTENSITY: [GLOBAL] key Controls the filter EG intensity. Global mode will be selected [4] EG-RELEASE: [MEDIA] key Controls the filter/amp release time. Media mode will be selected. B-mode [COMPARE] key [1] ASSIGNABLE 1: Use this key when you wish to compare the sound of [2] ASSIGNABLE 2: the program or combination that you are currently [3] ASSIGNABLE 3:...
  • Page 13 [VALUE] dial [EXIT] key Use this dial to modify the value of the parameter. In Program, Combination, Sequencer, Sampling (if the separately sold EXB-SMPL option is installed), and [INC]/[DEC] keys Global modes, pressing this key from anywhere other than page 1.1 will take you to page 1.1 of that mode. These are used to increase or decrease the parameter When a dialog box is open, this key will cancel the set- value in steps of one.

  • Page 14: Rear Panel

    13.SEQUENCER/SAMPLING [LOCATE] key This key resets the playback location of a song or cue (If the separately sold EXB-SMPL option is list to a specified location. You can also press this key installed) when “stuck notes” occur for some reason. [REC/WRITE] key When you press this key in Sequencer mode, the TR will enter recording-ready mode (the key will light).
  • Page 15 These are unbalanced phone audio input jacks. ( p.14) Connect them to the OUTPUT jack(s) of your external ASSIGNABLE SWITCH jack audio device or mic. A separately sold on/off foot switch such as the Korg [LEVEL] knob ☞ PS-1 foot switch can be connected here ( p.13).

  • Page 16: Objects And Functions In The Lcd Screen

    f: Function buttons Objects and functions in the LCD By pressing the function key [F1]–[F8] nearest this button, you can turn various functions on/off. screen a: Current page d: Edit cell e: Check box In Media mode, these select the current directory. Accesses the utility menu where you can execute utility menu commands.
  • Page 17 Dialog boxes Page menu When you select a utility menu command etc., a In Combination, Program, Sequencer, Global, or dialog box will open. Sampling (if the separately sold EXB-SMPL option Use the cursor keys [ ], [ ], [ ], [ ] to select is installed) modes, pressing the [MENU] key will ☞...

  • Page 18: Setup

    Setup Connect the AUDIO OUTPUT (MAIN) L/MONO Connecting audio equipment etc. and R jacks to the INPUT jacks of your powered monitor system, mixer etc. Connections must be made with the power turned L/MONO and R are the main outputs. If you are off.

  • Page 19: Connecting Pedals Etc

    PG p.233 “MIDI applications – Connecting MIDI tions, and to start/stop the sequencer etc. devices/computers” Connect a separately sold Korg foot switch such as the PS-1 to the rear panel ASSIGNABLE SWITCH jack. If MIDI data is being transmitted from the TR via...

  • Page 20: Inserting/Removing A Card In The Sd Card Slot

    Inserting/removing a card in the Connecting separately sold SD card slot options If an SD card is inserted in the SD card slot, you can By installing the separately sold EXB-SMPL option you use it to save or load various types of TR data. can add two channels of audio input jacks and a SCSI connector.

  • Page 21: Basic Operation

    Basic operation 2 Press the [MENU] key. Selecting modes, pages and tabs; The page menu will appear. setting parameters 1. Selecting modes In Media mode there is only one page, so the page In order to use a particular function on the TR, you menu will not appear.

  • Page 22: Selecting Parameters

    Selecting a tab Numeric keys [0]–[9], [ENTER] key, [–] key, [./HOLD] key 5 Press the function key [F1]–[F7] that is nearest the Use these when you know the parameter value that tab displayed at the bottom of the LCD screen. you wish to input.
  • Page 23 5 If after recording two different takes on the same track, you record a third, the Compare function will now alternate between the second and third takes. Recording a fourth take will mean that Compare now alternates between takes three and four, and so on.

  • Page 24: Quick Start

    Quick Start Turning the power on/off Before you turn on the power, make sure that the • When using Sampling mode (if the separately sold desired connections have been made as described EXB-SMPL option is installed) utility commands ☞ in “Setup” ( p.12).

  • Page 25: Listening To The Demo Songs

    Listening to the demo songs From the powered-off state, if you turn on the Loading demo playback data power while holding down the [MENU] key and [EXIT] key, the Load All (Preload PCG and Demo Songs) operation will be executed automatically. The TR contains demo songs (and preloaded data).

  • Page 26: Playing A Cue List

    Playing a cue list Here’s how to playback the demonstration cue list. By using a cue list, you can repeatedly play multiple songs that you specify in the cue list, or play songs ☞ consecutively. ( p.73) 1 Press the [MENU] key. 2 Press the [F2] key to select “Cue,”...

  • Page 27: Selecting And Playing A Program

    Selecting and playing a program Selecting the program bank In Program mode you can select and play a program from banks A–D, G, g(d). Here we will show how to In Program mode, you can switch banks to select pro- select preset programs.
  • Page 28 Using a connected switch to select programs A separately sold on/off-type switch (such as the sepa- rately sold Korg PS-1) can be connected to the rear panel ASSIGNABLE SWITCH connector, and assigned ☞ a program select function. ( p.117)

  • Page 29: Selecting And Playing A Combination

    Play a note on the keyboard to hear the sound you A separately sold on/off type foot switch such as the selected. Korg PS-1 can be connected to the rear panel ASSIGN- ABLE SWITCH jack, and used to select combinations. Selecting the combination bank ☞...

