Korg Krome Parameter Manual
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Korg Krome Parameter Manual

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  • Page 1 Parameter Guide...

  • Page 2: About This Manual

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

  • Page 3: Table Of Contents

    Table of Contents Table of Contents About this manual......ii PROG P6: AMS/Common Key Track (AMS Mixer/Common Keyboard Track)..46 6–1: OSC1 AMS Mix1 .
  • Page 4 Table of Contents COMBI P3: Timbre Param (Timbre Parameters) Combination: Menu Command...101 3–1: MIDI T01–08, Sequencer mode ... . . 105 3–2: MIDI T09–16 .
  • Page 5 Effect I/O........239 KROME sequencer file formats ....192 Insert Effects (IFX1–IFX5) .
  • Page 6 Table of Contents Outputs ....... .248 038: Stereo Flanger......271 039: Vintage Flanger .
  • Page 7 Table of Contents 086: Reverb Wet Plate ..... . 299 128: P4EQ // Comp (Parametric 4‐Band EQ // Compressor) .......319 087: Reverb Dry Plate .
  • Page 8 Double Size......327 KROME and MIDI CCs ....356 172: St.

  • Page 9: Program Mode

    Program mode PROG Page Select You can select Program mode pages in several ways. Page Main content 1. Press the PAGE button. Select and play programs. (see p.2) Oscillator and Drum track level settings. Alternatively, press the mode button on the upper left side (see p.5) P0: Play of the display, and then press the right side of the menu.

  • Page 10: Prog P0: Play

    • You can use a foot switch to select programs. (see “Foot The Auto Song Setup feature copies the current Program or Switch Assign” on page 202 and “List of Foot Switch Combination into a Song, and then puts the KROME in assignments” on page 349) record‐ready mode.
  • Page 11 PROG P0: Play 0–1: Main Find menu 4. To select from a sub-category, press the Jump to Sub button. Press one of the left tabs to select a sub‐category. Note: Only Sub‐categories that are assigned to Programs can be selected from the tabs. To confirm your selection, press the OK button.
  • Page 12 Program mode Stop Watch TONE CONTROLS When you press the button on the upper right side of the CUTOFF (Filter Cut Off) [000...127] display, the screen will show the amount of time that has This knob scales the cutoff frequencies of Filters A and B, elapsed since the power was turned on.

  • Page 13: 0-3: Mixer & Drum Track

    PROG P0: Play 0–3: Mixer & Drum Track 0–1d: Effect 0–3: Mixer & Drum Track IFX 1, 2, 3, 4, 5 0–3 0–1a Menu MFX 1, 2 [000...127] Here you can view the effects that are assigned to the insert 0–3b effects, master effects, and total effect.

  • Page 14: 0-5: Arpeggiator

    The Drum Track provides an easy way for you to play back a the arpeggio pattern etc. rhythm section using the KROME’s high‐quality drum programs and a rich variety of drum patterns. To write (save) the edited content, use Write Program. You...

  • Page 15: 0-7: Tone Adjust

    Program is saved. When the Program is Similarly, when the Relative parameter is at –99 (the saved, the KROME calculates the combined effects of Tone minimum), the Program parameters are at zero. Adjust and dedicated CC modulation (from the Real Time knobs, for instance), and saves the results into the Program parameters directly.
  • Page 16 Program mode Note: System exclusive messages are not Tone Adjust Stored Value parameters; they are linked to the actual value. For example, This shows the original value of the parameter, before the if a slider in the display is assigned to control filter effects of Tone Adjust.
  • Page 17 PROG P0: Play 0–7: Tone Adjust Per‐Oscillator parameters apply to OSC1 and 2 individually, Amp EG Attack Time. (–99...+99) and are marked as such: OSC1 and OSC2. This scales the attack times of the Amp EGs. Each slider can be assigned to only one parameter, and each Amp EG Decay Time.
  • Page 18 Program mode information, please see “Number of Voices” on page 13. For Single and Double Programs: MS/DKit Select overrides all of the Multisample Velocity Detune. (00...99, Absolute) zones, so that the newly selected Multisample plays over the This Absolute parameter sets the amount of detuning entire velocity range.
  • Page 19 PROG P0: Play 0–7: Tone Adjust modulation from LFO1, as described under “Intensity to A” 0–7: Menu Command on page 30. Filter LFO 1 Intensity to B. (–99...+99, Absolute) • 0: Write Program see p. 64 This controls the depth and direction of Filter B cutoff •...

  • Page 20: Prog P1: Basic/Controllers

    Program mode PROG P1: Basic/Controllers OSC Picture 2 is unavailable if the Oscillator Mode is Single 1–1: Program Basic or Drums. 1–1 1–1b: Voice Assign Mode Menu 1–1a Voice Assign Mode [Poly, Mono] Select the basic voice allocation mode. Depending on which one you select, various other options will appear, such as 1–1b Poly Legato (Poly mode only) and Unison (Mono mode...
  • Page 21 PROG P1: Basic/Controllers 1–1: Program Basic Mode [Normal, Use Legato Offset] Voice Detune This parameter is available only when Mono Legato is On. –12 Normal: When you play legato, the multisample, envelopes, and LFOs will not be reset; only the pitch of the oscillator will change.

  • Page 22: 1-2: Note-On/Scale

    • Enable/disable the half‐damper function. A half‐damper pedal is a special type of continuous foot pedal, such as the Korg DS‐1H. In comparison to a standard • Select the basic scale of the program. footswitch, half‐damper pedals offer more subtle control of sustain, which can be especially useful for piano sounds.
  • Page 23 PROG P1: Basic/Controllers 1–2: Note-On/Scale In general, when you use the KeyOff setting, it’s also best to When Key is set to C, use the C, D, F, G and A notes. Other set the oscillator’s Amp EG Sustain Level to 0. keys will play the normal equal‐tempered pitches.

  • Page 24: 1-3: Controllers Setup

    Program mode 1–3: Controllers Setup 1–8 Menu 1–8a 1–8b Here you can specify the SW1 and SW2 switch and front panel 1–4 knobs of the program when Realtime Controls USER is selected. 1–3a: Panel Switch 1/2 Assign SW1 (SW1 Assign) [Off, ..., JS-Y Lock] This assigns the function of SW1.

  • Page 25: Prog P2: Osc/Pitch

    PROG P2: OSC/Pitch 2–1: OSC1 Setup PROG P2: OSC/Pitch These pages control the first and most basic elements of 2–1: OSC1 Setup sounds: the Multisamples that the oscillators play, and the pitch at which it plays them. For instance, you can: •...
  • Page 26 Program mode Bank [Mono, Stereo, XL, M, XL, St] Depending on the multisample, high Level settings may cause distortion when playing many notes at a This is displayed if Multisample On/Off is On. time. If this occurs, lower the Level. You can choose between looking at mono and stereo Multisamples.

  • Page 27: 2-2: Osc1 Velocity

    PROG P2: OSC/Pitch 2–2: OSC1 Velocity Note: You can also set the note value and velocity value by 2–1d: Drum Kit holding down the edit cell or the ENTER button and playing a note on the keyboard (see OG p.10). These parameters appear when the Oscillator Mode is set to Drums or Double Drums.

  • Page 28: 2-3: Osc1 Pitch

    Program mode Crossfade Curves [001...127] This sets the highest velocity at which the Oscillator 1 will Linear sound. The OSC1 Top velocity must be greater than the OSC1 Bottom velocity. Volume Note: You can also set the note value and velocity value by holding down the edit cell or the ENTER button and playing Xfade a note on the keyboard (see OG p.10).
  • Page 29 PROG P2: OSC/Pitch 2–3: OSC1 Pitch When the Intensity is set to a negative (–) value, the effect of Pitch Slope, pitch, and note the EG is reversed; positive EG values mean lower pitches, Pitch and negative EG values mean higher pitches. AMS (Pitch EG) [List of AMS Sources] This selects any AMS modulation source to scale the amount...

  • Page 30: 2-5: Osc2 Setup

    Program mode several octaves will take much longer than gliding a half‐ Now, if you move the joystick up, the effect of the LFO will step. fade away. When the joystick is all the way at the top of its range, the LFO will be completely cancelled out.

  • Page 31: 2-7: Osc2 Pitch

    PROG P2: OSC/Pitch 2–7: OSC2 Pitch 2–7: OSC2 Pitch 2–10: Pitch EG This page controls the pitch settings for Oscillator 2. 2–10 Menu It is available when the Oscillator Mode is set to Double or 2–10a Double Drums; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1, as 2–10b described under “2–3: OSC1 Pitch”...
  • Page 32 Classic analog synth envelopes made these curved shapes destination) go up from its programmed value; negative naturally. The KROME goes a step further than vintage levels will make it go down. synths, however, and lets you control the amount of curvature separately for each of the four envelope segments.
  • Page 33 PROG P2: OSC/Pitch 2–10: Pitch EG Decay [0L (Linear), 1...9, 10E (Exp/Log)] Br (Break) [–99...+99] This controls the depth and direction of the AMS This sets the curvature of the Decay segment ‐ the transition modulation for the Break level. from the Attack level to the Break level.

  • Page 34: Prog P3: Filter

    Program mode PROG P3: Filter Filtering can make subtle or dramatic changes to the When 24 dB/oct is selected, only the controls for Filter A are oscillator’s timbre. Each oscillator has two multimode active; the controls for Filter B will be grayed out. resonant filters, A and B, as well as a dedicated filter envelope and keyboard tracking generator.
  • Page 35 PROG P3: Filter 3–1: Filter1 AMS (Resonance) [List of AMS Sources] Filter Types and Cutoff Frequency This selects a AMS source to control the Resonance amount. For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 340. Low Pass AMS Int.

  • Page 36: 3-2: Filter1 Keyboard Track

    This specifies the note at which the two sloped lines in the lower range will be connected. The KROME keyboard tracking can also be much more complex, since it allows you to create different rates of Center [C–1...G9]...

  • Page 37: 3-3: Filter1 Modulation

    PROG P3: Filter 3–3: Filter1 Modulation Btm Lo (Bottom-Low) [–Inf, –99...+99, +Inf] For more information, please see “Program: Menu Command” on page 64. This sets the slope between the bottom of the MIDI note range and the Key Low key. For normal key track, use negative values.

  • Page 38: 3-4: Filter1 Lfo Mod

    Program mode • You can set an initial positive amount with the Intensity AMS2 (Filter A AMS2) [List of AMS Sources] to A/B parameters, and then reduce this amount with This selects the second modulation source for controlling velocity. In this case, the final effect of the EG is simply Filter A’s cutoff frequency.

  • Page 39: 3-5: Filter1 Eg

    PROG P3: Filter 3–5: Filter1 EG LFO modulation of Filter Cutoff 3–4: Menu Command • 0: Write Program see p. 64 • 1: Exclusive Solo see p. 64 • 2: Auto Song Setup see p. 65 Low setting High setting •...
  • Page 40 Classic analog synth envelopes made these curved shapes destination) go up from its programmed value; negative naturally. The KROME goes a step further than vintage levels will make it go down. synths, however, and lets you control the amount of Start [–99...+99]...
  • Page 41 PROG P3: Filter 3–5: Filter1 EG Slope [0L (Linear), 1...9, 10E (Exp/Log)] At (Attack) [–99...+99] This sets the curvature of the Slope segment ‐ the transition This controls the depth and direction of the AMS from the Break level to the Sustain level. modulation for the Attack level.

  • Page 42: 3-6: Filter2

    Program mode 3–5: Menu Command • 0: Write Program see p. 64 • 1: Exclusive Solo see p. 64 • 2: Auto Song Setup see p. 65 • 3: Copy Oscillator see p. 65 • 4: Swap Oscillator see p. 65 •...

  • Page 43: Prog P4: Amp/Eq

    PROG P4: Amp/EQ 4–1: Amp1/Driver1 PROG P4: Amp/EQ Oscillators 1 and 2 have separate controls for volume (also AMS (Drive) [List of AMS Sources] called “amplitude,” or “amp” for short); pan; and Drive; as This selects an AMS modulation source to control the Drive well as dedicated amp envelopes and keyboard tracking amount.

  • Page 44: 4-2: Amp1 Modulation

    C4. Negative (–) intensities will have the opposite effect. KROME’s keyboard tracking can be fairly complex, if desired. You can create different rates of change over up to Use DKit Setting [Off, On] four different parts of the keyboard.
  • Page 45 PROG P4: Amp/EQ 4–2: Amp1 Modulation Btm Lo (Bottom-Low) and Lo Cent (Low-Center): negative +Inf and –Inf ramps ramps make the keyboard tracking’s output go down as you +Inf and –Inf are special settings which create abrupt play lower, and positive ramps make the output go higher. changes for split‐like effects.

  • Page 46: 4-3: Amp1 Eg

    Program mode [List of AMS Sources] 4–3: Amp1 EG This selects any AMS modulation source to control the Amp1 level. For a list of AMS sources, please see “AMS (Alternate Modulation Source) List” on page 340. 4–3 Menu 4–3a Intensity [–99...+99] This controls the depth and direction of the modulation.
  • Page 47 Classic analog synth envelopes made these curved shapes segment. naturally. The KROME goes a step further than vintage synths, however, and lets you control the amount of For more information, please see “Once an EG segment curvature separately for each of the four envelope segments.

  • Page 48: 4-5: Amp2/Driver2

    Program mode Amp EG Level Modulation higher velocities. If you instead set At (Attack) to –99, the Attack time will get much shorter at higher velocities. When the AMS source is at its maximum value for instance, Volume Volume when Velocity is at 127 a setting of +8 will make the segment Time Time time almost twice as long, and a setting of –8 will cut the...

  • Page 49: 4-10: Eq

    PROG P4: Amp/EQ 4–10: EQ 4–10: EQ 4–10 Menu 4–10a This three‐band EQ, with sweepable mid, is shared by both of the Program’s oscillators 1, 2. In Combinations and Sequencers, each timbre and track has its own individual EQ. You can import the Program’s EQ settings into Tracks and Timbres by using the Combination and Sequencer Auto Load Program EQ options.

  • Page 50: Prog P5: Lfo

    Program mode PROG P5: LFO Each of the Oscillators 1, 2 has two LFOs, which you can use Random3 (S/H) generates a pulse wave with random to modulate the filter, amp, pitch, and many other timing. It’s the opposite of traditional sample and hold; the parameters.
  • Page 51 PROG P5: LFO 5–1: OSC1 LFO1 frequencies. If it emphasizes the low range, the filter will Since Offset affects the output values of the LFO, it’s spend more time at the lower frequencies. important to note that it affects the signal after the Shape function, as shown below: LFO Shape How the LFO signal is affected by Shape and Offset...

  • Page 52: 5-2: Osc1 Lfo2

    Program mode Int Mod AMS (Intensity Mod AMS) 5–2: OSC1 LFO2 [List of AMS Sources] This selects a secondary AMS source to scale the intensity of This is Oscillator 1’s second LFO. Its parameters are exactly AMS1. the same as those for the first LFO, as described under “5–1: For a list of AMS sources, please see “AMS (Alternate OSC1 LFO1”...

  • Page 53: 5-10: Common Lfo

    PROG P5: LFO 5–10: Common LFO Shape [–99...+99] 5–10: Common LFO Shape adds curvature to the basic waveform. For more details, please see the entry under LFO1 “Shape” on page 42. 5–8 Menu 5–8a Note: Shape does not affect the Square and Random3 waveforms, since their values are always either +99 or –99.

