Page 1 Parameter Guide...
Page 3: Table Of Contents
Contents 7–2: MIDI Filter/CC Offset ....114 Program mode: HD-1 ....1 7–3: Module Parameters-Control .
Page 4 Copy Drum Track ......170 8–3: LFO 2 ....... . 226 Erase Drum Track Pattern.
Page 5 EXi Program P0: Play ..... . . 333 5-2: Multi Filter......285 5-3: Filter Modulation.
Page 6 EP-1: Tone Adjust ......423 8–2: EG 2 ....... . . 391 8–3: EG 3 .
Page 7 Combination: Page Menu Commands ..515 1–8: Set Up Controllers ..... . .573 1–9: Pads ........575 ENTER + 0–9: shortcuts for menu commands .
Page 8 Set Location (for Locate Key) ....639 Insert IFX Slot ......670 GM Initialize.
Page 9 Sampling P9: Master/Total Effect ... . 733 Global P1: MIDI......781 9–1: Routing .
Page 10 Master Effects (MFX1, 2) ....891 Disk mode ......827 In/Out .
Page 11 Chorus, Flanger, and Phaser ....941 097: St. BPM Auto Panning Dly ....993 098: Tape BPM Echo .
Page 12 Note Series Group ......1047 154: Comp // Wah......1024 155: Comp // Chorus/Flanger .
Page 13 General Parameters ......1083 Korg format sample files .....1162 Range Parameters .
Page 15: Program Mode: Hd-1
We named the HD-1 “High Definition” because of its high frequencies, and sound that is smooth, rich, and superior sound, starting with Korg’s proprietary low-aliasing detailed across the entire audio spectrum. sample playback oscillators, full-bandwidth multimode resonant filters, and extraordinarily fast &...
Page 16: Program P0: Play
Program mode: HD-1 Program P0: Play This is the main page of Program mode for HD-1 Programs. If inspiration for a phrase or song strikes you while you’re Among other things, you can: playing, you can use this function to start recording immediately.
Page 17 Program P0: Play 0–1: Main Bank Bank Type Category Popup Tempo Program Select Popup Program Select Favorite Find Bank Type [HD-1, EXi] To select banks USER–AA…GG, press and hold a pair of I and U BANK buttons together. For example, to select bank This shows whether the current Bank contains HD-1 USER–CC, press and hold the I–C button, and then press the Programs or EXi Programs.
Page 18 Program mode: HD-1 There are more banks than can be shown at one time, so the The Favorite button trims the list to show only Programs banks are divided into two groups of tabs: INT–A…USER– you’ve marked as favorites. If the selected Bank contains no G and USER–AA…USER–GG.
Page 19 Program P0: Play 0–1: Main Category tab Sub-category tab Scroll bar Tempo ( q ) Category/Program Select [040.00…300.00, EXT] 1. Press the Category popup button (above the Program This is the tempo for the current Program, which applies to Select parameter) to open the Category/Program tempo-synced LFOs and Wave Sequences, the Vector EG, Select menu.
Page 20 Program mode: HD-1 If names are shown, colors and abbreviations are used to distinguish between various possibilities, as detailed below: • Red: ROM, EXs, and User Sample Bank Multisamples • Green: Sampling Mode Multisamples • Blue: Wave Sequences • Orange: Drum Kits •...
Page 21: Quick Layer
Program P0: Play Quick Layer Common 0–1c: Quick Layer and Quick Split buttons Voice Assign Mode This shows the voice assign mode of the program–either These buttons access the Quick Layer and Quick Split POLY or MONO. features, which make it easy to create simple layers and splits.
Page 22 Program mode: HD-1 The keyboard graphic shows notes as they are played on the Overview physical keyboard. This dialog box is reached by pressing the Quick Layer button on the Program P0: Play page. LAYER PROG A “layer” is when playing a single note causes two or more Layer Program Select [List of Programs] sounds to be heard simultaneously.
Page 23 Program P0: Play Quick Layer KARMA’s effects remain separate between the Main Write Combination Program and the Layer Program, even after they are combined into the new layered sound; the KARMA settings When you've created a layer sound that you like, press the of one will not affect the other.
Page 24: Quick Split
Program mode: HD-1 Quick Split Select Split Mode KEYBOARD Graphic Solo Split Point Category Find (Category/Program Select) Find Category (Category/Program Select) Solo Lower Program Select Main Program Select Octave Octave Category image Volume Main KARMA Lower On/Off KARMA Volume Main On/Off Lower Category image Drum Track...