  • Page 30: Using Controllers To Modify The Sound

    Using controllers to modify the sound The TR provides various controllers – a joystick, the You can specify the way in which the [SW1] and [SW2] SW1 and SW2 switches, and the REALTIME CON- keys will operate: either Toggle, when the assigned TROL [1], [2], [3], [4] knobs –...

  • Page 31: Realtime Controls [1], [2], [3], [4]

    Knob [2]: RESONANCE/HPF If the function of the [SW1] or [SW2] key is set to JS X Lock, JS+Y Lock, or JS-Y Lock, the tone that Adjust the resonance level of a low pass filter or the was heard when the joystick is tilted can be main- cutoff frequency of a high pass filter.

  • Page 32: Keyboard

    Assignable Foot Switch You can control the effect of the arpeggiator in real- A separately sold on/off switch such as the Korg PS-1 time. For details on operation, refer to p.27. foot switch can be connected to this instrument, allow- ing you to turn an assigned function on/off by step- ping on the foot switch.

  • Page 33: Using The Arpeggiator While You Play

    Using the arpeggiator while you play The arpeggiator is a function that automatically gener- Using the arpeggiator in Program ates arpeggios (broken chords). Most arpeggiators pro- duce an arpeggio when you play a chord on the mode keyboard. 1 Press the [PROG] key to enter Program mode, and ☞...

  • Page 34: Settings In The Lcd Screen

    Adjusting the arpeggiator tempo You can control the tone effectively by simulta- neously adjusting the REALTIME CONTROLS A- 1 Press the REALTIME CONTROLS [SELECT] key mode [1] (LPF CUTOFF), [2] (RESONANCE/ to make the right “C” LED light. HPF), and [3] (EG-INTENSITY) knobs. 2 Rotate the [TEMPO] knob to adjust the tempo.

  • Page 35: Using The Arpeggiator As You Play In Combination Mode

    Checked: the arpeggio will sound each note in the Using the arpeggiator as you order of its pitch, regardless of the order in which you actually played the notes. play in Combination mode Unchecked: the arpeggio will sound each note in the order in which you actually played the notes.
  • Page 36 Checking the structure of a user arpeggio Other settings for the arpeggiator pattern You can also set “Gate,” “Velocity,” “Swing,” and Let’s see how combination C053: Echo Jamm is con- “Scan Zone.” These parameters are set in PROG 6.1: structed. ☞...

  • Page 37: Playing With The Rppr (Realtime Pattern Play/Recording) Function

    Playing with the RPPR (Realtime Pattern Play/Recording) function This instrument’s Sequencer mode provides an RPPR Shutdown Keys: (Realtime Pattern Play/Recording) function. When you play a key in the range of C–1 – C2, the cur- Using the RPPR function, each note of the keyboard rently-playing pattern will stop.

  • Page 38: Simple Program Editing

    Simple program editing Amp Level: Indicates the amp level. This will adjust By operating the performance editor and the realtime controllers you can easily and intuitively modify the the volume of the entire program. sound of a program. Attack Time: Indicates the attack time of the filter EG Program editing refers to the process of modifying the and amp EG.

  • Page 39: Simple Combination Editing

    Simple combination editing Selecting the program for a timbre A combination is a set of multiple (up to eight) pro- grams, and allows you to create complex sounds that 3 Select the Prog page. could not be produced by a single program. Press the [F2] (“Prog”) key.
  • Page 40 Listening to the program sound of just one timbre Adjusting the volume while preserving the volume balance between timbres Press the [F8] (“UTILITY”) key to access the utility menu, and press the [F7] key to choose “Solo Press the [F8] (“UTILITY”) key to access the utility Selected Timbre.”...

  • Page 41: Sampling (Recording A Sample)

    Sampling (recording a sample) If the EXB-SMPL option (sold separately) is installed, 5 In the Input1 area, set “BUS” to L/R, specifying the you will be able to record 48 kHz 16 bit stereo samples. bus to which the AUDIO INPUT 1 jack will be Sampled sounds can be used in a program, combina- input.

  • Page 42: Using The Insert Effect While You Sample

    Set “Pre Trigger” to 5 ms. Speak the word that you want to sample. (Exam- ple: “It’s”) With this setting, sample recording will begin 5 ms earlier than (i.e., immediately before) sampling is Recording will start when the input exceeds the actually triggered, so that the very beginning of the “Threshold”...

  • Page 43: Assigning A Name To The Sample Or Multisample

    3 Select “Insert Effect,” use the numeric keys to and press the [F8] (“OK”) key. enter 52, and press the [ENTER] key to confirm 52: Rev Hall. Select “IFX On/Off,” and press the [INC] key to turn it ON. A dialog box will appear. 4 Speak into the mic, and verify that reverb is Press the [F5] (“Name”) key to display the text dia- log box, and assign a name of SMPL_Demo.

  • Page 44: Saving Sample Data

    For details on each file, refer to PG 7 Listen to the converted program. p.147 “About Korg format PCM data files.” Move to Program mode, select the program (D127), and play the keyboard to hear the sound.

