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   Also See for Korg KROSS

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   Summary of Contents for Korg KROSS

  • Page 2: About This Manual

    KROSS. Voice Name List The Voice Name List lists all of the sounds and setups that are in the KROSS when it is shipped from the factory, including Programs, Combinations, Multisamples, Drumsamples, Drum Kits, Arpeggio Patterns, Drum Track Patterns, Demo Songs, and Template Songs.

  • Page 3: Table Of Contents

    Table of contents About this manual ........ii 9–2: L-MOD (Level Modulation) .

  • Page 4

    Combination mode ......69 11: C-MFX (Master Effect) .......93 11–1: SETUP .

  • Page 5

    About the Pad Audio Play function ..... .197 KROSS sequencer file formats ....... . . 153 Audio Play Setup .

  • Page 6

    Single size effects ........217 051: Limiter - P4EQ (Limiter - Parametric 4-Band EQ).

  • Page 7

    MIDI transmission when the KROSS’s controllers are used . 307 KROSS and MIDI CCs ........309 Responses to standard MIDI controllers .

  • Page 8

    viii...

  • Page 9: Program Mode

    Program mode PROG Page Select Page Tabs Main content Oscillator 1 and 2 LFO1 waveform settings 1. WAV (see page 39) Here's how you can select each page. LFO1 frequency and modulation settings 1. FRQ • Use the PAGE+/- buttons. (see page 41) P–OSC LFO •...

  • Page 10: Prog (program)

    Program mode 2. If you want to switch to a different category, use the CATE- 0: PROG (Program) GORY dial or the cursor buttons  . 3. To select sounds, use the VALUE dial or the cursor buttons This is the main Program mode page. Here you can: ...

  • Page 11: Tone (play Tone Adjust)

    0: PROG (Program) 0–2: TONE (Play Tone Adjust) Vel. Intensity (Amp Velocity Intensity) [–99...+99] 0–2: TONE (Play Tone Adjust) This scales the effect of velocity on the Amp level. –99 removes the velocity modulation entirely. +99 means maximum modulation in the same direction, positive or negative, as the original Program.

  • Page 12: Mixer (play Mixer)

    Program mode 0–3: MIXER (Play Mixer) 0–4: ARP (Arpeggiator) Here is where you can adjust the volume of oscillators 1 and 2, the Pattern Drum Track and the step sequencer, and mute or solo them. Use This is the easy edit page for the arpeggiator. For more detailed the Solo Setting function to turn solo on/off.

  • Page 13: P–input/ctrls (input/controllers

    If there is distortion even though this indication is not highlighted, 1–1: AUDIO IN it may be that an effect of the KROSS is causing the distortion. Adjust the Level parameter to lower the signal level, or adjust the About the AUDIO IN effect settings (such as the Input Trim parameter).

  • Page 14: Controllers (controllers Setup)

    Program mode AUDIO IN – QUICK SETTING 1–2: CONTROLLERS (Controllers Setup) There is a QUICK SETTING (FUNCTION button) in the dialog box that appears when you operate the REALTIME CONTROLS section AUDIO IN 1 row's ON/OFF, GAIN, or MFX2/REVERB, or the AUDIO IN 2 row's MIC/LINE. When you press this button, the current audio in settings appear.

  • Page 15: P–basic

    2: P–BASIC 2–1: VOICE (Voice Mode) 2: P–BASIC Single Trigger [Off, On] Single Trigger is available when the Voice Assign Mode is set to Poly. On (checked): When you play the same note repeatedly, the previous note will be silenced before the next note is sounded, so 2–1: VOICE (Voice Mode) that the two do not overlap.

  • Page 16: Note-on (note-on Control)

    Program mode Unison [On, Off] 2–2: Note-On (Note-On Control) On (checked): When Unison is on, the Program uses two or more stacked, detuned voices to create a thick sound. Use the Number of Voices and Detune parameters to set the number of voices and amount of detuning, and the Thickness parameter to control the character of the detuning.

  • Page 17

    Amp EG. A half-damper pedal is a special type of continuous foot pedal, such as the Korg DS-1H. In comparison to a standard footswitch, half-damper pedals offer more subtle control of sustain, which can be especially useful for piano sounds.

  • Page 18: Scale

    Program mode Key (Scale Key) [C…B] 2–3: SCALE Selects the key of the specified scale. This setting does not apply to the Equal Temperament, Stretch, and User All Notes scales. If you’re using a scale other than Equal Temperament, the combination of the selected scale and the Key setting may skew the tuning of the note.

  • Page 19: P–osc

    3: P–OSC 3–1: MS 1 (Multisample 1) 3: P–OSC 3–1: MS 1 (Multisample 1) These pages control the first and most basic elements of sounds: Multisample On/Off Multisample Select the Multisamples that the oscillators play, and the pitch where it Bank plays them.

  • Page 20

    Program mode will be selected. An “ ” symbol is shown to the left of the first Linear means that the two samples will each be at 50% of their multisample. full volume in the middle of the crossfade. Sometimes, this may create a dip in the volume level;...

  • Page 21: Ms 2 (multisample

    3: P–OSC 3–2: MS 2 (Multisample 2) 3–3: MS 3 (Multisample 3) 3–4: MS 4 (Multisample 4) 3–2: MS 2 (Multisample 2) 3–5: VEL (Velocity Zone) 3–3: MS 3 (Multisample 3) 3–4: MS 4 (Multisample 4) These are the multisample settings for Multisamples 2–4. The parameters for Multisample 2 and 3 are exactly the same as those for Multisample 1.

  • Page 22: P–pitch

    Program mode 4: P–PITCH 3–1...5: FUNCTION • 0: Write Program, Write/Initialize Program see page 63 This page contains all of the settings for Oscillator 1’s pitch • 1: Solo Setting see page 63 modulation. • 2: Compare see page 64 •...

  • Page 23: Mod (modulation)

    4: P–PITCH 4–2: MOD (Modulation) Bend (–) [–60...+12] 4–2: MOD (Modulation) Specifies the amount of pitch change in semitone units that occurs when you move the pitch bend wheel toward yourself (or when a pitch bend message with a value of -1 or lower is received). For EG Intensity normal pitch bend, set this to a negative value.

  • Page 24

    Program mode LFO1 Int., M.Whl-Int, and AMS (LFO1) settings are summed to Pitch EG AMS determine the depth and direction of pitch modulation produced by A. Original EG B. Intensity = +6.00 OSC1 LFO1. Change LFO2 to Pitch The parameters for LFO2 are identical to those for LFO1. For more information, please see the descriptions under LFO1, above.

  • Page 25: Porta (portamento)

    4: P–PITCH 4–3: PORTA (Portamento) 4–1...3: FUNCTION 4–3: PORTA (Portamento) • 0: Write Program, Write/Initialize Program see page 63 • 1: Solo Setting see page 63 • 2: Compare see page 64 • 3: Auto Song Setup see page 64 •...

  • Page 26: P–pitch Eg (pitch Envelope)

    Classic analog synth envelopes made these curved shapes naturally. The KROSS goes a step further than vintage synths, however, and lets you control the amount of curvature separately for each of the four envelope segments.

  • Page 27: L-mod (level Modulation)

    5: P–PITCH EG (Pitch Envelope) 5–2: L-MOD (Level Modulation) Pitch EG Curve 5–2: L-MOD (Level Modulation) Curve = 0 (Linear) Curve = 10 (Exp/Log) These settings let you use two different AMS sources to control the Level parameters of the EG. For each of the two AMS sources, the Start, Attack, Decay, and Break levels each have their own Curve = 0 (Linear) Curve = 10 (Exp/Log)

  • Page 28: T-mod (time Modulation)

    Program mode AMS2 5–3: T-MOD (Time Modulation) This selects the second AMS source for controlling the EG’s Level parameters. The parameters ofAMS2 are identical to those of AMS1, above. These settings let you use an AMS source to control the Time parameters of the EG.

  • Page 29: P–filter

    6: P–FILTER 6–1: BASIC 6: P–FILTER Serial and Parallel Routing Filtering can make subtle or dramatic changes to the oscillator’s Oscillator Filter A (Low Pass) Filter B (High Pass) timbre. Each oscillator has two multimode resonant filters, A and B, as well as a dedicated filter envelope and keyboard tracking generator.

  • Page 30

    Program mode Band Reject (6dB/oct). This filter type also called a notch filter– To make the resonance track the keyboard pitch, please see “Key cuts only the parts of the sound directly around the cutoff Follow” on page 27. frequency. Try modulating the cutoff with an LFO to create Out (Output) [00...99] phaser-like effects.

  • Page 31: Mod (modulation)

    6: P–FILTER 6–2: MOD (Modulation) Output 6–2: MOD (Modulation) [List of AMS Sources] This selects a modulation source to control the output level of Filter A. For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 292. AMS Int.

  • Page 32: Eg-i (eg Intensity)

    Program mode Intensity to A [–99...+99] 6–3: EG-I (EG Intensity) This controls the initial effect of the Filter EG on Filter A’s cutoff frequency, before any velocity or AMS modulation. Here you can specify the modulation that controls the amount of The Filter EG’s shape can swing all the way from +99 to –99.

  • Page 33: Lfo-i (lfo Intensity)

    Note: The -Y direction of joystick control is called “JS-Y.” B’s cutoff frequencies. You can control the strength of each LFO’s Although a joystick is a controller that's provided on many Korg modulation independently for each filter, in three different ways: instruments, the KROSS is not equipped with a joystick.

  • Page 34: Ktrk (keyboard Track)

    B’s cutoff frequency. The KROSS keyboard tracking can also be much more complex, since it allows you to create different rates of change over up to four different parts of the keyboard. For instance, you can: Low Break [C–1...G9]...

  • Page 35

    6: P–FILTER 6–5: KTRK (Keyboard Track) Low-Center [–Inf, –99...+99, +Inf] This sets the slope between the Low Break and Center. For normal key track, use negative values. Center-High [–Inf, –99...+99, +Inf] This sets the slope between the Center and High Break. For normal key track, use positive values.

  • Page 36: P–filter Eg (filter Envelope)

    Classic analog synth envelopes made these curved shapes inconsistent behavior, or may mean that the EG doesn’t reset at all. naturally. The KROSS goes a step further than vintage synths, If this happens, reduce the Threshold until the EG triggers however, and lets you control the amount of curvature separately consistently.

  • Page 37: L-mod (level Modulation)

    7: P–FILTER EG (Filter Envelope) 7–2: L-MOD (Level Modulation) Filter EG Curve 7–2: L-MOD (Level Modulation) Curve=0L (Linear) These settings let you use any AMS source to control the Level Curve=10E (Exp/Log) parameters of the EG. The Start, Attack, and Break levels share a single AMS source, but can each have different modulation intensities.

  • Page 38: T-mod (time Modulation)

    Program mode Break [–99...+99] 7–3: T-MOD (Time Modulation) This controls the depth and direction of the AMS modulation for the Break level. These settings let you use three different AMS sources to control the Time parameters of the EG. For each of the three AMS sources, EG Display the Attack, Decay, Slope, and Release times each have their own This shows the shape of the EG that's specified by the P–FILTER...

  • Page 39

    7: P–FILTER EG (Filter Envelope) 7–3: T-MOD (Time Modulation) for Attack, Decay, Slope, and Release. The parameters of both AMS2 and AMS3 are identical to those of AMS1, above. EG Display This shows the shape of the EG that's specified by the P–FILTER EG settings.

  • Page 40: P–amp

    Program mode Note: Random cannot be selected via a MIDI control change. 8: P–Amp You'll need to select it here. AMS (Pan) [List of AMS Sources] Oscillators 1 and 2 have separate controls for volume (also called “amplitude,” or “amp” for short), pan, dedicated amp envelopes This selects an AMS source to modulate Pan.

  • Page 41: Mod (amp Modulation)

    8: P–Amp 8–2: MOD (Amp Modulation) AMS (LFO1) [List of AMS Sources] 8–2: MOD (Amp Modulation) This selects an AMS modulation source to scale the amount of the LFO1 that’s applied to the Amp level. For a list of AMS sources, please see “AMS (Alternate Modulation Source) List”...

  • Page 42: Keytrk (keyboard Track)

    Ramp KROSS’s keyboard tracking can be fairly complex, if desired. You Positive ramp values mean that the keyboard tracking output can create different rates of change over up to four different parts increases as you play farther from the Center Key;...

  • Page 43

    8: P–Amp 8–3: KEYTRK (Keyboard Track) High-Top [–Inf, –99...+99, +Inf] This sets the slope between the Key High key and the top of the MIDI note range. For normal key track, use positive values. Ramp Change in level –Inf Silent in one half-step –99 Silent in one whole-step –95...

  • Page 44: P–amp Eg (amp Envelope)

    Program mode 9: P–AMP EG (Amp Envelope) TIME/CURVE/LEVEL These parameters specify how the amp 1 EG will change over time. Amp EG 9–1: ENVELOPE Start Attack Break Sustain Level Level Level Level Threshold Volume Time Attack Decay Slope Release Time Time Time Time...

  • Page 45: L-mod (level Modulation)

    Classic analog synth envelopes made these curved shapes naturally. The KROSS goes a step further than vintage synths, These settings let you use any AMS source to control the Level however, and lets you control the amount of curvature separately parameters of the EG.

  • Page 46: T-mod (time Modulation)

    Program mode Break [–99...+99] 9–3: T-MOD (Time Modulation) This controls the depth and direction of the AMS modulation for the Break level. These settings let you use three different AMS sources to control the Time parameters of the EG. For each of the three AMS sources, EG Display the Attack, Decay, Slope, and Release times each have their own This shows the shape of the EG that's specified by the P–AMP EG...