  • Page 54: Prog P6: Ams/Common Key Track (Ams Mixer/Common Keyboard Track)

    Program mode PROG P6: AMS/Common Key Track (AMS Mixer/Common Keyboard Track) Each Oscillator has two AMS Mixers, which are simple but Quantize turns smooth transitions into discrete steps. For powerful tools for combining and modifying AMS signals. more information, please see “Quantize” on page 49. The two Oscillators also share two Common keyboard Gate Control uses a third AMS source to switch between tracking generators, in addition to the dedicated keyboard...
  • Page 55 PROG P6: AMS/Common Key Track (AMS Mixer/Common Keyboard Track) 6–1: OSC1 AMS Mix1 Amt AxB Offset AMS Mixer, Type = Offset AMS Mixer, Type =Amt A x B Amt A AMS A Output AMS B AMS A Output This simple processor adds a constant offset to the input, and also allows you to double the gain of an AMS source.
  • Page 56 Program mode Smoothing Shape This Mixer Type smooths out the AMS input, creating more This Mixer Type adds curvature to the AMS input. This gentle transitions between values. You have separate control applies deformation to the AMS input. You can use this to of the amount of smoothing during the attack (when the customize a controller curve, such as the exponential curve signal is increasing) and decay (when it’s decreasing).
  • Page 57 PROG P6: AMS/Common Key Track (AMS Mixer/Common Keyboard Track) 6–1: OSC1 AMS Mix1 AMS Mixer Shape examples AMS A [List of AMS Sources] Bipolar Triangle Wave This selects the AMS input source to be quantized. Asymmetric For a list of AMS sources, please see “AMS (Alternate Modulation Source) List”...
  • Page 58 Program mode Gate Control: 6. On the OSC Pitch page, assign the AMS Mixer to the pitch AMS. Source [List of AMS Sources] 7. Turn off the foot switch, and while holding down a chord, move the joystick in the X-direction. The pitch This selects the AMS source to control the gate.

  • Page 59: 6-2: Osc1 Ams Mix2

    This can be useful for making the timbre consistent across the entire range, or adjusting parameters according to pitch. The KROME keyboard tracking can be fairly complex, if desired. You can create different rates of change over up to four different parts of the keyboard. For instance, you can: •...

  • Page 60: (Common Keyboard Track 2)

    Program mode –Inf, the keyboard tracking will go to its extreme highest or 6–9a: Keyboard Track 1 lowest value over the span of a single key. +Inf and –Inf Ramps Low Break [C–1...G9] Ramp = +Inf This specifies the note that will be the break point connecting the two sloped lines in the low region.

  • Page 61: Prog P7: Arp/Dt (Arpeggiator/Drum Track)

    PROG P7: ARP/DT (Arpeggiator/Drum Track) 7–1: ARP Setup PROG P7: ARP/DT (Arpeggiator/Drum Track) Here you can make settings for the arpeggiator used by the 7–1b: Arpggiator Setup program. You can make settings so that when you select a program, Pattern* [P0...P4, U0000(INT)...U0899(INT), these arpeggiator settings will automatically switch to the U0900(USER)...U1027(USER)]...
  • Page 62 Program mode This can also be controlled by the arpeggio control (ARP) SWING knob. Turning the knob toward the left will adjust the timing in the “‐” direction, and turning it toward the Octave: 4 right will adjust the timing in the “+” direction. Sort* [Off, On] This specifies the order in which the notes you press will be...

  • Page 63: 7-2: Arp Scan Zone

    PROG P7: ARP/DT (Arpeggiator/Drum Track) 7–2: ARP Scan Zone • 2: Auto Song Setup see p. 65 7–2: ARP Scan Zone • 3: Copy Arpeggiator see p. 66 For more information, please see “Program: Menu 7–2 Command” on page 64. 7–2a Menu 7–2b...

  • Page 64: 7-5: Drum Track Program

    Program mode 7–4b: Trigger 7–5: Drum Track Program Trigger Mode [Start Immediately, Wait KBD Trig] 7–5 Start Immediately: When you press the DRUM TRACK Menu 7–5a button to turn it on (LED lit), the drum track pattern will start according to the Sync setting. When you turn it on, the drum track pattern will stop.
  • Page 65 PROG P7: ARP/DT (Arpeggiator/Drum Track) 7–5: Drum Track Program Bypass can be convenient for comparing the results of the IFX. Patch: EQ with the original signal. IFX1 [L/R, IFX1...5, Off] Input Trim [00...99] IFX2 [L/R, IFX1...5, Off] This controls the volume level going into the EQ. This setting corresponds to the volume;...

  • Page 66: Prog P8: Routing/Ifx (Insert Effect)

    Program mode PROG P8: Routing/IFX (Insert Effect) Here, you can make settings for the insert effects. For 8–1c: Use Dkit Setting instance, you can: • Send the output of a oscillator to an insert effect Use DKit Setting [Off, On] •...

  • Page 67: 8-2: Insert Fx Setup

    PROG P8: Routing/IFX (Insert Effect) 8–2: Insert FX Setup You can chain two or more effects into the same down‐ 8–2: Insert FX Setup stream effect. For instance, both IFX1 and IFX2 can be chained to IFX5. Effects can also join a chain in the middle. For instance, you 8–2 Menu can chain IFX3 to IFX4 to IFX5, and then chain IFX2 to IFX5...

  • Page 68: 8-3: Ifx1

    Program mode select an Effect Preset, and then save the Program, the Effect 8–2: Menu Command Preset setting will revert to “--------------.” • 0: Write Program see p. 64 Using Effect Presets • 1: Exclusive Solo see p. 64 1. Select an effect in the Insert FX Setup page. •...

  • Page 69: Prog P9: Mfx/Tfx/Lfo

    PROG P9: MFX/TFX/LFO (Master/Total Effect/LFO) 9–1: Routing PROG P9: MFX/TFX/LFO (Master/Total Effect/LFO) Here, you can make settings for the master effects and total 0 turns them off, and values of 1–127 restore the effect. For instance, you can: original setting. The global MIDI channel specified by MIDI Channel (Global 1–1a) is used for this message.

  • Page 70: 9-2: Mfx1

    Program mode menu, and then choose an effect within that category. Press 9–2: MFX1 the OK button to execute your choice, or press the Cancel button to cancel. 9–2 TFX On/Off [Off, On] Menu This turns total effect on/off. If this is off, the input will be 9–2a passed directly through.

  • Page 71: 9-5: Common Fx Lfo

    PROG P9: MFX/TFX/LFO (Master/Total Effect/LFO) 9–5: Common FX LFO [MIDI, 40.00...300.00] 9–5: Common FX LFO Base Note , , ] Times [01...32] 9–5 Menu 9–5a The frequency of the Common FX LFO will be the length of the Base Note note value multiplied by the Times value, relative to the tempo specified by the BPM value.

  • Page 72: Program: Menu Command

    • Multiple Solo The specified OSC1, OSC2, or drum track will be soloed. The This command writes an edited Program into the KROME solo on/off setting will alternate each time you press the Solo internal memory. It is available on every page in Program button.

  • Page 73: 2: Auto Song Setup

    Program: Menu Command Auto Song Setup Auto Song Setup Copy Oscillator This command automatically copies the settings of the Copy Oscillator is available on all of the tabs under the program or combination to a song, and enables the record‐ OSC/Pitch, Filter, Amp/EQ, AMS/Common KeyTrack pages.
  • Page 74 Program mode Erase Drum Track Pattern Erase Drum Track is available on the DrumTrk Pattern tab or DrumTrk Program tab of the ARP/DT. This erases the drum track pattern you specify. 1. Use the From field specify the source of the arpeggio settings (mode, bank, number) that you wish to copy.

  • Page 75: 3: Copy Mfx/Tfx

    Write FX Preset is available on all of the effects parameter editing pages, including IFX 1–5, MFX 1 and 2, and TFX. This command saves the edited effect into the KROME’s internal memory. 1. In Source 1 and Source 2, select each of the insert effects that you wish to swap.
  • Page 76 Program mode...

  • Page 77: Combination Mode

    Combination mode COMBI Page Select You can use the following ways to select the pages in Page Main content Combination mode. Select and play combinations. (see p.70) Program selection for each timbre. (see 1. Press the PAGE button to access “Page Select.” p.71) Alternatively, press the mode button on the upper left side P0: Play...

  • Page 78: Combi P0: Play

    To switch combinations The Auto Song Setup feature copies the current Program or • Choose Combination Select, use numeric keys 0–9 to Combination into a Song, and then puts the KROME in input the desired combination number, and press the record‐ready mode.
  • Page 79 COMBI P0: Play 0–1: Program T01–08, 0–2: Program T09–16 Category [00...17/00...07] (Tempo) [40.00... 300.00, EXT] Here, you can select the combination category. This is the tempo for the current Combination, which applies to tempo‐synced LFOs and effects, arpeggiator, and All programs are classified using eighteen main categories tempo‐synced effects.

  • Page 80: For More Information, Please See "Program: Menu Command

    101 When you switch combinations by operating the • 1: Exclusive Solo see p. 64 KROME, the bank and number of the combination you • 2: Auto Song Setup see p. 65 select are transmitted as bank select and program •...

  • Page 81: 0-3: Mixer T01-08, 0-4: Mixer T09-16

    COMBI P0: Play 0–3: Mixer T01–08, 0–4: Mixer T09–16 Routing/IFX–Insert FX Setup page will adjust the panning of 0–3: Mixer T01–08, the sound after the insert effect (“Mixer” on page 243). RND: The oscillator pan will change randomly at each note‐ 0–4: Mixer T09–16 If Status (Combi 3–1(2)c) is set to INT, CC#10 (pan) 0–3...

  • Page 82: 0-5: Arpeggiator A, 0-6: Arpeggiator B

    Combination mode 0–5(6)c: Arpeggiator Run A/B, 0–5: ARPEGGIATOR A, Timbre assign 0–6: ARPEGGIATOR B Arpeggiator Run A, B When the ARP button is on, the arpeggiator(s) you checked 0–5 0–5a Menu here will run if they are assigned to a timbre by Arpeggiator Assign (7–1(2)c).

  • Page 83: 0-7: Tone Adjust

    COMBI P0: Play 0–7: Tone Adjust the different timbres as much as you like, without losing 0–7: Tone Adjust your edits. Auto Load (Auto Load PRG) [Off, On] 0–7 When you first load a Program into a Timbre, this parameter 0–7a Menu determines whether or not the Program’s Tone Adjust...

  • Page 84: Controls

    Combination mode When a switch is assigned to a two‐state Absolute Controls parameter, such as Hold, the switch status directly reflects the parameter value: REALTIME CONTROLS lets you use knobs [1]–[4] to Switch On = On modify the parameters of the combination or the effects. You Switch Off = Off can also use these knobs to control the arpeggiators.
  • Page 85 COMBI P0: Play Controls In the P1: Controllers– Controllers Setup page you can assign a variety of modulation functions to Realtime Controls USER knobs 1–4. Many of the functions scale a particular set of Program parameters. All of the settings also correspond to MIDI messages usually CCs.

  • Page 86: Combi P1: Controllers

    Combination mode COMBI P1: Controllers 1–1c: Realtime Controls Knob Assign 1–1: Controllers Setup Here you can select the functions (mainly types of control change) that are assigned to knobs 1–4 when the SELECT 1–1 Menu 1–1a button has selected USER (See “Realtime Controls Knobs 1– 4 Assignments”...

  • Page 87: Combi P2: Eq

    COMBI P2: EQ 2–1: EQ Trim T01–08, 2–2: EQ Trim T09–16 COMBI P2: EQ 2–1(2)c: Trim 2–1: EQ Trim T01–08, 2–2: EQ Trim T09–16 Timbre 01 (Timbre Number): Auto Load Prog EQ [Off, On] 2–1 Menu 2–1a When you first load a Program into a Timbre, this parameter 2–1b determines whether or not the Program’s EQ settings will be loaded as well.

  • Page 88: 2-3: Eq Gain T01-08, 2-4: Eq Gain T09-16

    Combination mode 2–3: EQ Gain T01–08, 2–4: EQ Gain T09–16 2–3 Menu 2–3a 2–3b 2–3c These parameters adjust the three‐band EQ (with sweepable mid range) for timbres 1–8 and 9–16. 2–3(4)a: Combination Name, Tempo 2–3(4)b: Timbre Info For more information, please see “2–1: EQ Trim T01–08, 2–2: EQ Trim T09–16”...

  • Page 89: Combi P3: Timbre Param (Timbre Parameters)

    MIDI channel, the internal tone generator will sound 3–1b according to the internal settings. If this is set to EXT or EX2, playing the KROME will transmit MIDI messages on the 3–1c MIDI channel specified here. (Messages will also be transmitted simultaneously on the global MIDI channel.)

  • Page 90: 3-5: Pitch T01-08, 3-6: Pitch T09-16

    When Status (Combi 3–1(2)c) is INT, this parameter Portamento [PRG, Off, 001...127] will affect the pitches sounded by the KROME. When Status is EXT, this parameter will affect the note Make portamento settings for each timbre. numbers of the MIDI note messages that are PRG: Portamento will be applied as specified by the transmitted.

  • Page 91: 3-7: Scale T01-08, 3-8: Scale T09-16

    • 1: Exclusive Solo see p. 64 If Status (Combi 3–1(2)c) is INT, this setting will affect the pitch produced by the KROME. If Status is EXT, this • 2: Auto Song Setup see p. 65 setting will affect the note number of the note messages •...

  • Page 92: Combi P4: Zone/Delay

    Combination mode COMBI P4: Zone/Delay 4–1(2)d:Keyboard Zones 4–1: Key Zone T01–08, 4–2: Key Zone T09–16 Timbre 01 (Timbre Number): (Keyboard Zones T01–08, T09–16) Top Key [C–1...G9] Specifies the top key (upper limit) of the notes that will 4–1 sound each timbre. Menu 4–1a Top Slope...

  • Page 93: 4-3: Vel Zone T01-08

    COMBI P4: Zone/Delay 4–3: Vel Zone T01–08, 4–4: Vel Zone T09–16 (Velocity Zones T01–08, T09–16) a key (see OG p.10). 4–3(4)d: Velocity Zones It is not possible to set the bottom key above the top key of the same timbre. Nor is it possible for the top and Timbre 01 (Timbre Number): bottom slopes to overlap.

  • Page 94: 4-5: Delay T01-08, 4-6: Delay T09-16

    Combination mode Timbre 02...08, 09...16 (Timbre Number): 4–5: Delay T01–08, These are the delay time settings for timbres 2–8 and 9–16. 4–6: Delay T09–16 They are the same as for timbre 1. For more information, please see “Timbre 01 (Timbre Number):” above. 4–5 Menu 4–5a...

  • Page 95: Combi P5: Midi Filter

    Timbre 02...08, 09...16 (Timbre Number): items will be applied to the timbre’s program when the controllers of the KROME are operated or when MIDI data These are the MIDI Filter1 settings for timbres 2–8 and 9–16. is received. (Effect Dynamic Modulation is not affected by They are the same as for timbre 1.

  • Page 96: 5-3: <2> T01-08

    Enables or disables transmission and reception of MIDI Enable Ribbon CC#16 [Off, On] CC#79 (the KROME’s filter EG intensity). This is assigned to Specifies whether or not MIDI CC#16 (specified as the knob 3 when Realtime Controls TONE is selected.

  • Page 97: 5-7: <4> T01-08

    COMBI P5: MIDI Filter 5–7: <4> T01–08, 5–8: <4> T09–16 5–7: <4> T01–08, 5–9: <5> T01–08, 5–8: <4> T09–16 5–10: <5> T09–16 5–9 5–7 Menu Menu 5–9a 5–7a 5–7b 5–9b 5–9c 5–7c Here, you can enable or disable transmission and reception for the functions of knobs 1–4 when the SELECT button is 5–9(10)a: Combination Name, Tempo set to Realtime Controls USER.