  • Page 45: Sampling And Looping A Drum Phrase

    2. Set the recording level Sampling and looping a drum 1 Play back the audio source that you want to record. phrase If the display indicates “ADC OVER!” (AD con- verter input overload!), lower the level by turning Here’s how you can sample a drum phrase (or similar the rear panel [LEVEL] knob to an appropriate posi- phrase) from an audio CD, and loop the playback.
  • Page 46 4. Record the sample 3 Press the [F2] (“Edit2”) key to access the Edit2 page. 1 Press the [F1] (“Sample”) key to access the SMPL The waveform data of the currently selected sample 1.1: Recording, Sample page. will be displayed. 2 Press the [REC/WRITE] key.
  • Page 47 Check “Grid,” set “Resolution” to , and press the [F8] (“OK”) key. Set “ (Grid Tempo)” to 140. With these settings, vertical dotted lines will be dis- played at 140 BPM quarter note intervals. Set “E (End).” When “Lp (Loop)” is On, the dotted vertical “Grid” lines will start at “LpS (Loop Start).”...

  • Page 48: Basic Functions

    Basic functions Saving data • Song and cue lists Types of data that can be saved • Standard MIDI Files (SMF) Sequencer mode songs can be saved as SMF data. • System exclusive data On the TR, there are three ways to save data: writing to System exclusive data received by the TR from an internal memory, saving on external media (SD card external MIDI device (The TR can function as a data...

  • Page 49: Writing To Internal Memory

    You can also access the same dialog box by hold- Writing to internal memory ing down the [ENTER] key and pressing the [0] key. The screen shown is for Program mode Memory protect To prevent programs, combinations, songs, user drum kits, and user arpeggio patterns from being overwrit- ten accidentally, the TR provides a Memory Protect set- ting that prohibits writing to memory.
  • Page 50 The function buttons will have the following functions. Assigning a name (Rename) Clear: Erase all text. Del (Delete): Delete the character at the cursor loca- You can modify the name of an edited program, combi- tion. nation, song, drum kit, user arpeggio patterns etc.. Ins (Insert): Insert a space at the cursor location.

  • Page 51: Writing Global Settings, User Drum Kits, And User Arpeggio Patterns

    Using the [REC/WRITE] key to write Writing global settings, user drum kits, 1 In the following pages, press the [REC/WRITE] and user arpeggio patterns key. A dialog box will appear. Global settings: GLOBAL 1.1–4.1 The settings you edit in Global mode can be written User drum kits: GLOBAL 5.1 into internal memory.

  • Page 52: Saving On External Media

    Press the [F8] (“UTILITY”) key to access the Utility Saving on external media menu. Press the [F7] key to select “Save All,” and then press the [F8] (“OK”) key. A dialog box will appear. The contents, settings, and For details on the data that can be saved on external operations for the dialog box will depend on the ☞...

  • Page 53: Midi Data Dump

    .KSC file MIDI data dump Files listing the multisamples and samples created in Sampling mode (if the separately sold EXB-SMPL option is installed). The programs (A-D), combinations (A–C), drum kits, user arpeggio patterns and global settings of internal Directory memory, and sequencer songs, cue lists, can be trans- A directory containing the multisamples (.KMP mitted as MIDI exclusive data and saved on a con- files) and samples (.KSF files) that are listed in the...

  • Page 54: Restoring The Factory Settings

    Restoring the factory settings If the Memory Protected dialog box appears, un- Loading the preloaded data check the memory protect setting, and perform the ☞ load operation once again ( p.43). The factory settings are referred to as the “preloaded data.”...

  • Page 55: Program Mode

    Program mode In Program mode you can select, play and edit pro- How a program is organized grams. Program mode consists of pages 1.1: Play–7.2: Ed–Mas- terFX. A program consists of the many parameters of 2.1: Ed– In 1.1: Play; you can select and play programs. You can Basic–7.2: Ed–MasterFX.

  • Page 56: Oscillator Settings

    Basic (Prog Basic) page The three elements of sound Sound can be broken down into three elements: pitch, tone, and volume. On this instrument, these elements correspond to the Pitch, Filter, and Amplifier settings of the program. In other words you would adjust the Pitch settings to modify the pitch, the Filter settings to modify the tone, and the Amplifier settings to modify the volume.

  • Page 57: Controller Settings

    1 Specify different multisamples for “High Multi- (You can create programs using multisamples/sam- sample” and “Low Multisample.” ples that were sampled in Sampling mode or loaded in Media mode.) 2 Specify a velocity value for “Velocity SW L→H.” • Nine internal drum kits (ROM) Notes played on the keyboard at a velocity less than •...

  • Page 58: Filter Settings

    OSC1 page “Intensity (AMS Intensity)” specifies the depth of vibrato that will be applied by the LFO when AMS (Alternate Modulation Source) is operated. For exam- ple if “AMS (LFO1 AMS)” is set to AfterT and you set an appropriate value for “Intensity (AMS Intensity),” vibrato will be applied when you apply pressure to the keyboard or when MIDI aftertouch messages are received.
  • Page 59 Filter characteristics When resonance is applied This area of Level Level overtones will Low Pass be diminished Level Filter Overtones after Overtones included in the original multisample passing through the filter Frequency (pitch) Frequency (pitch) Basic page Low resonance value High resonance value Mod.1, Mod.2 page Filter Type, Filter A, Filter B...