  • Page 47: P–osc Lfo

    10: P–OSC LFO 10–1: 1.WAV (LFO1 Waveform) Release [–99...+99] 10: P–OSC LFO This controls the depth and direction of the AMS modulation for the Release time. Each of the Oscillators has two LFOs, which you can use to modulate the filter, amp, pitch, and many other parameters. AMS2 Intensity and AMS3 Intensity The two Oscillators also share a single Common LFO, similar to These select the second and third AMS sources, respectively, for...

  • Page 48

    Program mode Random3 (S/H) generates a pulse wave with random timing. It’s Note: Shape does not affect the Square and Random3 waveforms, the opposite of traditional sample and hold; the timing varies, but since their values are always either +99 or –99. When these are the levels don’t.

  • Page 49: Frq (lfo1 Frequency)

    10: P–OSC LFO 10–2: 1. FRQ (LFO1 Frequency) AMS Intensity [–99...+99] 10–2: 1. FRQ (LFO1 Frequency) This sets the initial amount of AMS1 (Frequency). The Int Mod AMS then adds to this initial amount. When AMS is at its maximum value (for example by moving the modulation wheel fully away from yourself), the AMS affects the frequency as shown below: Intensity...

  • Page 50: Wav (lfo2 Waveform)

    Program mode 11: P–CMN LFO/KT 10–3: 2. WAV (LFO2 Waveform) This is a single, Common LFO, global for all voices in the see “10–1: 1.WAV (LFO1 Waveform)” on page 39 Program like the modulation LFOs in some vintage analog synths. Differences from LFO1/2 The Common LFO starts running as soon as you select the 10–4: 2.

  • Page 51: Lfo.f (common Lfo Frequency)

    11: P–CMN LFO/KT 11–2: LFO.F (Common LFO Frequency) Reset AMS [List of AMS Sources] 11–2: LFO.F (Common LFO Frequency) This selects an AMS source to reset the LFO to the Start Phase. The LFO resets when the AMS value passes the halfway mark: +50 for most AMS sources, or 64 for MIDI controllers.

  • Page 52

    The KROSS keyboard tracking can be fairly complex, if desired. keyboard, and positive ramps make the output go higher. You can create different rates of change over up to four different Center-High and High-Top: negative ramps make the keyboard parts of the keyboard.

  • Page 53: P–ams Mixer

    12: P–AMS MIXER 11–4: KT.2 (Common Keyboard Track 2) Center ramp to +Inf or –Inf, the Bottom-Low ramp will be grayed 12: P–AMS MIXER out. Each Oscillator has two AMS Mixers, which are simple but powerful tools for combining and modifying AMS signals. 11–4: KT.2 (Common Keyboard Track 2) The two Oscillators also share two Common keyboard tracking generators, in addition to the dedicated keyboard tracking for the...

  • Page 54

    Program mode Gate Control uses a third AMS source to switch between two Amt AxB AMS inputs (or a fixed value). For more information, please see the “Gate Control” section on page 49. AMS Mixer, Type =Amt A x B PROPERTIES AMS A Output...

  • Page 55

    12: P–AMS MIXER 12–1: 1 (AMS Mixer1) Offset Smoothing This Mixer Type smooths out the AMS input, creating more gentle AMS Mixer, Type = Offset transitions between values. You have separate control of the Amt A amount of smoothing during the attack (when the signal is increasing) and decay (when it’s decreasing).

  • Page 56

    Program mode Shape [–99...+99] AMS Mixer Shape examples Bipolar Triangle Wave This controls the amount of curvature, and whether the curves are concave or convex. As you can see in the graphic examples, the Asymmetric shape will tend to emphasize certain value ranges, and de- emphasize others.

  • Page 57

    12: P–AMS MIXER 12–1: 1 (AMS Mixer1) For a list of AMS sources, please see “AMS (Alternate Control At Note-On Only [Off, On] Modulation Source) List” on page 292. When this is enabled (checked), the value of the Control Source at note-on will select the output (Below Threshold or At &...

  • Page 58

    Program mode (If the pitch changes, go to the OSC Pitch page and set Pitch Bend(+X) and Bend(–X) to +00.) 12–2: 2 (AMS Mixer2) 8. Turn on the foot switch, and add a new note to the previous This is the second AMS Mixer for Oscillators. The parameters are chord.

  • Page 59: P–arp (arpeggiator)

    13: P–ARP (Arpeggiator) 13–1: SETUP 13: P–ARP (Arpeggiator) Preset: ALT1 ALT1 Here you can adjust settings for the arpeggiator used by the program. You can adjust settings so that when you select a program, these arpeggiator settings will automatically switch to the arpeggiator settings that are memorized in the selected program.

  • Page 60: Scan Zone

    Program mode Swing [–100...+100(%)] 13–2: SCAN ZONE This adjusts the timing for the step numbers that are specified by Steps per Beat for Swing. When Resolution = , Step Per Beat = x1 Step 1 –50 –25 Swing You can also use PROG> ARP page MOD [SWING] to control This shows the Scan Zone setting.

  • Page 61: P–drum Track

    14: P–DRUM TRACK 14–1: PATTERN Off: The pattern will stop when you take your hand off the 14: P–DRUM TRACK keyboard (i.e., when all notes are off). On: The pattern will continue playing until the DRUM TRACK Here you can adjust settings for the Drum Track used by the button is turned off (LED unlit), regardless of whether you are program.

  • Page 62: Program

    Program mode 1 (MFX Send 1) [000...127] 14–2: PROGRAM 2 (MFX Send 2) [000...127] These specify the send level where the output of the drum track program will be sent to each master effect. Send 1: Send the signal to master effect 1. Send 2: Send the signal to master effect 2.

  • Page 63: P–step Seq (step Sequencer)

    15: P–STEP SEQ (Step Sequencer) 15–1: BASIC x2: Swing will be applied to steps 3, 7, 11, 15 ... For example if 15: P–STEP SEQ (Step Sequencer) you set Resolution to and enter an 8-beat rhythm, the swing effect will be applied to the 8-beat. Here you can adjust settings for the step sequencer that are used by x4: Swing will be applied to steps 5, 13, 21, 29 ...

  • Page 64: Edit

    Program mode ACCENT [Off, On] 15–2: EDIT Specifies an accent for the step. (see “To add an accent to a step” on page 90 of the Operation Guide) Indicates the tone for which you can use the front panel 1--16 pads to turn steps on/off. When you turn RUN on, the indication will move to the left, showing the currently-playing step.

  • Page 65: Inst (instrument)

    15: P–STEP SEQ (Step Sequencer) 15–3: INST (Instrument) 15–3: INST (Instrument) 15–4: MOD (Modulation) TONE 01 GROUP/ALL [Kick, ALL] MODULATION CONTROLS TONE 02 GROUP/ALL [Snare 1, ALL] Velocity [-64...+0...+63] TONE 03 GROUP/ALL [Snare 2, ALL] Increases or decreases the velocity values for the entire step TONE 04 GROUP/ALL [H.H Close, ALL] sequencer.

  • Page 66: Mix (mixer)

    Program mode 1 (MFX Send 1) [000...127] 15–5: MIX (Mixer) 2 (MFX Send 2) [000...127] These specify the send level where the output of the drum program will be sent to each master effect. Send 1: Send the signal to master effect 1. Send 2: Send the signal to master effect 2.

  • Page 67: P–fx Routing

    16: P–FX ROUTING 16–1: BUS Off (unchecked): The sound is not output to the L/R bus or the 16: P–FX ROUTING IFX1–5 buses. Turn this Off if you want the output of the drum program to be connected directly to a master effect. Use Send1 (to Here you can adjust settings for the insert effects.

  • Page 68: Insert Fx Setup

    Program mode IFX5 as well. IFX4 does not provide a ChainTo setting. It can be 16–3: Insert FX Setup connected only to IFX5. You can’t connect from IFX5 to another insert effect. 2 (IFX2) Effect Select [000, S00...S61, D00...D10] Effect On/Off [Off, On] Chain [Off, On]...

  • Page 69: Mixer

    17: P–IFX 16–4: MIXER 17: P–IFX 16–4: MIXER Here you can edit the parameters of the insert effect you selected in the P–FX ROUTING> IFX page. 17–1: IFX1(Insert Effect1) Effect On/Off Pan: #8 Bus Select FX Control Bus Here you can adjust the post-IFX mixer settings. 1 (IFX1) Pan: #8 (CC#8) [L000...C064...R127]...

  • Page 70: P–mfx (master Effect)

    Program mode 18: P–MFX (Master Effect) Chain [Off, On] On (checked): Chain (series connection) will be turned on for MFX1 and MFX2. Here you can adjust settings for the master effects. For instance, you can: Chain Level [000...127] • Select the effect type for master effect. When chain is On, this sets the level where the sound is sent from MFX1 to MFX2.

  • Page 71: Program: Function

    Program: Function Write Program, Write/Initialize Program 7. To execute the Write procedure, press the OK (MENU) Program: Function button. To cancel without executing, press the CANCEL button. Procedure for each function Initialize 1. Press the FUNCTION button to open the function list. Here's how to initialize a program in user bank.

  • Page 72

    Program mode Compare Hold Balance Use this function when you want to compare the sound of the 1. Choose this function to turn it on (select the check mark). program you're editing with the sound prior to editing (i.e., the 2.

  • Page 73

    Program: Function Swap LFO 1&2 Assign inst to Tone Here's how to assign an instrument to each tone of the step sequencer.. Inst Variation Category 2. If you no longer want the EGs to be synchronized, select Sync Both EGs once again. The indication will disappear from the display.

  • Page 74

    Program mode On (checked): The parameter settings of the STEP SEQ> All of the parameters shown on the IFX 1–5 pages will be copied. BASIC–MIX pages will be copied. Other IFX slot parameters will not be affected, including Pan, Off (unchecked): The parameter settings of the STEP SEQ> Sends 1 and 2, Chain, and FX Control Bus.

  • Page 75: Extended Program Functions

    You can press the SAMPLER ACTIVE button and use the pad sampler function with pads 1-16. You can sample external audio or the performance of the KROSS itself, or load WAVE files, and use the pads to perform these sounds while you play a program on the...

  • Page 76

    Program mode...

  • Page 77: Combination Mode

    Combination mode COMBI Page Select Page Tabs Main content Here's how you can select each page. MAIN Select and play a combination (see page 70) • Use the PAGE+/- buttons. Select a program for each timbre and set its status PROG (see page 71) •...

  • Page 78: Combi (combination)

    Combination mode 0: COMBI (Combination) To switch combinations • Turn the VALUE dial, or use the cursor buttons . • Use the sound selector list (see “Sound select list”) This is the main page for selecting and playing Combinations. • You can use a foot switch to select programs. (see “Foot Switch Assign”...

  • Page 79: Prog (program)

    Program will not sound, and MIDI data will not be transmitted. Soloed timbres are indicated by (S). INT: This timbre will sound when you play the KROSS, and will Note: If this is disabled because of the setting of another also sound in response to MIDI messages from an external MIDI parameter, “–”...

  • Page 80: Mixer

    Combination mode If Status is EXT or EX2, the value of this parameter will be 0–3: MIXER transmitted as MIDI CC#7 when the combination is changed. However this will not be transmitted by a timbre that is set to the same MIDI channel as the global MIDI channel. This message is transmitted on the MIDI Channel (C–TIMBRE MIDI) specified for each timbre.

  • Page 81: Arp (arpeggiator)

    0: COMBI (Combination) 0–4: ARP (Arpeggiator) 0–1...4: FUNCTION 0–4: ARP (Arpeggiator) • 0: Write Combination, Write/Initialize Combination see page Pattern • 1: Solo Setting see page 63 • 2: Compare see page 64 • 3: Auto Song Setup see page 64 Timbre Assign •...

  • Page 82: C–input/ctrl (input/controllers)

    Combination mode 1: C–INPUT/CTRL (INPUT/Controllers) 1–2: CONTROLLERS (Controllers Setup) 1–1: AUDIO IN About the AUDIO IN The external audio input settings in this page are active when the front panel REALTIME CONTROLS section AUDIO IN 1 row's Here you can specify the functions of the front panel SW1 and SWITCH (ON/OFF) button is on.

  • Page 83: C–tone Adj (tone Adjust)

    2: C–TONE ADJ (Tone Adjust) 2–1: TONE ADJUST 2: C–TONE ADJ (Tone Adjust) 2–1: TONE ADJUST The Tone Adjust function lets you make simple changes to the The Tone Adjust function lets you make simple changes to the sound by adjusting the main program parameters for each timbre, sound by adjusting the timbre program's main parameters, such as such as the filter or the filter and amp EG, giving you an easy way the filter or the filter and amp EG.

  • Page 84: Eg Adjust

    Combination mode 2–2: EG ADJUST Timbre 01...16 (Timbre Number) To select a timbre (active timbre), place the cursor at one of the following parameters, and use the cursor buttons   to switch timbres.(see page 71) Attack (Filter/Amp EG Attack Time) [–99...+99] This scales the attack times of the Filter and Amp EGs, along with other related parameters.

  • Page 85: C–timbre (timbre Parameters)

    If this is set to EXT or EX2, playing the With the Mono or Legato settings, the Program’s Priority setting KROSS will transmit MIDI messages on the MIDI channel (P–BASIC> VOICE) will determine the priority of the note that specified here.

  • Page 86: Pitch

    If Status (COBI> PROG) is INT, this setting will affect the note messages that are transmitted. pitch produced by the KROSS. If Status is EXT, this setting For example if you adjust settings of +04 and +07 will affect the note number of the note messages transmitted respectively for two timbres that are set to EXT, playing the via MIDI.