  • Page 98: 5-11: <6> T01-08

    Combination mode 5–11: <6> T01–08, 5–12: <6> T09–16 5–11 5–11a Menu 5–11b 5–11a 5–11(12)a: Combination Name, Tempo 5–11(12)b: Timbre Info For more information, please see “2–1: EQ Trim T01–08, 2–2: EQ Trim T09–16” on page 79. 5–11(12)c: MIDI Filter6 Timbre 01 (Timbre Number): Enable Other Control Change Messages [Off, On] Specifies whether or not MIDI control messages not covered in the preceding items MIDI Filter will be transmitted and...

  • Page 99: Combi P7: Arp/Dt (Arpeggiator/Drum Track)

    Control OFF if you have recorded only the trigger notes between two arpeggio patterns. on an external sequencer, and wish to playback the external sequencer to trigger the KROME’s arpeggiator. If you want to record the note data generated by the arpeggiator to an external sequencer, turn Local 7–1: Setup T01–08,...

  • Page 100: 7-3: Arpeggiator A

    Combination mode Arpeggiator Run A, B [Off, On] 7–3: Arpeggiator A, When the ARP button is on, the arpeggiator(s) checked here will run if they are assigned to a timbre by Arpeggiator 7–4: Arpeggiator B Assign. 7–3 7–1(2): Menu Command 7–3a Menu •...

  • Page 101: 7-5: Arp Scan Zone

    If local control (“Local Control On Global P1:1‐1a) is on, Bottom Key [C–1...G9] playing the KROME's keyboard will not make the internal Specifies the range of notes (keys) that will trigger sound generator produce sound, nor can the keyboard arpeggiator A/B. Top Key specifies the upper limit, and trigger the arpeggiator or drum track.
  • Page 102 Combination mode MIDI Channel 7–7: Menu Command Output [01...16, Gch] • 0: Write Combination see p. 101 This specifies the MIDI channel that will transmit the MIDI • 1: Exclusive Solo see p. 64 data of the drum pattern. The drum pattern will trigger the •...

  • Page 103: Combi P8: Routing/Ifx (Insert Effect)

    COMBI P8: Routing/IFX (Insert Effect) 8–1: Routing1 T01–08, 8–2: Routing1 T09–16 COMBI P8: Routing/IFX (Insert Effect) You can also specify the bus routing for the program used Example: Inserting a single IFX into multiple timbre by each of the timbres, 1–16. For instance, you can: •...

  • Page 104: 8-3: Insert Fx Setup

    Combination mode Send1 (MFX1) [000...127] MIDI channel, use the Ch parameter on the IFX 1–5 page (Combi 8–4a). Send2 (MFX2) [000...127] For each timbre, these parameters set the send level to Insert Effect: master effects 1 and 2. These settings are valid when Bus (IFX/Output) Select is set to L/R or Off.

  • Page 105: 8-4: Ifx1

    COMBI P8: Routing/IFX (Insert Effect) 8–4: IFX1 P01…P15: Preset data is saved in this area. We recommend 8–4: IFX1 that you store your settings in U00–U15. U00…U15: These are areas in which you can store your own settings. 8–1 –4 ---------------: This shows that no Effect Preset has been Menu 8–1...

  • Page 106: 8-9: Fx Control T01-08, 8-10: Fx Control T09-16

    Combination mode 8–9: FX Control T01–08, 8–10: FX Control T09–16 8–9 8–9a Menu 8–9b 8–9c 8–9d Here you can specify the program oscillator output bus, and effect control bus for timbres 1–8 and 9–16. 8–9(10)a: Routing Map, 8–9(10)b: Combination Name, 8–9(10)c: Timbre Info For more information, please see “8–1: Routing1 T01–08, 8–...

  • Page 107: Combi P9: Mfx/Tfx/Lfo

    COMBI P9: MFX/TFX/LFO (Master/Total Effect/LFO) 9–1: Routing COMBI P9: MFX/TFX/LFO (Master/Total Effect/LFO) Here, you can make settings for the master effects and the 9–1c: TFX total effect. For instance, you can: • Route a sound to the master effects and the total effect TFX: •...

  • Page 108: 9-3: Mfx2, 9-4: Tfx

    Combination mode The same presets appear in all of the modes (Program, 9–5: Common FX LFO Combination, Sequence). Note that edits to effects parameters are automatically stored with the Combination you don’t need to store them as 9–5 Menu 9–5a an Effect Preset.

  • Page 109: Combination: Menu Command

    Combination. This lets the Program sound the Write Combination same as it did in Program mode. This command writes an edited Combination into the KROME internal memory. It is available on every page in Combination mode. This lets you: • Save your edits •...
  • Page 110 Combination mode About the Bus (IFX/Output) Select (Combi 8–1(2)d, 8–3b) Copy Tone Adjust setting • Regardless of the IFXs used, MFXs, and TFX settings, will This command replaces the Tone Adjust settings of the be set to DKit if the copy‐source program’s Use DKit selected Timbre (Combination mode) or Track (Sequencer Setting is checked.
  • Page 111 Combination: Menu Command Reset Tone Adjust Reset Tone Adjust Copy Arpeggiator Reset Tone Adjust is available on the Tone Adjust tab of the Copy Arpeggiator is available on the ARP Setup T01–08– play page. Scan Zone tabs of the ARP/DT page. This command affects only the selected Timbre or Track, as This command can copy arpeggiator settings from another opposed to the entire Combination or Song.
  • Page 112 IFX 1–5, MFX 1 and 2, and TFX. This command swaps (exchanges) insert effect settings. For more information, please see “Swap Insert Effect” on This command saves the edited effect into the KROME’s page 67. internal memory.

  • Page 113: Sequencer Mode

    When the Status of a track If you wish to save the programs, track parameters, and is set to BTH, EXT, or EX2, the sequencer of KROME can effects, settings etc. selected for a song as a template play external tone generators.
  • Page 114 MIDI sequencer. (Normally, you’ll use note, velocity, and control change. By selecting an event Combination mode if you want to use the KROME as a and dragging it you can modify the pitch or timing, delete master keyboard.)
  • Page 115 • Check Recording Setup Multi REC • Set the Play/Rec/Mute setting to REC for tracks 01 and 10 (see p.112). 5. The KROME will automatically enter record-ready mode, and the metronome will sound according to the Metronome setting (Seq 0–8c).

  • Page 116: Seq Page Select

    Sequencer mode SEQ Page Select You can use the following ways to select the pages in Page Main content Sequencer mode. Song selection, playback, and recording. (see p.109) 1. Press the SEQ button, and then press the MENU button Program selection for each track. (see to access “Page Select.”...

  • Page 117: Seq P0: Play/Rec

    Auto, if no MIDI clocks are being received), the to specify the Master Track (or any Track 01–16 which KROME will transmit Song Position Pointer messages contains data), and use the Event Edit menu command to when the Location is changed.
  • Page 118 A Song Select message is transmitted when you switch External if MIDI Clock data is received from an external songs on the KROME. You can switch songs on the MIDI device. This indication will appear. KROME remotely, by sending a Song Select message Note: You can also adjust this by turning the TEMPO knob.
  • Page 119 SEQ P0: Play/REC 0–1: Program T01–08, 0–2: Program T09–16 Resolution (Realtime REC Quantize Resolution) 0–1(2)b: Track Program Select [Hi, , , ] With realtime‐recording, the timing of the MIDI data you Select Track Info play can be corrected. Track No. Hi (High Resolution): Timing will not be corrected.
  • Page 120 Sequencer mode Program Select [A...F: 000...127 Only tracks with Solo On will sound. Other tracks will be muted. GM, g(1)...g(9), g(d): 001...128] The setting will alternate on/off each time you press the Solo Selects the program that will be used by each MIDI track. button.

  • Page 121: 0-3: Mixer T01-08, 0-4: Mixer T09-16

    SEQ P0: Play/REC 0–3: Mixer T01–08, 0–4: Mixer T09–16 OSC1 OSC1 OSC2 OSC1: OSC2 OSC1: 0–3: Mixer T01–08, Amp1 Pan=L001 Amp1 Pan=L032 OSC2: OSC2: Left Center Right Left Center Right Amp2 Pan=R127 Amp2 Pan=R096 0–4: Mixer T09–16 Pan (CC#10) Pan (CC#10) C064 C064 L032...

  • Page 122: 0-5: Arpeggiator A

    Sequencer mode 0–5(6)c: Arpeggiator Run, Track assign 0–5: Arpeggiator A, Arpeggiator Run A, B 0–6: Arpeggiator B When the ARP button is on, the arpeggiator(s) you checked here will run if they are assigned to a timbre by Arpeggiator Here, you can make arpeggiator settings for the song. A Assign (7–1(2)c).

  • Page 123: 0-7: Tone Adjust

    SEQ P0: Play/REC 0–7: Tone Adjust The resulting effect of Tone Adjust settings that were saved 0–7: Tone Adjust in Program mode is saved with the program, regardless of the Auto Load PCG setting. The program will sound according to its settings, regardless of whether Tone Adjust 0–7 Menu settings were saved.

  • Page 124: 0-8: Preferences

    Sequencer mode 0–8: Preferences Assign On/Off 0–8 Menu Value 0–8a Assign 0–8b This assigns Tone Adjust parameters to the switches in the display. For a full list of the available choices, please see “Common Tone Adjust Parameters” on page 9 and “Tone Adjust Parameters”...
  • Page 125 SEQ P0: Play/REC 0–8: Preferences If you press the PAUSE ( ) button instead of the START/ Auto Punch In STOP ( ) button, recording will pause. When you Select this method when you wish to automatically re‐ press the PAUSE ( ) button once again, recording will record selected portions of a previously‐recorded track.
  • Page 126 MIDI Clock (Global 1–1a) to External MIDI If you press the REC ( ) button during loop recording, all so that the KROME will synchronize to your external musical data will be removed from the currently selected sequencer. Tempo changes cannot be recorded.

  • Page 127: 0-9: Play Loop T01-08, 0-10: Play Loop T09-16

    SEQ P0: Play/REC 0–9: Play Loop T01–08, 0–10: Play Loop T09–16 0–8c: Metronome Setup 0–9: Play Loop T01–08, Here, you can make metronome settings. 0–10: Play Loop T09–16 Sound [Only REC, REC & Play, Off] 0–9 Only REC: The metronome will sound only during Menu recording.

  • Page 128: Controls

    Sequencer mode Example) Controls When “Play Intro” is checked REALTIME CONTROLS lets you use knobs [1]–[4] to modify the parameters of the track's program or the effects. You can also use these knobs to control the arpeggiators. When you use a knob, the display will show the controller's function and value.
  • Page 129 SEQ P0: Play/REC Controls USER [1]...USER[4] [000...127] You can set Realtime Controls USER knobs 1–4 to a wide variety of modulation functions, using the P1: Controllers– Controllers Setup page. Many of the functions scale a particular set of Program parameters. All of the settings also correspond to MIDI messages usually CCs.

  • Page 130: Seq P1: Controllers

    Sequencer mode SEQ P1: Controllers SW2 (SW2 Assign) [Off, ..., JS-Y Lock] 1–1: Setup Mode (SW2 Mode) [Toggle, Momentary] This assigns the function of SW2. The functions that can be 1–1 assigned to SW2 are the same as for SW1, with the Menu 1–1a substitution of SW2 Mod.

  • Page 131: Seq P2: Eq

    SEQ P2: EQ 2–1: Trim T01–08, 2–2: Trim T09–16 SEQ P2: EQ High settings of the Low, Mid, and High Gain (Seq 2–3(4)a) 2–1: Trim T01–08, controls can cause substantial increases in the overall level. You can compensate for this by turning down the input trim. 2–2: Trim T09–16 Track 02...08, 09...16 (Track Number): 2–1...

  • Page 132: 2-3: Eq T01-08, 2-4: Eq T09-16

    Sequencer mode For more information, please see “Sequencer: Menu 2–3: EQ T01–08, Command” on page 163. 2–4: EQ T09–16 2–3 Menu 2–3a 2–3b 2–3c Here, you can adjust the settings for the mid‐sweepable three‐band EQ for each MIDI track. 2–3(4)a: Track Select, Tempo, RPPR 2–3(4)b: Track Info For more information, please see “2–1: Trim T01–08, 2–2: Trim T09–16”...

  • Page 133: Seq P3: Track Param (Track Parameters)

    MIDI track that is set to • 10:Copy from Combination see p. 166 EXT and play the controllers of the KROME, MIDI data will 11: Copy from Program see p. 167 be transmitted to an external device, but the internal tone generator of the KROME will not sound.

  • Page 134: 3-3: Osc T01-08, 3-4: Osc T09-16

    Sequencer mode The portamento setting you make here will be used when 3–3: OSC T01–08, the song is played or recorded from the beginning. If you change the setting while recording, it will be recorded as 3–4: OSC T09–16 part of the musical data. (However if you set this to PRG, it will not be recorded.) You can change this setting during playback.

  • Page 135: 3-5: Pitch T01-08, 3-6: Pitch T09-16

    SEQ P3: Track Param (Track Parameters) 3–5: Pitch T01–08, 3–6: Pitch T09–16 As long as this set to something other than PRG, you 3–5: Pitch T01–08, can control the Bend Range using MIDI RPN Pitch Bend Change messages. 3–6: Pitch T09–16 Track 02...08, 09...16 (Track Number): 3–5 Here, you can make pitch‐related settings for MIDI tracks 2–...

  • Page 136: 3-7: Scale T01-08, 3-8: Scale T09-16

    If Status (Seq 3–1(2)c) is INT, this setting will affect the pitch produced by the KROME. If Status is EXT, this setting will affect the note number of the note messages...

  • Page 137: Seq P4: Zones/Delay

    SEQ P4: Zones/Delay 4–1: Key Zone T01–08, 4–2: Key Zone T09–16 (Keyboard Zones T01–08, T09–16) SEQ P4: Zones/Delay 4–1(2)d: Keyboard Zones 4–1: Key Zone T01–08, 4–2: Key Zone T09–16 Track 01 (Track Number): (Keyboard Zones T01–08, T09–16) Top Key [C–1...G9] Specifies the top key (upper limit) of the notes that will 4–1 sound for each MIDI track.

  • Page 138: 4-3: Vel Zone T01-08

    Sequencer mode Note: You can also set the note values and velocity values by 4–3: Vel Zone T01–08, holding down an edit cell or the ENTER button and playing a key (see OG p.10). 4–4: Vel Zone T09–16 It is not possible to set the bottom key above the top key of the same track.

  • Page 139: 4-5: Delay T01-08, 4-6: Delay T09-16

    SEQ P4: Zones/Delay 4–5: Delay T01–08, 4–6: Delay T09–16 0: The volume will be at the original value from the bottom 4–5: Delay T01–08, velocity. 120: The volume will decrease as the velocity approaches the 4–6: Delay T09–16 bottom velocity. Bottom Velocity [1…127] 4–5...
  • Page 140 Sequencer mode Track 02...08, 09...16 (Track Number): These are the delay time settings for MIDI tracks 2–8 and 9– 16. They are the same as for track 1. For more information, please see “Track 01 (Track Number):” above. 4–5(6): Menu Command •...

  • Page 141: Seq P5: Midi Filter

    9–16. They are the same as for track 1. For more information, program of each track when the KROME’s controllers are please see “Track 01 (Track Number):” above. operated or when MIDI data is received. (The effect dynamic modulation function is not affected by these 5–1(2): Menu Command...