  • Page 60: Amplifier Settings

    Lvl/Pan (Level/Pan) page Intensity: “to A (LFO1 Int. to A)” and “to B (LFO1 Int. to B)” specify by how much the LFO will change the tone. JS-Y Int.: “to A” and “to B” specify the depth of the wah effect that will be produced by the LFO when the joystick of this instrument is moved toward yourself, or when CC#2 is received.

  • Page 61: Lfo Settings

    Amp Mod. OSC1 LFO1, OSC1 LFO2, OSC2 LFO1, OSC2 LFO2 “Velocity Int” is used by most programs to decrease “Waveform” selects the type of LFO. You can choose the volume of softly played notes and increase the vol- from a variety of waveforms, including standard ume of strongly played notes, and this Amp Modula- waveforms such as Triangle, Saw, Square, and Sine, tion parameter adjusts the depth of this control.

  • Page 62: More About Alternate Modulation

    More about Alternate Modulation Auto Song Setup function Alternate Modulation is a type of modulation that can This function automatically applies the settings of the be used to control various aspects of the sound. current program or combination to a new song in the sequencer.

  • Page 63: Combination Mode

    Combination mode In Combination mode you select, play and edit combi- If a program being edited in Program mode is nations. used in a combination, it will sound according to Combination mode consists of pages 1.1: Play–7.2: Ed- the settings being edited. MasterFX.

  • Page 64: Timbre 1-8 Program, Pan And Volume

    Layer, split, and velocity switch The Compare function Within a combination, you can use keyboard location As you are editing a combi, you can use the [COM- and velocity to change the program that sounds. The PARE] key to listen to the previously saved version (as programs assigned to each timbre can sound in three it was before you began editing).

  • Page 65: Controller Settings

    Mix (Mixer) page MIDI Channel Timbres that you wish to play from this instrument’s keyboard must be set to the global MIDI channel. Your playing on the keyboard is transmitted on the global MIDI channel, and will sound any timbre that matches this channel.

  • Page 66: Note Timing And Scale Settings

    Pitch page Layer and split settings 3.3: Ed–Key Zone Indicates settings such as layer, split, and keyboard crossfade. Key page Specifies the range of notes that will sound each tim- Transpose, Detune (BPM Adjust) bre. Each area that sounds a timbre is referred to as a These parameters adjust the pitch of the timbre.

  • Page 67: Velocity Switch Settings

    Velocity switch settings MIDI filter settings 3.4: Ed–Vel Zone 4.1: Ed–MIDI Filter1–4.4: Ed–MIDI Filter4 Here you can make settings for velocity switching and velocity crossfading. For each MIDI Filter item, you can specify whether or not the corresponding MIDI message will be transmit- Vel (Velocity) page ted and received.

  • Page 68: Auto Song Setup Function

    Auto Song Setup function This function automatically applies the settings of the current combination to a new song. If inspiration for a phrase or song strikes you while you’re playing a combination, you can use this func- tion to start recording immediately. Hold down the [ENTER] key and press the SEQUENCER [REC/WRITE] key.

  • Page 69: Sequencer Mode

    Sequencer mode This instrument contains a 16-multi track MIDI • Various methods of recording are supported, sequencer. The sequencer is the center to which TR’s including realtime recording in which your numerous functions are integrated, allowing it to be performance on the keyboard and controllers used in a variety of situations including music produc- (including MIDI control events) is recorded just as tion and live performance.

  • Page 70: The Structure Of Sequencer Mode

    The structure of Sequencer mode Patterns There are two types of patterns: preset patterns and The following describes the structure of Sequencer user patterns. mode. (see diagram below) • Preset patterns: Patterns suitable for drum tracks are preset in internal memory, and can be selected for any song.

  • Page 71: Producing A Song

    Use the cursor keys to move to “Copy Pattern to Producing a song Track too?” Press the [INC] key to check the check box. This section describes how to use the TR’s sequencer. If this is checked, a drum pattern will be copied to As an example, we will create a song by following the the song after the template song is loaded.
  • Page 72 Use the VALUE control to select T02: Bass, and play it from the keyboard. Next select T03–T08 in order, and play them from the keyboard. (The TR has sixteen sequence tracks, but this template song specifies only tracks 1–8.) Select T03: Elec.Piano. 3.
  • Page 73 4. Recording arpeggio patterns The performance of an arpeggio pattern can be recorded into a song. With the settings of this template song, the arpeggiator will function on track 4. 1 In “Track Select,” choose T04: Guitar. 2 Press the [ARP ON/OFF] key. 3 Press the [START/STOP] key and play single There is also a “Quantize”...
  • Page 74 record phrases that would be impossible or too rapid 6 On the keyboard, press and then release the first to play “live.” note that you want to input. The LCD screen will show numerical values for the Rapid phrases can also be recorded in realtime by data that you input.
  • Page 75 7. Using controllers to record tonal Convenient functions for song production and changes checking the track settings Let’s try using the realtime controllers and the joystick to add effects to the performance that we just step- Monitoring just a specific track/Muting just recorded on track 8.
  • Page 76 2. Set the pan and volume of each track Press the track 2 “SOLO On/Off” and press the (SEQ 1.1: Play/REC, Mixer page) [INC] key once. The display will change, and only the playback of tracks 1 and 2 will be heard. In the SEQ 1.1: Play/REC, Mixer page, “Pan”...