  • Page 87: C–zone/delay

    4: C–ZONE/DELAY 4–1: KEY ZONE (Keyboard Zone) 4: C–ZONE/DELAY How volume will change according to keyboard location Volume 4–1: KEY ZONE (Keyboard Zone) Bottom Slope Bottom Slope Top Slope Top Slope Bottom Key Top Key Bottom Key Top Key Tips: Note values and velocity values can also be entered using the Timbre 1 keyboard.

  • Page 88: Vel Zone (velocity Zone)

    Combination mode How volume will change according to keyboard location 4–2: VEL ZONE (Velocity Zone) Volume Top Velocity Top Slope Velocity Bottom Slope Bottom Slope Top Slope Bottom Velocity Top Velocity Bottom Velocity Note: You can also set the note values and velocity values by the Timbre keyboard.

  • Page 89: Delay

    4: C–ZONE/DELAY 4–3: DELAY 4–1...3: FUNCTION 4–3: DELAY • 0: Write Combination, Write/Initialize Combination see page • 1: Solo Setting see page 63 • 2: Compare see page 64 • 3: Auto Song Setup see page 64 • 4: Add to Favorite see page 94 •...

  • Page 90: C–midi Filter

      to switch timbres.(see page 71) In the case of EXT or EX2, operating a controller on the KROSS will transmit MIDI data on the channel of that timbre. MIDI Enable Pitch Bend as AMS...

  • Page 91

    5: C–MIDI FILTER 5–3: 3 (MIDI Filter3) 5–3: 3 (MIDI Filter3) 5–4: 4 (MIDI Filter4) Timbre 01...16 (Timbre Number) Timbre 01...16 (Timbre Number) To select a timbre (active timbre), place the cursor at one of the To select a timbre (active timbre), place the cursor at one of the following parameters, and use the cursor buttons ...

  • Page 92: C–arp (arpeggiator)

    Control OFF if you have recorded only the trigger notes on an external sequencer, and wish to playback the external sequencer to trigger the KROSS’s arpeggiator. If you want to record the note data generated by the arpeggiator to an external sequencer, turn Local Control ON, and turn off the echo back function on your external sequencer.

  • Page 93: A (setup-a), 6–3: B (setup-b)

    6: C–ARP (Arpeggiator) 6–2: A (Setup-A), 6–3: B (Setup-B) 6–2: A (Setup-A), 6–3: B (Setup-B) 6–4: SCAN ZONE Pattern Octave Resolution Key zone of Velocity zone of arpeggiator A arpeggiator A Key zone of Key zone of Here you can adjust settings for the arpeggiator A and B. arpeggiator B arpeggiator B Pattern*...

  • Page 94: C–drum Track

    It specifies the range of keys that will start the drum pattern. Drum Track pattern will be transmitted. If local control (“Local Control On: G–MIDI) is on, playing the Velocity KROSS's keyboard will not make the internal sound generator Bottom [001...127] produce sound, nor can the keyboard trigger the arpeggiator or drum track.

  • Page 95: Channel (midi Channel)

    7: C–DRUM TRACK 7–2: CHANNEL (MIDI Channel) 7–2: CHANNEL (MIDI Channel) Input [Gch] If the Trigger Mode is set to Wait KBD Trigger, you can control the trigger by playing the keyboard on this MIDI channel. In Combination mode, this Input is fixed at Gch. Output [01...16, Gch] This specifies the MIDI channel that will transmit the MIDI data...

  • Page 96: C–step Seq (step Sequencer)

    Combination mode 8: C–STEP SEQ (Step Sequencer) 8–2: EDIT Here you can adjust settings for the step sequencer used by the Indicates the tone for which you can use the combination. front panel 1–16 pads to turn steps on/off. Note: To use the step sequencer, turn STEP SEQ On/Off “on” (COMBI>...

  • Page 97: Inst (instruments)

    8: C–STEP SEQ (Step Sequencer) 8–3: INST (Instruments) 8–3: INST (Instruments) 8–4: MOD (Modulation) TONE 01 GROUP/ALL [Kick, ALL] MODULATION CONTROLS TONE 02 GROUP/ALL [Snare 1, ALL] Velocity [-64...+0...+63] TONE 03 GROUP/ALL [Snare 2, ALL] Swing [-64...+0...+63] TONE 04 GROUP/ALL [H.H Close, ALL] TONE 05 GROUP/ALL [H.H Open, ALL]...

  • Page 98: C–fx Routing

    Combination mode 9: C–FX ROUTING Example: Inserting a separate IFX into each timbre, and then in- serting an IFX at the final stage You can also specify the bus routing for the program used by each of the timbres, 1–16. For instance, you can: •...

  • Page 99: Send

    9: C–FX ROUTING 9–2: SEND 9–2: SEND 9–3: IFX (Insert Effect Setup) Effect On/Off Effect Select Chain Chain to Timbre 01...16 (Timbre Number) Here you can choose the type of each insert effect from 1 through To select a timbre (active timbre), place the cursor at one of the 5, its on/off status, and chaining settings.

  • Page 100: Mixer

    Combination mode 10: C–IFX 9–4: MIXER This page lets you edit the detailed parameters of the five insert effects. Use the C–FX ROUTING> IFX page to select IFX1 through IFX5. 10–1: IFX1 (Insert Effect1) Bus Select FX Control Bus Effect On/Off 1...5 (IFX 1...5) [L000...C064...R127] Bus Select...

  • Page 101: Ifx5 (insert Effect5)

    11: C-MFX (Master Effect) 10–2: IFX2 (Insert Effect2), 10–3: IFX3 (Insert Effect3), 10–4: IFX4 (Insert Effect4), 10–5: IFX5 11: C-MFX (Master Effect) 10–2: IFX2 (Insert Effect2), 10–3: IFX3 (Insert Effect3), Here you can adjust settings for the master effects. For instance, you can: 10–4: IFX4 (Insert Effect4), •...

  • Page 102: Mfx1 (master Effect1)

    Combination mode Combination: FUNCTION 11–2: MFX1 (Master Effect1) Procedure for each function Effect On/Off 1. Press the FUNCTION button to open the function list. 2. Adjust settings in the dialog box. For details on the settings in each dialog box, refer to the expla- nation of each function.

  • Page 103

    Combination: FUNCTION Copy from Program • The MIDI Channel (C–TIMBRE> MIDI) setting will not Copy from Program change if “Arp” is checked. If “Arp” is unchecked, MIDI Channel will be automatically set to G ch. This function is available on every page in Combination mode. It •...

  • Page 104

    Combination mode If you are copying from a Combination or Song, select either A You can execute this function if the program assigned to the timbre or B, if you wish to copy settings from only one arpeggiator, or is a drum program and Bus Select is set to DKit. The Bus Select select A&B if you wish to copy the settings of both setting (GLOBAL DRUM KIT>...

  • Page 105: Extended Combination Functions

    You can press the SAMPLER ACTIVE button and use the pad sampler function with pads 1-16. You can sample external audio or the performance of the KROSS itself, or load WAVE files, and use the pads to perform these sounds while you play a combination on the keyboard.

  • Page 106

    Combination mode...

  • Page 107: Sequencer Mode

    KROSS can be used together to give you a original program unchanged. While creating a song, you can...

  • Page 108

    MIDI sound modules. However, you can also use the KROSS as a effect settings. multi-timbral sound module that can simultaneously play multiple tracks of performance data from an external MIDI sequencer.

  • Page 109

    • Check Recording Setup Multi REC • Set the Play/Rec/Mute setting to REC for tracks 01, 10 and 16 (see page 110). 5. The KROSS will automatically enter record-ready mode, and the metronome will sound according to the Metronome setting (SEQ> REC).

  • Page 110: Seq Page Select

    Sequencer mode SEQ Page Select Page Main content Song selection, recording/playback, and tempo MAIN setting (see page 103) Here's how you can select each page. PROG Program selection for each track (see page 105) • Use the PAGE+/- buttons. Pan and volume settings etc. for each track (see •...

  • Page 111: Main

    When MIDI Clock (G–MIDI> BASIC) is set to Internal (or automatically switch from Internal to External if MIDI Clock data Auto, if no MIDI clocks are being received), the KROSS will is received from an external MIDI device. This indication will transmit Song Position Pointer messages when the Location appear.

  • Page 112

    Sequencer mode If other tracks are set to the same MIDI channel as the Loop End [M001...M999] selected track, and their Status is set to INT or BTH, they’ll Specifies the last measure of the loop. be controlled by the keyboard as well. Additionally, other tracks set to the same MIDI channel as the Multi REC [Off, On]...

  • Page 113: Prog (track Program )

    MIDI track is played back, or when you select a MIDI program change data will be recorded, and the program will track that is set to BTH and play the controllers of the KROSS, the switch at that point in the song during playback. You can also...

  • Page 114: Mix (track Mixer)

    Sequencer mode for RND). (See G–MIDI> OUT SEQ Mode “Track MIDI 0–3: MIX (Track Mixer) Out” on page 162) Volume [000...127] Here you can set the volume of each MIDI track. When Status (SEQ> PROG) is INT or BTH, CC#7 Volume can be received to control the volume.

  • Page 115: Rec (recording Setup)

    0: SEQ 0–4: REC (Recording Setup) 1. Use Track Select to choose the track that you want to 0–4: REC (Recording Setup) record. 2. Set the Recording Setup to Overwrite. Keyboard Track Select 3. Select the MAIN page, and use Location to specify the mea- Recording Setup sure where recording will start.

  • Page 116

    Sequencer mode Playback will begin. 5. At the point where you wish to begin recording, press the SEQUENCER (REC) button. Recording will begin. Play the keyboard and use the controllers such as the modulation wheel to record your performance. 6. When you finish recording, press the SEQUENCER 3.

  • Page 117

    KROSS. If this check box is selected, you'll be able to specify REC as the 1. Make sure that the USB B connector of the KROSS is con- Play/REC/Mute status for multiple tracks. For the Play/REC/Mute...

  • Page 118

    You can also stop recording by pressing the Changing the time signature in the middle of a song SEQUENCER (START/STOP) button on the KROSS. If you know the location where you wish to change time After this, you can play back the newly recorded sequence:...

  • Page 119: Arp (arpeggiator)

    0: SEQ 0–5: ARP (Arpeggiator) 0–1...5: FUNCTION 0–5: ARP (Arpeggiator) • 0: Memory Status see page 137 Pattern • 1: Solo Setting see page 63 • 2: Undo see page 137 • 3: Create New Song see page 137 • 4: Rename Song see page 137 Track Assign...

  • Page 120: Audio In

    Sequencer mode 1: S–INPUT/CTRL (Input/ 1–2: CONTROLLERS Controllers) Assign Mode 1–1: AUDIO IN About the AUDIO IN Here you can assign the functions performed by SW1 and SW2. The external audio input settings in this page are active when the When you use these buttons during recording, MIDI messages will front panel REALTIME CONTROLS section AUDIO IN 1 row's be recorded.

  • Page 121: S–loop/tone

    2: S–LOOP/TONE 2–1: LOOP (Track Play Loop) 2: S–LOOP/TONE 1–1, 2: FUNCTION • 0: Memory Status see page 137 • 1: Solo Setting see page 63 • 2: Undo see page 137 2–1: LOOP (Track Play Loop) • 3: Create New Song see page 137 •...

  • Page 122: Tone Adj (tone Adjust)

    Sequencer mode Track Info. 2–2: TONE ADJ (Tone Adjust) Shows the settings of tracks 1–16 for the parameter that you're editing. The Tone Adjust function and EG Adjust function let you make Note: If this is disabled because of the setting of another simple changes to the sound by adjusting the main program parameter, “–”...

  • Page 123: Eg Adj (eg Adjust)

    2: S–LOOP/TONE 2–3: EG ADJ (EG Adjust) Track 01...16 (Track Number) 2–3: EG ADJ (EG Adjust) To select a track, place the cursor at one of the following parameters, and use the cursor buttons   to switch tracks. (see page 105) Cutoff (Filter Cutoff) [–99...+99]...

  • Page 124: S–track (track Parameters)

    Sequencer mode 3: S–TRACK (Track Parameters) 3–2: OSC 3–1: MIDI These parameters specify how each MIDI track will be sounded. Track 01...16 (Track Number) To select a track, place the cursor at one of the following Here you can adjust MIDI-related settings for each MIDI track. parameters, and use the cursor buttons ...

  • Page 125: Pitch

    3: S–TRACK (Track Parameters) 3–3: PITCH transmitted. If this is 001–127, a CC#65 of 127 and CC#05 of 1– 127 will be transmitted. 3–3: PITCH If this is set to PRG, nothing will be transmitted. This data is transmitted and received on the MIDI channel specified for each track by MIDI Channel (S–TRACK>...

  • Page 126: Scale

    If Status (SEQ> PROG) is INT, this setting will affect the range where the volume will change starting from the top/bottom pitch produced by the KROSS. If Status is EXT, this setting key. will affect the note number of the note messages transmitted For more information, please see the “4–1: KEY ZONE...

  • Page 127: Vel Zone (velocity Zones)

    4: S–ZONE /DELAY (Zones/Delay) 4–2: VEL ZONE (Velocity Zones) How volume will change according to keyboard location 4–2: VEL ZONE (Velocity Zones) Volume Top Velocity Top Slope Bottom Slope Bottom Slope Top Slope Bottom Key Top Key Tip: You can also set the note values and velocity values by the Bottom Velocity Track keyboard (see page 13 of the Operation Guide).

  • Page 128: Delay

    Sequencer mode How volume will change according to keyboard location 4–3: DELAY Volume Velocity Bottom Slope Top Slope Bottom Velocity Top Velocity This specifies the time (delay) from when the MIDI tracks 1–16 Note: You can also set the note values and velocity values by receive a note-on message until the sound begins.