Page 25 Program P0: Play Quick Split Octave [-2, -1, 0, +1, +2] Drum Track This adjusts the pitch of the Split Program in 1-octave units. Select Drum Track Internally, the Octave setting controls the Timbre’s Transpose parameter. You can choose to use the Drum Track from either the Main or Split Program.
Page 26: 0-2: Performance Meters
Program mode: HD-1 0–2: Performance Meters 0–2PMC 0–2a Voice Stealing This page lets you look at the real-time performance of the KRONOS, including voice usage, voice stealing, and effects. Sometimes, if a lot of voices are already sounding, there won’t be enough free power to play a new voice. When this 0–2a: CPU happens, the system stops older or lower-priority voices to free enough CPU power for the new voice.
Page 27 Program P0: Play 0–2: Performance Meters 4. In Sequencer mode, bounce high-polyphony MIDI Tracks to Audio Tracks, and then mute the MIDI Tracks. Number of Sounding Voices This shows the total number of currently sounding voices. Voices will have different CPU costs depending on which of the synth engines they use.
Page 28: 0-6: Karma Ge
Program mode: HD-1 0–6: KARMA GE 0–6PMC 0–6a 0–6b 0–6c This page lets you make basic adjustments to KARMA. For 1. Press the Load GE Options button to open the Load more detailed editing of KARMA parameters, see “Program GE Options dialog box. P7: KARMA”...
Page 29 Program P0: Play 0–6: KARMA GE Tempo ( q ) [040.00…300.00, EXT] keep the current KARMA controller settings and edit them yourself as necessary. This is the tempo for the current Program, which applies to 3. If you choose the Auto RTC Setup On setting, check tempo-synced LFOs and Wave Sequences, KARMA, and or uncheck the “Use RTC Model”...
Page 30 Program mode: HD-1 Preset GE Bank User GE Bank RTC Model Name (Module ID) [A, P] RTC stands for “Real Time Control.” RTC models provide a level of standardization for controlling the over 200 internal This shows the type of parameter assigned to the slider or parameters of a GE.
Page 31 Program P0: Play 0–6: KARMA GE CCs/Notes • 2: Copy KARMA Module. For more information, see “Copy KARMA Module” on page 162. This is a realtime display of the note-on/off or MIDI control change messages generated by the KARMA module •...
Page 32: 0-7: Controller View/Effect
Program mode: HD-1 0–7: Controller View/Effect 0–7PMC 0–7a 0–7b 0–7c Knobs 5…8 [Assignment] This page shows the functions assigned to the physical controllers, including the vector joystick, SW1 and 2, and These indicate the functions assigned to knobs 5–8. (See “1– knobs 5–8.
Page 33: 0-8: Audio Input/Sampling
Program P0: Play 0–8: Audio Input/Sampling • 1: Exclusive Solo. For more information, see “Exclusive v 0–7: Page Menu Commands Solo” on page 153. The number before each command shows its ENTER + • 2: Show MS/WS/DKit Graphics. For more information, number-key shortcut.
Page 34 Program mode: HD-1 In this case, set Use/Edit Global Setup to Off, and the audio 1/2, 3/4: The external audio input signal will be sent in inputs will use the Program’s custom settings. stereo to the specified pair of REC busses. The Pan setting sends the signal in stereo to busses 1 and 2 or busses 3 and 4.
Page 35 Program P0: Play 0–8: Audio Input/Sampling CLIP! If the sound is distorted even though this level setting is very low, see “Tips for eliminating distortion when using the If 0 dB is exceeded, the display will indicate “CLIP!” This analog inputs,” below. means that the level of the sampling signal is too high;...
Page 36 Program mode: HD-1 If there is distortion, but the “ADC OVERLOAD!” message Using the REC busses, you can isolate one or more sounds does not appear, it’s possible that the distortion is being for recording or sampling–even if the sounds are also being caused by the settings of the internal effects.
Page 37 Program P0: Play 0–8: Audio Input/Sampling Source Bus = Audio Input 1/2 Source Bus = Audio Input Bus 1/2 Indiv. CLIP !! Sampling L-Mono R-Mono Stereo Insert Effects Audio Input 1 Monitor Level L/MONO AUDIO OUTPUT Insert HEADPHONES Effects [x] Source Direct Solo Audio Input 2 Level Insert...
