Page 2: About This Manual
MIDI-related explanations Switches and knobs [ ] CC# is an abbreviation for Control Change Number. References to the keys, dials, and knobs on the TR’s panel In explanations of MIDI messages, numbers in square are enclosed in square brackets [ ].
Page 3: Table Of Contents
Table of Contents PROG 5.3: Ed–LFOs..........22 5.3–1: OS1LFO1 (OSC1 LFO1) ...... 22 5.3–2: 1LFO2 (OSC1 LFO2) .......... 23 5.3–3: 2LFO1 (OSC2 LFO1) .......... 23 1. Program mode ......... 1 5.3–4: 2LFO2 (OSC2 LFO2) .......... 24 PROG PAGE MENU ..........1 PROG 6.1: Ed–Arp.
Page 4 COMBI 3.4: Ed–Vel Zone (Velocity Zone)....40 SEQ 2.1: Cue List ..........58 3.4–1: Vel (Velocity Zone)..........40 2.1–1: Cue List ............... 58 3.4–2: Slope (Velocity Slope)..........40 SEQ 2.2: Controller ..........62 3.4–3: Review ..............40 2.2–1: Ctrls (Controls) ............ 62 COMBI 4.1: Ed–MIDI Filter1.........41 SEQ 3.1: Param1 ..........62 4.1–1: MIDI 1–1 (MIDI Filter 1–1)........41 3.1–1: MIDI..8 (MIDI T01...08) ........
Page 5 SEQ 5.1: RPPR ........... 69 SMPL 7.1: Insert Effect ........121 5.1–1: Pattern..............69 7.1–1: Setup..............121 5.1–2: RPPR Setup............72 7.1–2: IFX..............122 SEQ 5.2: Track Edit ..........74 5.2–1: Track Edit ............74 5. Global mode.........123 SEQ 6.1: Arp. (Arpeggiator) ....... 82 GLOBAL PAGE MENU ........
Page 6 7. Effect Guide ........159 28: St.AutoFd Mod (Stereo Auto Fade Modulation) ..183 29: 2Voice Reso (2Voice Resonator)......183 Overview ............159 30: Doppler..............184 1. Effects in each mode ..........159 31: Scratch ..............185 2. Dynamic modulation (Dmod)........159 Mod./P.Shift .............186 3.
Page 7 Uninstalling the KORG USB-MIDI Driver ..... 266 About Alternate Modulation.......... 215 Mac OS X users ............267 About Alternate Modulation Sources......215 About the TR and driver ports ........267 AMS (Alternate Modulation Source) List ...... 216 Alternate Modulation settings........218 Index ............... 268 The effect of alternate modulation on various parameters, and example applications ........
Page 8: Program Mode
BANK [GM] key. G→g(d)→G→g(d)→G… The TR provides rewritable banks A, B, C, and D, each con- taining 128 programs (total 512). As for non-rewritable pro- gram areas, it provides banks G (capital programs for GM), and bank g(d) (drums).
Page 9 Write Program If you wish to save a program, be sure to write it into the memory of the TR. An edited program cannot be recovered if you do not write it to memory before turning off the power or selecting another program.
Page 10: 2: P.edit (Performance Editor)
4 Press “To” to specify the writing destination. If the MIDI Filter “Exclusive” (GLOBAL 2.1–1b) setting is checked, MIDI exclusive parameter changes will be You can also use the Bank [A]–[D] keys to select a bank. transmitted whenever you operate the Performance Editor.
Page 11: 3: Arp (Arp. Play)
1.1–3: Arp Decay (Decay Time) [–10…+00…+10] (Arp. Play) This adjusts the Decay Time and Slope Time of the ﬁlter EG While arpeggiator parameters are for the most part edited in and amp EG. PROG 6.1: Ed-Arp., Some major parameters can be edited With an adjustment of +00, the value of the program param- here as well.
Page 12: Prog 2.1: Ed-Basic
Legato [Off, On] PROG 2.1: Ed–Basic This is available when the “Mode (Voice Assign Mode)” set- ting is set to Mono. Here you can make basic settings for the oscillator(s). On (checked): Legato is on. When multiple note-on mes- sages occur, the ﬁrst note-on will retrigger the sound, and the second and subsequent note-ons will not retrigger.
Page 13: 2: Osc1
2.1–2: OSC1 [C…B] Indicates the tonic note of the speciﬁed scale. The multisample(s) (waveform) or drum kit on which the This setting is not valid for Equal Temperament, Stretch, program will be based can be selected here for oscillator 1 and User All Notes Scale.
Page 14 If sample data RAM is not installed, the program will 2.1–2c: Octave, Transpose, Tune, Delay not sound if you select RAM. Octave [–2[32’], –1[16’], +0[8’], +1[4’]] Each multisample has an upper limit, and may not pro- duce sound when played above that limit. Adjusts the pitch in octave units.
Page 15: 3: Osc2
Cutoff: Adjusts the ﬁlter cutoff. This adjustment will be ■ 2.1–2e. UTILITY added to the value speciﬁed for “Frequency” (4.1–1b/1c, 4.2–1) of Filter 1 and 2. Resonance: Adjusts the resonance level of the ﬁlter. This adjustment will be added to the value speciﬁed for “Res- onance”...
Page 16: 5: Audit. (Audition)
Audition Riff [000: Off...383: Name] Knob4–B (Knob4–B Assign) [Off...MIDI CC#95] Selects the audition riff. The TR contains 383 audition riffs suitable for a variety of instruments and musical genres. ( ☞ “VNL”) 2.2–1b: SW1/2 Assign With a setting of 000: Off, no riff will be played.
Page 17: Prog 3.1: Ed-Pitch
Ribbon (#16) [–12…+12] In order to maintain compatibility, you are able to set these “invalid” parameters on this instrument. Speciﬁes in semitone units how the pitch will change when CC#16 is received (or when the ribbon controller is pressed N/A indicates Not Available. on an instrument, such as the TRITON Extreme, connected Ribbon Lock : N/A...
Page 18: 2: Os1Lfo (Osc1 Lfo)
range of pitch change produced by the pitch EG in a range 3.1–2a: Pitch LFO1/2 Modulation of ±1 octave (☞p.218). As you play more softly, the pitch change will draw closer to the pitch EG levels. LFO1: Pitch change (level) Intensity (LFO1 Intensity) [–12.00…+12.00] Note-on...
Page 19: 4: Os2Lfo (Osc2 Lfo)
3.1–4: OS2lfo (OSC2 LFO) Time-varying pitch settings (when Pitch EG Intensity = +12.00) Speciﬁes the amount of pitch change produced by LFO1 and +99 = approximately 1 octave Attack Level LFO2 for oscillator 1. For an explanation of each parameter, Note-on Note-off refer to the preceding “3.1–2: OS1lfo.”...
Page 20: Prog 4.1: Ed-Filter1
AMS2 (Level Mod. AMS2) [Off, (KT, EXT)] PROG 4.1: Ed–Filter1 I (AMS2 Intensity) [–99…+99] S (AMS2 SW Start) [–, 0, +] Indicates settings for ﬁlter 1, which controls the tone of oscil- A (AMS2 SW Attack) [–, 0, +] lator 1. You can select either a 24 dB/oct low pass ﬁlter with resonance, or a 12 dB/oct low pass ﬁlter and 12 dB/oct high Refer to the preceding paragraphs “AMS1 (Level Mod.
Page 21: 2: Mod.1 (Filter1 Modulation1)
Reso.AMS (Resonance AMS) 4.1–2a: Keyboard Track [Off, (PEG, FEG, AEG, LFO, KT, EXT)] These settings specify keyboard tracking for the cutoff fre- Indicates the source that will control the “Resonance (A Res- quency of ﬁlter 1. The way in which the cutoff frequency is onance)”...
Page 22: 3: Mod.2 (Filter1 Modulation2)
Int. to B (KBDTrk Int. to B) [–99...+99] Int. to B (AMS Int. to B) [–99…+99] Speciﬁes the depth and direction of the effect on ﬁlter 1B Speciﬁes the depth and direction of the effect that “AMS produced by keyboard tracking. ( ☞ “Int. to A (KBDTrk Int. (Filter EG AMS)”...
Page 23: 4: Lfomod (Lfo Modulation)
4.1–4: lfoMod (LFO Modulation) 4.1–4b: Filter LFO2 Modulation Here you can use the ﬁlter 1 LFO to apply cyclic modulation Adjusts the depth of the cyclic modulation applied by OSC1 to the cutoff frequency of ﬁlter 1 (for oscillator 1) to create LFO2 (set by “OSC1 LFO 2”...
Page 24 R (Release Level) [–99…+99] B (AMS SW Break) [–, 0, +] Speciﬁes the change in cutoff frequency that will occur when Speciﬁes the direction in which “AMS (Level Mod. AMS)” the release time has elapsed. will affect “B (Break Point Level).” When “I (AMS Inten- sity)”...
Page 25: Prog 4.2: Ed-Filter2
R (AMS1 SW Release) [–, 0, +] PROG 4.2: Ed–Filter2 Speciﬁes the direction in which “AMS1 (Time Mod. AMS1)” will affect the release time. With positive (+) values of “I (AMS1 Intensity),” setting this parameter to + will allow AMS1 to lengthen the time, and setting this parameter to – 4.2–1: Basic will allow AMS1 to shorten the time.
Page 26: 2: Mod. (Amp1 Modulation)
5.1–2: Mod. Use DKit Setting [Off, On] (Amp1 Modulation) This is valid when “Mode (Oscillator Mode)” (2.1–1a) is set These settings allow you to apply modulation to amp 1 (for to Drums. oscillator 1) to modulate the volume. On (checked): The sound will be output at the “Pan” set- ting that has been made for each key of the drum kit (GLO- 5.1–2a BAL 5.1–3a).
Page 27: 3: Eg (Amp1 Eg)
AMS (LFO2 AMS) [Off, (PEG, FEG, AEG, KT, EXT)] 5.1–2b: Amp Mod., LFO1 Mod., LFO2 Mod. Indicates the source that will control the depth by which “OSC1 LFO2” (5.3–2) will modulate the volume of oscillator Indicates settings to specify how the volume of oscillator 1 1 (☞p.216 “AMS List”).
Page 28 R (Release Time) [00…99] 5.1–3c: Time Mod. (Time Modulation) Speciﬁes the time over which the volume will change after note-off until it reaches 0. You can use two AMS sources to control the Amp 1 EG times that were speciﬁed in “Amp 1 EG” (5.1–3a). Amplifier EG Note-off Attack Level...
Page 29: Prog 5.2: Ed-Amp2
Amp 1 EG changes (Time) PROG 5.3: Ed–LFOs (AMS=Amp KTrk +/+, Intensity = a positive (+) value) (When Amp Keyboard Track (5.1–2a) Low Ramp= a positive (+) value, and High Ramp = a positive (+) value) Here you can make settings for the LFO that can be used to Note-on Note-on Note-on...
Page 30: 2: 1Lfo2 (Osc1 Lfo2)
Key Sync. [Off, On] 5.3–1c: MIDI/Tempo Sync. On (checked): Key Sync. will be On. The LFO will start (Frequency MIDI/Tempo Sync.) each time you play a note, and an independent LFO will operate for each note. Sync. (MIDI/Tempo Sync.) [Off, On] Off (unchecked): Key Sync.
Page 31: 4: 2Lfo2 (Osc2 Lfo2)
5.3–4: 2LFO2 Arpeggio patterns U000 (INT)–U215(User) can be (OSC2 LFO2) selected using the numeric keys [0]–[9] and the This can be used when “Mode (Oscillator Mode)” (2.1–1a) is [ENTER] key. set to Double. Here you can make settings for the OSC2 Octave* [1, 2, 3, 4] LFO2, which is the second LFO that can be applied to oscil-...
Page 32: 2: Zone (Scan Zone)
Latch* [Off, On] Copy Arpeggiator Speciﬁes whether or not the arpeggio will continue playing This command copies arpeggio settings. after you take your hand off the keyboard. 1 Select “Copy Arpeggiator” to access the dialog box. On (checked): The arpeggio will continue playing after you remove your hand from the keyboard.
Page 33: Prog 7.1: Ed-Inserfx
CC#93 will control the Send 1 level for OSC 1 and 2, PROG 7.1: Ed–InserFX and control change #91 will control the Send 2 level for OSC 1 and 2. These are controlled on the global MIDI ☞For details on insertion effect, refer to p.159 “7. Effect channel “MIDI Channel”...
Page 34: 2: Setup
4 If you check “Post IFX Mixer Setting,” the “Pan (CC#8),” Control change CC#93 will control the Send 1 level, and “BUS Select,” “S1 (Send1(MFX1))” and “S2 control change CC#91 will control the Send 2 level. (Send2(MFX2))” settings that follow the copy source These messages are received on the global MIDI chan- insert effect will also be copied.
Page 35: Prog 7.2: Ed-Masterfx
7.2–1b: Chain PROG 7.2: Ed–MasterFX MFX Chain [Off, On] ☞For details on master effects, refer to p.159 “7. Effect On (checked): Chain (series connection) will be turned on Guide.” for MFX1 and MFX2. (☞p.165) Off (unchecked): MFX 1 and MFX2 are operating in parallel. Direction (Chain Direction) 7.2–1: Setup [MFX1→MFX2, MFX2→MFX1]...
Page 36: 2: Mfx 1 (Master Effect1)
7.2–2: MFX 1 3 Select the effect that you wish to copy. If you select MFX (Master Effect1) 1 or 2, “Rtn (Return)” (return level) will be copied at the 7.2–3: MFX 2 (Master Effect2) same time. If you select Master EQ, only the master EQ settings will be copied.
Page 38: Combination Mode
2. Combination mode COMBI PAGE MENU COMBI 1.1: Play For details on how to select pages in Combination mode, In this display page you can select and play Combinations. refer to p.1. A Combi allows you to use up to 8 programs at one time from the keyboard.
Page 39 Category [00...15: name] When you press the [REC/WRITE] key, the “Update Combination” dialog box will appear. Here also you This is the combination category display. can write to the currently selected combination. All combinations are organized into sixteen categories. You can select a category, and then select from combinations that Solo Selected Timbre belong to that category.
Page 40: 2: Prog (Timbre Program)
1.1–2: Prog If bank select and program change messages are (Timbre Program) received on a MIDI channel that matches the MIDI Indicates the program that will be used by each timbre. channel of a timbre whose “Status” (3.1–1a) is INT, the program of that timbre will change.
Page 41: 3: Mix (Mixer)
1.1–3: Mix Volume [000...127] (Mixer) Adjusts the volume of each timbre 1–8. (This parameter can Here you can set the pan and volume for each timbre 1–8. also be set from the Mixer page of 2.1: Ed-Prog/Mix.) The volume of each timbre is determined by summing this volume value with the MIDI volume (CC#7) and 1.1–3a expression (CC#11).
Page 42: 4: Arp. A (Arpeggio Play A)