  • Page 77: Song Editing Methods

    2. Naming a song When you are finished making these settings, the basic setup is complete. Record as described in “3. Record- Here’s how to assign a name to a song you created. ☞ ing the bass track” ( p.66) and following sections. 1 Choose “Song Select,”...
  • Page 78 A dialog box will appear. 5 Press the [F8] (“UTILITY”) key, select the Utility menu command “Shift/Ers.Note,” and press the [F8] (“OK”) key. Input the number of measures for the song. For this example, select 008 (8 measures) and press the [F8] (“OK”) key.

  • Page 79: Creating And Playing A Cue List

    4 Set the last step to End. Creating and playing a Cue List If you set this to Continue to Step01, the cue list will play back repeatedly. A cue list allows you to play multiple songs in succes- 5 In “Rep (Repeat),” specify the number of times sion.
  • Page 80 If playback is not connected smoothly between Using a foot switch to switch the Step songs when playing a cue list You can use a foot switch to switch the Step. If you set “Rep(Repeat)” to FS, a foot switch connected Depending on the effect settings, a certain amount of to the ASSIGNABLE SWITCH jack will control the tim- time may be required for the effects to be switched.

  • Page 81: Creating And Recording Rppr (Realtime Pattern Play/Record)

    Choose “Pattern Select,” and press the [INC] key Creating and recording RPPR once to select P122: HipHop 2/HipHop. (Realtime Pattern Play/Record) By using “REVERT” in this way, you can work efficiently when the patterns to be assigned have consecutive or nearby numbers, or use the same This section explains how to assign a pattern to RPPR, track.

  • Page 82: Rppr Playback

    drums and bass to the C#2–B2 keys and use these Realtime-recording an RPPR perfor- keys to control pattern playback, and use keys C3 and above to play solos in realtime. It is a good mance idea to keep the assigned keys together in this way.

  • Page 83: Recording The Sound Of A Combination Or Program

    3 In the SEQ 1.1: Play/REC, Preference page, check If you made a mistake during your performance or the “Multi REC” check box. would like to re-record, you can use the Compare function (press the [COMPARE] key) to re-record as many times as you wish.

  • Page 84: Copy From Combi (Sequencer Mode Page Menu Commands)

    3 Hold down the [ENTER] key and press the [REC/ 2 Execute the Utility menu command “Copy From WRITE] key. Combination.” The “Setup to Record” dialog box will appear. A dialog box will appear. 4 Press the [F8] (“OK”) key to execute Auto Song Select the combination that you want to copy (i.e., Setup, or press the [F7] (“Cancel”) key if you the copy source).
  • Page 85 Correction is necessary only if the tracks operated by a sin- If the recorded performance is not reproduced cor- gle arpeggiator are using only “MIDI Channel” 01. In rectly during playback some cases, correction may also be necessary if the two arpeggiators use the same MIDI channel.

  • Page 86: Caution And Other Functions In Sequencer Mode

    Operations for which Compare is not available Caution and other functions in • Editing song parameters • Utility menu commands other than those listed Sequencer mode above (in Operations for which Compare is available) TR song data and its compatibility Memory Protect The following two types of song data can be loaded Before you record a track or pattern, or edit the musical...

  • Page 87: Recording On The Tr

    1 Use “Track Select” to select the track that you want Recording on the TR to record. 2 Set the “Recording Mode” to Over Write. (SEQ 1.1: The process by which your playing on this instru- Play/REC, Preference page REC Setup) ment’s keyboard and controllers is captured on the tracks or patterns of a song as data is called “record- ing.”...
  • Page 88 • Manual punch-in 4 In “Location,” specify a location several measures earlier than the point at which you wish to begin While the song is playing, you can press the [REC/ recording. WRITE] key or a connected pedal switch at the desired location to start or stop recording.
  • Page 89 By checking the “Remove Data” check box you can 5 In SEQ 3.1: Param1, MIDI page “MIDI Channel,” erase only the specified data. During loop record- specify the MIDI channel for each track. ing, press the note that you wish to delete, and only The specified channel of musical data will be the data of that note number will be deleted from recorded on that track.
  • Page 90 A dialog box will appear. Step recording This is a method of recording where you specify the note timing, note length, and velocity etc. in the LCD screen, and use the keyboard to input the pitches. ☞ p.67) 6 Set the number of measures in the pattern to a Only note-on/off data can be recorded with this “Length”...
  • Page 91 Control data in pattern recording To record control data in a pattern, you should restore the control data to its normal value within the pattern. If you fail to restore the normal value, unnecessary control data may remain in a “stuck” position when you place the pattern in a song or use the RPPR function to play the pattern.

  • Page 92: Sampling Mode

    SD card or SCSI media. material. By executing Crossfade Loop, you can • Korg format or Akai (S1000/3000 samples, mapped eliminate this problem and create natural-sounding multisamples only) format sample data, and AIFF loops.