Page 38 Program mode: HD-1 Source Direct Solo [Off, On] Samples saved to RAM will be lost when the power is turned off, so you must save them if you want to keep This selects what is heard through the L/R outputs and them.
Page 39 Program P0: Play 0–8: Audio Input/Sampling Note: The various Recording Setup settings are not made independently for each program; they apply to the entire Program mode. Sample to Disk [16-bit, 24-bit] This sets the bit depth for sampling to disk. Note that this does not affect sampling to RAM.
Page 40: 0-9: Control Surface
Program mode: HD-1 0–9: Control Surface 0–9PMC 0–9b 0–9a 0–9c 0–9d 0–9e 0–9f The Control Surface is the set of 9 sliders, 8 knobs, and 16 Control Assign Switches and Tabs switches to the left of the LCD display. It looks like a mixer, but it can do other things as well, including editing sounds, You can switch the Control Surface between its different controlling KARMA, and sending MIDI messages to...
Page 41 Program P0: Play 0–9: Control Surface 3. While holding down RESET CONTROLS, press the Jump/Catch current Control Assign button again. When you change the Control Assign setting or select a new All of the sliders, knobs, and switches shown on the Control Program, Combination, or Song, the physical positions of Surface will be reset to the values stored in the Program.
Page 42 Program mode: HD-1 MIXER KNOBS [Channel Strip, Individual Pan] HIGH EQ [–18.00…+18.00dB] The Mixer Knobs switch is on the front panel, This controls the gain of the 10kHz High Shelf EQ, in immediately to the right of the knobs, and is increments of 0.5dB.
Page 43 Program P0: Play 0–9: Control Surface Master Volume Slider When Solo is Off (LED = Off), the SELECT switches select the current Oscillator; when Solo is On (LED = On or Master Volume [000…127] blinking), the Select switches let you solo one or both Oscillators, and/or Audio Inputs.
Page 44 Program mode: HD-1 Control Surface - Audio In 0–9c Mixer Knobs [Channel Strip, Individual Pan] 0–9c: Audio Inputs This switch controls whether the knobs show the pan This Control Assign setting lets you adjust the volume, pan, settings for all 6 inputs at once (Individual Pan), or the pan and FX send settings for each of the six audio inputs: Analog and FX Send levels for the selected input (Channel Strip).
Page 45 Program P0: Play 0–9: Control Surface Audio Input Pan (1–6) [L000…C064…R127] Knobs 1 and 2 control the pan settings for analog inputs 1 & 2, knobs 3 and 4 control the pan for USB inputs 1 & 2, and knobs 5–6 control the pan for the left and right S/P DIF inputs.
Page 46 MIDI gear on stage, another for Note: to change the mapping of CCs to controls, edit the controlling a software synthesizer (such as one of Korg’s External Setups in Global P1–2: External 1. For more Legacy Collection synths), and so on.
Page 47 Program P0: Play 0–9: Control Surface CC# Assign (1–8) [Off, 000…119] Value (1–8) [000…127] This read-only parameter shows the MIDI CC sent by the This is the current value of the slider’s MIDI CC. slider. Control Surface - RT/KARMA Selected Parameter Information 0–9e...
Page 48 Program mode: HD-1 Master Volume Slider CC parameter scaling Master Volume [000…127] This controls the volume of the main stereo outputs, after the Parameter Total Effects. It does not affect Individual Outputs 1–4. For V alue more information, see the diagram “Master Volume” on page 29.
Page 49 Program P0: Play 0–9: Control Surface Control Surface - Tone Adjust 0–9f sequencer. The sequencer will record that slider 1 has 0–9f: Tone Adjust moved, and not that Filter Resonance has changed. If you later change slider 1 to control LFO1 Speed, playing back Tone Adjust lets you use all of the sliders, knobs, and the sequence will affect the LFO, and not Filter Resonance.
Page 50 Program mode: HD-1 Value [Current Parameter Value] When the Relative parameter is at +99 (the maximum), the Program parameters are all at their maximum as well. This shows the current value of the parameter. The range of Similarly, when the Relative parameter is at –99 (the values will vary depending on the parameter assigned to the minimum), the Program parameters are at zero.
Page 51 Program P0: Play 0–9: Control Surface Assign [List of Tone Adjust assignments] Filter/Amp EG Sustain Level. (–99…+99, CC#70) This lets you assign a Tone Adjust parameter to the switch. This scales the sustain levels of the Filter and Amp EGs. For a full list of the available choices, please see “Common Tone Adjust Parameters”...