1.1–4: Arp. A (Arpeggio Play A) COMBI 2.1: Ed–Prog/Mixer 1.1–5: Arp. B (Arpeggio Play B) Here you can select the arpeggiator settings for the combina- 2.1–1: Prog (Timbre Program) tion. A combination can run two arpeggiators simulta- neously. Arpeggiator parameters can be edited in 6.1: Edit- Indicates the bank and program for each timbre 1–8.
Page 43: Combi 2.2: Ed-Ctrl
COMBI 2.2: Ed–Ctrl COMBI 3.1: Ed–Param1 Here you can set the Combination mode functions of the B- mode functions of REALTIME CONTROLS knobs [1]–[4], 3.1–1: MIDI and [SW1] key, [SW2] key. Here you can make MIDI settings for each timbre. 2.2–1: Ctrls (Controls) 3.1–1a...
Page 44: 2: Osc
When “Status” (3.1–1a) is INT, this parameter will Poly: The timbre will play polyphonically, regardless of the affect the pitches sounded by the TR. When “Status” is settings of the program. EXT, this parameter will affect the note numbers of the Mono: The timbre will play monophonically, regardless of MIDI note messages that are transmitted.
Page 45: Combi 3.2: Ed-Param2
■ 3.1–3b: UTILITY COMBI 3.2: Ed–Param2 3.2–1: Other Speciﬁes the delay from note-on until sound is produced for ☞“Write Combination,” “Solo Selected Timbre” (1.1–1c) each timbre. Also speciﬁes the scale. For details on how to select the desired utility function, refer to “PROG 1.1–1c: UTILITY.”...
Page 46: Combi 3.3: Ed-Key Zone
3.3–2: Slope (Key Slope) COMBI 3.3: Ed–Key Zone These settings specify the keyboard range in which each timbre will sound. 3.3–2a The top/bottom key parameters specify the range of notes in which timbres 1–8 will sound, and the top/bottom slope parameters specify the range over which the original vol- ume will be reached.
Page 47: Combi 3.4: Ed-Vel Zone (Velocity Zone)
3.4–2: Slope (Velocity Slope) COMBI 3.4: Ed–Vel Zone (Velocity Zone) 3.4–2a Sets the Top/Bottom Velocity parameters to specify the range of velocities that will sound each timbre 1–8, and sets the Top/Bottom Slope parameters to specify the range over which the volume will change. 3.4–2b By setting two or more timbres to velocity zones that do not overlap, you can use variations in playing dynamics to play...
Page 48: Combi 4.1: Ed-Midi Filter1
4.1–2: MIDI 1–2 (MIDI Filter 1–2) COMBI 4.1: Ed–MIDI Filter1 These settings allow you to apply ﬁlters to the MIDI data that will be transmitted and received by each timbre 1–8. For 4.1–2a example even if two timbres are being played by the same MIDI channel, you can make settings so that the damper pedal will apply to one but not the other.
Page 49: 2: Midi 2-2 (Midi Filter 2-2)
4.2–2: MIDI 2–2 Knob2 [Off, On] (MIDI Filter 2–2) Speciﬁes whether MIDI control change message #71 (inter- nal low pass ﬁlter resonance or high pass ﬁlter cutoff fre- quency) for the A-mode of knob [2] and the MIDI control change message assigned to the B-mode of knob [2] will be 4.2–2a transmitted and received.
Page 50: 2: Midi 4-2 (Midi Filter 4-2)
If you want the note data generated by the arpeggiator These parameters specify how the arpeggiator will function to be recorded on the external sequencer, turn the TR’s within the combination. Two arpeggiators can run simulta- Local Control ON, and turn off the echo back function neously.
Page 51: 2: Arp. A (Arpeggiator A)
6.1–2: Arp. A Example 2) (Arpeggiator A) The “MIDI Channel” (3.1–1a) of timbres 1, 2, 3, 4, and 5 6.1–3: Arp. B (Arpeggiator B) are set respectively to Gch, Gch, 02, Gch, and 03. Their “Status” (3.1–1a) is set respectively to INT, Off, INT, Off, The Arp.
Page 52: 4: Zone (Scan Zone)
6.1–4: Zone (Scan Zone) COMBI 7.1: Ed–InsertFX These settings specify the note and velocity ranges that will operate arpeggiators A and B. ☞For details on insertion effects, refer to p.159 “7. Effect Guide.” 6.1–4a 7.1–1: BUS 6.1–4b 7.1–1a 6.1–4a: Scan Zone A/B 7.1–1b Zone Map This shows the “Scan Zone”...
Page 53: 2: Setup
7.1–2: Setup Control change #93 can be used to control the Send 1 level, and #91 to control the Send 2, and modify their Here you can select the type of insert effect, turn it on/off respective settings. These messages will be received on etc.
Page 54: 3: Ifx (Insert Effect)
7.1–2c: Routing Map, BUS Select COMBI 7.2: Ed–MasterFX This displays the bus to which the programs used by tim- ☞For details on master effects, refer to p.159 “7. Effect bres 1–8 will be sent. Guide.” Routing Map This displays the insert effect settings. The routing, the spec- 7.2–1: Setup iﬁed effect name, and the on/off status are shown.
Page 55: 2: Mfx1 (Master Effect1)
7.2–4: MEQ (Master EQ) 7.2–1d: Master EQ Gain [dB] The master EQ is a three-band stereo EQ. It is located imme- [–18.0...+18.0] diately before the AUDIO OUTPUT (MAIN OUT) L/ [–18.0...+18.0] MONO and R from the L/R bus, and adjusts the overall High [–18.0...+18.0] tonal character of the sound (☞p.213).
Page 56: Sequencer Mode
3. Sequencer mode In Sequencer mode you can use the built-in 16-track SEQ PAGE MENU sequencer to play, record and edit songs. You can also record and play patterns, make settings for the RPPR (Realtime Pat- tern Play Recording) function, play songs that use the arpeg- For details on how to select pages in Sequencer mode, refer giators, record patterns, and create Cue Lists to playback to p.1.
Page 57: Seq 1.1: Play/Rec
Changing the time signature in the middle of a measure SEQ 1.1: Play/REC If you know beforehand the location at which you wish to change time signatures in the middle of a measure, use “Insert Measure” (5.2–1b) to specify and insert the time sig- Here you can select a song, begin to create a new song, or nature for each measure of the same time signature, and make basic settings such as selecting the program used by...
Page 58 Tempo Mode [Auto, Manu, REC] 1.1–1c: RPPR (Real-time Pattern Play/Rec), Track Auto: The tempo will follow the tempo of the Master Track. Select, Selected Track Information The tempo of the master track can be speciﬁed by using “Event Edit” (5.2–1b) with Master Track chosen in “Track RPPR [Off, On] Select,”...
Page 59 Copy From Combi (Copy From Combination) the desired track. “Selected Track Information” (1.1–1c) will indicate [Solo]. This command copies the parameter data from a speciﬁc To defeat the Solo function, select the “Solo Selected Track” combination to the settings of the currently selected song. page menu command once again.
Page 60 Load Template Song Track 1 of all sixteen preset template songs contains a drum category program. (In preset template songs P02, This command loads a template song as a song. P04, P08, and P15 drum category programs are speci- The built-in sequencer contains sixteen different preset tem- ﬁed for multiple tracks.) plate songs (P00–15) that contain preset settings for pro- The pattern names of the 150 preset patterns indicate...
Page 61 Save Template Song (Save as User Template Song) will be performed as fast as possible. The speed of fast- forward and rewind will differ between sections where This command saves the program selections, track parame- the playback data is dense and sections where it is sparse. ters, and effect settings etc.
Page 62: 2: Prog
1.1–2: Prog...8 If you have selected multi-track recording (Preference page (Program T01...08) “Multi REC” on), select REC for the tracks that you wish to 1.1–3: Prog...16 (Program T09...16) record. SOLO On/Off [SOLO On, SOLO Off] Here you can make basic settings such as selecting the pro- gram used by each track.
Page 63: 6: Pref. (Preference)
1.1–6: Pref. (Preference) 1.1–4(5)a: Pan, Volume Here you can select the method of real-time recording, and Pan (Panpot) [RND, L001...C064...R127] set the metronome. Sets the pan of tracks 1–16. L001...C064...R127: A setting of L001 is far left, and R127 is far right.
Page 64 ☞p.242 “Recording musical data from an external device” Auto P Start Meas–Auto P End Meas [M001...M999–M001...M999] Off (unchecked): Single track recording mode will be When “Recording Mode” is set to Auto Punch In, specify selected. Recording will occur on the track you select in the measures at which recording will start and end.
Page 65: Seq 1.2: Loop
■ 1.2–1(2)b: UTILITY SEQ 1.2: Loop ☞“Memory Status,” “Solo Selected Track,” “Rename Song,” “Delete Song,” “Copy From Song,” “Copy From Combi,” 1.2–1: Loop...8 “Load Template Song,” “Save Template Song,” “FF/REW (Track Play Loop T01...08) Speed,” “Set Location” (1.1–1d) 1.2–2: Loop...16 (Track Play Loop T09...16) When playing/recording a song, you can independently loop the playback of tracks 1–16.
Page 66 Cue List Select [C00...C19: name] Cue Edit-Song [S000...S199: name, End, Continue to Step01] Indicates the cue list that you wish to play. When using a cue list to play songs, you must ﬁrst load the This selects the song for the step. It cannot be selected dur- necessary data into internal memory, either from SD card, or ing playback.
Page 67 Copy Cue List 2.1–1c: Step (Current Step) This command copies the settings of another cue list to the Step (Current Step) [01...100] currently selected cue list. Indicates the step that will be inserted, cut or copied. 1 Select “Copy Cue List” to access the dialog box. If you wish to playback from a step in the middle of the cue list, select the desired step here, and press the [START/ STOP] key.
Page 68 grams, the playback result produced by a cue list may After executing this command, you can press the [COM- not be reproduced when the cue list is converted into a PARE] key to return to the state before execution. song. Copy Song Converting “Track Play Loop”...
Page 69: Seq 2.2: Controller
SEQ 2.2: Controller SEQ 3.1: Param1 2.2–1: Ctrls 3.1–1: MIDI..8 (Controls) (MIDI T01...08) 3.1–2: MIDI..16 Here you can set the B-mode functions that the REALTIME (MIDI T09...16) CONTROL knobs [1]–[4] and the [SW1] key, [SW2] key, will Here you can make MIDI-related settings for each track. have in Sequencer mode.
Page 70: 3: Osc
MIDI Channel [01…16] Portamento [PRG, Off, 001...127] Speciﬁes the MIDI channel that the track will use to transmit Speciﬁes the portamento effect for each track 1–16 and receive musical data. The MIDI channel you specify (☞COMBI 3.1–2a). here will be the receive channel when “Status” is INT, the The portamento setting you make here will be used transmit channel when it is EXT or EX2, and the receive/ when the song is played or recorded from the begin-...
Page 71: Seq 3.2: Param2
“Transpose” and “Detune” settings do not affect the SEQ 3.2: Param2 note data that is transmitted via MIDI. “Transpose” and “Detune” are controlled by received MIDI RPN mes- sages. The “Oscillator Mode” (PROG 2.1–1a) of the pro- grams selected for tracks 1–16 will be controlled as 3.2–1: Othr..8 (Other T01...08) follows.
Page 72: Seq 3.3: Key Zone
3.3–3: Slp..8 (Slope T01...08) SEQ 3.3: Key Zone 3.3–4: Slp..16 (Slope T09...16) Here you can specify the range of keys that will be sounded by each track. Top/Bottom Key settings specify the range of notes that will 3.3–3a be sounded by tracks 1–8, 9–16, and Top/Bottom Slope set- tings specify the range from the top/bottom key until the 1.1–1c original volume is reached.
Page 73: Seq 3.4: Vel Zone
3.4–3: Slp..8 (Slope T01...08) SEQ 3.4: Vel Zone 3.4–4: Slp..16 (Slope T09...16) Top/Bottom Velocity specify the range of velocities that will be sounded by tracks 1–8 and 9–16, and Top/Bottom Slope specify the range over which the volume will be adjusted. 3.4–3a These settings do not affect MIDI transmission/recep- tion.
Page 74: Seq 4.1: Midi Filter1
■ 4.1–1(2)b: UTILITY SEQ 4.1: MIDI Filter1 ☞“Memory Status,” “Solo Selected Track,” “Rename Song,” Here you can select whether or not to apply ﬁltering to the “Delete Song,” “Copy From Song,” “Copy From Combi,” MIDI data received by tracks 1–16. For example even if two “Load Template Song,”...
Page 75: Seq 4.2: Midi Filter2
■ 4.2–3(4)b: UTILITY SEQ 4.2: MIDI Filter2 ☞“Memory Status,” “Solo Selected Track,” “Rename Song,” “Delete Song,” “Copy From Song,” “Copy From Combi,” 4.2–1: M2–1..8 “Load Template Song,” “Save Template Song,” “FF/REW (MIDI Filter2–1 T01...08) Speed,” “Set Location” (1.1–1d) 4.2–2: 2–1..16 (MIDI Filter2–1 T09...16) SEQ 4.3: MIDI Filter3 4.2–1a...
Page 76: Seq 4.4: Midi Filter4
Other Control Change [Off, On] ■ 4.3–1(2)b, 4.3–3(4)b: UTILITY Speciﬁes whether or not MIDI controller messages other ☞“Memory Status,” “Solo Selected Track,” “Rename Song,” than those included in MIDI Filter 1–4 will be received. “Delete Song,” “Copy From Song,” “Copy From Combi,” “Load Template Song,”...
Page 77 Track Select [T01…T16: name] Rename Pattern Selects the track that will record/play the pattern data. Press the [F5] (“Name”) key to access the dialog box, and ( ☞ 1.1–1c) rename the selected pattern. The program bank, number, and name of the selected track You may input up to sixteen characters.