  • Page 93: How Sampling Mode Is Organized

    • Sample names and multisample names of up to 16 The “fixed intervals” mentioned above are generally characters can be assigned. Sample names and expressed as the “sampling frequency.” 48 kHz (kilo- multisample names can also be viewed in Media hertz) means that sampling is performed 48,000 times ☞...

  • Page 94: Sampling

    back of sample A producing “One-Two-Three,” Sampling sample B producing “One-Two,” and sample C ☞ producing “Two-Three.” ( PG p.96). The multisample and sample data in the Sampling Multisamples mode is not backed up when the power is turned off. If you wish to keep this data, you must save it A multisample consists of settings that make one or more samples sound in different areas of the keyboard.

  • Page 95: Manual Sampling

    • “Pan” adjust the panning. For this example set it to 4 Use the [LEVEL] knob to adjust a suitable input L000. level. (Refer to step 6 of “Connections and set- • Set “BUS.” If you wish to use the TR’s insert effect tings for a monaural source”) to process the incoming sound, select IFX here.

  • Page 96: Auto Sampling

    3 Select the 1.1: Recording, Sample page. 8 Press the [REC/WRITE] key. 4 For “MS (Multisample Select),” select 000: If an input signal is present, the Recording Level NewMS____000. [dB] meter will move according to the “Pan” setting in “Input1” and “Input2.” This is the recording- Immediately after the power is turned on, 000: standby condition.

  • Page 97: Creating Multisample Indexes And Sampling

    5 Select the “MS (Multisample Select).” ☞ “Manual sampling” step 4) 6 Select the sample in “SMPL (Sample Select)” that you wish to record. ☞ “Manual sampling” step 5) Immediately after the power is turned on, “Pstn (Position)” will be R (Right), “Range (Zone 7 Select the 1.1: Recording, Recording page.

  • Page 98: Loop Settings

    The recorded sample will automatically be assigned 4 Specify the start address in “S (Start),” the loop to the index you created in step 1. start address in “LpS (Loop Start),” and the end address in “E (End).” 3 Repeat steps 1 and 2. Select “S (Start)”...

  • Page 99: Sample (Waveform Data) Editing

    The following dialog box will appear. 3 Use “S (EditRangeStart)” and “E (EditRangeEnd)” to specify the range that you wish to edit. The selected range will be highlighted. Check “Grid,” set “Resolution” as desired, and press the [F8] (“OK”) key. The dotted grid lines will appear.

  • Page 100: Multisample Editing

    “Pitch BPM Adj.” to set the loop interval to a Multisample editing ☞ desired BPM value ( PG p.119). Editing a multisample is accomplished with a number of operations i.e. creating indexes for the multisample and assigning a sample to each index, editing opera- tions such as deleting, copying, and inserting indexes, and detailed settings such as sample level and pitch for each index.

  • Page 101: Using Time Slice To Divide A Sample And Play It In Sequencer Mode

    If you know the BPM, set the “Source BPM” field. If Using Time Slice to divide a sam- you do not know the BPM, set “Beat” and the BPM will be calculated automatically. In this example we ple and play it in Sequencer already know the BPM, so we will set “Source BPM”...
  • Page 102 Seq.Event: Pattern As an example, try setting “ (Tempo)” to 100. Song: 001, Pattern: U00, Meter: 4/4 Notice that even if you change the playback tempo, RPPR: On (checked), Key: C#2, Track: 01 the pitch does not change. If the beat of the rhythm loop sample is not repro- duced correctly or if you hear unwanted noise when you change the tempo, the reason may be that slicing was not performed optimally in step...

  • Page 103: Global Mode

    Global mode In Global mode you can make settings that affect the In GLOBAL 5.1: DKit you can edit these drum kits to entire TR, such as user scales, category names, drum create your own original drum kits. You can also create ☞...

  • Page 104: Editing A Drum Kit

    want only to change the pitch, such as with tom or Editing a drum kit cymbal sounds. 6 Use “Drumsample Bank” and “Drumsample” to Before editing a drum kit, uncheck the Memory select the drum sample that will be assigned to the ☞...
  • Page 105 A Set the “Excl Group (Exclusive Group).” The “Excl Group (Exclusive Group)” setting is used when you wish to group drumsamples of the same type. For example if the note number to which a open hi- hat and a closed hi-hat drumsample are assigned are set to the same exclusive group number, they will be grouped so that the open hi-hat and closed hi-hat can not be sounded simultaneously, ensuring...

  • Page 106: Media Mode

    Media mode ☞ For the formatting procedure, refer to “Format” ( How Media mode is organized p.156). Media must be formatted. SD cards or external In Media mode you can use an SD card or a connected SCSI media that was formatted on a device other external SCSI device (if the separately sold EXB-SMPL than the TR may not be recognized correctly.

  • Page 107: Loading Data

    Data loading procedure Write protect switch Loading Programs, Combinations, Drum LOCK kits, User arpeggio patterns, and Global Protected settings (loading a .PCG file) As an example, here’s how to load a .PCG file. A .PCG file contains programs, combinations, drum kits, user arpeggiator patterns, and global settings (see diagram below).