Page 52 Program mode: HD-1 LFO2 Speed. (–99…+99) Hold. (Off/On, Absolute) This scales LFO2’s frequency. When the LFO is in This lets you turn Hold on and off. For more information on MIDI/Tempo mode, this adjusts the Base Note. For more this parameter, see “Hold” on page 44. information, please see “Frequency”...
Page 53 Program P0: Play 0–9: Control Surface Bank cannot be used to change to User Sample Banks or LFO 1 Waveform. (Triangle…Rad6, Absolute) EXs numbered 126 and higher.) This selects the waveform for the Oscillator’s LFO 1, as described under “Waveform” on page 96. •...
Page 54 Program mode: HD-1 Default Tone Adjust Settings Tone Adjust provides an elegant physical interface to the HD-1’s parameters. Most of the factory sounds use the default layout, as shown below. You can also customize the layout for individual sounds, if desired. HD-1 Tone Adjust, Default Settings OSC1 OSC1...
Page 55: Program P1: Basic/Vector
Program P1: Basic/Vector 1–1: Program Basic Program P1: Basic/Vector 1–1: Program Basic 1–1PMC 1–1a 1–1b 1–1h 1–1c 1–1d 1–1e 1–1f 1–1g This page contains all of the basic settings for the Program. The Drum and Double Drum modes are a special variations Among other things, you can: of Single and Double modes, respectively, using Drum Kits (as created in Global mode) instead of Multisamples.
Page 56 Program mode: HD-1 Polyphony also depends on the effects being used, and on The Mode parameter, below, switches between two different which synthesis types are being used (HD-1, AL-1, CX-3 Mono Legato effects, each of which achieves this etc.). For more information, see “0–2: Performance Meters” smoothness in a different way.
Page 57 Off disables the Chord function. and the highest on the right; the next-lowest on the left, and Bsc (Basic) re-creates the chord mode of the Korg Polysix. the next-highest on the right, etc., as below: Each time you play a new chord, it will cut off the previous -14 cents: L chord.
Page 58 Program mode: HD-1 Using Hold with Acoustic Pianos This creates an effect similar to vintage analog synthesizers, in which oscillators were frequently slightly out of tune. Hold is also useful for simulating the top octaves of an Higher numbers increase the effect. acoustic piano, in which notes always sustain until they fade out naturally, regardless of how long you hold the key.
Page 59 A half-damper pedal is a special type of continuous foot Pythagoras: This scale is based on ancient Greek musical pedal, such as the Korg DS-1H. In comparison to a standard theory, and is especially effective for playing melodies. It footswitch, half-damper pedals offer more subtle control of produces completely pure fifths, with one exception, at the sustain, which can be especially useful for piano sounds.
Page 60 Program mode: HD-1 As much as Pythagoras might have like to do so, it’s not If the Show MS/WS/DKit Graphics menu command is not possible to make all the fifths pure while also keeping the enabled, then the overview/jump parameters will be shown octave in tune.
Page 61: 1-3: Drum Track
Program P1: Basic/Vector 1–3: Drum Track 1–3: Drum Track 1–3PMC 1–3a 1–3b 1–3c 1–3e 1–3d 1–3f Shift [-24…+24] Overview Shift lets you transpose the Drum Track pattern in semitone The Drum Track is a built-in drum machine, fueled by the steps, causing different instruments of the drum kit to play.
Page 62 Program mode: HD-1 Play/Mute [Mute, Play] Note: If you want to synchronize KARMA to the Drum Track, enable the Quantize Trig parameter (Prog P7: This determines whether or not the Drum Track Program KARMA– Trigger, Combi/Seq P7: KARMA Module will sound. The setting will alternate each time you press the Parameters-Trigger).
Page 63 Program P1: Basic/Vector 1–3: Drum Track Input Trim [00…99] FX Control Bus [Off, 1, 2] This controls the volume level going into the EQ. This sends the output of the Drum Track Program to an FX Control bus (two-channel stereo FX Ctrl 1 or 2). High settings of the Low, Mid, and High Gain controls can cause substantial increases in the overall level.
Page 64 Program mode: HD-1 Note: If you want to return the drum kit to its previous state, change these settings to IFX1=IFX1, IFX2=IFX2, and so on. v 1–3: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands”...
Page 65: 1-5: Vector Control
Program P1: Basic/Vector 1–5: Vector Control 1–5: Vector Control 1–5PMC 1–35 1–5b 1–5c Vector Synthesis lets you control Program and Effects In addition to moving the point directly with the Vector parameters by moving the Vector Joystick, by using the Joystick, you can also use the Vector Envelope to move its programmable Vector Envelope, or by the combination of position automatically over time, as shown below.