Page 78 Erase Pattern 4 In To: “Song” and “Pattern,” select the bounce destina- tion song and pattern. For “Pattern,” only user patterns This command erases the musical data from the selected U00–U99 can be speciﬁed. pattern. 5 To execute the Bounce Pattern command, press the [F8] 1 Use “Pattern Bank”...
Page 79: 2: Rppr Setup
5.1–2: RPPR Setup 1 Select “Put to Track” to access the dialog box Here you can make settings for the RPPR (Real-time Pattern Play/Recording) function. RPPR lets you assign a pattern from a song to each key, and then playback patterns simply by pressing individual notes on the keyboard.
Page 80 Sync [Off, Beat, Measure, SEQ] 5.1–2b: RPPR Setup Speciﬁes how the pattern playback will be synchronized Keyboard & Assigned drawing when you press the speciﬁed “KEY.” This shows the selected key, and the keys to which a pattern Off: The pattern will begin playing at the moment you press has been assigned by the RPPR function.
Page 81: Seq 5.2: Track Edit
■ 5.1–2c: REVERT This copies “Pat (Pattern Bank),” “Pattern Select” and “Track” settings from the previously-edited “KEY” whose 5.2–1a “Assign” is checked to the currently-edited “KEY.” Example) Displays the Using RPPR to assign preset patterns P00, P01, and P02 to 5.2–1b From Measure To End of...
Page 82 Inputting rests Time signature Press the [F4] (“Rest”) key to input a rest of the length speciﬁed in 4 . Inputting a tie If you press the [F5] (“Tie”) key without pressing the key- board, the previously-input note will be tied, and length- ened by the amount speciﬁed in 4 .
Page 83 3 Press the [F8] (“OK”) key to open the Event Edit dialog BAR (displayed only) Meter: 1/4...16/16 * box. (Measure line) (Time signature) C–1...G9 * Val: 1...127 * L: 000.000...15984.000 (Note data) (Velocity) (Length: beats, clocks) P.Aft C–1...G9 Val: 0...127 Measure (Polyphonic after (Note number)
Page 84 3 Set “From” to the copy source (bounce source) track, and 1 Use “Track Select” to select the track. set “To” to the copy destination (bounce destination). (By 2 Select “Delete Measure” to access the dialog box. default, “From” will be initially set to the “Track Select” track.) 4 To execute, press the [F8] (“OK”) key.
Page 85 2 Select “Insert Measure” to access the dialog box. 2 Select “Repeat Measure” to access the dialog box. 3 In “At Measure,” specify the measure location at which 3 In “From Measure” and “To End of Measure,” specify the the data will be inserted. (The measure you speciﬁed in range of measures that will be repeated.
Page 86 Move Measure 4 Set “Mode” to Create. This command moves measures of musical data to a speci- 5 “Kind” to the type of musical data (event) that you wish ﬁed destination. When you execute the Move Measure com- to create. mand, musical data following the move source will be Ctl.C: Control change data will be inserted.
Page 87 5 “Kind” to the type of musical data (event) that you wish 5 In “Resolution,” specify the timing resolution to which to erase. the data will be corrected. Ctl.C: Control change data will be erased. In this case, By setting a lower resolution you can save more memory, use “#”...
Page 88 Shift/Er. Note (Shift/Erase Note) 3 Specify the range in which note velocity will be modiﬁed. “From Measure” and “To Measure” specify the measure, This command shifts (moves) or erases the speciﬁed note and “Beat.Tick” specify the beat and clock. (By default, numbers in a speciﬁed track and range of measures.
Page 89: Seq 6.1: Arp. (Arpeggiator)
MIDI IN. If you wish to record just the trig- connector can perform the same type of control. ger notes on an external sequencer and run the TR’s Even in this case, you can start/stop using the [START/ arpeggiator in this way, turn Local Control OFF.
Page 90: 3: Arp. A (Arpeggiator A)
• Alternatively, you could choose Track01 in “Track Select” to run arpeggiator A for tracks 1 and 2, and use Velocity [001...127, Key, Step] an external MIDI device connected to the TR’s MIDI IN Swing [–100...+100(%)] to send note data to MIDI channel 3 to play arpeggiator...
Page 91: 5: Zone (Scan Zone)
6.1–5: Zone (Scan Zone) SEQ 7.1: Insert FX Speciﬁes the range of notes and velocities that will trigger each arpeggiator A and B. ☞For details on insert effects, refer to p.159 “7. Effect Guide.”. 6.1–5a 7.1–1: BUS..8 (BUS T01...08) 7.1–2: BUS..16 (BUS T09...16) 6.1–5b Speciﬁes the bus to which the program oscillator(s) of each...
Page 92: 3: Setup
■ 7.1–1(2)b: UTILITY 7.1–3b: Control Channel Control Channel [Ch01...16, All Rt.] Indicates the MIDI channel that will control effect dynamic modulation (Dmod), pan following the insert effect “Pan (CC#8),” “Send1(MFX1),” and “Send2(MFX2).” ☞“Memory Status,” “Solo Selected Track” (1.1–1d), “DKit An asterisk “*” will be displayed at the right of the channel IFX Patch”...
Page 93: 4: Ifx (Insert Effect)
7.1–4: IFX (Insert Effect) 7.2–1b: Master FX Chain Sets the parameters for the effects selected for IFX in the MFX Chain [Off, On] Setup page (☞p.168–). Direction (Chain Direction) [MFX1→MFX2, MFX2→MFX1] Signal (Chain Signal) [LR Mix, L Only, R Only] Level (Chain Level) [000...127] This is the same as in Program mode.
Page 94: 2: Mfx1 (Master Effect1)
7.2–2: MFX1 (Master Effect1) 7.2–3: MFX2 (Master Effect2) Here you can set the parameters of the “Master Effect1” and “Master Effect2” effects that were selected in the Setup page (☞p.168–). 7.2–2a ■ 7.2–2(3)a: UTILITY ☞“Memory Status” (1.1–1d) 7.2–4: MEQ (Master EQ) The master EQ is a three-band stereo EQ.
Page 96: Sampling Mode
If the EXB-SMPL option (sold separately) is installed in the When you turn off the power, all multisample and sam- TR, you will be able to use Sampling mode to record 48 kHz ple data in Sampling mode will be lost. Before you turn stereo 16-bit samples.
Page 97: Smpl Page Menu
SMPL PAGE MENU SMPL 1.1: Recording For details on selecting pages in Sampling mode, refer to Here you can set the input level and make other basic set- p.1. tings for sampling (sample recording), and make basic set- tings for multisamples and samples. Normally you will record samples in this page.
Page 98 Keyboard & Index This parameter can also be set in 2.1: Sample Edit–4.1: Multi- sample. The sampling and editing that you perform in these Original Key (currently selected Original Key is reversed) pages will apply to the index you select here. Index zone (currently selected Index is reversed) When ﬁrst entering the sample page, this value will be 001/ Index01...
Page 99: 2: Rec. (Recording)
Orig.K (Original Key) [C–1...G9] ■ 1.1–1d: UTILITY Speciﬁes the key that will play the sample at its original ☞“Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename pitch (i.e., the pitch at which it was recorded). The pitch will change in semitone steps relative to the original key. SMPL,”...
Page 100 Example 4: For example if the 16 Mbyte SIMM (sample data RAM) A stereo source connected to AUDIO INPUT 1 and 2, routed included with the EXB-SMPL option (sold separately) is through internal insertion effect IFX 08: St.Graphic 7EQ, and installed in slot 1 and you install 32 Mbytes in slot 2, sampled in stereo you will be able to select “Bank (RAM Bank)”...
Page 101 Count Down (Count Down REC) [Off, 4, 8, 3, 6] 1.1–2c: Recording Level When you begin sampling with “Mode (REC Mode)” set to Recording Level [–inf, –72.0... 0.0...+18.0dB] Manual, this parameter speciﬁes whether there will be a count-down before sampling begins. Adjust the ﬁnal level of the signal that will be sampled.
Page 102: 3: In/Pref (Input/Preference)
Pstn (Position) [R, L] ■ 1.1–2d: UTILITY Speciﬁes whether the new index will be created at the right ☞“Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename or left of the selected index. SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” R (Right): The new index will be created at the right of the “Move MS,”...
Page 103 If you do not check “With Sample Data”: Executing the ■ 1.1–3f: UTILITY copy will not copy the sample data (waveform data). The newly created sample will share the sample data of the copy source sample. For example, you would use this when you wish to use 3.1: Loop Edit to create two or more versions of the same sample data with different loop addresses.
Page 104 Samples mapped to (used by) multisamples will be auto- • The selected sample will become a stereo sample. “–L” matically changed to the new sample numbers regardless will be overwritten into the last two characters of the of this setting. sample name.
Page 105 Example) 4 To execute the Copy Multisample command, press the [F8] (“OK”) key. To cancel, press the [F7] (“Cancel”) key. If there is no empty multisample number and forward When a multisample is copied, the samples assigned to movement is not possible, multisamples will be renum- the multisample will also be copied at the same time.
Page 106 MS To Stereo If you check “Use Destination Program Parameters,” be • The selected multisample will be converted to stereo. aware of the following points. The last two characters of the multisample name will • If the selected multisample is mono, the “Mode be overwritten as -L.
Page 107: Smpl 2.1: Sample Edit
2.1–2: Edit2 SMPL 2.1: Sample Edit Here you can edit the sample data (waveform data) that you sampled or loaded in Media mode. 2.1–2a Editing operations such as deleting unwanted portions of 2.1–2b the waveform, reversing the waveform, or lowering the sampling frequency can be performed in detail while view- ing the “sample waveform display.”...
Page 108 ever, be aware that once a sample has been mixed to ■ 2.1–2d: ZOOM mono, it is no longer possible to return it to a stereo sample. These buttons let you zoom-in and zoom-out the “sample waveform display” in the horizontal axis (sample addresses) The playback “S (Start)”...
Page 109 Truncate 1 Use “SMPL” (2.1–1a) to select the sample that you wish to edit, and use “S (Edit Range Start)” and “E (Edit Range This command deletes unwanted data that lies beyond the End)” (2.1–2b) to specify the editing range. “S (Edit Range Start)”...
Page 110 6 To execute the Clear command, press the [F8] (“OK”) 5 If you wish to delete the original sample data and over- key. To cancel, press the [F7] (“Cancel”) key. write it with the edited sample data, check “Overwrite”. Normally, you will leave “Save to No.” at its default set- Copy ting, and execute without checking “Overwrite.”...
Page 111 Paste If the sample data loaded into the buffer by “Copy” is stereo, the display will indicate “Save to Beginning at the “S (Edit Range Start)” address, this com- No.(L)” and “(R).” Specify the save destination sample mand places the sample data that was loaded into the buffer number for the L channel and the R channel.
Page 112 Norm./Level Adj. (Normalize/Level Adjust) 6 If you wish to delete the original sample data and over- write it with the edited sample data, check “Overwrite”. This command uniformly modiﬁes the data values (volume) Normally, you will leave “Save to No.” at its default set- of the data between the “S (Edit Range Start)”...
Page 113 Reverse 7 If you wish to delete the original sample data and over- write it with the edited sample data, check “Overwrite”. This command reverses the sample data (i.e., exchanges the Normally, you will leave “Save to No.” at its default set- beginning and end).
Page 114 The volume of the two samples can be changed gradually at If the rear sample is short, the “Crossfade Length” can- the transition to gradually mix the samples with each other. not be set any longer than the length of the “Rear ”sam- This is called crossfade, and can be used to produce a natu- ple.
Page 115: Smpl 3.1: Loop Edit
3.1–1b: SMPL, Lp, Tune, Rev SMPL (Sample Select) [----: ---No Assign----, 0000...3999] 1 Use “SMPL” (2.1–1a) to select a sample. This shows the sample number and name, and the range of 2 In the Edit2 page “UTILITY,” choose “Grid” to open the the selected index.
Page 116: 2: Edit2
(Grid Tempo) [040...480(BPM)] ■ 3.1–1c: UTILITY This displays vertical dotted lines in the “sample waveform ☞“Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename display” to indicate the resolution and tempo. Use this when you wish to cut or edit the sample data based on a BPM SMPL,”...
Page 117 3 Range “Start” and “End” will show the range of data that Original rhythm sample: Sample0 will be edited. 4 Use “Truncate” to select the portion that will be deleted. 120BPM Front & End: The sample data that lies before the “Start” and after the “End”...
Page 118 Index 1 Use “SMPL” (3.1–1b) to select the sample that you wish [Source(C2), xxx: 001...090(zzz: D2...G9)/yyy: 001...090]: to Time Slice. Select the sample index. 2 From the Edit2 page “UTILITY,” choose “Time Slice” to If this is set to Source, the original waveform before time open the following dialog box.
Page 119 If you wish to adjust the “S (Start)” or “E (End)” end of the kick sample is as inconspicuous as possible, address of a divided sample, it is best to ﬁrst check and also that the hi-hat attack is heard cleanly. “Use Zero.”...