  • Page 129

    4: S–ZONE /DELAY (Zones/Delay) 4–3: DELAY 4–1...3: FUNCTION • 0: Memory Status see page 137 • 1: Solo Setting see page 63 • 2: Undo see page 137 • 3: Create New Song see page 137 • 4: Rename Song see page 137 •...

  • Page 130: S– Midi Filter

    MIDI messages on their respective channels. The type of effects that are checked will be applied to the program of each track when the KROSS’s controllers are used or when MIDI data is received. (The effect dynamic modulation function is not affected by these settings.)

  • Page 131

    5: S– MIDI FILTER 5–3: 3 (MIDI Filter3) 5–3: 3 (MIDI Filter3) 5–4: 4 (MIDI Filter4) Enable SW1 [Off, On] Enable Other CC Messages [Off, On] Specifies whether or not MIDI control messages not covered in the Enable SW2 [Off, On] preceding MIDI Filter items will be received.

  • Page 132: S–track Edit (track Edit)

    Sequencer mode 6: S–TRACK EDIT (Track Edit) 6–1: FUNCTION • 0: Memory Status see page 137 • 1: Solo Setting see page 63 6–1: SELECT MEASURE TO EDIT • 2: Undo see page 137 • 3: Link From Measure current location see page 142 Track Select From Measure...

  • Page 133: S–arp (arpeggiator)

    MIDI device can perform the same type of control. connected to MIDI IN. You can also use multi-track recording Even in this case, you can start/stop using the KROSS’s (Multi REC) to simultaneously record the note data that is SEQUENCER (START/STOP) button.

  • Page 134: B (arpeggiator–b)

    • Alternatively, you could choose Track01 in Track Select to run arpeggiator A for tracks 1 and 2, and use an external MIDI device connected to the KROSS’s MIDI IN to send note data to MIDI channel 3 to play arpeggiator B.

  • Page 135: Scan Zone

    Receive: The drum track will receive on the MIDI channel specified by the Drum Pattern Input setting of each song. 7–1...4: FUNCTION Normally you’ll set this to Tch and use the KROSS’s keyboard to control the triggering. • 0: Memory Status...

  • Page 136: Channel (midi Channel)

    Sequencer mode Trigger Mode [Start Immediately, Wait KBD Trig] 8–2: CHANNEL (MIDI Channel) Start Immediately: When you press the DRUM TRACK button to turn it on (LED lit), the drum pattern will start according to the Sync setting. When you press ON/OFF again, the drum pattern will stop.

  • Page 137: Synchronizing The Drum Track Function

    KROSS will synchronize to the MIDI Clock and the realtime command messages it receives from the connected MIDI device. Note: If the KROSS is set to MIDI Clock= Auto, it will also synchronize to the external MIDI device in the same way if MIDI realtime clock messages are being received from the external device.

  • Page 138: S–step Seq (step Sequencer)

    Sequencer mode 9: S–STEP SEQ (Step Sequencer) 9–2: EDIT Here you can adjust settings for the step sequencer used by the Indicates the tone for which you can use the sequencer. front panel 1–16 pads to turn steps on/off. Note: To use the step sequencer, turn STEP SEQ On/Off “on” (SEQ>...

  • Page 139: Inst (instruments)

    9: S–STEP SEQ (Step Sequencer) 9–3: INST (Instruments) 9–3: INST (Instruments) 9–4: MOD (Modulation) TONE 01 GROUP/ALL [Kick, ALL] MODULATION CONTROLS TONE 02 GROUP/ALL [Snare 1, ALL] Velocity [-64...+0...+63] TONE 03 GROUP/ALL [Snare 2, ALL] Swing [-64...+0...+63] TONE 04 GROUP/ALL [H.H Close, ALL] TONE 05 GROUP/ALL [H.H Open, ALL]...

  • Page 140: S–fx Routing (effect Routing)

    Sequencer mode 10: S–FX ROUTING (Effect Routing) 10–2: SEND You can also specify the bus routing for the program used by each MIDI track 1–16. For instance, you can: • Send the output of a track to an insert effect •...

  • Page 141: Ifx (insert Fx Setup)

    10: S–FX ROUTING (Effect Routing) 10–3: IFX (Insert FX Setup) 1 (IFX1) 10–3: IFX (Insert FX Setup) Effect On/Off [Off, On] Effect Select [000, S00...S63, D00...D10] Category/IFX Select menu: Chain [Off, On] Chain to [2...5] Effect On/Off Effect Select Chain Chain to 2 (IFX2) Here you can choose the type of each insert effect 1 through 5, its...

  • Page 142: Mixer

    Sequencer mode 11: S–IFX 10–4: MIXER 11–1: IFX1 (Insert Effect1) Effect On/Off Bus Select FX Control Bus 1...5 (IFX 1...5) [L000...C064...R127] Here you can edit the parameters of the insert effect 1, which you Bus Select [Off, L/R] selected in the S–FX ROUTING> IFX page. Send1 [000...127] Effect On/Off...

  • Page 143: S–mfx (master Effect)

    12: S–MFX (Master Effect) 12–1: SETUP For more information, please see the “Sequencer: FUNCTION” 12: S–MFX (Master Effect) section on page 137. Here you can adjust the settings for the master effects. For instance, you can: • Route a sound to the master effects. •...

  • Page 144: Mfx1 (master Effect1)

    Sequencer mode 12–2: MFX1 (Master Effect1) Effect On/Off Here you can edit the parameters of the effect that you selected for MFX1 in the S–MFX> SETUP page. Effect On/Off [Off, On] This turns master effect 1 on/off. This is linked with the on/off setting in the S–MFX>...

  • Page 145: Sequencer: Function

    Sequencer: FUNCTION Memory Status Sequencer: FUNCTION Procedure for each function 1. Press the FUNCTION button to open the function list. 2. Adjust settings in the dialog box. For details on the settings in each dialog box, refer to the explanation of each function. Rename Song 3.

  • Page 146

    Sequencer mode If the recorded performance is not reproduced correctly during Copy from Combination playback Copy From Combination is available on all of the tabs under the If you use the function Copy From Combination to copy the SEQ, S–INPUT/CTRL, S–LOOP/TONE, S–TRACK, S–ZONE/ settings of a combination, and then perform multi-track recording DELAY, S–MIDI FILTER, S–ARP, S–DRUM TRACK, S–STEP with the arpeggiator turned on, there may be cases where the...

  • Page 147

    Sequencer: FUNCTION Copy from Program a. If the MIDI Channel of multiple tracks used by the Copy from Program arpeggiator is set only to 01, refer to the lines for “01 only.” If Copy from Program is available on all of the tabs under the SEQ, the MIDI Channel settings are 01 and one other channel, such S–INPUT/CTRL, S–LOOP/TONE, S–TRACK, S–ZONE/ as 01 and 02, then refer to the lines for “01 02, etc.”...

  • Page 148

    Sequencer mode In Measure, specify the beginning measure of the copy desti- nation. Note: Track 1 of all sixteen preset template contains a drum category program. The pattern names of the preset patterns indicate the musical genre and part of the optimal drum category program. By loading the drum track for these preset template songs and the corresponding preset patterns, you can efficiently set up a drum track that is suited to each preset template song.

  • Page 149

    GM System On S–MIDI FILTER, S–ARP, S–DRUM TRACK, S–STEP SEQ, S– message is recorded in the sequence data, the KROSS will be FX ROUTING pages. reset to settings appropriate for GM just as if you had executed this command.

  • Page 150

    Sequencer mode FF/REW Speed Link From Measure current location This allows you to set the speed to fast-forward or rewind. Link From Mesure current location is available on S–TRACK EDIT page. To fast-forward or rewind, hold down the SEQUENCER (START/STOP) button and press the cursor button  (fast- If this check box is selected, the From Measure setting will be forward) or ...

  • Page 151

    Sequencer: FUNCTION Copy/Bounce Track Copy/Bounce Track Erase Measure Copy/Bounce Track is available on S–TRACK EDIT page. Erase Measure is available on S–TRACK EDIT page. This command erases the specified type(s) of musical data from Copy Track the specified range of measures. This command copies musical data from the copy source track to The Erase Measure command can also be used to remove only a the specified track.

  • Page 152: Delete Measure

    Sequencer mode Delete Measure Insert Measure Delete Measure is available on S–TRACK EDIT page. Insert Measure is available on S–TRACK EDIT page. This command deletes the specified measures. This command inserts the specified number of measures into the specified track. When the Delete Measure command is executed, the musical data following the deleted measures will be moved towards the When you execute the Insert Measure command, the musical data...

  • Page 153

    Sequencer: FUNCTION Repeat Measure Repeat Measure Copy Measure Repeat Measure is available on S–TRACK EDIT page. Copy Measure is available on S–TRACK EDIT page. This command repeatedly inserts the specified measures for the This command copies the measures of musical data specified as specified number of times.

  • Page 154

    Sequencer mode Move Measure Example Move measures 3-4 of track 1 to measures 3-4 of track 2. Mode: Stay Move Measure is available on S–TRACK EDIT page. Before Move This command moves the specified measures of performance data 1 (Tr1) 2 (Tr1) 3 (Tr1) 4 (Tr1)

  • Page 155

    Sequencer: FUNCTION Create/Erase Control Data Erase Control Data Create/Erase Control Data Erase Control Data is available on all of the tabs of the Track Create/Erase Control Data is available on S–TRACK EDIT Edit page. page. This command erases data such as control changes, after touch, This lets you create control change, aftertouch, pitch bend, tempo, pitch bend, or tempo in the specified range.

  • Page 156

    Sequencer mode 7. In Intensity, specify the degree of sensitivity to which the Quantize timing will be corrected; i.e., how close to the locations specified by steps 5 and 6 the data will be moved. Quantize is available on S–TRACK EDIT page. With a setting of 0, no correction will take place.

  • Page 157: Modify Velocity

    Sequencer: FUNCTION Shift/Erase Note Shift/Erase Note Modify Velocity Shift/Erase Note is available on S–TRACK EDIT page. Modify Velocity is available on S–TRACK EDIT page. This command shifts (moves) or erases specified note numbers in This command modifies the velocity values of notes in the a selected track and over a range of measures.

  • Page 158

    Sequencer mode • Copying an event Event Edit Select the event that you wish to copy, and press the Copy button. Then select the copy destination and press the Insert button to Event Edit is available on S–TRACK EDIT page. insert the event at that location.

  • Page 159

    Sequencer: FUNCTION Assign inst to Tone Assign inst to Tone Copy Master Effect Assign inst to Tone is available on the S–STEP SEQ pages. Copy MFX is available on all of the S–MFX pages. Here's how to assign an instrument to each tone of the step For more information, please see the “Copy Master Effect”...

  • Page 160: System Exclusive Events Supported In Sequencer Mode

    Sequencer mode System Exclusive events supported in Sequencer mode You can record and play back System Exclusive events, and edit tracks that contain System Exclusive events. SysEx messages that can be recorded in real-time The following exclusive messages can be recorded in real-time: •...

  • Page 161: Kross Sequencer File Formats

    System Exclusive events supported in Sequencer mode KROSS sequencer file formats KROSS sequencer file formats The KROSS sequencer supports both the proprietary KROSS Song format, and Standard MIDI Files. If you like, you can convert data between the two formats, simply by loading the data in one format and then saving it in the other.

  • Page 162

    Sequencer mode...

  • Page 163: Global/media Mode

    PREF 1 battery type (see page 158) Settings such as audio play level (see PREF 2 page 159) MIDI settings for the entire KROSS (see BASIC page 160) G-MIDI MIDI settings for the sequencer and production tools (see page 162)

  • Page 164: Global

    1–9 (lower right diagram). 0–1: BASIC If you’re using the KROSS as a MIDI sound module, and want to adjust the overall brightness of the sound, set Convert Position (G–MIDI> BASIC) to PostMIDI and select the appropriate velocity curve.

  • Page 165: Systm (system)

    REALTIME CONTROLS section TONE 2 row's OCTAVE is These settings will always be turned on when you power-on turned on. The default value is -1. the KROSS. TIP: The OCTAVE dialog box appears when the REALTIME When IFX or MFX settings are switched, control change CONTROLS section TONE 2 row's OCTAVE is turned on.

  • Page 166: Pref 1 (system Preference 1)

    [30 minutes, an hour, 4 hours, Disabled] • Receiving song data via MIDI data dump The KROSS will automatically turn off its own power a certain length of time after its keyboard, buttons, or dial were last used. Off (unchecked): Data can be written to internal song memory.

  • Page 167: Pref 2(system Preference 2)

    0–4: PREF 2(System Preference 2) off. If you don't want the power to turn off, press the KROSS's display or keyboard, or use a button or knob. Auto power-off will be reset, and the same message will appear once again if no user input is performed for the specified length of time.

  • Page 168: G–midi

    • When controlling timbres or effects that have been set to Gch in affect the data that is transmitted from MIDI OUT when the various modes KROSS’s keyboard is played, and the data that is recorded on the • When transmitting and receiving System Exclusive messages internal sequencer.

  • Page 169

    MIDI Clock (MIDI Clock Source) [Internal, Ext-MIDI, Ext-USB, Auto] Select this setting when you want to synchronize the following functions of the KROSS with an external MIDI device (such as a sequencer or rhythm machine) or computer. • arpeggiator • drum tarck •...

  • Page 170

    Off (unchecked): The note data of the drum track pattern will not MIDI sound modules. You can create settings in a song so that be transmitted. when you select that song on the KROSS, tracks that are set to EXT or BTH will transmit program changes or other MIDI Step Seq messages* to set up your external MIDI sound modules.

  • Page 171: Filter

    When you switch combinations, a program change message will Check this if you want to edit the KROSS from a connected be transmitted on the global MIDI channel, and also transmitted computer, or if you want to allow bi-directional editing.