Page 66 Program mode: HD-1 Vector Volume Control and CC Control In Combi mode, you can use this to control the relative volumes of up to 16 Programs at once, using both the X and The Vector does two main things: it can control the relative Y axes.
Page 67 Program P1: Basic/Vector 1–5: Vector Control The volumes at the extreme ends of the X axis are fixed, in Vector CC Modes the opposite direction of Oscillator 1’s. At the left side, Osc Positive Negative 2 is always at 0% volume; at the right side, Osc 2 is always G enerates only +X, G enerates only –X, at 100%.
Page 68 Program mode: HD-1 VJS Y Mode [Positive, Negative, Xfade, Split] This controls the Vector CC pattern for the Y axis. For more information, see the description under VJS X Mode, above. [Off…MIDI CC#119] This assigns the controller sent by the +Y vector. It will be grayed out if the VJS Y Mode, above, is set to Negative.
Page 69: 1-6: Vector Envelope
Program P1: Basic/Vector 1–6: Vector Envelope 1–6: Vector Envelope 1–6PMC 1–6a 1–6b 1–6c The Vector Envelope works together with the Vector When Key Sync is On, each note’s Volume Control EG will Joystick to control the Vector position. It’s also special start at note-on, and go into release at note-off.
Page 70 Program mode: HD-1 Points 0, 1, and 2’s Transition times, however, work in 1–6b: Vector Envelope Loop reverse when moving backwards during a forwards- backwards loop. It’s as if you were re-tracing the EG shape The Vector EG can loop between two points, and can in reverse.
Page 71 Program P1: Basic/Vector 1–6: Vector Envelope Transition Release This sets the length of time that the EG takes to move from This sets the length of time that it takes to move to Point 4 Point 0 to Point 1. after note-off.
Page 72: 1-8: Set Up Controllers
Program mode: HD-1 1–8: Set Up Controllers 1–8PMC 1–8a 1–8b This page lets you set up the functionality of switches 1 and 1–8b: Modulation Knob Assign 2 (SW1/2) and Real-Time Knobs 5–8. These settings are made independently for each Program. These settings assign functions (mainly MIDI control changes) to realtime modulation knobs 5–8.
Page 73: 1-9: Pads
Playing the pads from Korg USB MIDI controllers to select chords for Chord mode. For more information, see “Using Chord mode” on page 40 of the Operation Guide. You can also play the pads using Korg USB MIDI controllers equipped with drum pads, including: Playing the pads •...
Page 74 Program mode: HD-1 For more details, see “USB MIDI controllers” on page 1144. 3. Touch the pad to which you’d like to assign the notes. After pressing the pad, you’re done! 1–9a: Pads Enable Pad Play [Off, On] Pad 1 The pads play every time you touch within their boundaries.
Page 75: Program P2: Osc/Pitch
Program P2: OSC/Pitch 2–1: OSC1 Basic Program P2: OSC/Pitch These pages control the first and most basic elements of HD- • Set the basic pitch of the sound, including the octave, 1’s sounds: the Multisamples that the oscillators play, and fine tuning, and so on.
Page 76 This menu will appear only if the Type is set to Multisample. U–A through U–GG include some factory sounds (in U–A and U–F), and the rest are free for storing sounds that you create yourself, optional sound banks from Korg, or third- party sound libraries.
Page 77 Program P2: OSC/Pitch 2–1: OSC1 Basic Multisample/Wave Sequence Select [List] Mono and Stereo Multisample lists for Sampling Mode and User Sample Banks This parameter lets you select a Multisample or Wave Sequence, depending on the Type setting. If Sampling Mode mono or any mono User Sample Bank is selected, the list shows all of the mono Multisamples in the Some Multisamples may have an upper limit to their Bank.
Page 78 Program mode: HD-1 Start Offset [Off, 1st…8th] Crossfade Curves In addition to simply starting playback from the beginning, Linear ROM and EXs Multisamples can have up to 8 different pre- programmed alternate starting points. Similarly, Sampling Mode and User Sample Bank Multisamples can play either from the beginning of the Volume waveform, or from the loop start point.