Page 120 It is not possible to make settings that would cause “Src If you check both “Program” and “Seq.Event,” set the “Start BPM (Source BPM)” or “New BPM” to exceed the range Measure” to a measure other than 001 and then save, a pro- of 40–480.
Page 121 The TR provides two ways in which Time “Source BPM” will indicate the playback BPM value at Stretch can be executed. This command also supports stereo the original key.
Page 122 When you press the [F8] (“OK”) key, the Time Stretch key, and the Save dialog box will appear. dialog box will appear. In “Save to No.,” specify the save destination sample number. By default, an unused sample number will be selected.
Page 123 Index [Source(C2), Result(C#2), 5 Specify the number of quarter note beats and tempo of xxx: 001...090(zzz: D2...G9)/yyy: 001...090]: the currently selected sample. If you already know the BPM value, set “Source BPM.” If you do not know the Select s the index for the sample whose waveform you BPM, setting “Beat”...
Page 124 Crossfade Loop In “Save To No.,” specify the save destination sample number. By default, an unused sample number will be When pitched instrumental samples such as strings or selected. If “Overwrite” is checked, this cannot be set. winds are looped to sustain a note, the sound will “jump” or If you wish to delete the original sample data and over- “skip”...
Page 125: Smpl 4.1: Multisample
Power: The volume will change non-linearly. Sometimes SMPL 4.1: Multisample a setting of Linear will produce the impression that the volume has dropped in the middle of the curve. In such cases, use Power. Here you can make settings for multisamples. You can create indexes for a multisample, and then assign a sample to each 5 In “Save to No.,”...
Page 126: 2: Edit2
Pitch [–64.00...+63.00] If you have not yet executed “CUT” or “COPY,” such as immediately after power-on, the new index will be cre- Adjusts the playback pitch of the sample in one-cent steps. ated according to the “Create (Create Zone Preference)” 0: The sample will sound at the original pitch when the orig- settings (1.1–3b, 4.1–3a) “Position,”...
Page 127: 3: Pref. (Preference)
For example if you mod- ify a quarter-note 120 BPM sample to 240 BPM, the “Pitch” will be set to +12.00. 5.1–1b This calculation is performed within the TR’s limits of precision. Minor discrepancies may occur in the ﬁnal 5.1–1a: Free Memory BPM calculation.
Page 128: Smpl 5.2: Controller
■ 5.2–1c: UTILITY SMPL 5.2: Controller ☞“Delete SMPL,” “Copy SMPL,” “Move SMPL,” “Rename SMPL,” “SMPL To Stereo,” “Delete MS,” “Copy MS,” 5.2–1: Ctrls “Move MS,” “Rename MS,” “MS To Stereo/MS To (Controls) Mono,” “Conv. To Prog,” “Keyboard Disp.” (1.1–3f) Speciﬁes the functions that the [SW1], [SW2] key, and the B- mode functions of the REALTIME CONTROLS knobs [1]–[4] will have in Sampling mode.
Page 129: 2: Ifx
7.1–2: IFX Sets the effect parameters for the IFX effect that you selected in the Setup page (☞p.168–). Effect Dmod (dynamic modulation) is controlled by the global MIDI channel speciﬁed in “MIDI Channel” (GLOBAL 2.1–1a).
Page 130: Global Mode
This adjusts the overall tuning of this instrument in one-cent Sys. 1.1: System Basic settings for the entire TR, and controller settings such as the pedals units (semitone = 100 cents) over a range of ±50 cents. With a connected to the rear panel. AUDIO setting of 0, the frequency of A4 will be 440 Hz.
Page 131 AfterT Curve (AfterTouch Curve) RPN ﬁne tune messages will be received on the MIDI channel for each timbre (in Combination mode) or track This speciﬁes the way in which the volume and/or tone will (in Sequencer mode). (☞“Detune,” “Transpose”: change in response to variations in pressure (after touch) COMBI 3.1–3a, SEQ 3.1–5(6)a.) applied to the keyboard while holding down a key.
Page 132 MFX1 Off [Off, On] Load Preload/Demo Data On (checked): MFX1 will be disabled. This command loads the preload data and demo song data into internal memory. ( ☞ VNL) Off (unchecked): The Master Effect Setup page (7.2–1) “MFX1 On/Off” settings of Program, Combination, and Before loading this data, you must uncheck the “Mem- Sequencer mode will be valid.
Page 133: 2: Pref. (System Preference)
120. 00 R/T 120. 00 R/T 62. 00 R 62. 00 R 63. 127 R (→Korg MUTE) 3 Press the half damper pedal, and then release the pedal. Value: decimal, R: Receive, T: Transmit 4 Press the F8 (“Done”) key.
Page 134: 3: Foot
LCD Contrast [0…62] Drum Kit [Off, On] This sets the contrast of the LCD screen. This setting protects the internal drum kit memory. Higher values will increase the contrast. On (checked): Internal drum kit memory will be protected, and the following write operations cannot be performed. If because of the temperature or other reasons, the LCD screen is unreadable when the power is turned on, use •...
Page 135: 4: Audioin (Audio In)
TR. If audio cables are use the TR as a 2-in 4-out effect processor, or to use external connected to the rear panel AUDIO INPUT 1 and 2 sounds in conjunction with internal sounds.
Page 136: Global 2.1: Midi
Internal: The internal arpeggiator and sequencer will syn- 2.1–1a: MIDI Setup chronize to the TR’s own internal clock. Select the Internal setting when using the TR by itself, or MIDI Channel [01…16] when you want the TR to be the master (controlling device) Sets the global MIDI channel.
Page 137 This means that the Velocity Curve, After Touch Curve, and 2.1–1b: MIDI Filter Transpose settings will affect the data that is transmitted from MIDI OUT when this instrument’s keyboard is played, Enable Program Change [Off, On] and the data that is recorded on the internal sequencer. MIDI On (checked): Program changes will be transmitted and data received from MIDI IN or the data played back by the received.
Page 138 These commands allow this instrument’s data to be trans- Type of data dumped Data size (kByte) Time required mitted to another connected TR, MIDI data ﬁler, or com- (Sec) puter in the form of system exclusive data. Program All 260.2 83.3...
Page 139: Global 3.1: User Scale
If you’re using a computer that is able to transmit MIDI exclusive messages, connect the computer’s USB connec- tor to the TR’s USB B connector. Alternatively, connect the MIDI OUT connector of your computer’s MIDI inter- face to the TR’s MIDI IN connector (☞p.233).
Page 140: 2: All Notes
Key Select [C–1...G9] The note can also be selected by holding down the [ENTER] key and playing a note on the keyboard. This indicates the location of the key displayed in “Tune.” You can use the cursor keys [ ], [ ] to move in one-octave steps.
Page 141: Global 5.1: Dkit (Drum Kit)
5.1–1: High If you want the edited user categories to be backed up (High Sample) when the power is turned off, you must write them into Here you can select a drum kit, assign High and Low drum- memory. Select the Utility “Write Global Setting” to samples to each key, and set parameters for the High and access the Write Global Setting dialog box, or press the Low drumsamples.
Page 142 Trans (Transpose) [–64...+63] 5.1–1b: High (High Sample) Adjusts the pitch in semitone steps. +12 is one octave up, Drumsample Bank [ROM, RAM, EX] and –12 is one octave down. Speciﬁes the bank of the High drumsample. Tune [–99...+99] ROM, EX: Select preset Drumsamples. In “Drumsample,” Adjusts the pitch in one-cent steps.
Page 143: 2: Low (Low Sample)
Rename Drum Kit Drumsample [0000...: name] This command renames the selected drum kit. You can input Selects the Low drumsample. This will be sounded by veloc- a name of up to sixteen characters. (☞OG p.44) ities lower than the value set for “Vel. SW L→H” (5.1–1a). (☞For details on each drumsample, refer to VNL.) Copy Drum Kit The drumsample can be selected using the utility menu...
Page 144: Global 6.1: Arp.pattern
Here you can create user arpeggio patterns. Pat (Pattern) [P000...P004, U000(INT)...U215(User)] In this page, the TR will sound as it did in the mode you Selects the pattern that you wish to edit. were in before entering Global mode. P000 …P004...
Page 145 Octave Motion [Up, Down, Both, Parallel] 6.1–1b: Lgth, Reso, Oct, Sort, Latch, K.Sync, Kbd Speciﬁes the operation when “Oct” is set to 2–4 octaves. Lgth (Length) [01...48] Up: Notes will repeatedly ascend within the speciﬁed range Specify the length of the arpeggio pattern. After the note of octaves.
Page 146: 2: Edit
6.1–2: Edit ■ 6.1–1e: UTILITY Here you can input Tones 0–11 for each step 01 to 48. “Step” can be a maximum of 48 steps, and Tone corresponds to up to twelve notes for the (up to) twelve keys pressed simulta- neously.
Page 147 Flam [–99...+99] Delete Step Speciﬁes how the note timing will be skewed when two or This command deletes the step parameters (“Tone,” “Ptch,” more Tones are speciﬁed in the same step. “Gt,” “Vel,” “Flam”) of the currently selected step number. Subsequent steps will move one column toward the left.
Page 148: Media Mode
In this mode, various types of internal memory data can be saved/loaded to/from SD card or an external SCSI device (if The TR manages data on SD card and other media in a hier- the EXB-SMPL option is installed). archical manner, using ﬁles and directories. The contents of For the types of SD card that can be used, refer to OG p.100.
Page 149: Media Page Menu
.KMP (Korg multisample parameter) ﬁle or .KSF (Korg sample ﬁle) that is loaded will be replaced in the dis- Files handled by the TR have the following structure. Since play by the multisample name or sample name that you .PCG and .SNG ﬁles can be opened to divide their contents,...
Page 150 When loading multisample or sample data ﬁles (if sample is already in memory. data RAM is installed), and the TR cannot ﬁnd a necessary Cue list data will not be loaded. ﬁle in the current directory or in a lower directory, a dialog box like the one shown below (“Where is a ...”) will be dis-...
Page 151 2) Load Programs: selected icon 3 If you checked “Load ********.KSC too”, set “.KSC Alloca- tion” to specify how the multisamples and samples All program data from a .PCG ﬁle will be loaded. within the .KSC ﬁle will be loaded. Append: The data will be loaded into the numbers after the last multisample or sample number currently existing in sample data RAM (i.e., that were previously sampled...
Page 152 7) Load a Combination: selected icon 12) Load Arpeggio Pattern [000…199(INT), 200…215(User)]: selected icon The combination you select will be loaded into the loading All user arpeggio pattern data in the selected user arpeggio destination combination number you specify. pattern block will be loaded into the user arpeggio pattern block you specify as the loading destination.
Page 153 1 In “To,” specify the loading destination song. that will be inserted between each item of exclusive data. If you are transmitting the data to another TR, the 2 To load the data, press the [F8] (“OK”) key. To cancel required time interval will depend on the type of data.
Page 154 The 22) Load .KSC, 23) Load .KMP, and 24) Load .KSF com- mands explained here will load Korg-format PCM data ﬁles into the sample data RAM of the TR (if the EXB-SMPL option and/or sample data RAM is installed). About the sample data RAM...
Page 155 If the EXB-SMPL option (sold separately) and sample data • If you check “Load ******** .SNG too,” the .SNG file of RAM are installed in the TR, you can load AIFF format or the same name as the .KSC file will also be loaded.
Page 156 If the end (11th and 12th characters) of the sample name is “-L” and “-R,” the “-L” and “-R” will automatically be moved to the end of the TR’s sample name (15th and 16th characters). When you load two ﬁles whose sample names are iden- tical except for ending in “-L”...
Page 157 Key zones can also be crossfaded. On the TR, in contrast, there is one sample for each key zone, and you can use up to four multisamples to create a 3 If you want to load the identically-named .SNG ﬁle along key map in the order of the velocity of each key group.
Page 158: 2: Save
Off (Unchecked): Of the programs used by the combina- 1.1–2: Save tions in the .PCG ﬁle or the songs in the .SNG ﬁle, only the programs that use RAM samples will be loaded. If you are using preset programs as well as programs that Here you can save various data from internal memory to use RAM samples, you will normally uncheck this set- media such as an SD card.
Page 159 SD card, and press the [MEDIA] key or function key to DOS directory. make the TR recognize the media. If you want to specify 1 Select “Save PCG & SEQ” to access the following dialog a different SCSI device (if the EXB-SMPL option is box.
Page 160 When this command is executed, the following multisample If the Utility “Translation” (1.1–1f) is checked, the and sample data will be saved to media as Korg format names of .KMP ﬁles and .KSF ﬁles you save will be dis- .KMP ﬁles, .KSF ﬁles, and a .KSC ﬁle that collects these ﬁles.