  • Page 172: G–input/ctrl

    Off (unchecked): Normally you will use this setting. The external audio signal is sent to the mixer section of the KROSS. It is mixed with the performance sound of the KROSS, and output from the OUTPUT jacks. At the same time, it is also sent to the audio recorder, pad sampler, and USB audio function.

  • Page 173: Foot

    [(–) KORG Standard, (+)] Control Change: When you operate the ARP button, MOD Set this to match the polarity of the Korg damper pedal that’s [GATE], [VEL], or [SWING], the MIDI control change messages that are specified in the G-INPUT/CTRL> CC page are connected to the DAMPER jack.

  • Page 174: G–user Scale

    Global/Media mode 3: G–USER SCALE 3–2: ALL Here you can adjust settings for sixteen different User Octave Scales and one User All Notes Scale. The user scales you create here can be selected from the following pages. • P–BASIC> SCALE •...

  • Page 175: Arp Pattern (arpeggio Pattern)

    4: ARP PATTERN (Arpeggio Pattern) 4–1: SETUP (Pattern Setup) 4: ARP PATTERN (Arpeggio Pattern) 4–1: SETUP (Pattern Setup) Here you can create user arpeggio patterns. Arpeggio Octave In this page, the KROSS will continue to sound as it did before Select Pattern Length Resolution entering Global mode.

  • Page 176: Edit (pattern Edit)

    Global/Media mode 4–2: EDIT (Pattern Edit) 4–3: MODE Here you can input Tones 0–11 for each Step 01–64. There can be up to 64 steps, and the tones represent the notes of the scale (a maximum of 12 notes) that you can press simultaneously at each step.

  • Page 177

    4: ARP PATTERN (Arpeggio Pattern) 4–3: MODE (See illustration below) Fixed Note Mode [Trigger As Played, Trigger All Tones] When the Arpeggio Tone Mode is Fixed Note, this specifies the Tone Mode (Arpeggio Tone Mode) [Normal, Fixed Note] condition that will trigger the Tones. This selects the Tone type of the arpeggio pattern.

  • Page 178: Drum Kit

    Global/Media mode 5: DRUM KIT 5–1: DS 1 (Drumsample 1) Here you can create drum kits by assigning a drum instrument Here you can select a drum kit and specify Drumsample 1–4 as the (drum sample) to each key. drum samples assigned to each key. Here you can also edit drum A drum kit you edit here can be used in the same way as a sample parameters for each Drumsample.

  • Page 179

    5: DRUM KIT 5–1: DS 1 (Drumsample 1) Note: Normally, you will start by using Drumsample 1 (before Transpose [–64...+63] using Drumsample 1–4). If you don’t want to switch drum samples Adjusts the pitch in semitone steps. by velocity, turn on only Drumsample 1. If you’re using multiple +12 is one octave up, and –12 is one octave down.

  • Page 180: Ds2...ds4 (drumsample2...4))

    Global/Media mode Layer means that the two drum samples will be layered together, both at full volume, for the entire range of the crossfade. 5–2...4: DS2...DS4 (Drumsample2...4)) Crossfade Curves Here you can edit the sample parameters for Drumsample 2–4. For more information, please see “Drumsample-1”...

  • Page 181: Voice

    5: DRUM KIT 5–5: VOICE L001 places the sound at far left, and R127 places the signal at far 5–5: VOICE right. With a setting of Rndm (Random), the drum sample will be panned randomly at each note-on. Specify the voice assign, pan, and effect routing etc. for each key Bus Select [L/R, IFX 1...5, Off] of the drum kit.

  • Page 182: Media

    “Using an SD card” section on page 25 of the Operation Guide. Files, directories, and icons When you format media on the KROSS or save to it for the first time, or when you create a song on the audio recorder, a directory...

  • Page 183: File

    Save functions can be executed in the same directory as the .PCG or .SNG file. The KROSS does not contain an internal calendar or clock, you must use Utility function Set Date/Time to set the date and time before saving the file.

  • Page 184: Global, Media: Function

    Global/Media mode Dev. Type: The type of device. Global, Media: FUNCTION Product ID: (Not shown on the KROSS) Format Type: The type of format. If not formatted, this will Procedure for each function indicate “Unformatted.” 1. Press the FUNCTION button to open the function list.

  • Page 185

    OK button and proceed again from step 1. banks do not overlap. While the system is being updated, do not touch the KROSS’ buttons, and never turn off the power. If the power is accidentally turned off while the system is being loaded, the Half Damper Calibration KROSS may become inoperable.

  • Page 186

    USB connector. If you want to transmit the data to another KROSS or to a MIDI After a data dump is received, the KROSS will require data filer, connect the KROSS’s MIDI OUT connector to the MIDI approximately one second to process the data and write it into IN connector of the receiving device.

  • Page 187

    If you want the KROSS to receive data that was previously transmitted to a MIDI device, you must set the global MIDI channel of the KROSS to the same global MIDI channel that was Copy Arpeggio Pattern used when the data was transmitted.

  • Page 188: Delete Step

    Global/Media mode Rename Drum Kit Rename Drum Kits is available on the DRUMKIT pages. This renames a drum kit. For more information, please see “Editing names” section on page 124 of the Operation Guide. 1. In “From Step”, select the range of steps that you wish to copy.

  • Page 189

    Global, Media: FUNCTION Swap Key Setup If you selected two or more keys in the From Key field, their Load selected settings will be copied to the keys starting at the To Key and continuing upward. Load selected is available on the MEDIA> FILE page. This loads the file or directory selected in the directory window Swap Key Setup into the internal memory.

  • Page 190

    Global/Media mode 5) Load Combinations 9) Load Drum Kit [000–041(INT), 042–057(USER)] This function loads all drum kit data from the selected drum kit All combinations in the .PCG file will be loaded. bank into the drum kit bank that you specify as the load- destination.

  • Page 191

    The selected user arpeggio pattern data will be loaded into the user Internal memory of Internal memory of arpeggio pattern number that you specify as the loading .SNG file to load the KROSS after loading the KROSS before loading destination. SNG000 SNG000...

  • Page 192

    Note: Since 44.1 kHz WAVE files will be converted into 48 kHz as Note: The PCM data in a KEP file is loaded into the free area of they are imported into the KROSS, a small amount of time may be expansion memory. Loading will not be possible if there is not required.

  • Page 193

    The song data that you save here can be played back on a device that supports Standard MIDI Files. However if you intend to play back the data on the KROSS, we recommend that you use “Save SEQ” to save the data, since this will be more easily recreated.

  • Page 194

    Format is available on the MEDIA> UTILITY page. 1. In the MEDIA>EX PCM page, select the option title or This function formats the media that's inserted in the KROSS. The user sample title that you want to unload (remove). volume label (a name for the entire media) you specify will be 2.

  • Page 195: Favorites

    MIDI bank select and program Note: You can also access this from the Edit Favorite function. change messages. Reception If the Favorites function is on, the KROSS will switch to the corresponding favorite when it receives one of the above program changes.

  • Page 196: Favorites-a, B, C, D

    Favorites FAVORITES-A, B, C, D 0–1: 1–4, 5–8, 9–12, 13–16 The 128 favorites are organized into eight banks, each bank displayed as four tabs each containing four favorites (1-4, 5-8, 9- 12, 13-16). When you select a favorite, you'll switch to the page that contains that favorite;...

  • Page 197: Favorites: Function

    Select: Internal The registered program or combination will be enabled. Use this setting when you want to use the keyboard of the KROSS to play a program or combination. This function copies the settings of another favorites bank to the If the Favorites function is on, pressing a button 1–16 will transmit...

  • Page 198

    Favorites...

  • Page 199: Audio Recorder

    Audio Recorder If the SD card is being used by the KROSS for the first time, Overview of the audio recorder you’ll need to format it in GLOBAL/MEDIA mode. (see “Formatting SD card” on page 128 of the Operation Guide)

  • Page 200: Recording Control

    Audio Recorder Audio Recorder Setup window Recording control In this window you can control recording, stop, pause, and playback, as well as perform functions such as undo and create a To perform audio recorder operations such as recording, playback, new audio song. Use the buttons located below the display to and undo, use the front panel AUDIO REC (PLAY/PAUSE) control the recorder.

  • Page 201: Audio Recorder Setup

    KROSS. OUTPUT: Indicates the level of the sound being output from the L/R jacks (the sound of the KROSS, the external audio input, and the playback of the audio recorder). During recording, this will show the recording level.

  • Page 202

    Audio Recorder Auto (Auto Rec Start) PAGE– (UNDO) button [Off, Note-On, SEQ START, Input Low, Input High] Shows the UNDO dialog box. Here you can step back to an earlier Specifies how recording will be started automatically. recording take. You'll also use this button for the Redo function which brings back a recorded take.

  • Page 203: Audio Recorder: Function

    This lets you use your audio player to listen to an audio song 2. Adjust settings in the dialog box. produced on the KROSS, or to load the song into your DAW. For details on the settings in each dialog box, refer to the •...

  • Page 204

    Audio Recorder Adjust Audio Level Increases or decreases the volume of an audio song, and creates a separate song. Note: This adjustment is for a single song. Audio Song No.: The audio song that will be adjusted. If you want to rename the song, use the text dialog box to enter a name.

  • Page 205: Pad Audio Play

    Note: One song can be assigned to each of the 16 pads. Note: In order to use this function, you'll need an SD card that was formatted on the KROSS, and an audio song that was recorded on Here you can select the song to register to a pad, and execute the KROSS or an external audio file.

  • Page 206: Audio Play Setup

    : stopped : playing Level Meter OUTPUT: This shows the level of the sound that is being output to L/R (the sound of the KROSS, external audio input, audio recorder playback). Audio Song [000...199: Audio Song Name/Media Info.] This selects the song. WAVE files on the SD card are also shown in the list;...

  • Page 207: Pad Audio Play:function

    Pad Audio Play:FUNCTION Copy Audio Song Setting song cannot be assigned to multiple pads. These settings are Pad Audio Play:FUNCTION shared with the AUDIO RECORDER SETUP window. These settings are saved to the SD card when you switch to a different Procedure for each function audio song or when you turn off the power.

  • Page 208

    Pad audio play NOTICE: Overdubbing with this Level setting will attenuate the AUDIO SONG SETUP window sections of previous takes by the same amount. Use ADJ. LVL to adjust the Audio Song and avoid uneven audio levels. Rename Audio Song If you use this level setting to overdub-record a portion of the song while playing back the previous take, the volume of the This function renames the selected audio song.

  • Page 209: Pad Sampler

    • All of the samples recorded and played back by the pad sampler playback method. are stereo. Note: The effects of the KROSS cannot be applied to the playback PAGE- (REC) button of the pad sampler. This button accesses the sample recording window, where you can sample (record) a new sample for the selected pad.

  • Page 210: Sampler Setup

    5. Press the MENU (Rec Control) button to start sampling. • 5: Insert Sample see page 204 Sampling occurs when you play the KROSS or input exter- • 6: Delete Sample see page 204 nal audio within the recordable time shown in Time Loca- •...

  • Page 211: Sample Recording

    This shows the number of the session that is loaded. If no SD card Note: If you don't close the EDIT SAMPLE window, the edited is inserted, this indicates "--." content is not saved to the Korg format sample file on the SD card. Session No. [001...200 / ---] BANK - Pad No.

  • Page 212: Pad Sampler : Function

    Pad sampler Pad Sampler : FUNCTION Copy Sample This copies the sampler settings of the currently selected pad to the Procedure for each function clipboard for temporary storage. When the copy is completed, the 1. Press the FUNCTION button to open the function list. display indicates "Copy Sample Completed,"...

  • Page 213

    These settings select the region of the sample that will be edited. In the converted program, each sample will correspond to the following keyboard regions: (the same for KROSS 61-key and 88-key models) Sample numbers: 01...16 → Keys: C2 - D#3 Note: Conversion might take a certain amount of time.

  • Page 214

    Pad sampler...

  • Page 215: Effect Guide

    Effect Guide Overview Effects in each mode The KROSS provides five insert effects, and two master effects, together with a mixer section that controls the routing of these Program mode effects. With Programs, you can use insert effects to process the final...

  • Page 216: Dynamic Modulation (dmod) And Tempo Synchronization

    If the tempo, Base Note, and Times settings combine to exceed the maximum delay time, an indication such as “Time Over?: OVER” is displayed (only on the KROSS itself). Please adjust the settings so that this indication does not appear. (The maximum delay time will depend on the effect.)

  • Page 217: Fx Control Bus

    Src to FX Control 1 so that the arpeggiated drum pattern signal of timbre 2 will be the modulator for the vocoder. KROSS includes two true- stereo FX Control Buses, which can be used with the following effects: Rhythmic Vocoder (Combination)

  • Page 218: Insert Effects (ifx1–ifx5)

    Use SEND page OSC1 Send1, OSC1 Send2, OSC2 Send 1,”and OSC2 Send2 to specify the send level for the Master Effects. This The KROSS can also turn IFX1–IFX5 off separately from the setting is effective if Bus is set to L/R or Off.

  • Page 219

    Insert Effects (IFX1–IFX5) Routing Example: Sharing part of a timbre’s IFX chain with another timbre For a drum program If the program's OSC (Oscillator Mode) is Drums, the screen As with Program mode, select L/R, IFX1–5, or Off for each tim- indicates “DKIT-SET”...

  • Page 220: Mixer

    The FX Control buses (FX Control 1, 2) are mono two-channel where the drum kit is being sent. buses. The KROSS provides two (mono two-channel) effect control buses, giving you a wide range of ways to control effects. FX Control buses can be used with vocoder, limiter, and gate-type effects.