Page 79 Program P2: OSC/Pitch 2–1: OSC1 Basic Bottom [001…127] 2–1d: OSC 1 Velocity Zone This sets the lowest velocity at which the Oscillator will In addition to setting the velocity zones for each of the four sound. Multisamples in a single Oscillator, you can also set high Entering velocity values from the keyboard and low velocities for each of the two Oscillators as a whole.
Page 80: 2-2: Osc1 Pitch
Program mode: HD-1 When the Drum Kit Select window is open, you can use the • 0: Write Program. For more information, see “Write Find button to search for Drum Kits by name. The button is Program” on page 153. marked with a magnifying-glass icon, and is located at the •...
Page 81 Program P2: OSC/Pitch 2–2: OSC1 Pitch Pitch Slope, pitch, and note 2–2b: Pitch EG Intensity [–12.00…+12.00] Pitch This controls the initial effect of the Pitch EG on Oscillators 1’s frequency, in half-steps, before any AMS modulation. The Pitch EG’s shape can swing all the way from +99 to – 2oct 99.
Page 82 Program mode: HD-1 Fingered [Off, On] You can use each of these methods for each of the two LFOs. The results are added together to produce the total LFO This parameter allows you to control Portamento through effect. your playing style. When it’s enabled, playing legato will turn on Portamento, and playing detached will turn it off LFO1 again.
Page 83: 2-5: Osc2 Basic
Program P2: OSC/Pitch 2–5: OSC2 Basic 2–5: OSC2 Basic This page controls the basic settings for Oscillator 2. It is The parameters are identical to those for Oscillator 1, as available only when the Oscillator Mode is set to Double; if described under “2–1: OSC1 Basic,”...
Page 84 Program mode: HD-1 Time Threshold [–99…+99] This sets the AMS level which will trigger the EG reset. Higher values mean longer times, as shown below: Among other things, you can use this to adjust the exact EG Value Actual Time point in an LFO’s phase at which the EG will be reset, effectively controlling its “groove”...
Page 85 Program P2: OSC/Pitch 2–9: Pitch EG Pitch EG Curve Pitch EG Level Modulation Curve = 0 (Line ar) Curve = 1 0 (Exp / Log) O riginal Sha pe Positive A MS on Start, Attack, and Bre ak Curve = 0 (Line ar) Curve = 1 0 (Exp / Log) N eg ative A MS on Start, Positive A MS on Start and Bre ak,...
Page 86 Program mode: HD-1 2–9d: Time Modulation These settings let you use an AMS source to control the Time parameters of the EG. The Attack, Decay, Slope, and Release times share this AMS source, but each has its own modulation intensity. Pitch EG Time Modulation A MS=Velocity, Intensity = a positive (+) value N ote-on...
Page 87: Program P3: Filter
Program P3: Filter 3–1: Filter1 Program P3: Filter Filtering can make subtle or dramatic changes to the • Make basic settings for each oscillator’s filters, including oscillator’s timbre. Each oscillator has two multimode routing, modes, cutoff, resonance, etc. resonant filters, A and B, as well as a dedicated filter •...
Page 88 Program mode: HD-1 Serial and Parallel Routing With low resonance settings, you can use the Band Pass filter to create telephone or vintage phonograph sounds. With higher resonance settings, it can create buzzy or nasal timbres. O scillator Filter A (Low Pass) Filter B (High Pass) Band Reject.
Page 89 Program P3: Filter 3–1: Filter1 Resonance Low resonance value High resonance value Resonance [00…99] v 3–1: Page Menu Commands Resonance emphasizes the frequencies around the cutoff The number before each command shows its ENTER + frequency. number-key shortcut. For more information on these When this is set to 0, there is no emphasis, and frequencies shortcuts, see “ENTER + 0-9: shortcuts for menu beyond the cutoff will simply diminish smoothly.
Page 90: 3-2: Filter1 Modulation
Program mode: HD-1 3–2: Filter1 Modulation 3–2PMC 3–2a 3–2b 3–2c This page contains the settings for Oscillator 1’s filter 3–2a: Keyboard Track modulation. Among other things, you can: Most acoustic instruments get brighter as you play higher • Set up complex keyboard tracking shapes, and control pitches.
Page 91 Program P3: Filter 3–2: Filter1 Modulation The KRONOS keyboard tracking can also be much more 1. Select one of the Key parameters. complex, since it allows you to create different rates of 2. Hold down the ENTER key. change over up to four different parts of the keyboard. For 3.