  • Page 142: 5-3: <2> T01-08

    “Track 01 (Track Number):” above. Track 01 (Track Number): Enable Realtime Controls–CUTOFF [Off, On] Enables or disables reception of MIDI CC#74 (the KROME’s filter cutoff frequency), which is assigned to knob 1 when Realtime Controls TONE is selected. Enable Realtime Controls–RESONANCE [Off, On] Enables or disables reception of MIDI CC#71 (the KROME’s...

  • Page 143: 5-7: <4> T01-08

    SEQ P5: MIDI Filter 5–7: <4> T01–08, 5–8: <4> T09–16 Enable Realtime Controls–RELEASE [Off, On] 5–7(8)c: MIDI Filter4 Enables or disables reception of MIDI CC#72 (the KROME’s filter/amp EG release time), which is assigned to knob 4 Track 01 (Track Number): when Realtime Controls TONE is selected.

  • Page 144: 5-11: <6> T01-08

    Sequencer mode 5–9(10)c: MIDI Filter 5–11: <6> T01–08, 5–12: <6> T09–16 Track 01 (Track Number): Enable SW1 [Off, On] 5-11 Menu 5-11a Enable SW2 [Off, On] 5-11b These settings specify whether SW1 Mod (CC#80) and SW2 Mod (CC#81) will be transmitted and received if they are assigned to the SW1 and SW2 buttons.

  • Page 145: Seq P6: Track Edit

    SEQ P6: Track Edit 6–1: Track Edit SEQ P6: Track Edit Use From Measure to specify the starting measure, and To 6–1: Track Edit End of Measure to specify the ending measure. Link From Measure current location [Off, On] 6–1 If this check box is selected, the From Measure setting will Menu 6–1a...

  • Page 146: 6-2: Track View

    Sequencer mode 6–2c: Track View Area 6–2: Track View Track View Area 6–2 Menu This shows event information for each track, such as note, 6–2a velocity, and control change data. (see illustration below) The highlighted measures are those that will be edited. The 6–2b region is indicated by the FROM MEASURE and TO END of MEASURE fields in the upper part of the screen.
  • Page 147 SEQ P6: Track Edit 6–2: Track View Note: When selecting, the upper line FROM MEASURE or You can scroll the measure display by dragging your finger To END of MEASURE will briefly turn blue, and will onto or across a scroll bar. indicate the selected measure number.
  • Page 148 Sequencer mode Copy tool The destination is overwritten If you choose Overwrite by the source data Use this to copy the events of the selected measures. Use the tool to select the region that you want to copy, and then choose this tool. Press the copy‐destination measure or drag the selected region of measures to the desired copy‐destination.
  • Page 149 SEQ P6: Track Edit 6–2: Track View 2. Press the first measure containing the events you want C4, C5, and C6 (different octaves) will be shown on the same to erase, and drag to the last measure. If desired, you dot line (at the C position).

  • Page 150: 6-3: Track Name

    Sequencer mode Note: This setting also specifies how movement will occur 6–3c: Track Names when you press the display scroll buttons in the left/right direction while editing. T01...T16 [Track name] Here, you can rename the MIDI tracks. 6–2: Menu Command Press the text edit button to open the dialog box, and input the desired characters.

  • Page 151: Seq P7: Arp/Dt (Arpeggiator/Drumtrack)

    USB, clock messages transmitted from an external MIDI arpeggiator A will operate for track 1 and arpeggiator B will device can perform the same type of control. operate for track 2. Even in this case, you can start/stop using the KROME’s Arpeggiator Assign START/STOP ( ) button.

  • Page 152: 7-3: Arpeggiator-A, 7-4: Arpeggiator-B

    • Alternatively, you could choose Track01 in Track Select 7–3: Arpeggiator–A, to run arpeggiator A for tracks 1 and 2, and use an external MIDI device connected to the KROME’s MIDI IN 7–4: Arpeggiator–B to send note data to MIDI channel 3 to play arpeggiator B.

  • Page 153: 7-5: Arp Scan Zone

    (see OG p.10). specified by the Drum Pattern Input setting of each song. Normally you’ll set this to Tch and use the KROME’s keyboard to control the triggering. Transmit: The drum track will transmit on the MIDI channel...
  • Page 154 If local control (“Local Control On Global P1:1‐1a) is on, Sync [Off, On] playing the KROME's keyboard will not make the internal Off: The drum pattern will not synchronize to the currently‐ sound generator produce sound, nor can the keyboard running arpeggiator, but will start immediately.
  • Page 155 Wait KBD Trig, the Drum Track pattern will be triggered the moment you play the keyboard. It will not synchronize to Note: If the KROME is set to MIDI Clock= Auto, it will also the currently‐operating arpeggiator function or to the synchronize to the external MIDI device in the same way if currently‐playing song, pattern, or RPPR.

  • Page 156: Seq P8: Routing/Ifx (Insert Effect)

    Sequencer mode SEQ P8: Routing/IFX (Insert Effect) You can also specify the bus routing for the program used Tip: In most preloaded drumkits, the drum instruments have by each MIDI track 1–16. For instance, you can: the same Bus (IFX/Output) Select settings according to their type, as follows.

  • Page 157: 8-3: Insert Fx Setup

    SEQ P8: Routing/IFX (Insert Effect) 8–3: Insert FX Setup Insert Effect: 8–3: Insert FX Setup IFX1...4 [000...193] IFX5 [000...171] 8–3 Menu 8–3a IFX1...5: IFX On/Off [Off, On] Chain: 8–3b IFX1: Chain to [IFX2...IFX5] IFX2: Chain to [IFX3...IFX5] IFX3: Chain to [IFX4...IFX5] IFX1: Chain [Off, On]...

  • Page 158: 8-4: Ifx1

    Sequencer mode Note: Songs save the effects parameter settings, but they 8–4: IFX1 don’t save the number of the selected Effect Preset. If you select an Effect Preset, save the Song to media, and then re‐ load the Song, the Effect Preset setting will revert to “--------- 8–4 Menu -----.”...
  • Page 159 SEQ P8: Routing/IFX (Insert Effect) 8–9: FX Control T01–08, 8–10: FX Control T09–16 8–9(10)d: Routing2 Bus (IFX/Output) Select [L/R, IFX1...5, Off] This specifies the output bus for the oscillator(s). This is the same parameter as in the 8–1: IFX– Routing 1 T01–08 and T09–16 pages. For more information, please see “Bus (IFX/Output) Select”...

  • Page 160: Seq P9: Mfx/Tfx/Lfo

    Sequencer mode SEQ P9: MFX/TFX/LFO (Master/Total Effect/LFO) Here, you can adjust the settings for the master effects and 9–1c: TFX the total effect. For instance, you can: • Route a sound to the master effects and the total effect TFX: •...

  • Page 161: 9-2: Mfx1

    SEQ P9: MFX/TFX/LFO (Master/Total Effect/LFO) 9–2: MFX1 MFX1 Parameters 9–2: MFX1 Here, you can set the effect parameters of the effect you chose in the P9: MFX/TFX/LFO– Routing page. 9–2 For details on the individual effects, please see the “Effect Menu 9–2a Guide”...

  • Page 162: 9-5: Common Fx Lfo

    Sequencer mode 9–5: Common FX LFO 8–2 –8 Menu 8–2 –8a 8–2 –8b The two Common FX LFO 1, 2 allow you to synchronize LFO‐based modulation for multiple effects, such as phasers, flangers, filters, and so on. The Common LFOs control only the frequency, MIDI synchronization, and reset options;...

  • Page 163: Seq P10: Pattern/Rppr

    SEQ P10: Pattern/RPPR 10–1: Pattern Edit SEQ P10: Pattern/RPPR Here, you can record and edit patterns, assign patterns to Song Select [000...127: name] tracks of a song, and make RPPR (Realtime Pattern Play/ Selects a song. Recording) settings. You can also convert drum track The user pattern will be created in the song you select.
  • Page 164 Sequencer mode Control data in pattern recording 10–1c: USED IN SONG TRACK, To record control data in a pattern, you should restore USED IN RPPR the control data to its normal value within the pattern. If you fail to restore the normal value, unnecessary USED IN SONG TRACK control data may remain in a “stuck”...

  • Page 165: 10-2: Pattern Name

    10–2: Menu Command external sequencer to trigger RPPR patterns on KROME, set Local Control OFF. • 0: Memory Status see p. 163 If you want the note data generated by RPPR to be •...
  • Page 166 Sequencer mode Keyboard & Assigned Graphics SEQ: The pattern will synchronize to the measures of the sequencer song. This shows the selected key, and the keys to which a pattern has been assigned by the RPPR function. See diagram below. Sync settings Key 1 on Key 2 on...
  • Page 167 SEQ P10: Pattern/RPPR 10–3: RPPR Setup Pattern Bank [Preset, User] Pattern [P000...605, U00...99] Selects the RPPR pattern for the key selected in KEY. If the selected user pattern contains no musical data, there will be no sound when you press that key. Track [Track 01...16] Selects the track that will be used for the RPPR pattern...

  • Page 168: Seq P11: Cue List

    You can specify a number of repetitions for each song. Auto: Playback will follow the tempo specified by each song The KROME allows you to create twenty cue lists. A single in the cue list. It will not be possible to change the (Tempo) cue list can hold up to 99 songs.
  • Page 169 SEQ P11: Cue List What to do when playing back a cue list and the songs do not transition smoothly Step, Song, Repeat, Load FX? 11–1c: Insert, Cut, Copy, Current Step Step [Measure] [01...100 (M0001...M9999)] Insert This displays the step number and its starting measure. When you press the Insert button, the step data that was Step indicates each step number.
  • Page 170 Sequencer mode converted to a song if settings such as the MIDI channel 11–1: Menu Command do not match. • 0: Memory Status see p. 163 Using a foot switch to switch the Step • 1: Exclusive Solo see p. 64 You can use a foot switch to switch the Step.

  • Page 171: Sequencer: Menu Command

    Sequencer: Menu Command Memory Status Sequencer: Menu Command Tip: While this command is active, the ENTER button will Copy From Song operate as the OK button and the EXIT button will operate as the Cancel button. Copy From Song is available on all of the tabs under the Play/REC, Play/REC Control, Controllers, EQ, Track Param, Procedure for menu commands Zone/Delay, MIDI Filter 1, MIDI Filter2, and Drum Track...
  • Page 172 Sequencer mode FF/REW Speed FF/REW Speed is available on every pages, except for the Pattern/RPPR page RPPR Setup tab. This allows you to set the speed at which fast‐forward or rewind will occur when you press the FF button or REW button.
  • Page 173 GM Initialize received from an external device, or if a GM System On message is recorded in the sequence data, the KROME GM Initialize is available on all of the tabs under the Play/ will be reset to settings appropriate for GM just as if REC, Play/REC Control, Controllers, EQ, Track Param, you had executed this command.
  • Page 174 Sequencer mode If the recorded performance is not reproduced Copy from Combination correctly during playback Copy From Combi is available on all of the tabs under the If you use the menu command Copy From Combi to copy Play/REC, Play/REC Control, Controllers, EQ, Track Param, the settings of a combination, and then perform multi‐track Zone/Delay, MIDI Filter 1, MIDI Filter2, and Drum Track recording with the arpeggiator turned on, there may be...
  • Page 175 Sequencer: Menu Command Copy from Program This is the same function as in Combination mode; for 01 only Correction required details, please see “Copy from Program” on page 101. Correction required for If both “A” and “B” 01 02, 01 03, etc. only one This command in Sequencer mode differs from its behavior are checked...
  • Page 176 Sequencer mode With the PAUSE ( ) button pressed, you can hold down Step Recording the ENTER button and play a note on the keyboard to specify the velocity value. If you set Note Velocity to Key, Step Recording is available on all of the tabs of the Track the actual velocity at which you played the key will be Edit page.
  • Page 177 • Editing system exclusive messages 4. Select the event that you wish to edit, and use the You can edit KROME parameter change messages and VALUE controller etc. to modify its value(s). universal system exclusive messages.
  • Page 178 MIDI.) permitted. • KROME parameter change messages for which there is no • You can use the Insert button and Cut button to insert or supported parameter, due to an input mistake or some delete byte data.
  • Page 179 Sequencer: Menu Command Piano Roll The vertical axis of the grid indicates pitch, and the Piano Roll horizontal axis is the location (of the measures). The grid interval for the horizontal axis is specified by the Piano Roll The Piano Roll dialog box provides a detailed graphic view Setup Grid Resolution parameter.
  • Page 180 Sequencer mode Toolbox View area height select Pressing these buttons will change the displayed size of the Select Event tool note view area and the control view area. Use this to select an event in the note view area or control Editing notes view area.
  • Page 181 Sequencer: Menu Command Piano Roll Moving a note to a precise location 3. Continuing to press the note, drag it left/right. • You can use the Piano Roll Setup Snap to Grid or Move The note length will change. Note Resolution settings to easily specify a precise If the Piano Roll Setup Snap to Grid setting is on, the length location.
  • Page 182 Sequencer mode 4. Drag up/down to change the value. Erasing multiple notes Limited to the Erase operation, you can select multiple Alternatively, you can enter the desired value in the event events and erase them in a single operation. list. 1.
  • Page 183 Sequencer: Menu Command Piano Roll Entering data The following table shows the types of data and the available values that you can edit in “Piano Roll: Event 1. Press the tool. Edit.” 2. Choose the data that will be shown in the control view area.
  • Page 184 Sequencer mode Grid Resolution , , ] Set Song Length This specifies the resolution of the grid. If Snap to Grid is On, notes will snap to the resolution you specify here. Set Song Length is available on all of the tabs of the Track Edit page.
  • Page 185 Sequencer: Menu Command Bounce Track After Touch will erase both channel pressure and poly key Bounce Track pressure data, Pitch Bend will erase pitch bend data, Program Change will erase program change data, and Bounce Track is available on all of the tabs of the Track Edit Exclusive will erase exclusive data.
  • Page 186 Sequencer mode time signature of the inserted measures will change, and the Example: When measures 3–5 are deleted, measures 6–8 are moved forward. specified time signature will apply to all tracks for those measures. Before Delete 6. Specify the track(s) for which you want to execute the command.
  • Page 187 Sequencer: Menu Command Copy Measure 4. In Times, specify the number of repetitions. Move Measure For example if you set From Measure to 001, To End of Measure to 004, and Times to 2, the musical data of This command moves the specified measures of measures 1–4 will be inserted into measures 5–8.
  • Page 188 Sequencer mode Create Control Data Example Move measures 3-4 of track 1 to measures 3-4 of track 2. Mode: Stay Create Control Data is available on all of the tabs of the Before Move Track Edit page. 1 (Tr1) 2 (Tr1) 3 (Tr1) 4 (Tr1) 5 (Tr1)
  • Page 189 Sequencer: Menu Command Erase Control Data Erase Control Data Quantize Erase Control Data is available on all of the tabs of the Track Quantize is available on all of the tabs of the Track Edit Edit page. page. This command erases data such as control changes, after This command corrects the timing of MIDI data of the type touch, pitch bend, or tempo in the specified range.
  • Page 190 Sequencer mode By setting a lower resolution you can save more memory, Shift/Erase Note but the timing of the playback may not be acceptable. 6. In Offset, specify the number of clock ticks by which Shift/Erase Note is available on all of the tabs of the Track the data will be moved forward or backward relative to Edit page.
  • Page 191 Modify Velocity is available on all of the tabs of the Track This command creates universal system exclusive messages Edit page. or KROME parameter change messages in the specified region of a MIDI track. This command modifies the velocity values of notes in the specified area so that they will change over time according 1.
  • Page 192 Erase Exclusive Data Copy MFX/TFX This command erases (deletes) universal system exclusive Copy MFX/TFX is available on all of the MFX/TFX/LFO messages or KROME parameter change messages from the pages. specified region. For more information, please see “Copy MFX/TFX” on 1.
  • Page 193 Sequencer: Menu Command Put Effect Setting to Track 5. In the P8: Routing/IFX page, select the menu command Put Effect Setting to Track to access the dialog box. 6. Specify the location at which the exclusive message for the effect will be inserted. Effect: IFX3 To: Song: 000 Track: 03...
  • Page 194 Sequencer mode 2) Use the Copy From Song menu command to copy from Event Edit S000. In song 001, make the effect settings that you want to use Here, you can edit individual events of the musical data in a from measure 9.
  • Page 195 Sequencer: Menu Command Bounce Pattern it as a user pattern. Be aware that when you execute the Copy Pattern operation, the pattern settings and musical data of the copy destination will be erased. 4. In Song, select the “get” source song. 5.
  • Page 196 Internal memory (saved inside the M50) Sequencer memory (Not saved internally; pattern you convert here will be preserved in the KROME’s save on SD card.) memory even when the power is turned off, so you can manage it together with the programs and combinations.
  • Page 197 Sequencer: Menu Command Erase Drum Track Pattern the track and effect settings of the song specified for Step 01 will be copied to the beginning of the resulting song, and all track and effect settings of subsequent songs will use the set‐ tings of the song for Step 01.
  • Page 198 Sequencer mode converted to these events. For example, if the Detune order to verify the amount of memory that will be setting of +600, Fine Tuning will be 00 and Coarse required for the conversion. Tuning will be 6. Fine Tuning will modify the playback A cue list that is longer than 999 measures cannot be con‐...