Page 161 [F7] (“Cancel”) key. • Sample Name • Loop Tune (SMPL 3.1–1b. “Tune: Loop Tune”) • Reverse (SMPL 3.1–1b. “Rev: Reverse”) Samples that are handled by the TR as stereo will be exported as two independent L and R ﬁles.
Page 162: 3: Utility
ﬁlename extension will be copied at the same time: i.e., 1.1–3: Utility NEWFILE1.PCG, NEWFILE1.SNG, NEWFILE1.KSC, ... [Example] NEWFILE1.*: NEWFILE1.PCG, NEWFILE1.SNG, Here you can rename, copy, or delete the selected media or NEWFILE1.KSC, ... ﬁle, create a new directory, and set the date and time. NEWFILE?.PCG: NEWFILE1.PCG, NEWFILE2.PCG, After selecting a media or ﬁle, select the Utility menu [F8].
Page 163 1 Select “Set Date/Time” to access the following dialog box. The TR cannot format media with a format of other than 512 bytes/block (such as 640 MB, 1.3 GB MO disks etc.). 6 To format the media, press the [F8] (“OK”) key. To cancel without formatting, press the [F7] (“Cancel”) key.
Page 164: 4: Media Information
Never connect or disconnect a SCSI cable while the 1.1–4: Media Information power of the TR or of a SCSI device is turned on. Doing so can cause irreparable malfunctions. 1.1–4a 1.1–4b 1.1–4a: Media (Media select) This displays information on the media that is selected by “Media Select.”...
Page 166: Effect Guide
BAL 1.1–4). The insert effect and master effects can be chosen from 89 In these modes, the TR can function as a 2-in 4-out effect types of full-digital effect, grouped into the categories listed processor for the external input signal from AUDIO INPUT below.
Page 167: Insert Effect (Ifx)
The following table shows the parameters related to the Insert Effect (IFX) level settings: Program mode 1. In/Out Input OSC1/2 High, Low Level (PROG 2.1) Filter1/2 Trim (PROG 4.1, 4.2) Insert Effect (IFX) have a stereo input and a stereo output. Amp1/2 Level (PROG 5.1, 5.2) If you select Dry (no effect) for the “W/D”...
Page 168 Use MFX1 Send “Send1” and “Send2” (PROG 7.1–1a) to The following illustration is an example in Combination specify the send level for the Master Effects. This setting is mode. “BUS Select” settings have been made to send the effective if “BUS Select” (PROG 7.1–1a) is set to L/R or Off. output of timbre 1 to IFX and the other timbres to L/R.
Page 169: Mixer
AUDIO INPUTs 1 and 2. These signals (COMBI 1.1–3, 2.1–2), track (SEQ 1.1–4/5) or audio input (if are routed to the TR’s effect, according to the GLOBAL 1.1: the separately sold EXB-SMPL option is installed, SMPL 1.1–...
Page 170: Controlling The Insert Effects Via Midi
3–2. BUS Select 4–3. Sequencer mode This parameter enables you to specify the destination bus Use Setup page “Control Channel” to set up the control for the post-IFX signals. channel for IFX. Select an appropriate option from Ch01–16 “L/R” is a common setting to send signals to the Master EQ and All Rt..
Page 171: Routing
2. Routing – Setting for drum program – If the program “Oscillator Mode” (PROG 2.1–1a) is Drums, Two master effects (MFX 1 and 2) can be used in any mode the “USE DKit Setting” (PROG 7.1–1b) will be used. other than Sampling (if the separately sold EXB-SMPL If this is checked, the setting for each key of the selected option is installed).
Page 172: Mixer
AUDIO INPUTs 1 and 2. These signals or R Only will cause only one channel of stereo outputs are routed to the TR’s effects, according to the GLOBAL 1.1: from MFX1 to be input to MFX2. This setting is suitable for a System, Audio In page setting.
Page 173: Controlling The Master Effects Via Midi
Gch: Select this option if you wish to control the parameters on global MIDI channel “MIDI Channel” (GLOBAL 2.1–1a). This is the normal setting. The TR is equipped with two individual AUDIO OUTPUTs (INDIVIDUALs). You can route the oscillator (Program), timbre (Combination), and track (Sequencer) output or the post-IFX signals to these two individual outputs.
Page 174 Combination, Sequencer mode Effect / Mixer Block Diagram in Combination / Sequencer Mode COMBI/SEQ 7.1: Insert Effect COMBI/SEQ 7.2: Master Effect IFX / Indiv.Out BUS Select Send2 Send1 L/R BUS BUS Select Timbre / Track 1 = L/R BUS Select Timbre / Track 2 = IFX BUS Select...
Page 175: Filter/Dynamic
Filter/Dynamic Level (Output Level) 0...100 ☞ Sets the output level of the compressor (Source) Off...Tempo Filter and dynamics control effects Selects the modulation source for the compressor output level (Amount) –100...+100 Sets the modulation amount of the compressor output level Pre EQ Trim 0...100 00: No Effect...
Page 176: 04: Mltband Limit (Multiband Limiter)
Envelope (Envelope Select) L/R Mix, L Only, R Only, L/R Individually Limiter - Attack / Release Selects from linking both channels, controlling only from left channel, Threshold only from the right channel, or controlling each channel individually ☞ Ratio 1.0:1...50.0:1, Inf:1 ☞...
Page 177: 05: St.gate (Stereo Gate)
c: Threshold, d: Attack, e: Release W/D (Wet/Dly) Dry, 1:99...99:1, Wet This parameter sets the signal level below which Gate is applied Sets the balance between the effect and dry sounds when “Envelope” is set to L/R Mix, L Only, or R Only. (Source) Off...Tempo The Attack and Release parameters set the Gate attack time and...
Page 178: 07: St.para.4Eq (Stereo Parametric 4-Band Eq)
07: St.Para.4EQ Level (Output Level) 0...50 ☞ Sets the output level (Stereo Parametric 4-Band EQ) (Source) Off...Tempo Selects the modulation source for the output This is a stereo 4-band parametric equalizer. You can select level peaking type or shelving type for Band 1 and 4. The gain of (Amount) –50...+50 Band 2 can be controlled by dynamic modulation.
Page 179: 08: St.graphic7Eq (Stereo Graphic 7-Band Eq)
09: St.Wah/AutoW d: B2 Dyn.G Src, d: (Amount), f: G You can control the gain of Band 2 using the modulation source. (Stereo Wah/Auto Wah) Parametric 4EQ - Band2 Dynamic Gain Control -mod This stereo wah effect allows you to create sounds from vin- +15dB Band2 Cutoff tage wah pedal simulation to auto-wah simulation, and much...
Page 180: 10: St.rndm Filter (Stereo Random Filter)
10: St.Rndm Filter a: FreqBottm, a: FreqTop The sweep width and direction of the wah ﬁlter are determined (Stereo Random Filter) by the “FreqBottm” and “FreqTop” settings. Sweep Mode=D-mod This stereo band pass ﬁlter uses a step-shape waveform and Frequency Frequency random LFO for modulation.
Page 181: 11: St.exct/Enhcr (Stereo Exciter/Enhancer)
When “LFO Wave” is set to Random, the “Step” parameter uses a Enh Dep (Enhancer Depth) 0...100 random LFO cycle. Sets the determines to what degree the Enhancer effect is applied Random Filter LFO LFO Frequency (Source) Off...Tempo Selects the modulation source of the Enhancer width (Amount) –100...+100 LFO Step Freq...
Page 182: 13: Talking Mod (Talking Modulator)
Envelope Pre LPF 1...100 BPM/MIDI Sync Off, On Sets the upper limit of the frequency range for which very low har- Switches between using the frequency of the LFO speed and using ☞ ☞ monics are added the tempo and notes Fx:09, Envelope Sens (Envelope Sensitivity) 0...100...
Page 183: 14: St.decimator (Stereo Decimator)
14: St.Decimator 15: St.AnalogRecd (Stereo Decimator) (Stereo Analog Record) This effect creates a rough sound like a cheap sampler by low- This effect simulates the noise caused by scratches and dust ering the sampling frequency and data bit length. You can on analog records.
Page 184: Pitch/Phase Mod
e: L Dly, e: R Dly Pitch/Phase Mod. Setting the left and right delay time individually allows you to control the stereo image. Pitch/phase modulation effects 17: St.HarmnicCho 16: St.Chorus (Stereo Harmonic Chorus) (Stereo Chorus) This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without mak- This effect adds thickness and warmth to the sound by modu- ing the sound thinner.
Page 185: 18: Mlttap Chodly (Multitap Chorus/Delay)
19: Ensemble g: Feedback Sets the feedback amount of the chorus block. Increasing the feed- This Ensemble effect has three chorus blocks that use LFO to back will allow you to use the effect as a ﬂanger. create subtle shimmering, and gives three dimensional depth and spread to the sound, because the signal is output from the left, right, and center.
Page 186: 20: St.flanger (Stereo Flanger)
20: St.Flanger both “Feedback” and “W/D”, and if you set a negative value for both “Feedback” and “W/D”. (Stereo Flanger h: High Damp This effect gives a signiﬁcant swell and movement of pitch to This parameter sets the amount of damping of the feedback in the high range.
Page 187: 22: St.env.flanger (Stereo Envelope Flanger)
22: St.Env.Flanger 23: St.Phaser (Stereo Envelope Flanger) (Stereo Phaser) This Flanger uses an envelope generator for modulation. You This effect creates a swell by shifting the phase. It is very will obtain the same pattern of ﬂanging each time you play. effective on electric piano sounds.
Page 188: 24: St.rndm Phasr (Stereo Random Phaser)
24: St.Rndm Phasr 25: St.Env.Phaser (Stereo Random Phaser) (Stereo Envelope Phaser) This is a stereo phaser. The effect uses a step-shape waveform This stereo phaser uses an envelope generator for modula- and random LFO for modulation, creating a unique phasing tion.
Page 189: 26: St.biphasemod (Stereo Biphase Modulation)
26: St.BiphaseMod 27: St.Vibrato (Stereo Biphase Modulation) (Stereo Vibrato) This stereo chorus effect adds two different LFOs together. This effect causes the pitch of the input signal to shimmer. You can set the Frequency and Depth parameters for each Using the AutoFade allows you to increase or decrease the LFO individually.
Page 190: 28: St.autofd Mod (Stereo Auto Fade Modulation)
“LFO Freq Mod”=AUTOFADE, “ ”=+3.00 (Amount) W/D Mod (Wet/Dry Mod) D-mod, AUTOFADE Switches between D-mod and AUTOFADE for the effect balance The effect is off when a value for the dynamic modulation ☞ modulation Fx:27 source speciﬁed for the “AUTOFADE Src” parameter is W/D (Wet/Dly) –Wet...–1:99, Dry, 1:99...Wet smaller than 64, and the effect is on when the value is 64 or...
Page 191: 30: Doppler
W/D (Wet/Dly) Dry, 1:99...99:1, Wet BPM/MIDI Sync Off, On Sets the balance between the effect and dry sounds Switches between using the frequency of the LFO speed and using ☞ the tempo and notes Fx:09, (Source) Off...Tempo Selects the modulation source of the effect balance MIDI, 40...240 ☞...
Page 192: 31: Scratch
31: Scratch f: Direct Mix With Always On, a dry sound is usually output. With Always This effect is applied by recording the input signal and mov- Off, dry sounds are not output. With Cross Fade, a dry sound is ing the modulation source.
Page 193: Mod./P.shift
b: LFO Phase Mod./P.Shift This parameter determines the difference between the left and right LFO phases. A higher value will simulate the auto-pan effect in which the sound is panned between left and right. Other modulation and pitch shift effects 33: St.Env.Tremlo 32: St.Tremolo (Stereo Envelope Tremolo)
Page 194: 34: St.auto Pan (Stereo Auto Pan)
34: St.Auto Pan Stereo Auto Pan - LFO Phase LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees (Stereo Auto Pan) L-In L-In L-In This Auto Pan effect pans sound between left and right. It is R-In R-In R-In...
Page 195: 36: St.ring Mod (Stereo Ring Modulator)
T Dep (Tremolo Depth) 0...100 lfoF (LFO Frequency) 0.02...20.00Hz Sets the tremolo modulation depth Sets the LFO speed of the oscillator frequency modulation ☞ Fx:09, (Source) Off...Tempo Selects the modulation source for the tremolo modulation depth (Source) Off...Tempo Selects the modulation source of LFO speed (Amount) –100...+100 Sets the modulation amount of the tremolo modulation depth...
Page 196: 37: Detune
37: Detune Mode Slow, Medium, Fast ☞ Switches Pitch Shifter mode Using this effect, you can obtain a detune effect that offsets Shift (Pitch Shift) –24...+24 ☞ the pitch of the effect sound slightly from the pitch of the Sets the pitch shift amount by steps of a semitone input signal.
Page 197: 39: Pitchshft Mod (Pitch Shift Modulation)
39: PitchShft Mod 40: Rotary SP (Pitch Shift Modulation) (Rotary Speaker) This effect modulates the detuned pitch shift amount using an This effect simulates a rotary speaker, and obtains a more real- LFO, adding a clear spread and width to the sound by pan- istic sound by simulating the rotor in the low range and the ning the effect sound and dry sound to the left and right.
Page 198: Er/Delay
When “(Sw)” = Mmnt (Moment), the speaker is rotating. It stops ER/Delay only when you press the pedal or operate the joystick. Rotation will occur when the value of the modulation Early reﬂection and delay effects source is less than 64, and will stop when the value is 64 or greater.
Page 199: 42: Auto Reverse