Page 92 Program mode: HD-1 High-Top [–Inf, –99…+99, +Inf] • Use any AMS source to scale the amount of the EG applied to the filter. This sets the slope between the High Break key and the top of the MIDI note range. For normal key track, use positive You can use all three of these at once, and the results are values.
Page 93 Program P3: Filter 3–2: Filter1 Modulation With negative (–) values, the effect will be in the opposite • 1: Exclusive Solo. For more information, see “Exclusive direction; when the EG rises above 0, the filter cutoff will Solo” on page 153. decrease.
Page 94: 3-3: Filter1 Lfo Modulation
Program mode: HD-1 3–3: Filter1 LFO Modulation 3–3PMC 3–3a 3–3b Intensity to B (LFO1) [–99…+99] LFO1, LFO2, and the Common LFO can all modulate Filter A and B’s cutoff frequencies. You can control the strength of This controls the initial effect of the LFO on Filter B’s cutoff each LFO’s modulation in three different ways, frequency, before any JS-Y or AMS modulation.
Page 95: 3-4: Filter1 Eg
Program P3: Filter 3–4: Filter1 EG For example, if AMS is set to After Touch, positive settings Note that while LFO1 and LFO2 are separate for each voice, mean that aftertouch will increase the amount of LFO1 the Common LFO is shared by all voices in the Program. applied to Filter A.
Page 96 Program mode: HD-1 Sustain [–99…+99] 3–4a: EG Reset This sets the level at the end of the Slope time. Once it AMS (EG Reset) [List of AMS Sources] reaches the Sustain level, the EG will stay there until note- off, unless it is reset via AMS. This selects an AMS source to reset the EG to the start point.
Page 97 Program P3: Filter 3–4: Filter1 EG Filter EG Curve Filter EG Level Modulation Curve = 0 (Line ar) Curve = 1 0 (Exp / Log) O riginal Sha pe Positive A MS on Start, Attack, and Bre ak Curve = 0 (Line ar) Curve = 1 0 (Exp / Log) When you change the curvature, the EG times remain the N eg ative A MS on Start,...
Page 98: 3-5: Filter2
Program mode: HD-1 Decay [–99…+99] 3–4d: Time Modulation This controls the depth and direction of the AMS modulation These settings let you use three different AMS sources to for the Decay time. control the Time parameters of the EG. For each of the three Slope [–99…+99] AMS sources, the Attack, Decay, Slope, and Release times...
Page 99: 3-8: Filter2 Eg
Program P3: Filter 3–8: Filter2 EG 3–8: Filter2 EG This page controls Oscillator 2’s Filter EG. It is available only when the Oscillator Mode is set to Double; if not, the page will be grayed out. The parameters are identical to those for Oscillator 1, as described under “3–4: Filter1 EG,”...
Page 100: Program P4: Amp/Eq
Program mode: HD-1 Program P4: Amp/EQ Oscillators 1 and 2 have separate controls for volume (also • Set the pan position and pan modulation. called “amplitude,” or “amp” for short), pan, and Drive, as • Control amp level and modulation, including keyboard well as dedicated amp envelopes and keyboard tracking tracking, the amp envelope, LFO modulation, and AMS generators.
Page 101 Program P4: Amp/EQ 4–1: Amp1/Driver1 Low Boost [00…99] 3. Move Knob 1 to set the pan for Oscillator 1, and Knob 2 to set the pan for Oscillator 2. This low-frequency EQ controls the body character of the sound. The specific EQ frequencies affected will change You can also control pan via MIDI Pan (CC#10).
Page 102: 4-2: Amp1 Modulation
Program mode: HD-1 4–2: Amp1 Modulation 4–2PMC 4–2a 4–2b 4–2c This page contains the settings for Oscillator 1’s Amp level The four Ramp values control the rate of change between modulation. Among other things, you can: each pair of keys. For instance, if the Low-Center Ramp is set to 0, the value will stay the same between the Low Break •...
Page 103 Program P4: Amp/EQ 4–2: Amp1 Modulation Ramp High-Top [–Inf, –99…+99, +Inf] This sets the slope between the High Break key and the top Positive ramp values mean that the keyboard tracking output of the MIDI note range. For normal key track, use positive increases as you play farther from the Center Key;...
Page 104 Program mode: HD-1 For example, if AMS is set to After Touch, positive settings 4–2b: Amp Modulation mean that aftertouch will increase the amount of LFO1 applied to the Amp level. You can modulate the Amp level by both velocity and an AMS source.