  • Page 221: Controlling The Insert Effects Via Midi

    Using the Dynamic Modulation (Dmod) function enables you to control all effect parameters in real-time during performance from the controllers of the KROSS or a connected MIDI sequencer. You can also control the “Pan(CC#8),” “Send1,” and “Send2” parame- ters in the same way.

  • Page 222: Routing

    Effect Guide OSC1 Send2=064 (50%) *127 (100%)=064 (50%) Routing OSC2 Send1=064 (50%) *064 (50%)=032 (25%) OSC2 Send2=127 (100%) *127 (100%)=127 (100%) The two master effects MFX1 and MFX2 are available in any If IFX1–5 is selected for “Bus,” use the “Send1” and “Send2” mode.

  • Page 223: Mixer

    Dynamic Modulation effects MFX1 and MFX2 by adjusting the output level and (Dmod) from the KROSS’s controllers or an external MIDI device specifying the chaining (series connection) between the master during performance or from the sequencer.

  • Page 224: Effect/mixer Block Diagram

    Effect Guide Effect/Mixer Block Diagram Effect / Mixer Block Diagram in Program Mode IFX Bus Send2 Send1 L/R Bus Bus Select FX Control Bus stereo Oscillator 1 Bus Select = IFX1 Oscillator 2 Bus Select Drum Track = IFX5 Bus Select Step Sequencer = IFX5 OUTPUT L/...

  • Page 225: Single Size Effects

    The parameter name shown at left is the name that's shown in the display of the KROSS. The parameter name shown at right is the Sensitivity full name of the parameter. If a “←” is shown, the name shown in the display of the KROSS is the full parameter name.

  • Page 226: Stereo Limiter

    Effect Guide Envelope Source 003: Stereo Limiter By selecting FX Control 1 or FX Control 2 you can use the signal of FX Control Bus 1 or 2 as the trigger signal. The Limiter regulates the input signal level. It is similar to the For instance, you might use a different, unprocessed sound as the Compressor, except that the Limiter compresses only signals that trigger, or apply a limiter triggered by a different timbre...

  • Page 227: Multiband Limiter

    Single size effects 004: Multiband Limiter Trigger Monitor 005: St.MasteringLimiter (Stereo Turning this parameter On will cause the trigger signal to be output, instead of the effect sound. Use this parameter to check the Mastering Limiter) trigger signal with EQ applied. Usually, this should be set to Off.

  • Page 228: St.parametric 4eq (stereo Parametric 4eq)

    Effect Guide Switches the trigger Side PEQ 007: St.Parametric 4EQ (Stereo Side PEQ Off, On signal equalizer on/ Insert p.219 Parametric 4EQ) Switches between Side PEQ Trigger monitoring the effect Trigger Off, On Monitor output and the This is a stereo 4-band parametric equalizer. You can select Monitor trigger signal p.219...

  • Page 229: St.graphic 7eq (stereo Graphic 7 Band Eq)

    Single size effects 007: St.Parametric 4EQ (Stereo Parametric 4EQ) Parametric 4EQ - Band1, Band4 Type 008: St.Graphic 7EQ (Stereo Graphic +Gain 7 Band EQ) Band4 Type=Shelving High Band4 Type=Peaking This is a stereo 7-band graphic equalizer. The bar graph of the gain setting for each band gives you a clear, visual idea of frequency Band1 Type=Shelving Low responses.

  • Page 230: Stereo Exciter

    Effect Guide 009: Stereo Exciter 010: Stereo Isolator This effect is a combination of the Exciter. This is a stereo effect that separates the input signal into low, mid, and high-frequency bands, and controls the volume of each band Stereo In - Stereo Out independently.

  • Page 231: St. Wah/auto Wah (stereo Wah/auto Wah)

    Single size effects 007: St.Parametric 4EQ (Stereo Parametric 4EQ) Frequency Bottom 011: St. Wah/Auto Wah (Stereo Frequency Top The sweep width and direction of the wah filter are determined by Wah/Auto Wah) the “Frequency Top” and “Frequency Bottom” settings. This stereo wah effect allows you to create sounds that range from Sweep Mode=D-mod vintage wah pedal simulations to auto-wah simulations, as well as Frequency...

  • Page 232: St.vintage Wah (stereo Vintage Wah)

    Effect Guide Selects the 012: St.Vintage Wah (Stereo Vintage modulation source Source Off...Tempo that will control the effect output level Wah) Sets the modulation Amount –100...+100 amount of the effect This effect simulates the tonal character of a vintage wah pedal. output level You can customize the tone and range settings.

  • Page 233: Vox Wah

    Single size effects 007: St.Parametric 4EQ (Stereo Parametric 4EQ) 013: VOX Wah 014: St. Random Filter (Stereo Random Filter) This models the legendary VOX V847 and V848 Clyde McCoy wah pedals. Its distinctive tone, sounding as though it were wrung This stereo band pass filter uses a step-shape waveform and from the throat, made this pedal a favorite of many pro musicians.

  • Page 234: St.multimodefltr (stereo Multi Mode Filter)

    Effect Guide Sets the balance –Wet... 015: St.MultiModeFltr (Stereo between the effect ← Wet/Dry –99 : 1, Dry, and the dry input 99 : 1...Wet p.226 Multi Mode Filter) Selects a modulation Source Off...Tempo source for Wet/Dry This is a multi-mode filter with four types; low pass, high pass, Sets the modulation band pass, and band reject.

  • Page 235: St. Sub Oscillator (stereo Sub Oscillator)

    Single size effects 016: St. Sub Oscillator (Stereo Sub Oscillator) 016: St. Sub Oscillator (Stereo Sub 017: Talking Modulator Oscillator) This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via dynamic modulation, you This effect adds very low frequencies to the input signal.

  • Page 236: St. Decimator (stereo Decimator)

    Effect Guide E.g.: When “Voice Top”=A, “Voice Center”=I, and “Voice 018: St. Decimator (Stereo Bottom”=U: If Sweep Mode is Dmod, and P.Bend is selected as the modulation Decimator) source, moving the pitch bend wheel from the farthest position toward yourself will make the voice change through the ranges This effect creates a rough sound like a cheap sampler by lowering “a,”...

  • Page 237: St. Analog Record (stereo Analog Record)

    Single size effects 017: Talking Modulator Pre LPF 019: St. Analog Record (Stereo If a sampler with a very low sampling frequency receives very high-pitched sound that could not be heard during playback, it Analog Record) could generate pitch noise that is unrelated to the original sound. Set “Pre LPF”...

  • Page 238: Od/hi.gain Wah (overdrive/hi.gain Wah)

    Effect Guide Selects a modulation Source Off...Tempo 020: OD/Hi.Gain Wah (Overdrive/ source for Wet/Dry Sets the modulation Amount –100...+100 Hi.Gain Wah) amount for Wet/Dry This distortion effect utilizes an Overdrive mode and a Hi-Gain mode. Controlling the wah effect, the 3-band EQ, and the amp The Wah parameter switches the wah effect on/off.

  • Page 239: St. Guitar Cabinet (stereo Guitar Cabinet)

    Single size effects 021: St. Guitar Cabinet (Stereo Guitar Cabinet) 021: St. Guitar Cabinet (Stereo 022: St. Bass Cabinet (Stereo Bass Guitar Cabinet) Cabinet) This simulates the acoustical character of a guitar amp’s speaker This simulates the acoustical character of a bass amp’s speaker cabinet.

  • Page 240: Bass Amp Model

    Effect Guide 023: Bass Amp Model 024: Bass Amp+Cabine (Bass Amp Model+Cabinet) This simulates a bass amp. This simulates a bass amp and speaker cabinet. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry...

  • Page 241: Treble Booster

    Single size effects 025: Treble Booster Amp Type 026: Tube PreAmp Model (Tube Cabinet Type Recommended Combinations of Bass Amp Models and PreAmp Modeling) Cabinets: This effect simulates a two-stage vacuum tube preamp. You can adjust individual settings for two vacuum tubes connected in Amp Type Cabinet Type series.

  • Page 242: St.tubepreamp (stereo Tube Preamp Modeling)

    Effect Guide Tube1 Bias Tube Thru, Sets the frequency of T LCut[Hz] Low Cut [Hz] 21...8.00k the low cut filter This expresses the effect that changes in vacuum tube bias have on Tube the distortion of the waveform. Higher settings of this value will 53...20.00k, Sets the frequency of T HCut[Hz]...

  • Page 243: Smallphase (small Phaser)

    Single size effects 030: SmallPHASE (Small Phaser) Selects the 031: Orange PHASE (Orange modulation source Source Off...Tempo for the LFO modulation depth Phaser) Sets the modulation Amount –100...+100 amount of the LFO This models a standard model of analog phaser that achieved great modulation depth popularity.

  • Page 244: St. Random Phaser (stereo Random Phaser)

    Effect Guide Selects the modulation source Wet/Dry Source Off...Tempo for the LFO The Mix parameter specifies the amount of effect sound relative to modulation the direct sound. A setting of 0 produces the direct sound, a setting Sets the modulation Amount –100...+100 amount of the LFO...

  • Page 245: Voice Resonator

    Single size effects 036: 2Voice Resonator Sets the damping 036: 2Voice Resonator High Damp amount of resonant HDamp[%] 0...100 sound in the high range p.237 This effect resonates the input signal at a specified pitch. You can L6...L1, C, Sets the Voice2 stereo ←...

  • Page 246: Stereo Tremolo

    Effect Guide 037: Stereo Tremolo 038: TEXTREM (TEX Tremolo) This effect modulates the volume level of the input signal. The This models the highly-acclaimed tremolo circuit that was built effect is stereo, and offsetting the LFO of the left and right phases into a US-made combo amp.

  • Page 247: Stereo Auto Pan

    Single size effects 040: Stereo Auto Pan Sets the amount 040: Stereo Auto Pan added to or subtracted EnvAmount Envelope –20.00... from the Frequency [Hz] Amount [Hz] +20.00 when the envelope is This is a stereo-in, stereo-out auto-panner. The Phase and Shape at maximum p.239 parameters let you create various panning effects, such as making...

  • Page 248: St. Phaser+trml (stereo Phaser + Tremolo)

    Effect Guide Stereo Auto Pan - LFO Phase Phaser Sets the phaser Phs Manu 0...100 Manual frequency range LFO Phase = 0 degrees LFO Phase = 90 degrees LFO Phase = 180 degrees Phaser Sets the phaser L-In Phs Reso –100...+100 L-In L-In...

  • Page 249: St. Ring Modulator (stereo Ring Modulator)

    Single size effects 043: P4EQ - Exciter (Parametric 4-Band EQ - Exciter) Sets the number of 042: St. Ring Modulator (Stereo ← Times x1...x32 notes that specify the LFO speed p.223 Ring Modulator) Direct signal (after passing through the ← Direct Mix 0...100 pre-low-pass filter)

  • Page 250: P4eq - Wah (parametric 4-band Eq - Wah/auto Wah)

    Effect Guide Band3 Gain[dB] –18...+18 Sets the gain of Band 3 044: P4EQ - Wah (Parametric 4-Band Gain [dB] Band4 Sets the center E B4 F[Hz] 500...20.00k EQ - Wah/Auto Wah) Cutoff [Hz] frequency of Band 4 Sets the bandwidth of Band4 Q 0.5...10.0 This effect combines a mono four-band parametric equalizer and a...

  • Page 251: P4eq - Phaser (parametric 4-band Eq - Phaser)

    Single size effects 045: P4EQ - Phaser (Parametric 4-Band EQ - Phaser) Sets the balance Dry,1 : 99... ← 046: Comp - Wah (Compressor - Wet/Dry between the effect 99 : 1, Wet and the dry input Wah/Auto Wah) Selects a modulation Source Off...Tempo source for Wet/Dry...

  • Page 252: Comp - Amp Sim (compressor - Amp Simulation)

    Effect Guide 047: Comp - Amp Sim (Compressor 048: Comp - OD/HiGain - Amp Simulation) (Compressor - Overdrive/Hi.Gain) This effect combines a mono compressor and an amp simulation. This effect combines a mono compressor and an overdrive/high- You can change the order of the effects. gain distortion.

  • Page 253: Comp - P4eq (compressor - Parametric 4-band Eq)

    Single size effects 049: Comp - P4EQ (Compressor - Parametric 4-Band EQ) 049: Comp - P4EQ (Compressor - 050: Comp - Phaser (Compressor - Parametric 4-Band EQ) Phaser) This effect combines a mono compressor and a four-band This effect combines a mono compressor and a phaser. You can parametric equalizer.

  • Page 254: Limiter - P4eq (limiter - Parametric 4-band Eq)

    Effect Guide 051: Limiter - P4EQ (Limiter - 052: Limiter - Phaser Parametric 4-Band EQ) This effect combines a mono limiter and a phaser. You can change the order of the effects. This effect combines a mono limiter and a four-band parametric equalizer.

  • Page 255: Exciter - Comp (exciter - Compressor)

    Single size effects 049: Comp - P4EQ (Compressor - Parametric 4-Band EQ) 053: Exciter - Comp (Exciter - 054: Exciter - Limiter Compressor) This effect combines a mono exciter and a limiter. You can change the order of the effects. This effect combines a mono exciter and a compressor.

  • Page 256: Exciter - Phaser

    Effect Guide 055: Exciter - Phaser 056: OD/HG - Amp Sim (Overdrive/ Hi.Gain - Amp Simulation) This effect combines a mono limiter and a phaser. This effect combines a mono overdrive/high-gain distortion and an Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out amp simulation.

  • Page 257: Od/hg - Phaser (overdrive/hi.gain - Phaser)

    Single size effects 058: Wah - Amp Sim (Wah - Amp Simulation) –Wet... Sets the balance 057: OD/HG - Phaser (Overdrive/ ← Wet/Dry –99 : 1, Dry, between the effect 99 : 1...Wet and the dry input Hi.Gain - Phaser) Selects a modulation Source Off...Tempo...