  • Page 108: Saving Data

    2 Enter Media mode, and press any function key to Saving data make the TR recognize the media. For the procedure of saving data to an SD card or to external SCSI media, refer to “Saving on external ☞ media” ( p.46).

  • Page 109: Arpeggiator Settings

    Arpeggiator settings P000: UP This chapter describes the procedure for making arpeggiator settings in each mode. For details on the arpeggiator function, refer to “Using the arpeggiator ☞ while you play” ( p.27). Arpeggiator settings for a pro- gram P001: DOWN DOWN Arpeggiator on/off Each time you press the [ARP ON/OFF] key, the...
  • Page 110 4 Make settings for the various parameters. Sort “Octave”: Select the octave range in which the OFF, UP arpeggio will be played. Sort ON, UP Octave: 4 “Latch”: If this is checked, the arpeggio will con- tinue playing even after you take your hand off the keyboard.

  • Page 111: Linking The Arpeggiator To A Program

    “Vel Btm,” “Vel Top”: The arpeggiator will operate Arpeggiator settings when you play notes with a velocity (playing strength) that is within the specified range. Notes played with a velocity outside this range will be 1 Select COMBI 2.1: Ed-Prog/Mix, Prog page. sounded normally, without regard to the arpeggia- Select programs for the timbres that you wish to tor on/off.

  • Page 112: Linking The Arpeggiator To The Combination

    You can use keyboard ranges or playing velocity to (Gch). T4 will be sounded by arpeggiator A. Since operate the arpeggiator, or to switch between arpeg- the “Status” of T8 is Off, it will not sound. giators A and B. By using the COMBI 3.3: Ed-Key •...

  • Page 113: Creating A User Arpeggio Pattern

    If a blank pattern is selected, playing the keyboard Creating a user arpeggio pattern will not start an arpeggio. Although preset arpeg- gio patterns P000–P004 can be selected, they can- not be edited. When you edit a user arpeggio pattern, the About user arpeggio patterns changes will have an effect anytime that this pat- tern is used in Program, Combination, or Song.
  • Page 114 • Tone: At each step, a chord consisting of up to 12 0 For steps 01–08, make settings for “Ptch (Pitch Off- tones (Tone No. 00–11) can be sounded. set),” “Gt (Gate),” “Vel (Velocity),” and “Flam.” To input tones, select “Step (Step No.)” and then “Ptch (Pitch Offset)”: This offsets the pitch of the use numeric keys [0]–[9], [–], and [./HOLD] to arpeggio note in semitones up or down.
  • Page 115 To simulate the timing nuances of a strummed Other examples of creating a user arpeggio pat- guitar chord, select “Flam.” In Program mode, tern select an acoustic guitar program, and choose the user arpeggio pattern that you created here. In the Melody pattern Setup page of PROG 6.1: Ed-Arpeg., set “Gate”...

  • Page 116: Dual Arpeggiator Editing

    3 Select the Edit page. Before you set “Gate,” move the REALTIME CON- TROLS C-mode [ARP-GATE] knob to the center Each Tone in the display will be shown as a small position (12 o’clock). circle. For each horizontal line (Tone) in the display, you Before you set “Velocity,”...

  • Page 117: Synchronizing The Arpeggiator

    8 If you wish to save the state of the combination at Synchronization between the arpeg- the same time, return to Combination mode and ☞ write the combination ( p.43). giators and sequencer in Sequencer When editing a user arpeggio pattern, pay atten- mode tion to the global MIDI channel, the channel of each track, and the arpeggiator assignments, and...

  • Page 118: Effects Settings

    Effects settings The effect section of the TR provides one insert effect, two master effects, one master EQ (stereo 3-band EQ), and a mixer that controls the routing of these compo- Sample AUDIO INPUT 1, 2 Insert Effect Recording nents. The external input from AUDIO INPUT 1 and 2 (if the You can choose from 89 types of full-digital effects for separately sold EXB-SMPL option is installed) can be...
  • Page 119 Master effects Off: The output will not be sent to AUDIO OUT- PUT (MAIN) L/MONO, R, or to (INDIVIDUAL) 1, The input level of the master effect is determined by 2 (After passing through the master effects, it will be the send level 1 and 2 settings (routing step 3, or output from AUDIO OUTPUT (MAIN).) Select this insert effect step 4).

  • Page 120: Effect Settings In Combination, And Song

    Master effects Effect settings in combination, and Master EQ song These settings are made in the same way as for pro- ☞ grams ( p.113). In Combination, and Sequencer modes, you can spec- ify the routing of each timbre/track to the insert effect and master effects.

  • Page 121: Effect Settings For The Audio Input (Requires The Exb-Smpl Option)

    If “BUS (IFX/Indiv.) Select” is set to IFX, this is set Effect settings for the AUDIO INPUT by “Send1 (MFX1)” and “Send2 (MFX2)” (Setup page) after the sound has passed through the insert (requires the EXB-SMPL option) effect. Even in modes other than Sampling mode, the TR’s If “BUS (IFX/Indiv.) Select”...
  • Page 122 Using the Dmod function to vary the feedback For some effects, you can synchronize the LFO fre- level by operating [SW1] key quency to the tempo. Set the effect parameters “BPM/MIDI Sync” to On, and “BPM” to MIDI. 5 In the PROG 2.2: Ed-Ctrl, Controls page, set the For details refer to PG p.172.