42: Auto Reverse only when its level exceeds the Threshold level. When recording is completed, reverse playback starts immedi- This effect records the input signal and automatically plays it ately. in reverse (the effect is similar to a tape reverse sound). Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out 43: LCR Delay Left...
Page 200: 44: St/Cross Dly (Stereo/Cross Delay)
44: St/Cross Dly 45: St.MltTap Dly (Stereo/Cross Delay) (Stereo Multitap Delay) This is a stereo delay, and can by used as a cross-feedback The left and right Multitap Delays have two taps respectively. delay effect in which the delay sounds cross over between the Changing the routing of feedback and tap output allows you left and right by changing the feedback routing.
Page 201: 46: St.mod. Delay (Stereo Modulation Delay)
46: St.Mod. Delay e: LFO Sync, e: Src, f: L Phase, f: R Phase The LFO can be reset via a modulation source. (Stereo Modulation Delay) The “Src” parameter sets the modulation source that resets the LFO. For example, you can assign Gate as a modulation source so This stereo delay uses an LFO to sweep the delay time.
Page 202: 48: St.autopandly (Stereo Auto Panning Delay)
a: Pol, b: Threshold, b: Offset, c: Attack, d: Release Pan Dep (Panning Depth) 0...100 The “Offset” parameter speciﬁes the value for the “Ctrl Target” Sets the panning width parameter (that is set to None), expressed as the ratio relative to (Source) Off...Tempo the parameter value (the “W/D”...
Page 203: 50: St.bpm Delay (Stereo Bpm Delay)
InLvl Mod (Input Level Dmod [%]) –100...+100 Time Over? L > ----, OVER! ☞ Sets the modulation amount of the input level Fx:37, Display the error message if the left channel delay time exceeds the ☞ upper limit Src (Source) Off...Tempo ☞...
Page 204: Reverb
Reverb InLvl Mod (Input Level Mod [%]) –100...+100 ☞ Sets the modulation amount of the input level Fx:37, Src (Source) Off...Tempo ☞ Reverb effects Selects the modulation source for the input level Fx:37 W/D (Wet/Dly) Dry, 1:99...99:1, Wet These effects simulate the ambience of reverberation in con- Sets the balance between the effect and dry sounds cert halls.
Page 205: 56: Rev Room (Reverb Room)
Using the “Pre Delay Thru” parameter, you can mix the dry sound g: ER Level, h: Reverb Level without delay, emphasizing the attack of the sound. These parameters set the early reﬂection level and reverb level. Changing these parameter values allows you to simulate the type Reverb - Hall / Plate Type of walls in the room.
Page 206: Mono → Mono Chain
59: P4EQ–Wah Mono → Mono Chain (Parametric 4-Band EQ – Wah/Auto Wah) Effects that combine two mono effects connected in This effect combines a mono-type four-band parametric series equalizer and a wah. You can change the order of the connec- tion.
Page 207: 60: P4Eq-Cho/Fl
60: P4EQ–Cho/Fl 61: P4EQ–Phaser (Parametric 4-Band EQ – Chorus/Flanger) (Parametric 4-Band EQ – Phaser) This effect combines a mono-type four-band parametric This effect combines a mono-type four-band parametric equalizer and a chorus/ﬂanger. equalizer and a phaser. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Left...
Page 208: 62: P4Eq-M.dly
62: P4EQ–M.Dly 63: Comp–Wah (Parametric 4-Band EQ – Multitap Delay) (Compressor – Wah/Auto Wah) This effect combines a mono-type four-band parametric This effect combines a mono-type compressor and a wah. You equalizer and a multitap delay. can change the order of the connection. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left...
Page 209: 64: Comp-Ampsim (Compressor - Amp Simulation)
64: Comp–AmpSim Level (Output Level) 0...50 ☞ Sets the overdrive output level Fx:06, (Compressor – Amp Simulation) (Source) Off...Tempo Selects the modulation source for the overdrive output level This effect combines a mono-type compressor and an amp (Amount) –50...+50 simulation. You can change the order of the effect connection. Sets the modulation amount of the overdrive output level Lo (Low Cutoff) 20...1.00kHz...
Page 210: 67: Comp-Cho/Fl (Compressor - Chorus/Flanger)
g: Out, h: [Routing] C/F W/D (Cho/Flng Wet/Dry) 300...10.00kHz When Wet Inv is selected, the right channel phase of the chorus/ Sets the center frequency for Band 3 ﬂanger effect sound is inverted. This creates pseudo-stereo effects 0.5...10.0 ☞ and adds spread. Sets the bandwidth of Band 3 Fx:06 However, if a mono-input type effect is connected after this effect,...
Page 211: 69: Comp-M.dly (Compressor - Multitap Delay)
69: Comp–M.Dly 70: Limit–P4EQ (Compressor – Multitap Delay) (Limiter – Parametric 4-Band EQ) This effect combines a mono-type compressor and a multitap This effect combines a mono-type limiter and a four-band delay. You can change the order of the effect connection. parametric equalizer.
Page 212: 71: Limit-Cho/Fl (Limiter - Chorus/Flanger)
71: Limit–Cho/Fl 72: Limit–Phaser (Limiter – Chorus/Flanger) (Limiter – Phaser) This effect combines a mono-type limiter and a chorus/ This effect combines a mono-type limiter and a phaser. You ﬂanger. You can change the order of the effect connection. can change the order of the effect connection. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left...
Page 213: 73: Limit-M.dly (Limiter - Multitap Delay)
73: Limit–M.Dly Pre EQ Trim 0...100 Sets the EQ input level (Limiter – Multitap Delay) LoEQ (Pre Low EQ Gain) –15...+15dB Sets the gain of Low EQ This effect combines a mono-type limiter and a multitap HiEQ (Pre High EQ Gain) –15...+15dB delay.
Page 214: 76: Exct-Cho/Fl (Exciter - Chorus/Flanger)
76: Exct–Cho/Fl LoEQ (Pre Low EQ Gain) –15...+15dB Sets the gain of Low EQ (Exciter – Chorus/Flanger) HiEQ (Pre High EQ Gain) –15...+15dB Sets the gain of High EQ This effect combines a mono-type limiter and a chorus/ [PHS] LFO (LFO Waveform) Tri, Sine ﬂanger.
Page 215: 79: Od/Hg-Ampsim
79: OD/HG–AmpSim 80: OD/HG–Cho/Fl (Overdrive/Hi.Gain – Amp Simulation) (Overdrive/Hi.Gain – Chorus/Flanger) This effect combines a mono-type overdrive/high-gain dis- This effect combines a mono-type overdrive/high-gain dis- tortion and an amp simulation. You can change the order of tortion and a chorus/ﬂanger. You can change the order of the the effect connection.
Page 216: 81: Od/Hg-Phaser (Overdrive/Hi.gain - Phaser)
81: OD/HG–Phaser 82: OD/HG–M.Dly (Overdrive/Hi.Gain – Phaser) (Overdrive/Hi.Gain – Multitap Delay) This effect combines a mono-type overdrive/high-gain dis- This effect combines a mono-type overdrive/high-gain dis- tortion and a phaser. You can change the order of the effect tortion and a multitap delay. connection.
Page 217: 83: Wah-Ampsim (Wah/Auto Wah - Amp Simulation)
83: Wah–AmpSim Level (Output Level) 0...100 ☞ Sets the decimator output level Fx:14 (Wah/Auto Wah – Amp Simulation) [AMP] Ampliﬁer Type SS, EL84, 6L6 Selects the type of guitar ampliﬁer This effect combines a mono-type wah and an amp simula- [Routing] DECI→AMP, AMP→DECI tion.
Page 218: 86: Ampsim-Trml (Amp Simulation - Tremolo)
86: AmpSim–Trml 87: Cho/Fl–M.Dly (Amp Simulation – Tremolo) (Chorus/Flanger – Multitap Delay) This effect combines a mono-type amp simulation and a trem- This effect combines a mono-type chorus/ﬂanger and a mult- olo. itap delay. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Left...
Page 219: 88: Phasr-Cho/Fl (Phaser - Chorus/Flanger)
88: Phasr–Cho/Fl 89: Reverb–Gate (Phaser – Chorus/Flanger) This effect combines a mono-type reverb and a gate. This effect combines a mono-type phaser and a chorus/ Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out ﬂanger. Left Wet / Dry Reverb Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out...
Page 220: Master Eq
Master EQ Master EQ Use 7.2: MasterFX MEQ page in Program, Combination modes and 7.2: Master FX MEQ page in Sequencer mode. You cannot use the Master EQ in Sampling mode. You cannot use the Master EQ for the Insert Effect or Master Effects.
Page 222: Appendices
8. Appendices About Alternate Modulation Sources Alternate Modulation Source There are 42 Alternate Modulation sources (AMS) that can (AMS) control Alternate Modulation destinations. If you select two or more Alternate Modulation destinations for control by the same AMS, a single source will apply modulation to each of the speciﬁed destinations.
Page 223: Ams (Alternate Modulation Source) List
This is the control change number. This indicates a controller not present on the TR that can be received via MIDI, such as the ribbon controller on the TRITON Extreme etc. The controller and the type of MIDI messages it transmits will depend on the type of connected...
Page 224 Flt KT +/+ (Filter Keyboard Track +/+) Pedal #04 (Foot Pedal: CC#04) Flt KT +/– (Filter Keyboard Track +/–) If you wish to use the assignable foot pedal as an AMS, set Flt KT 0/+ (Filter Keyboard Track 0/+) “Foot Pedal Assign” (GLOBAL 1.1–3a) to Foot Pedal Flt KT +/0 (Filter Keyboard Track +/0) (CC#04) (☞p.227 “Foot Pedal Assign”).
Page 225: Alternate Modulation Settings
Alternate Modulation settings The effect of alternate modulation on various parameters, and example When you operate an AMS (Alternate Modulation Source), the modulation destination will be affected as shown in the applications table below. By using alternate modulation, you can create complex sys- Pitch (PROG 3.1–1a) tems of modulation in which EG, LFO, keyboard tracks, and Pitch can be controlled by the ﬁlter/amp EG, controllers, or...
Page 226 Filter LFO 1/2 Intensity (PROG 4.1–4a) • If you select the same controller for “AMS” and set the Filter A (Low Pass Filter) “Intensity (A AMS 1/2 The LFO 1/2 ﬁlter modulation intensity can be controlled by Intensity)” parameter and Filter B (High Pass Filter) EG, keyboard tracking, controller, or tempo.
Page 227 Amp LFO 1/2 Intensity (PROG 5.1–2b, 5.2) EG Time – Pitch EG (PROG 3.1–5c) – Filter EG (PROG 4.1–5c) The amp modulation intensity of LFO 1/2 can be controlled by EG, keyboard tracking, controllers, or tempo etc. – Amp EG (PROG 5.1–3c) •...
Page 228: Dynamic Modulation Source (Dmod)
This is the control change number. This indicates a controller not present on the TR that can be received via MIDI, such as the ribbon controller on the TRITON Extreme etc. The controller and the type of MIDI messages it transmits will depend on the type of connected...
Page 229 Kb1[+] (Knob Mod1: CC#17 [+] ) In Program mode and Sampling mode (if the EXB- Kb2[+] (Knob Mod2: CC#19 [+] ) SMPL option is installed), dynamic modulation of the Kb3[+] (Knob Mod3: CC#20 [+] ) insert effect and master effects is controlled on the glo- Kb4[+] (Knob Mod4: CC#21 [+] ) bal MIDI channel.
Page 230: About The Bpm/Midi Sync Function
About the BPM/MIDI SYNC function BPM/MIDI SYNC can be used for most effects that have an LFO, such as 09:St. Wah/Auto Wah, and for some delay- type effects such as 49:L/C/R BPM Delay. You can apply modulation that is synchronized to the tempo, or specify the delay time in terms of a note value so that the effect will syn- chronize to the tempo of the arpeggiator or sequencer dur- ing a live performance even if you change the tempo.
Page 231: Sw1/2 Assign
• In Sampling mode (when the EXB-SMPL option is SW1/2 Assign installed), assign the functions in the 5.2: Controller/ Controls page setting “SW1/2 Assign” (5.2–1b). The following functions can be assigned to the [SW1] or This can be set for each program in Program mode, [SW2] keys.
Page 232: Knob 1
• In Sampling mode (when the EXB-SMPL option is Knob 1...4 B Assign installed), assign the functions in the 5.2: Controller/ Controls page setting “Knob B Assign” (5.2–1a). The following functions can be assigned to the REALTIME This can be set for each program in Program mode, CONTROLS [1]–[4] knobs in B-mode.
Page 233: Foot Switch Assign
Knob1-A: LPF Cutoff (Filter LPF Cutoff: CC#74) You can assign the function of an assignable switch (sepa- Control the low pass ﬁlter cutoff frequency of the ﬁlter. rately sold Korg PS-1 option) connected to the ASSIGN- Simultaneously, CC#74 will be transmitted. ABLE SWITCH jack.
Page 234: Foot Pedal Assign
Foot Pedal Assign You can assign the function that will be controlled by an assignable pedal (separately sold Korg XVP-10 or EXP-2 option) connected to the ASSIGNABLE PEDAL jack. • This setting is made in GLOBAL 1.1: System Foot page “Foot Pedal Assign”...
Page 235: Midi Transmission When The Tr's Controllers Are Operated
“MIDI Channel” (SEQ 3.1–1a/2a). DMS (dynamic modulation source) that correspond to each If the “Status” is INT or BTH, operating one of the TR’s con- MIDI message. # indicates a ﬁxed function, and * indicates trollers will affect only that track. Simultaneously, the same an assignable function.
Page 236 TR controller Available Available for AMS for DMOD Joy Stick Realtime Realtime Arp-Gate Arp-Velocity SW1,2 Damper Assign- Assign- Controls Controls (Realtime (Realtime On/Off able able Pedal Controls C) Controls C) Switch MIDI channel messages Note-off Note-on (note number) Note-on (velocity)
Page 237: Tr Operations When Control Changes Are Transmitted/Received