  • Page 199: Sequencer Mode

    System Exclusive events supported in Sequencer mode Copy Song 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 200: Krome Sequencer File Formats

    For details, please see “22) Load Standard MIDI File” on page 230, and “Save SEQ” on page 232. KROME Song format This is the native KROME sequencer format, which is required to ensure that all KROME‐specific data is saved correctly.

  • Page 201: Global Mode

    P0: Basic Setup Basic overall settings. (see p.194) protect. P1: MIDI MIDI settings for KROME. (see p.198) You can also edit user scales, drum kits, and user arpeggio Controller settings such as the pedals pattern setups. connected to the rear panel. (see p.202)

  • Page 202: Global P0: Basic Setup

    [–50cent (427.47Hz)...+50cent (452.89Hz)] In the case of PostMIDI, your keyboard playing dynamics This adjusts the overall tuning of the entire KROME in one‐ are transmitted according to transmission curve 4 linear cent units (semitone = 100 cents), over a range of ±50 cents.
  • Page 203 Use this setting if you want With a setting of aftertouch, the setting you make here only to switch combination sounds without changing the will be applied immediately before the KROME’s phrases from the arpeggiator. internal tone generator, meaning that it will affect the...

  • Page 204: 0-2: System Preference

    120. 00 R/T, 62. 00 R 120. 00 R/T, 62. 00 R power turns off. If you don't want the power to turn off, press the KROME's display or keyboard, or use a button or Power-On Mode [Reset, Memorize] knob. Auto power‐off will be reset, and the same message Specifies the condition at power‐on.
  • Page 205 Global P0: Basic Setup 0–2: System Preference In some cases, the animation will be disabled Off (unchecked): Data can be written to internal drum kit automatically when large amounts of performance data memory. is being processed by the drum track or sequencer. Arpeggio User Pattern [Off, On] Value Edit Pop-up...

  • Page 206: Global P1: Midi

    KROME’s keyboard or from an 1–1 Menu external MIDI device. By connecting the KROME to another KROME and setting one instrument to Even and the other to Odd, you can effectively double the polyphony by dividing the notes between the two instruments. 1–1a All: All note numbers will be received.
  • Page 207 Receive Ext. Realtime Commands [Off, On] Off (unchecked): Even if MIDI Clock is set to External MIDI, or if set to Auto and the KROME is synchronized to external MIDI Clock messages, MIDI Common messages and Realtime messages (Song Position Pointer, Start, Continue, Stop) will not be received.

  • Page 208: 1-2: Midi Routing

    Master: Normally in Sequencer mode, the internal 1–1: Menu Command sequencer can record or play back a performance on the KROME’s keyboard. In this case, tracks that are set to EXT or • 0: Write Global Setting see p. 216 BTH will control external MIDI sound modules.
  • Page 209 When you switch combinations, a program change message will be transmitted on the global MIDI channel, and also Check this if you want to edit the KROME from a connected transmitted simultaneously on the channel of timbres whose computer, or if you want to allow bi‐directional editing.

  • Page 210: Global P2: Controllers

    DAMPER jack. If the polarity does not match, operating the damper pedal will not produce the correct Assigns a control change message sent by the ARP button. result. If no damper pedal is connected, set this to (–) KORG The default setting is CC#14. Standard.

  • Page 211: Global P3: Scales

    [Off, On] Here, you can make settings for sixteen different User If this is On, you can use the KROME’s keyboard to select Octave Scales and one User All Notes Scale. keys of the scale. Select the key for User Octave Scale or User...

  • Page 212: Global P4: Category

    Global mode Global P4: Category Programs, and Combinations are organized into categories For more information, please see “Global: Menu Command” and sub‐categories. on page 216. Categories make it easy to find a particular type of instrument, such as keyboard, bass, or drums, or a specific type of sound, such as arpeggios or gated patterns.

  • Page 213: Global P5: Drum Kit

    Global P5: Drum Kit 4–3: Combination Main, 4–4: Combination Sub Global P5: Drum Kit Here, you can create drum kits by assigning a drum Editing a drum kit will affect all programs that use the instrument (drum sample) to each key. edited drum kit.

  • Page 214: 5-1: Sample Setup

    Selects the drum kit that you wish to edit. make settings as follows. No. (Bank) Contents One velocity zone 00(INT)...31(INT) KROME preloaded drum kits Drumsample 1: On, Drumsample 2–8: Off 32(USER)...47(USER) User drum kits Two velocity zones Drumsample 1, 2: On, Drumsample 3–8: Off [C–1...G9]...

  • Page 215: 5-2: Sample Parameters

    Global P5: Drum Kit 5–2: Sample Parameters The location at which reverse playback starts and ends is 5–2: Sample Parameters already specified for each drum sample. For unselected velocity zones (shown as a single line), Rev On is indicated as [R]. 5–2 Menu 5–1a...

  • Page 216: 5-3: Driver/Eq

    Global mode • 1: Rename Drum Kit see p. 220 5–3: Menu Command • 2: Copy Drum Kit see p. 220 • 0: Write Drum Kits see p. 220 • 3: Copy Key Setup see p. 220 • 1: Rename Drum Kit see p.

  • Page 217: 5-4: Velocity Split

    Global P5: Drum Kit 5–4: Velocity Split Linear means that the two samples will each be at 50% of 5–4: Velocity Split their full volume in the middle of the crossfade. Sometimes, this may create a dip in the volume level; if so, try using Power instead.

  • Page 218: 5-5: Voice/Mixer

    Global mode Tip: In most of the preloaded drum kits, the following types 5–5: Voice/Mixer of drum instrument have the same Bus (IFX/Output) Select settings. Snares → IFX1 5–5 Menu Kicks → IFX2 Other → IFX3 FX Control Bus [Off, 1, 2] 5–1a For each key, you can select whether the signal will be sent to FX Control bus (stereo two‐channel) FX Ctrl1 or 2.

  • Page 219: Global P6: Arpeggio Pattern

    Global P6: Arpeggio Pattern Here, you can create user arpeggio patterns. 6–1: Pattern Setup In this page, the KROME will continue to sound as it did before entering Global mode. 6–1 If you entered Global mode from Program mode: Your...
  • Page 220 Global mode Example) 6–1b: Octave, Resolution, Sort, Latch, If you set Length to 04, Step No. 01 to Tone0, Step No. 02 Key Sync., Keyboard to Tone1, Step No. 03 to Tone2, Step No. 04 to Tone3, and simultaneously play three notes to produce an arpeggio, Octave [1, 2, 3, 4] the following results will be produced depending on the...

  • Page 221: Arpeggio Pattern Edit

    Global P6: Arpeggio Pattern Arpeggio Pattern Edit Parameter Panel Arpeggio Pattern Edit The parameter panel in the lower part of this area shows a graphic representation of the selected step parameter (6‐1j). Here you can input Tones 0‐‐11 for each Step 01–48. There You can touch and drag to edit this.

  • Page 222: Tool Tablet

    Global mode Velocity [001...127, Key] Tool Tablet Key: The Tone of the step will sound with the velocity at which the key was played. To open the tool tablet, press the tool mode button in the 001–127: The specified velocity value will always be used. tone input mode area.
  • Page 223 Global P6: Arpeggio Pattern Tool Tablet Delete The first half will move upward. Deletes the selected region. External: Data to the right of the selected region will move toward the left to fill the gap. If the with step parameters option is selected, the step parameter values will also move.

  • Page 224: Global: Menu Command

    Load Preload/DemoData is available on the Basic Setup page. This command loads the preloaded data and demo song data into the KROME. Before you can load this data, you must navigate to Memory Protect (Global 0–1b) and un‐check the protect 1.
  • Page 225 Global: Menu Command Touch Panel Calibration When you touch a target, a ball‐shaped symbol will Touch Panel Calibration appear. If your input in the display is not detected as you expect, or if the edit cell moves to a location in the display other than where you pressed, you should calibrate the display as The closer the center of the ball is to the center of the tar‐...
  • Page 226 USB connector. If you want to transmit the data to another KROME or to a MIDI data filer, connect the KROME’s MIDI OUT connector to the MIDI IN connector of the receiving device.
  • Page 227 *1: The USB‐MIDI dump times listed here are for when the 2. Set the MIDI channel of the transmitting device to KROME is connected to a computer with a USB 1.1 port. match the KROME’s global MIDI channel MIDI Chan- The time required will change depending on the nel (Global 1–1a).
  • Page 228 Global mode Note: You can also access and execute this command by Reset Controller MIDI Assign pressing the WRITE button. Reset Controller MIDI Assign is available on the MIDI CC# Assign tab of the Controllers page. Rename Drum Kit This automatically assigns the MIDI control change Rename Drum Kits is available on the Drum Kit page.
  • Page 229 Global: Menu Command Write Arpeggio Patterns Write Arpeggio Patterns Write Arpeggio Patterns is available on the Arpeggio page. This command writes user arpeggio patterns U0000(INT)– U1027(USER). Note: You can also access and execute this command by pressing the WRITE button. Pattern, (Tempo), Octave, Resolution, Sort, Latch, Key Sync, and Keyboard are parameters that are set in Program, Combination, and Song.
  • Page 230 Global mode...

  • Page 231: Media Mode

    If these filename extensions are modified on a computer, the file will be treated as an undefined file when it is reloaded back into the KROME, and will be handled as a Standard MIDI File. Files handled by the KROME have the shown in the structure (see next page).
  • Page 232 Media mode Files that can be loaded DOS files All programs 1 program .PCG file 1 program DOS directory bank A...F All combinations 1 combination 1 combination Undefined DOS file bank A...D All drum kits 1 drum kit 1 drum kit User bank INT, USER All user...

  • Page 233: Media: File

    This command loads the file or directory that was selected in However since the KROME does not contain an internal cal‐ the “Directory Window” (Media 0–1c) into the internal endar or clock, you must use Utility menu command Set memory.

  • Page 234: 0-2: Save

    0–3: Menu Command displayed. • 0: Hide unknown files see p. 227 The KROME does not contain an internal calendar or clock, you must use Utility menu command Set Date/ • 1: Lock/Unlock selected see p. 227 Time to set the date and time before saving the file.

  • Page 235: Media: Menu Command

    If the specified file is located on another media volume, exchange media. Then press the directory window in the display to make the KROME recognize the media, and select the appropriate directory. It is not possible to open .PCG, or .SNG files in the “Where is a …”...
  • Page 236 Media mode 1) Load .PCG 3) Load Program Bank [Bank A...F] All program data of the selected bank will be loaded into the Data in the .PCG file will be loaded. bank you specify. In To, select the loading destination bank. 1.
  • Page 237 Media: Menu Command Load selected 1. If you wish to load a combination other than the one 12) Load Arpeggio Pattern already selected, use Combination (upper field) to [U0000-0899(INT), U0900-1027(USER)]: select the combination that you wish to load. All user arpeggio pattern data in the selected user arpeggio Note: The selected combination can be played from the pattern bank will be loaded into the user arpeggio pattern keyboard even before you load it.
  • Page 238 Media mode 1. If you want to load a pattern other than the selected pat- 20) Load Tracks tern, use “Pattern” (the upper field) to re-select the pat- The event data of all tracks in the selected song will be tern that you want to load.
  • Page 239 Bank Map (Global 0–2a) SEQ), Save PCG, or Save SEQ, you should also try to setting. If Bank Map is KORG, bank A will be selected save the programs used by each timbre or track (and for bank select 00.00 (MSB.
  • Page 240 Standard MIDI Files. However if you intend to box, and specify the filename. (See OG page 117) play back the data on the KROME, we recommend that you use “Save SEQ” to save the data, since this will be more For example if you specify NEWFILE and execute the save easily recreated.
  • Page 241 When reception ends, the size of the received data and the size of the remaining free area will be rewritten. The display will change to “Status=AWAITING MIDI DATA,” and you can continue transmitting Exclusive data to the KROME. During reception, the Cancel button and the OK button cannot be pressed.
  • Page 242 This command formats the media that's inserted in the directory. KROME. The volume label (a name for the entire media) you specify will be assigned to the media. The volume label If you wish to change the file or directory that is to be you assign here will be displayed in the SD Card (Media 0–...

  • Page 243: Effect Guide

    Effect Guide Overview The KROME provides five insert effects, two master effects, P00: Initial Set: These are the default settings that are and a total effect, together with a mixer section that controls recalled when you select an effect type in the Insert FX Setup the routing of these effects.

  • Page 244: Synchronization

    Effect Guide 3. Set the BPM as desired. Dynamic modulation (Dmod) To synchronize to the system clock, set BPM to MIDI. To set the delays to a specific tempo, separate from the and Tempo Synchronization system clock, set BPM to the desired tempo (between 40.00 and 300.00 BPM).

  • Page 245: Common Fx Lfos

    Normally, LFO‐based effects–such as choruses, flangers, phasers, filters, and auto‐pan–each have their own Finally, we can use the MIDI/Tempo Sync function independent LFO. The KROME effects support this to synchronize the delay time to the arpeggiator standard mechanism, but add a new one: Common FX tempo.

  • Page 246: Fx Control Buses

    174: Vocoder : Pad control an input using a different sound. Modulator Source : FX Control1 KROME includes two true‐ stereo FX Control Buses, which (Modulator) FX Control Bus can be used with the following effects: Timbre2 (FX Control Bus1)

  • Page 247: Effect I/O

    Overview Effect I/O Effect I/O To achieve the best tonal quality, signals sent to the effects should be at the maximum level below clipping. Also, use the Wet/Dry parameter for the Insert Effects, Total Effect and the Wet/Dry or Return 1, 2 parameter for the Master Effects to adjust the effect output level.

  • Page 248: Insert Effects (Ifx1-Ifx5)

    In/Out stereo without being processed. The KROME can also turn IFX1–IFX5 off separately Insert Effects (IFX 1–5) have a stereo input and a stereo from the setting of the On/Off button by receiving MIDI output.
  • Page 249 Insert Effects (IFX1–IFX5) Routing In the example shown in the next diagram, Oscillators 1 and sound to IFX2 to apply EQ, and other sounds to AUDIO 2 outputs being sent to IFX1. OUTPUT L/MONO and R without applying any Insert Effects.
  • Page 250 Effect Guide If you want to revert to the original settings of the drum kit, execute Drum Kit IFX Patch with the settings IFX1 → IFX1, IFX2 → IFX2, IFX3 → IFX3, IFX4 → IFX4, and IFX5 → IFX5. In the following diagram, Drum Program is assigned to Timbre 1, and normal Programs are assigned to Timbres 2 and 3.