  • Page 258: Decimator - Amp (decimator - Amp Simulation)

    Effect Guide Compressor 059: Decimator - Amp (Decimator - Sets the sensitivity C Sens Sensitivity 1...100 p.217 Amp Simulation) Sets the attack level C Attack Attack 1...100 p.217 This effect combines a mono decimator and an amp simulation. Sets the compressor Out Level Level 0...100...

  • Page 259: Organ Vib/chorus (organ Vibrato/chorus)

    Single size effects 063: Rotary Speaker Control Mode 062: Organ Vib/Chorus (Organ Preset Type Custom Mix Vibrato/Chorus) Custom Depth This effect simulates the chorus and vibrato circuitry of a vintage Custom Speed organ. The modulation speed and depth can be customized. If Control Mode=Preset, you can use Preset Type to select the effect.

  • Page 260: Stereo Chorus

    Effect Guide Note:Effects 064–120 can be selected only for the master effect. Adjusts the (low- The master effect does not output a Dry (direct) sound; only the frequency) rotor Stop, speed. Standard ← Wet (effect) sound is output, and then mixed with the Dry (direct) RotorRatio 0.50...2.00 value is 1.00.

  • Page 261: Vintage Chorus

    Single size effects 065: Vintage Chorus High EQ Sets the gain of the HEQ [dB] –15.0...+15.0 066: Black Chorus Gain [dB] High EQ Sets the balance –Wet... between the effect This models a Danish-made stereo chorus + pitch modulator & ←...

  • Page 262: St.harmonicchorus (stereo Harmonic Chorus)

    Effect Guide Feedback 067: St.HarmonicChorus (Stereo Sets the feedback amount of the chorus block. Increasing the feedback will allow you to use the effect as a flanger. Harmonic Chorus) This effect applies chorus only to the higher frequencies. This can be used to apply a chorus effect to a bass sound without making 068: St.

  • Page 263: Multitap Cho/delay (multitap Chorus/delay)

    Single size effects 069: Multitap Cho/Delay (Multitap Chorus/Delay) Sets the balance Bi-Phase Modulation LFO Dry, 1 : 99... ← Wet/Dry between the effect 99 : 1, Wet and the dry input Selects a modulation LFO1 Source Off...Tempo source for Wet/Dry Depth1 Sets the modulation Amount...

  • Page 264: Polysix Ensemble

    Selects the type of 071: Polysix Ensemble ← Base Note notes that specify the LFO speed p.223 This models the ensemble effect built into the classic Korg Sets the number of ← Times x1...x32 notes that specify the PolySix programmable polyphonic synthesizer.

  • Page 265: St. Random Flanger (stereo Random Flanger)

    Single size effects 074: St. Random Flanger (Stereo Random Flanger) 074: St. Random Flanger (Stereo 075: St. Env. Flanger (Stereo Random Flanger) Envelope Flanger) The stereo effect uses a step-shape waveform and random LFO for This Flanger uses an envelope generator for modulation. You will modulation, creating a unique flanging effect.

  • Page 266: Stereo Vibrato

    Effect Guide The effect is off when a value for the modulation source Selects a modulation Source Off...Tempo specified for the “Source” parameter is smaller than 64, and source for Wet/Dry the effect is on when the value is 64 or higher. The Envelope Sets the modulation Amount –100...+100...

  • Page 267: St. Auto Fade Mod. (stereo Auto Fade Modulation)

    Single size effects 078: Doppler 077: St. Auto Fade Mod. (Stereo Auto 078: Doppler Fade Modulation) This effect simulates the “Doppler effect” of a moving sound with a changing pitch, similar to the siren of a passing ambulance. This stereo chorus/flanger effect enables you to control the LFO Mixing the effect sound with the dry sound will create a unique speed and effect balance using auto fade, and you can spread the chorus effect.

  • Page 268: Detune

    Effect Guide modulation source specified with the “Source” parameter is turned Selects the modulation source Source Off...Tempo for the input level When “LFO Mode” is set to 1-Shot, the Doppler effect is created p.261 only once when the modulation source specified in the “Source” Sets the balance Dry, 1 : 99...

  • Page 269: Pitch Shift Mod. (pitch Shift Modulation)

    Single size effects 081: Pitch Shift Mod. (Pitch Shift Modulation) Sets the balance When this is on, the Dry, 1 : 99... ← Wet/Dry between the effect LFO speed is set by 99 : 1, Wet BPM/MIDI and the dry input MIDI Sync Off, On BPM, Base Note, and...

  • Page 270: P4eq - Cho/flng (parametric 4-band Eq - Chorus/flanger)

    Effect Guide 082: P4EQ - Cho/Flng (Parametric 4- 083: Comp - Cho/Flng (Compressor Band EQ - Chorus/Flanger) - Chorus/Flanger) This effect combines a mono four-band parametric equalizer and a This effect combines a mono compressor and a chorus/flanger. chorus/flanger. You can change the order of the effects. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left...

  • Page 271: Limiter - Cho/flng (limiter - Chorus/flanger)

    Single size effects 084: Limiter - Cho/Flng (Limiter - Chorus/Flanger) 084: Limiter - Cho/Flng (Limiter - 085: Exciter - Cho/Flng (Exciter - Chorus/Flanger) Chorus/Flanger) This effect combines a mono limiter and a chorus/flanger. You can This effect combines a mono limiter and a chorus/flanger. change the order of the effects.

  • Page 272: Od/hg - Cho/flng (overdrive/hi.gain - Chorus/flanger)

    Effect Guide OD/HG → Switches the order of 086: OD/HG - Cho/Flng (Overdrive/ Flanger, ← Routing the overdrive and Flanger → chorus / flanger OD/HG Hi.Gain - Chorus/Flanger) Sets the balance Dry, 1 : 99... ← Wet/Dry between the effect This effect combines a mono overdrive/high-gain distortion and a 99 : 1, Wet and the dry input...

  • Page 273: Grainsftr (grain Shifter)

    Single size effects 088: GrainSftr (Grain Shifter) Sets the modulation Sample Cycle / Duration Amount –100...+100 amount for Wet/Dry Sample Cycle Duration 088: GrainSftr (Grain Shifter) This effect cuts extremely short samples (“grains”) from the input signal waveform and plays them repeatedly, giving a mechanical character to the sound.

  • Page 274: Stereo/crossdelay

    Effect Guide High Damp [%] 091: St. Multitap Delay (Stereo Low Damp [%] These parameters set the damping amount of high range and low Multitap Delay) range. The tone of the delayed sound becomes darker and lighter as it feeds back. The left and right Multitap Delays have two taps respectively.

  • Page 275: St. Mod Delay (stereo Modulation Delay)

    Single size effects 092: St. Mod Delay (Stereo Modulation Delay) Tap1 Level MIDI syncs to the MIDI, system tempo; 40– This parameter sets the output level of Tap1. Setting a different ← 40.00... 300 sets the tempo level from Tap2 will add a unique touch to a monotonous delay 300.00 manually for this individual effect p.223...

  • Page 276: St. Dynamic Delay (stereo Dynamic Delay)

    Effect Guide When “Polarity” is negative, the Control Target value equals the 093: St. Dynamic Delay (Stereo parameter value if the input level is below the threshold, or is obtained by multiplying the parameter value by the “Offset” value Dynamic Delay) if the level exceeds the threshold.

  • Page 277: Tape Echo

    Single size effects 095: Tape Echo MIDI syncs to the Sets the Tap1 output Tap1 Lvl Tap1 Level 0...100 MIDI, system tempo; 40– level ← 40.00... 300 sets the tempo Sets the stereo image ← 300.00 manually for this L, 1...99, R of tap1 individual effect p.223 Sets the Tap1...

  • Page 278: Echo Plus

    Effect Guide 096: Echo Plus 097: Auto Reverse This models a famous analog tape echo unit. On the original This effect records the input signal and automatically plays it in device, “echo” was created by a playback head, and the “delay reverse (the effect is similar to a tape reverse sound).

  • Page 279: Sequence Bpm Dly (sequence Bpm Delay)

    Single size effects 098: Sequence BPM Dly (Sequence BPM Delay) Sets the feedback Mode/Reverse Time ← Feedback –100...+100 amount Reverse Reverse Envelope Select = Input Selects the Source Off...Tempo modulation source of Input feedback amount Sets the feedback Amount –100...+100 amount Time Sets the damping...

  • Page 280: Stereo Bpm Delay

    Effect Guide Selects the type of 100: Stereo BPM Delay C Delay notes to specify the ... 3 C Dly Note Base Note delay time for TapC p.272 This stereo delay enables you to set the delay time to match the Sets the number of song tempo.

  • Page 281: St.bpm Mtap Delay (stereo Bpm Multitap Delay)

    Single size effects 101: St.BPM Mtap Delay (Stereo BPM Multitap Delay) Sets the modulation Sets the modulation Amount –100...+100 Input Level amount for Wet/Dry InpLvl Dmod –100...+100 amount of the input Dmod [%] level p.261 Selects the Time Over? L, R modulation source You can set the delay time up to 2,730 msec.

  • Page 282: St. Bpm Mod. Delay (stereo Bpm Modulation Delay)

    Effect Guide Tri (Triangle), Selects the LFO 102: St. BPM Mod. Delay (Stereo BPM Waveform Sine Waveform Changes the Modulation Delay) ← LFO Shape –100...+100 curvature of the LFO Waveform p.224 This is a stereo modulation delay that lets you synchronize the LFO Freq Sets the speed of the LFO [Hz]...

  • Page 283: Tape Echo Bpm

    Single size effects 103: St.BPMAutoPanDly (Stereo BPM Auto Panning Delay) Selects the type of 104: Tape Echo BPM notes to specify the ... 3 L Dly Note Base Note left channel delay time p.272 This is a tape echo that lets you synchronize the delay time to the Sets the number of tempo of the song.

  • Page 284: Reverb Hall

    Effect Guide Sets the stereo image ← L, 1...99, R 105: Reverb Hall of tap2 Sets the Tap2 Feedback FB Amt –100...+100 feedback amount This hall-type reverb simulates the reverberation of mid-size Amount p.270 concert halls or ensemble halls. Sets the Tap3 output Tap3 Lvl Tap3 Level 0...100...

  • Page 285: Reverb Room

    Single size effects 107: Reverb Room Reverb - Room Type 107: Reverb Room Level (Early Reflections) This room-type reverb emphasizes the early reflections that make the sound tighter. Changing the balance between the early Reverb reflections and reverb sound allows you to simulate nuances, such as the type of walls of a room.

  • Page 286: Early Reflections

    Effect Guide 113: Early Reflections 114: P4EQ - Mt.Delay (Parametric 4- Band EQ - Multitap Delay) This effect is only the early reflection part of a reverberation sound, and adds presence to the sound. You can select one of the This effect combines a mono four-band parametric equalizer and a four decay curves.

  • Page 287: Comp - Mt.delay (compressor - Multitap Delay)

    Single size effects 113: Early Reflections 115: Comp - Mt.Delay (Compressor - 116: Limiter - Mt.Delay (Limiter - Multitap Delay) Multitap Delay) This effect combines a mono compressor and a multitap delay. This effect combines a mono limiter and a multitap delay. You can You can change the order of the effects.

  • Page 288: Exciter - Mt.delay (exciter - Multitap Delay)

    Effect Guide 117: Exciter - Mt.Delay (Exciter - 118: OD/HG - Mt.Delay (Overdrive/ Multitap Delay) Hi.Gain - Multitap Delay) This effect combines a mono exciter and a multitap delay. This effect combines a mono overdrive/high-gain distortion and a multitap delay. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry...

  • Page 289: Cho/flng - Mt.dly (chorus/flanger - Multitap Delay)

    Single size effects 119: Cho/Flng - Mt.Dly (Chorus/Flanger - Multitap Delay) 119: Cho/Flng - Mt.Dly (Chorus/ 120: Reverb - Gate Flanger - Multitap Delay) This effect combines a mono reverb and a gate. This effect combines a mono chorus/flanger and a multitap delay. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Wet / Dry...

  • Page 290

    Effect Guide Envelope Select Source Input Reverb Mix Threshold The “Envelope Select” parameter enables you to select whether turning the gate on and off is triggered by the input signal level or controlled directly by the modulation source. You can select from Off to Gate2+Dmpr for the Source parameter to specify the modulation source.

  • Page 291: Double Size Effects

    Double Size effects D00: St.Multiband Limiter (Stereo Multiband Limiter) Double Size effects D00: St.Multiband Limiter (Stereo D01: OD/HyperGain Wah (Overdrive/ Multiband Limiter) Hyper Gain Wah) This is a stereo multiband limiter. This distortion effect has two modes: overdrive and hyper-gain that produces a strong distortion.

  • Page 292: D02: Guitaramp + P4eq (guitar Amp Model + Parametric 4-band Eq

    Effect Guide Speaker Switches the speaker Sets the gain of Band SpeakerSim Off, On Gain [dB] Gain [dB] –18...+18 Simulation simulation on/off Sets the balance Band3 Sets the center Dry, 1 : 99... ← Wet/Dry between the effect B3 F [Hz] Cutoff 300...10.00k frequency of...

  • Page 293: D03: G.amp Clean Combo

    Double Size effects D04: G.Amp California 1x12 TWEED D03: G.Amp Clean Combo 4x10 TWEED D04: G.Amp California This models the clean channel of a amp that went on sale in 1975 2x12 BLACK and contained two 12" speakers. As the name suggests, it produces 4x12 UK H30 a clean tone with a tight sounding character, and a deep and 1x12 TWEED...