The following table shows the operations that the TR will TR operations perform when control change messages are received, and the relation between settings and controller movements on when control changes are this instrument transmitted/received Control Value Function 0 Bank select (MSB) 0...127...
Page 238 Corresponds to “Amp EG Time Modulation Attack” 00] (26H=CC#38, 00H=0). (PROG 5.1/2: Ed–Amp1/2, EG page). *3 The volume of the TR is determined by summing the Vol- CC#74: Low pass ﬁlter cutoff frequency ume (CC#07) with the Expr ession (CC#11). When you Corresponds to “Filter A Frequency”...
Page 239 CC#75: Decay time Corresponds to “Filter/Amp EG Decay Time” (PROG 4.1/2: Ed–Filter1/2, EG page, 5.1/2: Ed–Amp1/2, EG page) Corresponds to “Filter/Amp EG Slope Time” (PROG 4.1/2: Ed–Filter1/2, EG page, 5.1/2: Ed–Amp1/2, EG page) CC#76: LFO1 speed Corresponds to “LFO 1 Frequency” (PROG 5.3: Ed– LFOs, OSC1/2, LFO1 page).
Page 240: Midi Applications
MIDI IN MIDI OUT MIDI keyboard If you want to use the TR as an input keyboard and MIDI sound module for a MIDI sequencer or MIDI application running on your computer, make connections as follows. Controlling two or more external MIDI tone Connections to a MIDI sequencer Connect the TR’s MIDI OUT connector to the MIDI IN con-...
Page 241: Messages Transmitted And Received By This Instrument
■ Messages transmitted and received Connections using the USB B connector Connect the TR’s USB B connector to the USB port of your by this instrument computer, and make the appropriate driver settings. [...] indicates hexadecimal notation For details on the types of computer and operating sys- tem that the TR supports, refer to p.265.
Page 242 Program mode • After touch for the entire TR can be turned off in “AfterT • In PROG 1.1: Play, program change and bank select (After Touch)” (GLOBAL 2.1–1b). messages are transmitted and received on the global MIDI channel.
Page 243: Control Change
Modulation 1 depth (CC#01) [Bn, 01, vv] The volume of the TR is determined by summing the value When you move the TR’s joystick in the +Y direction (away of the Volume message with the value of the Expression from yourself), Modulation 1 Depth messages will be trans- message.
Page 244 These messages are deﬁned simply for use in adjusting controller is operated. the effect levels, and may not have the same function on another instrument connected to the TR. • In Program and Sampling (when the EXB-SMPL option is installed) modes, this message is transmitted and Using various controllers for control received on the global MIDI channel.
Page 245 Request message, in addition to the usual method of sage is received, the result will be the same as when the con- using the TR’s switches. When you write the data, the troller is operated (OFF for vv=63 [3F] or below, and ON for values of the corresponding program parameters will vv=64 [40] or above).
Page 246 00) to change the value in steps of one. The procedure for using NRPN messages is the same as for The TR can receive the following three RPN messages (tun- RPN, but you will use NRPN MSB (CC#99) [Bn, 63, mm] ing, transpose, and pitch bend range).
Page 247 If this data is received by the Inquiry message request [F0, 7E, nn, 06, 01, F7] TR, the data will be written into the edit buffer, so if you Inquiry message [F0, 7E, nn, 06, 02, (nine bytes), F7] wish to save it to internal memory, you will need to per- form the Write operation.
Page 248 BUS..8/BUS..16 pages external device SEQ 7.1: Insert FX Setup page IFX page The TR can be connected to an external device and played Setup page multi-timbrally in the following ways. SEQ 7.2: Master FX MFX 1/MFX 2pages • MIDI messages from the external device can play a MEQ page combination (8-part multi-timbral performance).
Page 249 Recording musical data from an external giator or sequencer device The choice of whether the TR will be the master (the control- There are two ways in which you can play back an external ling device) or the slave (the controlled device) is made by sequencer and record its playback on this instrument.
Page 250 Vibrato Delay [Bn, 63, 01, Bn, 62, 0A, Bn, 06, mm] Turn on the TR’s arpeggiator or RPPR function. Set the TR to Local Control Off. The note messages generated by the Filter Cutoff [Bn, 63, 01, Bn, 62, 20, Bn, 06, mm] arpeggiator or RPPR function will not be output.
Page 251 MIDI File and save it, you can choose either format 0 or for- mat 1. • If the TR’s song data that was saved as a format 1 SMF file is loaded into another device, the track configuration may be different than it was before being saved. This is...
Page 252: Various Messages
Destination multisample and source multisample are Various messages identical Meaning: The same multisample is selected for the source and destination. Action: Select different multisamples for the source and Are you sure? destination. Meaning: This message asks you to conﬁrm execution. To execute press the [F8] (“OK”) key.
Page 253 0 or 1. Action: If possible, use a computer etc. to convert the data into a format supported by the TR, and load it. Master Track can’t be recorded alone File is read-only protected Meaning: When realtime-recording a single track, you Meaning: You attempted to write to a ﬁle or to delete a ﬁle...
Page 254 No Sampling Upgrade Installed Meaning: This will be displayed if you press the [SAM- Memory overﬂow PLING] key on an TR in which the EXB-SMPL Meaning: In Media mode when using “Save Exclusive” to option (sold separately) has not been installed.
Page 255 Either delete an existing ﬁle or directory, or successfully because the power was turned off while exchange media. writing (or for any other reason), the TR will automatically initialize the internal memory the next time the power is turned on, in order to ensure that the...
Page 256 Sample data used in other sample(s) Continue ? Unable to create director y Meaning: Other sample(s) use the same sample data as the Meaning: You attempted to create a directory that would sample that you are editing. To continue editing, exceed the maximum pathname length (76 charac- press the [F8] (“OK”) key.
Page 257: Data Compatibility
Parameters that are invalid on the TRITON but valid 1. Insert effect (IFX) on the TR The TR provides one insert effect (IFX). If you load a .PCG/.SNG ﬁle from the TRITON, which is able to use 1. TRITON/TRITON-pro/TRITON-proX, TRITON ﬁve insert effects, the parameters for IFX2, 3, 4, and 5 in...
Page 258: Compatibility With The Karma Music Workstation
Compatibility with the KARMA Music Workstation The TR is able to convert .PCG ﬁles and .SNG ﬁles from the KARMA Music Workstation (system version 1.0 and 2.0) while loading them. However, the following restrictions and cautions apply.
Page 259: Bank/Number Structure For Programs, Combinations, Drum Kits, And Arpeggio Patterns
TRITON and the TR is shown below. If you load a TRITON .PCG/.SNG ﬁle containing a bank/number that does not exist on the TR, the bank/number settings of that data will be converted into the following banks/numbers when the data is loaded. Please be aware of this when loading TRITON ﬁles.
Page 260 All 32(GM)# 64–72(GM) 144–152(GM) 144–152(GM) 144–152(GM) 24–32(GM) *: TRITON banks/numbers that do not exist on the TR, and will therefore be converted while loading #: Banks/numbers used on the TR after the “*” bank/number is convert-loaded Arpeggio TRITON TRITON-Rack TRITON STUDIO TRITON Extreme P000–004(Preset)
Page 261: Media Mode Information
AIFF ﬁles The number of channels is ﬁxed at 1 (mono). The sample size is ﬁxed at 16 bits. When data is loaded into the TR, the following four chunks Marker Chunk are referenced: Common chunk, Sound Data chunk, Marker Two markers are used as Loop Start Address and End chunk, and Instrument chunk.
Page 262: About Korg Format Files
If the .KSF ﬁlename is “INTERNALnnnn”, internal samples Unless stated otherwise, all data is Big Endian. will be used. ● When a Korg format ﬁle saved on the TR is loaded by the ● Relative parameter chunk 2 TRINITY, • Of the parameters for each song, the following Chunk ID (‘RLP2’)
Page 263 .KMP/.KSF ﬁles which are to be handled together. 11905/11127/11025/10667/10582/10417/9891/9800/ Lines beginning with # are ignored as comment lines. 9481/9406/9259/8711/8000/7937/7813/7418/7350/ The ﬁrst line of the ﬁle must begin with “#KORG Script Ver- 7111/7055/6945/6534/6000/5953/5564/5513/5333/ sion 1.0” and subsequent lines (except for comment lines) 5291/5208/4945/4900/4741/4703/4630/4356/4000/ consist only of ﬁlename.
Page 267: Option Exb-Smpl
When the included 16 Mbyte DRAM SIMM module is • Do not apply excessive force to the electronic installed in the TR’s SIMM slot, you will be able to sample components or connectors of the circuit board(s), or for approximately 2 minutes 54 seconds in monaural, or attempt to disassemble them.
Page 268: Please Note When Installing An Option Board
EXB-SMPL, and use two During the installation, be careful not to cut your hand 32 Mbyte DRAM SIMM modules. on any sharp edges of the TR or of the option board/ memory. The memory banks and sampling time will depend on...
Page 269 Screw Washer Bend 5 From the rear panel of the TR, remove the three screws from the cover of the EXB-SMPL installation opening, and remove the EXB-SMPL cover. The cover (EXB-SMPL) and the three screws you removed will not be used. Do not leave them inside the 2–2.
Page 270 DRAM SIMM. it in the remaining slot. (☞”3–2. Installing DRAM SIMM Looking from the rear of the TR, the nearer slot is SIMM (sample data RAM) modules,” steps 4 and 5 .) slot 2.
Page 271 Check once again that the board is installed correctly. If you have any questions regarding installation, please contact your local Korg distributor . • EXB-SMPL: EXB-SMPL is installed • SIMM Slot1: If a SIMM is installed in SIMM slot 1, the capacity of the SIMM “(**MB)”...
Page 272: Usb-Midi Driver Installation And Settings
5 Specify the installation destination. The screen will show the installation destination folder. If you want to change The ﬁrst time you connect the TR to the USB port of your this, click [Change] and select the desired installation computer, the standard USB-MIDI driver provided by Win- dows will be installed automatically.
Page 273: Uninstalling The Korg Usb-Midi Driver
If your computer has been set so that you cannot install a driver that does not have a digital signature, you won’t be able to install the KORG USB-MIDI Driver. Proceed as fol- lows to change the settings so that the driver can be installed.
Page 274: Mac Os X Users
Driver” folder, and double-click “KORG USB-MIDI Applications on your computer use this port to receive MIDI Driver.pkg” to start up the installer. messages from the TR (data from the keyboard, controllers, and sequencer). 3 Depending on the version of your operating system, a conﬁrmation dialog box may appear at this point.
Page 275: Index
Arpeggio Tone Mode ....138 Bend Range Index Combination......37 Arpeggio Type......138 Sequencer........64 Assign ..... 9, 36, 62, 72, 134 Bottom Key ...... 39, 65, 150 Arpeggiator Assign Numerics Combination ......43 Bottom Velocity ...... 40, 66 00: No Effect ....45, 160, 163 Sequencer ......
Page 276 Copy Detune...........189 Filter Copy Arpeggiator..25, 44, 83 Filter EG ........15 Detune BPM Adjust ....38, 64 Copy Cue List......60 Filter Modulation..... 15 Directories ........141 Copy Drum Kit ...... 136 Frequency........13 DOS file.........141 Copy From Combi....52 Keyboard Track......14 Double..........5 Copy From Song ......
Page 277 Sequencer..51, 62, 63, 85, 86 KORG format .......255 Local Control ....... 130 MIDI clock ....32, 50, 129, 137 Korg Multisample Parameter ..142 Local Control On......130 MIDI control message ..41, 67, 68 Korg Multisample Parameter file Location ......50, 58, 69 MIDI Filter ...........141...
Page 278 Modulation ..218, 219, 220, 223, Recording ........70 224, 236 RPPR ..........73 Quantize ......... 80 MS ........... 90 Sequencer ........69 Reso (Realtime Quantize MS To Mono ........99 Song........51, 61, 69 Resolution)......50 Bounce ........71 MS To Stereo ......... 99 Copy........71 Multi REC ........
Page 279 RPPR (Realtime Pattern Play/ Solo function Top Velocity ......40, 66 Recording) .........69 Combination ......32 Top Velocity, Bottom Velocity Sequencer ......51, 55 Arpeggiator Combination......45 Song Program ....... 25 Load ......... 143 S.Ofs (High Start Offset)....7 Sequencer......84 Song data..
Page 280 Velocity Zone Combination......40 Program ........8 Volume Combination......34 Sequencer........56 WAVE file ........254 Write Combination......32 Drum Kits ....... 135 Global Setting......125 Program ........2 Write Protect........ 157 XG ......... 126, 243 Zero-cross ........100 Zone Map Key Zone.......
Page 281 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.