  • Page 251: Mixer

    Insert FX Setup page lets you set the Pan: CC#8 (post‐IFX The KROME provides two (mono two‐channel) effect panning), Bus Sel. (Bus Select), Ctrl Bus (FX control bus), control buses, giving you a wide range of ways to control and the Send1 and Send2 levels to the master effects.

  • Page 252: 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 KROME or a connected MIDI sequencer. You can also control the Pan: CC#8, Send1, and Send2 parameters in the same way.

  • Page 253: Master Effects (Mfx1, 2)

    Master Effects (MFX1, 2) In/Out Master Effects (MFX1, 2) Separately from the setting of this On/Off button, MFX1 In/Out and MFX2 can be switched off by receiving a MIDI control change CC#94. Value 0 will turn them off, and value 1–127 will turn them on. You can also use the front panel MFX button or Effect Global SW (Global 0–...

  • Page 254: Mixer

    Effect Guide becomes available. If you check this box, Send1 and Send2 (At this time, the actual send levels use these Send 1 and 2 levels for each key of the selected Drum kit become effective. values multiplied by the Send1 and 2 settings for Program If Bus (IFX/Output) Select (Global 5–5b) is set to L/R or Off oscillators 1 and 2.) for a drum instrument key, Send1 (to MFX1) and...

  • Page 255: Controlling The Master Effects Via Midi

    MIDI In the same way as for insert effects, parameters of the master effects can also be controlled in realtime via Dynamic Modulation (Dmod) from the KROME’s controllers or an external MIDI device during performance or from the sequencer.

  • Page 256: Total Effect (Tfx)

    AUDIO OUTPUT L/MONO and R outputs. Effect (TFX) is available in all modes. Main Outputs The main L/MONO and R outputs of the KROME are output from the AUDIO OUTPUT L/MONO, R jacks, and the headphone jack. If the Bus (IFX/Output) Select setting for an oscillator (Program mode), timbre (Combination mode), track (Sequencer mode), or the post‐insert Bus (IFX/Output)

  • Page 257: Effect/Mixer Block Diagrams

    Effect/Mixer Block Diagrams Main Outputs Effect/Mixer Block Diagrams Program mode...
  • Page 258 Effect Guide Combination mode, Sequencer mode...

  • Page 259: Dynamics (Dynamic)

    Dynamics (Dynamic) 000: No Effect Dynamics (Dynamic) Compressor - Sensitivity 000: No Effect Level Sensitivity=100 Select this option when you do not use any effects. The Insert Effect/Total Effect section outputs unprocessed Sensitivity=40 signals and the Master Effect section mutes the output. Time 001: Stereo Compressor c: Attack...

  • Page 260: 003: Stereo Limiter

    With L/R individually, the left and right channels control the 003: Stereo Limiter Limiter individually. c: Ratio The Limiter regulates the input signal level. It is similar to d: Threshold [dB] the Compressor, except that the Limiter compresses only signals that exceed the specified level to lower unnecessary f: Gain Adjust [dB] peak signals.

  • Page 261: 004: Multiband Limiter

    Dynamics (Dynamic) 004: Multiband Limiter equalizer allows you to set the Limiter to respond to any 005: St.MasteringLimtr (Stereo frequency band. Mastering Limiter) 004: Multiband Limiter This is a stereo limiter that is optimized for mastering songs. This effect applies the Limiter to the low range, mid range, Stereo In - Stereo Out and high range of the input signal.
  • Page 262 Sets the center frequency of the Side PEQ 20...12.00k equalizer for the trigger signal Cutoff [Hz] p.252 Sets the bandwidth of the 0.5...10.0 equalizer for the trigger signal p.252 Sets the gain of the equalizer for Gain [dB] –18.0...+18.0 the trigger signal p.252 Dry, 1 : 99...

  • Page 263: Eq And Filters (Eq/Filter)

    EQ and Filters (EQ/Filter) 007: St.Parametric4EQ (Stereo Parametric 4-Band EQ) EQ and Filters (EQ/Filter) Parametric 4EQ - Band2 Gain Mod 007: St.Parametric4EQ (Stereo -mod +15dB Parametric 4-Band EQ) Band2 Cutoff +6dB +6dB This is a stereo 4‐band parametric equalizer. You can select Band2 Cutoff peaking type or shelving type for Band 1 and 4.

  • Page 264: 009: St.exciter/Enhncr (Stereo Exciter/Enhancer)256

    You can configure a 21‐Band Graphic EQ ranging from 80 c: Enhancer Delay L [msec] Hz to 18 kHz if you route three Graphic 7‐Band EQ effects in d: Enhancer Delay R [msec] series, with a setting of 7:Low, 9:Mid, and 11:High for each These parameters set the delay time for the Enhancer left and right channel.

  • Page 265: 011: St. Wah/Auto Wah (Stereo Wah/Auto Wah)

    EQ and Filters (EQ/Filter) 011: St. Wah/Auto Wah (Stereo Wah/Auto Wah) Sweep Mode=D-mod 011: St. Wah/Auto Wah (Stereo Frequency Frequency Top=75 Wah/Auto Wah) Bottom=60 This stereo wah effect allows you to create sounds from Top=30 Bottom=25 vintage wah pedal simulation to auto‐wah simulation, and -mod -mod Higher...

  • Page 266: 012: St. Vintage Wah (Stereo Vintage/Custom Wah)

    Common LFO Offset specifies the phase difference relative Sets the output level of the effect Output Level 0...100 to the Common FX LFO. For more information, please see sound “Common FX LFOs” on page 237. Selects the modulation source Off...Tempo that will control the effect output level Sets the modulation amount of...

  • Page 267: 014: St. Random Filter (Stereo Random Filter)

    EQ and Filters (EQ/Filter) 014: St. Random Filter (Stereo Random Filter) a: LFO Phase [degree] 014: St. Random Filter (Stereo Offsetting the left and right phases alters how modulation is applied to the left and right channels, creating a swelling Random Filter) affect.

  • Page 268: 015: Multi Mode Filter (Stereo Multi Mode Filter)

    Dry, 1 : 99... Sets the balance between the Wet/Dry 015: Multi Mode Filter (Stereo 99 : 1, Wet effect and the dry input Selects a modulation source for Off...Tempo Multi Mode Filter) Wet/Dry Sets the modulation amount for –100...+100 Wet/Dry This is a multi‐mode filter with four types;...

  • Page 269: 017: Talking Modulator

    EQ and Filters (EQ/Filter) 017: Talking Modulator if you do not want to add lower harmonics to the higher If Sweep Mode is set to D‐mod is selected as the modulation range. source, moving your finger from the right to left of will change the sound from “a”...

  • Page 270: 019: St. Analog Record (Stereo Analog Record)

    Individual, Selects either (individual) LFO, 019: St. Analog Record (Stereo LFO Type Common1, Common FX LFO1, or Common Common2 LFO2 p.257 Common Sets the phase offset when Type Analog Record) LFO Offset –180...+180 = Common 1 or Common 2 [deg] p.257 This effect simulates the noise caused by scratches and dust Sets the depth of the sampling...

  • Page 271: Amp Mic)

    Overdrive, Amp models, and Mic models (OD Amp Mic) 020: OD/Hi.Gain Wah (Overdrive/Hi.Gain Wah) Overdrive, Amp models, and Mic models (OD Amp Mic) When Sw = Moment, the wah effect is usually turned off. It 020: OD/Hi.Gain Wah is turned on only when you press the pedal or operate the joystick.

  • Page 272: 021: St. Guitar Cabinet (Stereo Guitar Cabinet)

    021: St. Guitar Cabinet (Stereo 022: St. Bass Cabinet (Stereo Guitar Cabinet) Bass Cabinet) This simulates the acoustical character of a guitar amp’s This simulates the acoustical character of a bass amp’s speaker cabinet. speaker cabinet. Stereo In - Stereo Out Stereo In - Stereo Out Left Left...

  • Page 273: 023: Bass Amp Model

    Overdrive, Amp models, and Mic models (OD Amp Mic) 023: Bass Amp Model 023: Bass Amp Model 024: Bass Amp+Cabinet (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...

  • Page 274: 025: Treblebst (Treble Booster)

    Sets the bias voltage for stage 2 g Tube2 Bias 0...100 025: TrebleBST (Treble p.266 Tube2 Booster) Output Level –48.0...+0.0 Sets the output level [dB] Dry, 1 : 99... Sets the balance between the Wet/Dry This effect models a famous boost/overdrive effect that was 99 : 1, Wet effect and the dry input developed in order to produce a “guitar orchestra”...

  • Page 275: 028: Mic Model+Preamp (Mic Modeling + Preamp)

    Overdrive, Amp models, and Mic models (OD Amp Mic) 028: Mic Model+PreAmp (Mic Modeling + PreAmp) 028: Mic Model+PreAmp (Mic Modeling + PreAmp) This effect simulates a mic and vacuum tube preamp. You can choose from various types of mic and positions to create differing sonic characters.

  • Page 276: Chorus, Flanger, And Phaser (Cho/Fln Phaser)

    Chorus, Flanger, and Phaser (Cho/Fln Phaser) e: L Pre Delay [msec] 029: Stereo Chorus e: R Pre Delay [msec] Setting the left and right delay time individually allows you This effect adds thickness and warmth to the sound by to control the stereo image. modulating the delay time of the input signal.

  • Page 277: 031: Black Chorus

    Chorus, Flanger, and Phaser (Cho/Fln Phaser) 031: Black Chorus 031: Black Chorus 033: St.HarmonicChorus (Stereo Harmonic Chorus) This models a Danish‐made stereo chorus + pitch modulator & flanger. Although this effect was originally intended for This effect applies chorus only to higher frequencies. This guitar, it was also used by numerous keyboard players.

  • Page 278: 034: St. Biphase Mod. (Stereo Biphase Modulation)

    h: Feedback –Wet... Sets the balance between the Wet/Dry –1 : 99, Dry, effect and the dry input Sets the feedback amount of the chorus block. Increasing the 1 : 99...Wet p.259 feedback will allow you to use the effect as a flanger. Selects a modulation source for Off...Tempo Wet/Dry...

  • Page 279: 036: Ensemble

    Sets the Tap1 feedback amount 037: Polysix Ensemble Feedback Selects the modulation source of Off...Tempo Tap1 feedback amount and This models the ensemble effect built into the classic Korg effect balance PolySix programmable polyphonic synthesizer. Sets the Tap1 feedback amount –100...+100 and modulation amount Dry, 1 : 99...

  • Page 280: 039: Vintage Flanger

    Individual, Selects either (individual) LFO, 040: St. Random Flanger LFO Type Common1, Common FX LFO1, or Common Common2 LFO2 p.257 Common Sets the phase offset when Type (Stereo Random Flanger) LFO Offset –180...+180 = Common 1 or Common 2 [deg] p.257 The stereo effect uses a step‐shape waveform and random Sets the depth of LFO...

  • Page 281: 041: St. Env. Flanger (Stereo Envelope Flanger)

    Chorus, Flanger, and Phaser (Cho/Fln Phaser) 041: St. Env. Flanger (Stereo Envelope Flanger) 041: St. Env. Flanger (Stereo 042: Stereo Phaser Envelope Flanger) This effect creates a swell by shifting the phase. It is very effective on electric piano sounds. You can add spread to the This Flanger uses an envelope generator for modulation.

  • Page 282: 043: Small Phaser

    positive value for both Resonance and Wet/Dry, and if you 045: Black Phaser set a negative value for both Resonance and Wet/Dry. h: High Damp [%] This models a Danish‐made four‐stage phaser that featured This parameter sets the amount of damping of the resonance a wide range.

  • Page 283: 047: St. Random Phaser (Stereo Random Phaser)

    Chorus, Flanger, and Phaser (Cho/Fln Phaser) 047: St. Random Phaser (Stereo Random Phaser) –Wet... Sets the frequency to which the Sets the balance between the Manual 0...100 Wet/Dry –1 : 99, Dry, effect is applied effect and the dry input p.275 1 : 99...Wet Selects the modulation source...

  • Page 284: 048: St. Env. Phaser (Stereo Envelope Phaser)

    048: St. Env. Phaser (Stereo Envelope Phaser) This stereo phaser uses an envelope generator for modulation. You will obtain the same pattern of phasing each time you play. You can also control the Phaser directly using the modulation source. Stereo In - Stereo Out Left Wet / Dry Phaser...

  • Page 285: Modulation And Pitch Shift (Mod./P.shift).277

    Modulation and Pitch Shift (Mod./P.Shift) 049: Stereo Vibrato Modulation and Pitch Shift (Mod./P.Shift) trigger to automatically fade in the modulation amount. 049: Stereo Vibrato When MIDI Sync is set to On, you cannot use this. The Fade-In Rate parameter specifies the rate of fade‐in. The This effect causes the pitch of the input signal to shimmer.

  • Page 286: 051: 2Voice Resonator

    Sets the LFO phase difference Individual, Selects either (individual) LFO, LFO Phase –180...+180 between the left and right LFO Type Common1, Common FX LFO1, or Common [degree] p.259 Common2 LFO2 p.257 Common Sets the phase offset when Type Frequency 0.02...20.00 Sets the speed of the LFO LFO Offset –180...+180...

  • Page 287: 052: Doppler

    Modulation and Pitch Shift (Mod./P.Shift) 052: Doppler g: High Damp [%] a: LFO Mode i: High Damp [%] a: Src This sets the amount of damping amount for the high b: LFO Sync frequencies of the resonant sound. Lower values create a The LFO Mode parameter switches LFO operation mode.

  • Page 288: 054: Grain Shifter

    Sets the recording start level 054: Grain Shifter d Threshold 0...100 when Envelope Select is set to Input p.280 Sets the speed of the response Response 0...100 This effect cuts extremely short samples (“grains”) from the to the end of recording p.280 input signal waveform and plays them repeatedly, giving a Always On,...

  • Page 289: 055: Stereo Tremolo

    Modulation and Pitch Shift (Mod./P.Shift) 055: Stereo Tremolo pan effect in which the sound is panned between left and 055: Stereo Tremolo right. This effect modulates the volume level of the input signal. The effect is stereo, and offsetting the LFO of the left and 056: TEX Treml (TEX Tremolo) right phases from each other produces a tremolo effect between left and right.

  • Page 290: 058: Stereo Auto Pan

    Sets the LFO phase difference LFO Phase –180...+180 between the left and right Frequency 0.02...20.00 Sets the speed of the LFO p.259 [degree] p.281 [Hz] Selects a modulation source for Sets the speed of the LFO Off...Tempo Frequency 0.02...20.00 LFO speed p.282 [Hz] –20.00...

  • Page 291: 059: St. Phaser + Trml (Stereo Phaser + Tremolo)

    Modulation and Pitch Shift (Mod./P.Shift) 059: St. Phaser + Trml (Stereo Phaser + Tremolo) Sets the balance between the Dry, 1 : 99... 059: St. Phaser + Trml (Stereo Wet/Dry effect and the dry input 99 : 1, Wet p.283 Phaser + Tremolo) Selects a modulation source for Off...Tempo...

  • Page 292: 061: Detune

    061: Detune Frequency 0.02...20.00 Sets the speed of the LFO p.259 [Hz] Selects a modulation source for Off...Tempo Using this effect, you can obtain a detune effect that offsets LFO speed the pitch of the effect sound slightly from the pitch of the –20.00...