  • Page 294: D08: St. Mic + Preamp (stereo Mic Modeling + Preamp)

    Effect Guide Amp Type D09: Vocoder Cabinet Type This effect modifies the input signal (carrier) by giving it the tonal Recommended Combinations of Bass Amp Models and character of a different signal (the modulation). The most popular Cabinets: way to use this is to input a vocal signal from a connected mic as the modulator, creating the impression that the musical instrument Amp Type Cabinet Type...

  • Page 295: D10: Rotary Speakerod (rotary Speaker Overdrive)

    Double Size effects D10: Rotary SpeakerOD (Rotary Speaker Overdrive) Distance between the D10: Rotary SpeakerOD (Rotary Mic Distnce Mic Distance 0...100 microphone and rotary speaker p.252 Speaker Overdrive) Angle of left and right ← Mic Spread 0...100 microphones p.252 This is a stereo rotary speaker effect. It has an internal speaker Sets the balance Dry, 1 : 99...

  • Page 296: D11: Multitap Cho/delay (multitap Chorus/delay)

    Effect Guide Always On, Selects on, off, or D11: Multitap Cho/Delay (Multitap Always Off, modulation source On→Off Status Tap6 Status for the control of Tap6 (Dm), Chorus/Delay) output Off→On p.288 (Dm) This effect has six chorus blocks with different LFO phases. You LFO Freq Sets the speed of the LFO [Hz]...

  • Page 297: D12: St. Pitch Shifter (stereo Pitch Shifter)

    Double Size effects D12: St. Pitch Shifter (Stereo Pitch Shifter) Mode D12: St. Pitch Shifter (Stereo Pitch Switches the operating mode of the pitch shifter. Slow minimizes the tonal change, and Fast provides fast response. Med. is between Shifter) these two choices. Choose the Fast mode if you need only a small amount of pitch shift, and choose Slow if you need a large amount This is a stereo pitch shifter.

  • Page 298

    Effect Guide...

  • Page 299: Appendices

    Appendices Alternate Modulation Sources (AMS) AMS Mixers Alternate Modulation The AMS Mixers combine two AMS sources into one, or process Overview an AMS source to make it into something new. For instance, they can add two AMS sources together, or use one Alternate Modulation lets you use controllers, envelopes, LFOs, AMS source to scale the amount of another.

  • Page 300: Ams (alternate Modulation Source) List

    Source) List KnobMod3[+] KnobMod4[+] The effect will be applied by the sequence data of the KROSS or by control change data received via MIDI IN. Physical and MIDI controllers With these AMS sources, the value and the direction of the resulting change are different than KnobMod1: #17–KnobMod4:...

  • Page 301

    Alternate Modulation Sources (AMS) AMS (Alternate Modulation Source) List Gate2 Gate2+Damper Gate 2 is similar to Gate 1, but it triggers with every new note-on, even in the middle of a legato phrase. Gate2+Damper includes the damper pedal in the equation, as shown in the diagram below. Note: When used as a reset controller for Common LFO, Gate2 and Gate2+Damper will have the same effect.

  • Page 302: Alternate Modulation Settings

    Appendices • The tone, EG, and LFO etc. can be controlled by key velocity or Alternate Modulation settings the modulation wheel, and also from a button, or pedal etc. • Panning can be controlled in realtime from a controller, EG, or When you use an AMS (Alternate Modulation Source), the LFO etc.

  • Page 303

    Intensity to B as positive (+) values, and move the joystick of a octave, and halving the tempo will lower the pitch one octave. synthesizer connected to the KROSS in the -Y direction, the Filter EG effect will gradually increase. If you set Intensity to...

  • Page 304

    Appendices can use Intensity to A and Intensity to B to specify the intensity Amp EG (see page 37) separately for Filter A and B. EG levels can be controlled by the Common LFO, keyboard tracking, controllers, or tempo etc. •...

  • Page 305

    Alternate Modulation Sources (AMS) The effects of AMS on various parameters, and example applications • By setting AMS to Gate 1, you can make the Common LFO reset when a note is played from a state where all notes are off. For example, this will ensure that a filter sweep always starts from the same place.

  • Page 306: Dynamic Modulation Sources (dmod)

    Appendices Dynamic Modulation Sources (Dmod) You can control certain effect parameters using the modulaiton Dynamic Modulation Source wheel ,SW1/SW2, etc. “on the fly.” These parameters can also be controlled by the sequencer. List Controlling effects in this way is referred to as Dynamic Modulation.

  • Page 307

    K.M1 #20 (Knob Modulation3: CC#20) K.M1 #21 (Knob Modulation4: CC#21) The effect will be applied by the sequence data of the KROSS or by control change data received via MIDI IN. When the control change value is at the middle value of 64, the effect as a dynamic modulation source will be 0.

  • Page 308: Sw1/2 Assign

    Appendices SW1/2 Assign You can assign the following functions to [SW1] and [SW2]. Pitch Bend Lock Make the SW1 and SW2 settings in each mode. The switch will change the locked/unlocked state of the pitch bend wheel (locked when the LED is lit). •...

  • Page 309: Foot Switch Assign

    Foot Switch Assign Dynamic Modulation Source List Foot Switch Assign Here you can assign the function of an assignable switch (a Song Punch In/Out The switch will control sequencer separately sold PS-1 or PS-3) that's connected to the punch-in/punch-out in the Sequencer ASSIGNABLE SWITCH jack.

  • Page 310: Foot Pedal Assign

    Appendices Foot Pedal Assign Specify the function that will be controlled by an assignable pedal CC#02 (JS-Y) Controls AMS or Dmod. Choose JS- (separately sold XVP-10, XVP-20 or EXP-2) connected to the Y:#02 for AMS, or JS-Y #2 for Src. ASSIGNABLE PEDAL jack.

  • Page 311: Realtime Controls

    REALTIME CONTROLS Dynamic Modulation Source List REALTIME CONTROLS When you're playing a program or combination,you can use If this is On, the velocity sensitivity is set to a light touch. REALTIME CONTROLS to adjust the sound or the effects in real Fortissimo (ff) can be produced even with a light touch.

  • Page 312

    Appendices Turning the knob toward the right increases the amount of effect, ATTACK [000…127] and at a value of 127 it will be at the maximum. Adjusts the envelope attack times of the filter and amp. This Note: Since the master effect section does not output the Dry specifies the attack time that starts at note-on.

  • Page 313: Saving Your Edits

    REALTIME CONTROLS Dynamic Modulation Source List For preload sounds, either a reverb-type or a delay-type effect is 5. Select AUDIO IN 2, and turn VOCODER (the KNOB1 assigned to master effect 2. Use this when you want to apply these knob) toward the right.

  • Page 314

    Appendices To save the edited sound, execute "Write Program" or "Write Combination." Note: In Combination mode, only some parameters can be saved. For information as to which a parameter can be saved, refer to the explanation of each parameter. Note: In Sequencer mode, the edited content cannot be saved. Saving the edited content does not save the angle of the knobs;...

  • Page 315: Midi Transmission When The Kross's Controllers Are Used

    MIDI transmission when the KROSS’s controllers are used Dynamic Modulation Source List MIDI transmission when the KROSS’s controllers are used The following tables show the relation between the MIDI (dynamic modulation source) that correspond to each MIDI messages that are transmitted when the KROSS’s controllers are message.

  • Page 316

    MIDI channel specified by MIDI Channel (see The following sections describes operation in each mode. page 116). If the Status is INT or BTH, using one of the KROSS’s controllers Program mode will affect only that MIDI track. Simultaneously, the same effect will also apply to any MIDI track with the same MIDI Channel When one of the KROSS’s controllers is used, a control change...

  • Page 317: Kross And Midi Ccs

    KROSS and MIDI CCs Responses to standard MIDI controllers KROSS and MIDI CCs Responses to standard MIDI controllers The following table shows how the KROSS responds to MIDI control change messages, and the relation between settings and controller movements on the KROSS. Control...

  • Page 318

    –12, you would first transmit [B0, 64, 02] (64H=CC#100) and [B0, 65, 00] (65H=CC#101) to the KROSS to select the RPN coarse tune. Then you would set this to –12 by transmitting [B0, 06, 34] (06H=CC#6), 34H=52 (cor- responds to –12), and [B0, 26, 00] (26H=CC#38, 00H=0).

  • Page 319: Parameters Controlled By Midi Ccs #70-79

    KROSS, the assigned CC# will be In Program mode, the corresponding program parameters will be transmitted, and the KROSS itself will also be controlled at the temporarily edited when CC#70–79 messages are received on the same time. If this message is received, the result will be the global MIDI channel (MIDI Channel G–MIDI>...

  • Page 320: Midi Applications

    When using the KROSS by itself, leave Local Control turned on. • If you want to control an external MIDI tone generator from the (If this is off when the KROSS is used by itself, playing the KROSS, set Convert Position to PreMIDI. The various settings keyboard will not produce sound.)

  • Page 321: Messages Transmitted And Received By The Kross

    MIDI channels. Input (see page 128) setting of each song. You will normally Receive: Global MIDI channel. set this to Tch and use the KROSS’s keyboard to control trig- Transmit: The MIDI channel specified by the Drum Track gering.

  • Page 322: Selecting Combinations

    EX2 when you select the Program Select parameter, when you select a song, or when you return to the beginning of a mea- When the KROSS’s pitch bend wheel is moved away from sure. For more information, please see the “PIANO...USER: yourself, a pitch bend effect will be applied, and pitch bender 000...127]”...

  • Page 323: Control Change

    When this message is received, the result will be the same Selecting program/combination banks as when the controller is used. The volume of the KROSS is determined by multiplying the value Bank select (CC#00, CC#32) of the Volume message with the value of the Expression message.

  • Page 324: Controlling Effects

    When “Foot controller (CC#04)”–“Soft pedal (CC#67)” are used Effect 2 depth (IFX1–5 on/off) (CC#92) [Bn, 5C, vv] on the KROSS, the specified alternate modulation or dynamic Effect 4 depth (MFX1, 2 on/off) (CC#94) [Bn, 5E, vv] modulation etc. will be controlled. When these messages are...

  • Page 325

    CC#70–79 control specific parameters of a program. For details on the program parameters that correspond to each Resetting all controllers on a specific control change, and how the KROSS will respond in each mode channel when these are received, refer to “KROSS and MIDI CCs” on page 309.

  • Page 326

    If mm: Model ID bytes 2 (01) this data is received by the KROSS, the data will be written directly into internal memory, and it will not be necessary to mm: Model ID bytes 3 (49) perform the Write procedure.

  • Page 327

    USB B connector to your computer’s USB port. until this message is received (or until a sufficient interval of • When you set MIDI Clock to Internal, the KROSS will be the time has elapsed). master device, and will transmit MIDI timing clock messages.

  • Page 328

    MIDI Clock to External MIDI. If you use the USB connector Drum Track, Step sequencer function and internal sequencer will for the connections, set it to External USB. The KROSS will be not be applied in duplicate to the tone generator.

  • Page 329

    MIDI applications Recording the MIDI output of the KROSS’s controllers, Arpeggiator, Drum Track, Step Sequencer With these settings, the data will be recorded and played correctly, About GM (General MIDI) and the arpeggiator will not be applied in duplicate. The KROSS supports the GM standard. It also supports the GM2 sound map (including bank select) with 256 programs and 9 drum programs provided in ROM banks GM, g(1)–g(9), and g(d).

  • Page 330: File Compatibility With The Kross (previous Model)

    Appendices File compatibility with the KROSS (previous model) The KROSS can convert and load .PCG and .SNG files of KROSS Bank/number structure of the KROSS and the (previous model) format. KROSS (previous model) The KROSS (previous model) itself cannot load KROSS format The bank and number structure of combinations, programs, drum .PCG and .SNG files.

  • Page 331: Midi Implementation

    MIDI Implementation Recording the MIDI output of the KROSS’s controllers, Arpeggiator, Drum Track, Step Se- MIDI Implementation KROSS (2017) MIDI IMPLEMENTATION Version 1.0 (May.01.'17) 1. TRANSMITTED DATA 1-1 CHANNEL MESSAGES [H] :Hex, [D] :Decimal +------+---------+--------------------+---------------------------------------------------------------------+----+ |Status| Second Third Description ( Transmitted by ..)

  • Page 332

    49 : KROSS series LSB ID 8th byte 01 : KROSS series MSB ID 9th byte mm : KROSS 61 member code mm = 05 KROSS 88 member code mm = 0F 11th byte vv : System Version 1st (1 - )

  • Page 333

    MIDI Implementation Recording the MIDI output of the KROSS’s controllers, Arpeggiator, Drum Track, Step Se- 2. RECOGNIZED RECEIVE DATA 2-1 CHANNEL MESSAGES [H] :Hex, [D] :Decimal +------+---------+--------------------+---------------------------------------------------------------------+----+ |Status| Second Third Description ( Use ..) |ENA | |[Hex] |[H] [D]...

  • Page 334

    When in Combination/Sequencer mode, each timbre's/track's channel.(Status is INT or BTH) : Always Global Channel No. (0 - 15) : Random : Same as Transmitted data *1 : When Bank Map in Global mode is KORG; MIDI In [Hex] Program...

  • Page 335

    MIDI Implementation Recording the MIDI output of the KROSS’s controllers, Arpeggiator, Drum Track, Step Se- 2-2 SYSTEM COMMON MESSAGES [H] :Hex, [D] :Decimal +------+--------+--------------------+--------------------------------------------------------+ |Status| Second | Third Description ( Use for ..) |[Hex] |[H] [D] | +------+--------+--------------------+--------------------------------------------------------+ | ss (ss)|...

  • Page 336

    ©2017 KORG INC.

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