Korg TR Parameter Manual

Program Mode

Prog Page Menu

PROG 1.1: Play

PROG 2.1: Ed-Basic

PROG 2.2: Ed-Ctrl

PROG 3.1: Ed-Pitch

PROG 4.1: Ed-Filter1

PROG 4.2: Ed-Filter2

PROG 5.1: Ed-Amp1

PROG 5.2: Ed-Amp2

PROG 5.3: Ed-Lfos

PROG 6.1: Ed-Arp. (Arpeggiator)

PROG 7.1: Ed-Inserfx

PROG 7.2: Ed-Masterfx

Combination Mode

Combi Page Menu

COMBI 1.1: Play

COMBI 2.1: Ed-Prog/Mixer

COMBI 2.2: Ed-Ctrl

COMBI 3.1: Ed-Param1

COMBI 3.2: Ed-Param2

COMBI 3.3: Ed-Key Zone

COMBI 3.4: Ed-Vel Zone (Velocity Zone)

COMBI 4.1: Ed-MIDI Filter1

COMBI 4.2: Ed-MIDI Filter2

COMBI 4.3: Ed-MIDI Filter3

COMBI 4.4: Ed-MIDI Filter4

COMBI 6.1: Ed-Arp. (Arpeggiator)

COMBI 7.1: Ed-Insertfx

COMBI 7.2: Ed-Masterfx

Sequencer Mode

Seq Page Menu

SEQ 1.1: Play/Rec

SEQ 1.2: Loop

SEQ 2.1: Cue List

SEQ 2.2: Controller

SEQ 3.1: Param1

SEQ 3.2: Param2

SEQ 3.3: Key Zone

SEQ 3.4: Vel Zone

SEQ 4.1: MIDI Filter1

SEQ 4.2: MIDI Filter2

SEQ 4.3: MIDI Filter3

Seq 5.1: Rppr

SEQ 4.4: MIDI Filter4

SEQ 5.2: Track Edit

SEQ 6.1: Arp. (Arpeggiator)

SEQ 7.1: Insert FX

SEQ 7.2: Master FX

Sampling Mode

Smpl Page Menu

SMPL 1.1: Recording

SMPL 2.1: Sample Edit

SMPL 3.1: Loop Edit

SMPL 4.1: Multisample

SMPL 5.1: Memory

SMPL 5.2: Controller

SMPL 7.1: Insert Effect

GLOBAL 1.1: System

Global Mode

Global Page Menu

Global 2.1: MIDI

GLOBAL 3.1: User Scale

GLOBAL 4.1: Category Name

GLOBAL 5.1: Dkit (Drum Kit)

GLOBAL 6.1: Arp.pattern

Media Mode

Media Page Menu

1: Load

2: Save

3: Utility

4: Media Information

Effect Guide

Overview

Insert Effect (IFX)

Master Effects (MFX1, 2)

Master EQ

Individual Outputs

Filter/Dynamic