  • Page 293: 062: Pitch Shifter

    Modulation and Pitch Shift (Mod./P.Shift) 062: Pitch Shifter will be raised (or lowered) more and more each time 062: Pitch Shifter feedback is repeated. If Feedback Position is set to Post, the feedback signal will This effect changes the pitch of the input signal. You can not pass through the pitch shifter again.

  • Page 294: 064: Pitch Shift Mod. (Pitch Shift Modulation)

    g: Pan 064: Pitch Shift Mod. (Pitch h: Wet/Dry The Pan parameter pans the effect sound and dry sound to Shift Modulation) the left and right. With L, the effect sound is panned left, and the dry sound is panned right. With a Wet/Dry = Wet setting, This effect modulates the detuned pitch shift amount using the effect and dry sound will be output in a proportion of an LFO, adding a clear spread and width to the sound by...

  • Page 295: 066: Rotary Speaker

    Modulation and Pitch Shift (Mod./P.Shift) 066: Rotary Speaker Depth/Speed settings are valid, and the c: Preset Type When Sw = Toggle, the speaker rotates or stops alternately setting is ignored. each time you press the pedal or move the joystick. Via MIDI, rotation will switch between start and stop each time c: Amt the modulation amount exceeds 64.

  • Page 296: 067: St.ep Tone+Trml (Stereo Ep Tone+Tremolo)

    067: St.EP Tone+Trml (Stereo EP Tone+Tremolo) This faithfully simulates the preamp section and vibrato (tremolo) effect from a famous model of tine‐type electric piano. Sets the volume level of the a Volume 0…100 preamp –10.0…+10.0 Sets the high-frequency boost or b Treble cut.

  • Page 297: Delay

    Delay 068: L/C/R Delay Delay 068: L/C/R Delay 069: Stereo/CrossDelay This multitap delay outputs three Tap signals to the left, This is a stereo delay, and can by used as a cross‐feedback right, and center respectively. You can also adjust the left delay effect in which the delay sounds cross over between and right spread of the delay sound.

  • Page 298: 070: St. Multitap Delay (Stereo Multitap Delay)

    070: St. Multitap Delay (Stereo 071: St. Mod Delay (Stereo Multitap Delay) Modulation Delay) The left and right Multitap Delays have two taps This stereo delay uses an LFO to sweep the delay time. The respectively. Changing the routing of feedback and tap pitch also varies, creating a delay sound which swells and output allows you to create various patterns of complex shimmers.

  • Page 299: 072: St. Dynamic Delay (Stereo Dynamic Delay)

    Delay 072: St. Dynamic Delay (Stereo Dynamic Delay) –Wet... Sets the balance between the 072: St. Dynamic Delay (Stereo Wet/Dry –1 : 99, Dry, effect and the dry input 1 : 99...Wet p.259 Selects a modulation source for Dynamic Delay) Off...Tempo Wet/Dry Sets the modulation amount for...

  • Page 300: 073: St. Autopanningdly (Stereo Auto Panning Delay)

    The Attack and Release parameters specify attack time and 073: St. AutoPanningDly release time of delay level control. Dynamic Delay (Stereo Auto Panning Delay) Level This stereo delay effect pans the delay sound left and right Threshold using the LFO. Release Envelope Stereo In - Stereo Out...

  • Page 301: 074: Echo Plus

    Delay 074: Echo Plus Tap2 Level 0...100 Sets the Tap2 output level 074: Echo Plus L, 1...99, R Sets the stereo image of tap2 Feedback Sets the Tap2 feedback amount –100...+100 This models a famous analog tape echo unit. On the original p.293 device, “echo”...

  • Page 302: 077: Sequence Bpm Dly (Sequence Bpm Delay)

    Selects whether the start and 077: Sequence BPM Dly Envelope end of recording is controlled via D-mod, Input Select the modulation source or the input signal level p.294 (Sequence BPM Delay) Selects the modulation source that controls recording when Off...Tempo Envelope Select is set to D-mod This four‐tap delay enables you to select a tempo and p.294...

  • Page 303: 078: L/C/R Bpm Delay

    Delay 078: L/C/R BPM Delay 078: L/C/R BPM Delay 079: Stereo BPM Delay The L/C/R delay enables you to match the delay time with This stereo delay enables you to set the delay time to match the song tempo. You can also synchronize the delay time the song tempo.

  • Page 304: 080: St.bpm Mtap Delay (Stereo Bpm Multitap Delay)

    080: St.BPM Mtap Delay (Stereo 081: St.BPM Mod. Delay (Stereo BPM Multitap Delay) BPM Modulation Delay) This is a stereo multi‐tapped delay that lets you set the delay This is a stereo modulation delay that lets you synchronize time to match the tempo of the song. the delay time to the tempo of the song.

  • Page 305: 082: St.bpmautopandly

    Delay 082: St.BPMAutoPanDly (Stereo BPM Auto Panning Delay) Selects the type of notes to L Delay Base Triangle, Sine Selects the LFO Waveform specify the left channel delay Waveform Note time p.285 Changes the curvature of the Shape –100...+100 Sets the number of notes to LFO Waveform p.258 Times...
  • Page 306 Sets the position of Tap 2 relative Tap2 Position to the Tap 1 delay time the 0...100 depth of pitch variation p.293 Sets the position of Tap 3 relative Tap3 Position to the Tap 1 delay time the 0...100 depth of pitch variation p.293 Tap1 Level 0...100...

  • Page 307: Reverb And Early Reflections (Reverb Er)

    Reverb and Early Reflections (Reverb ER) 084: Reverb Hall Reverb and Early Reflections (Reverb ER) Reverb - Hall / Plate Type 084: Reverb Hall Level This hall‐type reverb simulates the reverberation of mid‐size concert halls or ensemble halls. Reverb Pre Delay Thru Time 085: Reverb SmoothHall Pre Delay...

  • Page 308: 090: Reverb2 Spring

    Changing these parameter values allows you to simulate the Time type of walls in the room. That is, a larger ER Level In these reverbs, Time is not expressed in seconds, but simulates a hard wall, and a larger Reverb Level simulates a instead is a value from 1 to 100.

  • Page 309: Mono-Mono Serial (Mono-Mono)

    Mono-Mono Serial (Mono-Mono) 095: P4EQ - Exciter (Parametric 4-Band EQ - Exciter) Mono-Mono Serial (Mono-Mono) 095: P4EQ - Exciter (Parametric 4- 096: P4EQ - Wah (Parametric 4- Band EQ - Exciter) Band EQ - Wah/Auto Wah) This effect combines a mono four‐band parametric equalizer This effect combines a mono four‐band parametric equalizer and an exciter.

  • Page 310: 097: P4Eq - Cho/Flng (Parametric 4-Band Eq - Chorus/Flanger)

    097: P4EQ - Cho/Flng 098: P4EQ - Phaser (Parametric 4- (Parametric 4-Band EQ - Band EQ - Phaser) Chorus/Flanger) This effect combines a mono four‐band parametric equalizer and a phaser. This effect combines a mono four‐band parametric equalizer and a chorus/flanger. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry...

  • Page 311: 099: P4Eq - Mt. Delay (Parametric 4-Band Eq - Multitap Delay)

    Mono-Mono Serial (Mono-Mono) 099: P4EQ - Mt. Delay (Parametric 4-Band EQ - Multitap Delay) 099: P4EQ - Mt. Delay 100: Comp - Wah (Compressor - (Parametric 4-Band EQ - Wah/Auto Wah) Multitap Delay) This effect combines a mono compressor and a wah. You can change the order of the connection.

  • Page 312: 101: Comp - Amp Sim (Compressor - Amp Simulation)

    101: Comp - Amp Sim 102: Comp - OD/HiGain (Compressor - Amp Simulation) (Compressor - Overdrive/Hi.Gain) This effect combines a mono compressor and an amp This effect combines a mono compressor and an overdrive/ simulation. You can change the order of the effects. high‐gain distortion.

  • Page 313: 103: Comp - P4Eq (Compressor - Parametric 4-Band Eq)

    Mono-Mono Serial (Mono-Mono) 103: Comp - P4EQ (Compressor - Parametric 4-Band EQ) 103: Comp - P4EQ (Compressor - 104: Comp - Cho/Flng Parametric 4-Band EQ) (Compressor - Chorus/Flanger) This effect combines a mono compressor and a four‐band This effect combines a mono compressor and a chorus/ parametric equalizer.

  • Page 314: 105: Comp - Phaser (Compressor - Phaser)

    105: Comp - Phaser 106: Comp - Mt. Delay (Compressor - Phaser) (Compressor - Multitap Delay) This effect combines a mono compressor and a phaser. You This effect combines a mono compressor and a multitap can change the order of the effects. delay.

  • Page 315: 107: Limiter - P4Eq (Limiter - Parametric 4-Band Eq)

    Mono-Mono Serial (Mono-Mono) 107: Limiter - P4EQ (Limiter - Parametric 4-Band EQ) Limiter - Threshold / Ratio 107: Limiter - P4EQ (Limiter - Ratio=1.0 : 1 Output Level Parametric 4-Band EQ) Ratio=2.0 : 1 Threshold Ratio=4.0 : 1 This effect combines a mono limiter and a four‐band Ration=Inf : 1 parametric equalizer.

  • Page 316: 109: Limiter - Phaser

    [F]Output Normal, Selects the output mode for the 110: Limiter - Mt.Delay Mode Wet Invert chorus/flanger p.305 Limiter Flanger, Switches the order of the limiter (Limiter - Multitap Delay) Routing Flanger and chorus/flanger Limiter This effect combines a mono limiter and a multitap delay. Dry, 1 : 99...

  • Page 317: 111: Exciter - Comp (Exciter - Compressor)

    Mono-Mono Serial (Mono-Mono) 111: Exciter - Comp (Exciter - Compressor) 111: Exciter - Comp (Exciter - 112: 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. You can change the order of the effects.

  • Page 318: 113: Exciter - Cho/Flng (Exciter - Chorus/Flanger)

    113: Exciter - Cho/Flng (Exciter - 114: Exciter - Phaser Chorus/Flanger) This effect combines a mono limiter and a phaser. This effect combines a mono limiter and a chorus/flanger. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry Exciter...

  • Page 319: 115: Exciter - Mt.delay (Exciter - Multitap Delay)

    Mono-Mono Serial (Mono-Mono) 115: Exciter - Mt.Delay (Exciter - Multitap Delay) 115: Exciter - Mt.Delay (Exciter 116: OD/HG - Amp Sim - Multitap Delay) (Overdrive/Hi.Gain - Amp Simulation) This effect combines a mono exciter and a multitap delay. This effect combines a mono overdrive/high‐gain distortion Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out and an amp simulation.

  • Page 320: 117: Od/Hg - Cho/Flng

    117: OD/HG - Cho/Flng 118: OD/HG - Phaser (Overdrive/Hi.Gain - Chorus/ (Overdrive/Hi.Gain - Phaser) Flanger) This effect combines a mono overdrive/high‐gain distortion and a phaser. You can change the order of the effects. This effect combines a mono overdrive/high‐gain distortion and a chorus/flanger.

  • Page 321: 119: Od/Hg - Mt.delay

    Mono-Mono Serial (Mono-Mono) 119: OD/HG - Mt.Delay (Overdrive/Hi.Gain - Multitap Delay) 119: OD/HG - Mt.Delay 120: Wah - Amp Sim (Wah - (Overdrive/Hi.Gain - Multitap Delay) Amp Simulation) This effect combines a mono overdrive/high‐gain distortion This effect combines a mono wah and an amp simulation. and a multitap delay.

  • Page 322: 121: Decimator - Amp (Decimator - Amp Simulation).314

    [C]Attack 1...100 Sets the attack level p.251 121: Decimator - Amp Sets the compressor output level Output Level 0...100 p.251 (Decimator - Amp Simulation) Decimator Comp, Switches the order of the Routing Comp decimator and compressor This effect combines a mono decimator and an amp Decimator simulation.

  • Page 323: 124: Cho/Flng - Mt.dly (Chorus/Flanger - Multitap Delay)

    Mono-Mono Serial (Mono-Mono) 124: Cho/Flng - Mt.Dly (Chorus/Flanger - Multitap Delay) 124: Cho/Flng - Mt.Dly (Chorus/ 125: Phaser - Cho/Flng (Phaser Flanger - Multitap Delay) - Chorus/Flanger) This effect combines a mono chorus/flanger and a multitap This effect combines a mono phaser and a chorus/flanger. delay.

  • Page 324: 126: Reverb - Gate

    Normally, set [G]Input Reverb Mix to Dry (the gate is 126: Reverb - Gate controlled only by the dry sound). If you wish to extend the gate time, set the [G]Input Reverb Mix value higher and adjust the Threshold value. This effect combines a mono reverb and a gate.

  • Page 325: Mono/Mono Parallel (Mono//Mono)

    Mono/Mono Parallel (Mono//Mono) 126: Reverb - Gate Mono/Mono Parallel (Mono//Mono) 127: P4EQ // P4EQ (Parametric 4‐Band EQ // Parametric 4‐ Limiter Band EQ) through 171: BPM Dl // BPM Dl (Multitap BPM LIMITER Delay // Multitap BPM Delay) are parallel effects. 1.0 : 1...
  • Page 326 BPM Dly (Multi-tap BPM Delay) MULTITAP BPM DELAY Frequency Sets the lower limit of the wah MIDI, MIDI syncs to the system tempo; 0...100 Bottom center frequency p.257 40.00... 40–300 sets the tempo manually 300.00 for this individual effect p.285 Frequency Sets the upper limit of the wah 0...100...

  • Page 327: 127: P4Eq // P4Eq (Parametric 4-Band Eq // Parametric 4- Band Eq)

    Mono/Mono Parallel (Mono//Mono) 127: P4EQ // P4EQ (Parametric 4-Band EQ // Parametric 4-Band EQ) 127: P4EQ // P4EQ (Parametric 130: P4EQ // Exciter (Parametric 4-Band EQ // Parametric 4- 4-Band EQ // Exciter) Band EQ) This effect connects a four‐band EQ (p.317) and an exciter (p.317) in parallel.

  • Page 328: 133: P4Eq // Cho/Flng (Parametric 4-Band Eq // Chorus/Flanger)

    133: P4EQ // Cho/Flng 136: Comp // Comp (Parametric 4-Band EQ // (Compressor // Compressor) Chorus/Flanger) This effect connects two compressor (p.317) units in parallel. This effect connects a four‐band EQ (p.317) and a chorus / Stereo In - Stereo Out flanger (p.318) in parallel.

  • Page 329: 139: Comp // Od/Hg (Compressor // Overdrive Hi.gain)

    Mono/Mono Parallel (Mono//Mono) 139: Comp // OD/HG (Compressor // Overdrive Hi.Gain) 139: Comp // OD/HG 142: Comp // Phaser (Compressor // Overdrive (Compressor // Phaser) Hi.Gain) This effect connects a compressor (p.317) and a phaser (p.318) in parallel. This effect connects a compressor (p.317) and an overdrive (p.317) in parallel.

  • Page 330: 145: Limiter // Exciter

    145: Limiter // Exciter 148: Limiter // Cho/Fl (Limiter / / Chorus/Flanger) This effect connects a limiter (p.317) and an exciter (p.317) in parallel. This effect connects a limiter (p.317) and a chorus / flanger (p.318) in parallel. Stereo In - Stereo Out Limiter Wet / Dry Left...