  • Page 123: Other Functions

    Global mode. You can specify the assignable function that will be performed by a footpedal (such as the Korg XVP-10 1 Press the [GLOBAL] key to enter Global mode. EXP/VOL or EXP-2) connected to the ASSIGNABLE 2 Press the [EXIT] key.

  • Page 124: Selecting Different Velocity And Aftertouch Curves

    6 Set “Foot SW Polarity” to the polarity of the pedal Creating original scales you connected. If you connected a Korg PS-1 pedal switch, select (-) You can create your own original scales. You can create KORG Standard. The pedal will not function cor- sixteen different User Octave Scales in which the pitch rectly if you do not select the correct polarity.

  • Page 125: Setting The Function Of [Sw1] And [Sw2]

    Setting the function of [SW1] and Setting the B-mode functions of [SW2] REALTIME CONTROLS [1]–[4] You can specify the function of the [SW1] and [SW2] You can specify the B-mode functions of REALTIME ☞ ☞ keys ( PG p.224). CONTROLS knobs [1]–[4]. ( PG p.225) The functions of the [SW1] and [SW2] keys are set The B-mode functions are set independently for each...

  • Page 126: Adjusting The Contrast (Brightness) Of The Lcd Screen

    5 Lightly press the [TIMBRE/TRACK] key on the Adjusting the contrast (brightness) beat, and slightly shorten the intervals at which you press the key. of the LCD screen The playback tempo of the drum pattern will speed up slightly. Use the GLOBAL 1.1: System, Preference page “LCD ☞...

  • Page 127: Appendices

    Appendices Troubleshooting If you experience problems, refer to the relevant item • If there is no sound from the OUTPUT and take the appropriate measures. (INDIVIDUAL) 1, 2 jacks, make sure that “BUS Select (IFX/Indiv.Out Assign)” or “Bus Select” Power does not turn on ☞...
  • Page 128 RPPR does not start The actual send level is determined by multiplying the send setting of each oscillator in the program • Is the SEQ 1.1: Play/REC “RPPR” setting checked? with the send setting of the timbre/track. ☞ ................. PG p.51 When you loaded data, a combination or song •...
  • Page 129 Can’t install the driver included CD-ROM. • Is the SD card set to the “protected” setting? Turn off the write protect switch, insert the card • Is the USB cable connected correctly? back into the slot, and perform the save or load •...

  • Page 130: Specifications And Options

    If the separately sold EXB-SMPL option is installed: functions Sample data RAM (SIMM): 16 Mbyte included with Able to load AIFF, WAVE, AKAI (S1000/3000), Korg the EXB-SMPL (expandable up to 64 Mbyte) format sample data can be loaded Effect section...

  • Page 131: Operating Requirements For Connection To A Computer

    Audio outputs Included items: 1/4" AUDIO OUTPUT (MAIN) L/MONO, R: CD-ROM (KORG USB-MIDI driver, Voice Name List) 1/4" AUDIO OUTPUT (INDIVIDUAL) 1, 2 AC/AC power supply 9VAC 3.0A Output impedance 1.1 [kΩ] (L/MONO is 550 [Ω] for mono) Maximum output level...

  • Page 132: Midi Implementation Chart

    *2: LSB,MSB=02,00: Arpeggiator ON/OFF, 0A,00: Arpeggiator Gate control, 0B,00: Arpeggiator Velocity control *3: LSB,MSB=00,00: Pitch bend range, 01,00: Fine tune, 02,00: Coarse tune *4: In addition to Korg exclusive messages, Inquiry, GM System On, Master Volume, Master Balance, Master Fine Tune, and Master Coarse Tune are supported.

  • Page 133: Index

    Index Numerics BUS Select AUDIO INPUT .......115 10’s HOLD ........22 Edit Combination, Sequencer ..114 Combination ......57 Program ........112 Pattern edit........ 72 Sampling........89 Program........49 ADC OVER!......35, 39 Song edit........72 Track edit ........72 After Touch........26 Edit Buffer........
  • Page 134 Master effect......... 113 Pitch .......... 24, 51 Combination, Sequencer ..114 Combination......60 IFX Balance ........32 Program........113 Drum kit......97, 98 Index..36, 37, 86, 88, 91, 92, 93, 94 Sampling ......... 114 Program ....50, 51, 52, 56 (INDIVIDUAL) 1, 2 ......9 Sampling ....
  • Page 135 Routing Step recording......67, 84 AUDIO INPUT....... 115 Stereo.........90, 92 Wah effect ........53 Combination, Sequencer..114 Stereo source ........90 Write7, 8, 30, 32, 34, 42, 43, 49, 57, 97 Program ........112 SW1, SW2 ......5, 24, 119 Sampling ......... 114 Synchronization RPPR...
  • Page 136 Please also retain your receipt as proof of purchase otherwise your product may be disqualified from the manufacturer’s or distributor’s warranty. KORG INC. 4015-2 Yanokuchi, Inagi-city, Tokyo 206-0812 Japan  2005 KORG INC.

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