  • Page 331: 151: Exciter // Exciter

    Mono/Mono Parallel (Mono//Mono) 151: Exciter // Exciter 151: Exciter // Exciter 154: Exciter // Cho/Fl (Exciter // Chorus/Flanger) This effect connects two exciter (p.317) units in parallel. This effect connects an exciter (p.317) and a chorus / flanger Stereo In - Stereo Out (p.318) in parallel.

  • Page 332: Hi.gain)

    157: OD/HG // OD/HG 160: OD/HG // Phaser (Overdrive/Hi.Gain // (Overdrive/Hi.Gain // Phaser) Overdrive/Hi.Gain) This effect connects an overdrive (p.317) and a phaser (p.318) in parallel. This effect connects two overdrive (p.317) units in parallel. Stereo In - Stereo Out Overdrive / Hi-Gain Stereo In - Stereo Out Wet / Dry...

  • Page 333: 163: Wah // Cho/Flng (Wah // Chorus/Flanger)

    Mono/Mono Parallel (Mono//Mono) 163: Wah // Cho/Flng (Wah // Chorus/Flanger) 163: Wah // Cho/Flng (Wah // 166: Cho/Fl // Cho/Fl (Chorus/ Chorus/Flanger) Flanger // Chorus/Flanger) This effect connects a wah (p.318) and a chorus / flanger This effect connects two chorus / flanger (p.318) units in (p.318) in parallel.

  • Page 334: 169: Phaser // Phaser

    169: Phaser // Phaser This effect connects two phaser (p.318) units in parallel. Stereo In - Stereo Out Phaser Wet / Dry Left LFO: Tri / Sine Phaser Resonance Resonance Phaser LFO: Tri / Sine Right Wet / Dry Phaser 170: Phaser // BPMDly (Phaser // Multitap BPM Delay) This effect connects a phaser (p.318) and a multitap BPM...

  • Page 335: Double Size

    Double Size 172: St. Mltband Limiter (Stereo Multiband Limiter) Double Size Double‐size effects can be used only with insert effects IFX1, 173: PianoBody/Damper 2, 3, 4 and master effect MFX1. (PianoBody/Damper Simulation) 172: St. Mltband Limiter This effect simulates the resonance of the piano sound board caused by the string vibration, and also simulates the (Stereo Multiband Limiter) resonance of other strings that are not being played when...

  • Page 336: 174: Vocoder

    (the carrier). This distortion effect has two modes: overdrive and hyper‐ On the KROME, an external source such as a mic cannot be gain that produces a strong distortion. A higher high‐gain used as the modulator source, but you can create unique setting is required for this effect relative to a normal‐size...

  • Page 337: 176: Guitaramp + P4Eq (Guitar Amp Model + Parametric 4-Band Eq)

    Double Size 176: GuitarAmp + P4EQ (Guitar Amp Model + Parametric 4-Band EQ) a: Amplifier Type 176: GuitarAmp + P4EQ d: Presence If the Amplifier Type is VOX AC15...VOX AC30TB, this sets (Guitar Amp Model + the attenuation of the high‐frequency range. For other types, this sets the boost of the high‐frequency range.

  • Page 338: 180: G.amp Modded Od

    180: G.Amp Modded OD 181: BassTubeAmp+Cab. (Bass Tube Amp Model + Cabinet) This models a 100W boutique amp head produced in North Hollywood. An overdrive tone with a rich harmonic This simulates a bass amp (with gain and drive) and speaker structure is combined with a relaxed sustain, making for an cabinet.

  • Page 339: 182: Ep Cabinet/Drive

    Double Size 182: EP Cabinet/Drive 182: EP Cabinet/Drive 184: Multitap Cho/Delay (Multitap Chorus/Delay) This faithfully simulates the characteristics of the power amp and speaker cabinet of a famous model of tine‐type This effect has six chorus blocks with different LFO phases. electric piano.

  • Page 340: 184: St. Pitch Shifter (Stereo Pitch Shifter)

    1 : L 1 2 3 4 5 184: St. Pitch Shifter (Stereo 6 R, 2 : L 135 246 R, Selects the stereo panning Panning 3 : L 1 3 5 2 4 pattern for each tap Preset Pitch Shifter) 6 R, p.332 4 : L 1 4 5 6 3...

  • Page 341: 185: St. Pitchshift Bpm (Stereo Pitch Shifter Bpm)

    Double Size 185: St. PitchShift BPM (Stereo Pitch Shifter BPM) 185: St. PitchShift BPM (Stereo 186: Rotary SpeakerOD Pitch Shifter BPM) (Rotary Speaker Overdrive) This stereo pitch shifter enables you to set the delay time to This is a stereo rotary speaker effect. It has an internal match the song tempo.

  • Page 342: 188: L/C/R Long Delay

    a: Sw 189: St/Cross Long Delay This parameter determines how to switch on/off the overdrive via a modulation source. (Stereo/Cross Long Delay) When Sw = Toggle, overdrive is turned on/off each time the pedal or joystick is operated. This is a stereo delay, and can by used as a cross‐feedback Overdrive will be switched on/off each time the value delay effect in which the delay sounds cross over between of the modulation source exceeds 64.

  • Page 343: 190: Hold Delay

    Double Size 190: Hold Delay b: Loop BPM Sync 190: Hold Delay c: BPM d: Loop Base Note This effect records the input signal and plays it back d: Times repeatedly. You can control the start of recording and reset If Loop BPM Sync is on, the Times setting is ignored;...

  • Page 344: 191: Lcr Bpm Long Dly (L/C/Rbpm Long Delay)

    191: LCR BPM Long Dly (L/C/R 192: St. BPM Long Dly (Stereo BPM Long Delay) BPM Long Delay) The L/C/R delay enables you to match the delay time with The stereo delay enables you to match the delay time with the song tempo.

  • Page 345: 193: Early Reflections

    Double Size 193: Early Reflections 193: Early Reflections This early reflection effect has more precise early reflections with twice the maximum length of a normal‐size effect (See “094: Early Reflections” on page 300.). You can create a very smooth and dense sound. Wet: Mono In - Stereo Out / Dry: Stereo In - Stereo Out Left Wet / Dry...

  • Page 347: Appendices

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

  • Page 348: Ams (Alternate Modulation Source) List

    KnobMod4[+] (Realtime Knob Modulation4[+]) The effect will be applied by channel aftertouch messages from the KROME’s sequence data or received from MIDI IN. With these AMS sources, the knob position and the direction of the resulting change are different than KnobMod1: #17–...
  • Page 349 Alternate Modulation Sources (AMS) Foot SW: #82 (Foot SW: CC#82) This AMS source receives MIDI CC#82. It can also be generated by a foot switch connected to the rear‐panel ASSIGNABLE SWITCH input, if the Global Foot Pedal Assign parameter is set to Foot SW (CC#82). For more information, please see “Foot Switch Assignments”...

  • Page 350: Alternate Modulation Settings

    Appendices • The tone, EG, and LFO etc. can be controlled not only by Alternate Modulation settings key velocity or the joystick, but also from a button, knob, or pedal etc. When you operate an AMS (Alternate Modulation Source), • Panning can be controlled in realtime from a controller, the modulation destination will be affected as shown in the EG, or LFO etc.
  • Page 351 Alternate Modulation Sources (AMS) Notes for the table Filter (Cutoff) Frequency (Prog 3–1b(c)) The cutoff frequency of filter A/B can be controlled by the *1 EXT(+–): JS X, Ribbon:CC#16, Knob Mod1 (CC#17), Knob pitch/amp EG, Common keyboard tracking, controllers, or Mod2 (CC#19), Knob Mod3 (CC#20), Knob Mod4 tempo.
  • Page 352 Appendices level falls. With negative (–) values of Intensity to A and Pan (Prog 4–1c) Intensity to B, the phase of the LFO will be inverted. The oscillator pan can be controlled by the EG, LFO, keyboard tracking, controllers, or tempo etc. •...
  • Page 353 Alternate Modulation Sources (AMS) LFO Frequency (Prog 5–1a) The frequency of LFO 1, 2 or Common LFO can be controlled by the EG, keyboard tracking, controllers, or tempo etc. You can also use the LFO2 frequency to modulate LFO1, or use the Common LFO frequency to modulate LFO 1/2.

  • Page 354: Dynamic Modulation Sources (Dmod)

    Appendices Dynamic Modulation Sources (Dmod) You can control certain effect parameters using the joystick, Dynamic Modulation Source Realtime Controls knobs, 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 355 Dynamic Modulation Sources (Dmod) Gate1, Gate1+Dmpr (Gate1, Gate1+Damper) KnobM1 [+] (Knob Modulation1 [+]) The effect is at maximum during note‐on, and will stop KnobM2 [+] (Knob Modulation2 [+]) when all keys are released. With Gate1 + Damper, the effect KnobM3 [+] (Knob Modulation3 [+]) will remain at maximum even after the keys are released, as KnobM4 [+] (Knob Modulation4 [+]) long as the damper (sustain) pedal is pressed.

  • Page 356: Controller Assignments

    Appendices Controller Assignments For more information, please see “Locking the Joystick” on SW1/2 Assignments page 25 of the Operation guide. JS X Lock Switch assignments are saved separately with each Locks the effect of the joystick X axis. Program, Combination, and Song. JS Y Lock For more information, see: Locks the effect of the joystick Y axis (both + and –...

  • Page 357: Knobs 1-4

    Between values of 65 and 80, the Start Level, Start Level AMS, and Attack Time AMS will change from their You can connect a footswitch (such as the optional Korg PS‐1 programmed values to 0. Over the same range, the Attack or PS‐3) to the rear‐panel ASSIGNABLE SWITCH input, and...

  • Page 358: Foot Pedal Assignments

    Manual Punch In, the switch can be used to punch‐in and described below. punch‐out when recording on the sequencer. This setting is made for the entire KROME, on the Global P2: Cue Repeat Control Controllers– Foot Controllers page. This is valid if the Repeat setting for each step in Seq P11: A note on MIDI CCs Cue List is set to FS (11–1b).
  • Page 359 Controller Assignments Expression (CC#11) Expression is a secondary volume control, which you can use to scale level without affecting the main volume settings or CC#7 values. For more information, please see “Expression (CC#11)” on page 348. FX Control 1 & 2 (CC#s12 & 13) These assignments are intended for Effect Dynamic Modulation (Dmod).

  • Page 360: System Exclusive Messages Affected By Create Excl Data, Erase Excl Data, And Event Edit

    Appendices System exclusive messages affected by Create Excl Data, Erase Excl Data, and Event Edit Create/Erase Event Edit Create/Erase Event Edit EQ Low Gain T01:EQ Low Gain *Dump/Ext* Bus Select T01:Bus Select *Unavailable* Send1(MFX1) T01:Send1(MFX1) Univ: Mater Volume MaterVolume Send2(MFX2) T01:Send2(MFX2) Univ: Master Balance MasterBalance...
  • Page 361 System exclusive messages affected by Create Excl Data, Erase Excl Data, and Event Edit Create/Erase Event Edit Velocity Zone KAR:DT Run 2 Bottom Velocity Zone Top KAR:DT Run 3 Insert Effect Setup IFX1 SW IFX1:SW IFX1 IFX1 IFX1 Control Channel IFX1:Control Ch.

  • Page 362: Midi Transmission When The Krome's Controllers Are Operated

    Appendices MIDI transmission when the KROME’s controllers are operated The following tables show the relation between the MIDI correspond to each MIDI message. messages that are transmitted when the KROME’s # indicates a fixed function, and * indicates an assignable controllers are operated, and the AMS (alternate modulation function.
  • Page 363 [*] (Global P2: Controllers– MIDI CC# Channel (Seq 3–1(2)c). Assign) If the Status is INT or BTH, operating one of the KROME’s *: Assignable controllers will affect only that MIDI track. Simultaneously, the same effect will also apply to any MIDI track with the [*]:The ARP Controllers can be assigned to CC#00–119.

  • Page 364: Krome And Midi Ccs

    Appendices KROME and MIDI CCs Responses to standard MIDI controllers The following table shows how the KROME responds to MIDI control change messages, and the relation between settings and controller movements on the KROME. Control Value Function 0 Bank select (MSB) 0…127...
  • Page 365 For example, if in Sequencer mode you wish to set a MIDI track that is receiving channel 1 to a transpose (coarse tuning) value of –12, you would first transmit [B0, 64, 02] (64H=CC#100) and [B0, 65, 00] (65H=CC#101) to the KROME to select the RPN coarse tune. Then you...

  • Page 366: Parameters Controlled By Midi Ccs #70-79

    00] (26H=CC#38, 00H=0). you will choose the Global P2– MIDI CC# Assign menu command Reset Controller MIDI Assign and use the CC *3 The volume of the KROME is determined by multiplying Default settings. the Volume (CC#07) with the Expression (CC#11). In Sequencer mode when you stop the song playback and This table shows the operations for the CC Default set‐...

  • Page 367: Midi Applications

    When using the KROME by itself, leave Local Control various settings listed above will be reflected in the MIDI turned on. (If this is off when the KROME is used by itself, data that is transmitted. These settings will also be playing the keyboard will not produce sound.)

  • Page 368: Messages Transmitted And Received By The Krome

    Receive: The MIDI channel specified by the Drum Pat‐ Messages transmitted and tern Input (Seq 1–1a) setting of each song. You will nor‐ mally set this to Tch and use the KROME’s keyboard to received by the KROME control triggering.
  • Page 369 8,192 [bb, mm = 00H, 40H] is the center value) to the beginning of a measure. For more information, When the KROME’s joystick is moved in the X axis (left/ please see “Program Select” on page 112. right), a pitch bend effect will be applied, and pitch bender •...
  • Page 370 Modulation 1 depth (CC#01) [Bn, 01, vv] If adjusting the Volume message does not increase the When you move the KROME’s joystick in the +Y direction volume as you expect, or if there is no sound, transmit MIDI (Vertical upward), Modulation 1 Depth messages will be messages from an external device to reset the value of the transmitted.
  • Page 371 Controller (CC#18) [Bn, 12, vv] Although various types of control change can be selected as This message will be transmitted when the KROME’s dynamic modulation sources, Effect Control 1 (CC#12) and 2 VALUE dial is operated.
  • Page 372 Request message, in addition to the usual method of using and the soft pedal effect will be turned on. When this the KROME’s buttons. When you write the data, the values message is received, the result will be the same as when the of the corresponding program parameters will be rewritten.
  • Page 373 (CC#97) [Bn, 61, 00] (n: channel, value is fixed at 00) to change the value in steps of one. mm: Model ID bytes 2 (01) The KROME can receive the following three RPN messages mm: Model ID bytes 3 (15) (tuning, transpose, and pitch bend range).
  • Page 374 When Master coarse tuning [F0, 7F, nn, 04, 04, vv, mm, F7] you switch modes on the KROME, a mode change will be (Normally only the upper byte mm is used. A value of 8192 transmitted.
  • Page 375 Even if MIDI Clock is set to External MIDI or External The choice of whether the KROME will be the master (the USB and the KROME is being controlled from an external controlling device) or the slave (the controlled device) is device, musical data will be transmitted by tracks whose made by MIDI Clock (Global 1–1a).
  • Page 376 1. RPPR function on the external MIDI sequencer/computer. • If KROME song data that was saved as a format 1 SMF 1. Turn on this instrument’s arpeggiator or RPPR func- file is loaded into another device, the track configuration tion.

  • Page 377: Compatibility With The M50

    Multisample, and Drumsample banks and numbers for the first save it as Standard MIDI File (SMF format) data (see KROME and the M50. The table at the right shows what will p.232). happen when an M50 format file is loaded into the KROME.

  • Page 378: Midi Implementation

    Appendices MIDI Implementation...
  • Page 379 MIDI Implementation...
  • Page 380 Appendices...

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