Page 105: 4-3: Amp1 Eg
Program P4: Amp/EQ 4–3: Amp1 EG 4–3: Amp1 EG 4–3PMC 4–3a 4–3b 4–3c 4–3d These parameters let you create time-varying changes in the 4–3b: Envelope volume of oscillator 1. These parameters specify how the amp 1 EG will change 4–3a: EG Reset over time.
Page 106 Program mode: HD-1 Time Amp EG Curve Higher values mean longer times, as shown below. Curve = 0 (Line ar) EG Value Actual Time Curve = 1 0 (Exp / Log) 0.667 ms 10 ms 44 ms 104 ms 224 ms 464 ms Curve = 0 (Line ar) Curve = 1 0 (Exp / Log)
Page 107: 4-5: Amp2/Driver2
Program P4: Amp/EQ 4–5: Amp2/Driver2 Once an EG segment begins, it can’t be For a list of AMS sources, see “Alternate Modulation Source modulated (AMS) List” on page 1109. Once the EG has started a segment between two points, that Attack [–99…+99] segment can no longer be modulated.
Page 108: 4-6: Amp2 Mod
Program mode: HD-1 4–6: Amp2 Mod. This page controls Oscillator 2’s amp modulation. It is The parameters are identical to those for Oscillator 1, as available only when the Oscillator Mode is set to Double; if described under “4–2: Amp1 Modulation,” on page 88. not, the page will be grayed out.
Page 109 Program P4: Amp/EQ 4–9: EQ High Gain [–18.0…+18.0dB] This controls the gain of the 10kHz High Shelf EQ, in increments of 0.5dB. v 4–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands”...
Page 110: Program P5: Lfo
Program mode: HD-1 Program P5: LFO Each of the Oscillators has two LFOs, which you can use to These pages let you set up all of the parameters for all five modulate the filter, amp, pitch, and many other parameters. LFOs.
Page 111 Program P5: LFO 5–1: OSC1 LFO1 Random3 (S/H) generates a pulse wave with random Frequency Value Frequency in Hz timing. It’s the opposite of traditional sample and hold; the 0.979 Hz timing varies, but the levels don’t. 1.79 Hz Random4–6 (Continuous) are smoothed versions of Random 1–3, with ramps instead of steps.
Page 112 Program mode: HD-1 Offset settings and pitch change produced by vibrato When AMS1 is at its maximum value (for instance, when the joystick is pushed all the way up), the AMS affects the frequency as shown below: O ffset = –9 9 O ffset = 0 O ffset = + 9 9 Intensity...
Page 113: 5-2: Osc1 Lfo2
Program P5: LFO 5–2: OSC1 LFO2 Times [01…32] • 0: Write Program. For more information, see “Write Program” on page 153. This multiplies the length of the Base Note. For instance, if the Base Note is set to a sixteenth note, and Times is set to 3, •...
Page 114: 5-9: Common Lfo
Program mode: HD-1 5–9: Common LFO 5–9PMC 5–9a 5–9b 5–9c Shape [–99…+99] This is a single, free-running LFO, global for all voices in the Program–like the modulation LFOs in some vintage Shape adds curvature to the basic waveform. For more analog synths.
Page 115 Program P5: LFO 5–9: Common LFO Stop [Off, On] On (checked): When Stop is On, the LFO does not advance, and the Frequency parameters are ignored. Instead, the LFO simply generate a single value when the Program is selected, and then holds that value until you select another Program, or until you reset the LFO via AMS.
Page 116: Program P6: Ams Mixer/Common Key Track
Program mode: HD-1 Program P6: AMS Mixer/Common Key Track Each Oscillator has two AMS Mixers, which are simple but These pages let you control all of these modulation sources. powerful tools for combining and modifying AMS signals. Note that when the Oscillator Mode is set to Single, only The two Oscillators also share two Common keyboard Oscillator 1’s AMS Mixers are active;...
Page 117 Program P6: AMS Mixer/Common Key Track 6–1: OSC 1 AMS Mixer Amt A x B AMS Mixer, Type = A+B AMS Mixer, Type = A x B Amt A A MS A O utput A MS B A MS A O utput Amt B Amt A...
Page 118 Program mode: HD-1 Muting individual Wave Sequence steps with AMS Mixer Offset examples A MS A : LF O You can use AMS Mixers in conjunction with the AMS outputs of Wave Sequences. For instance, you can use SW1 + 9 9 to turn one or more steps of a Wave Sequence on or off.
Page 119 Program P6: AMS Mixer/Common Key Track 6–1: OSC 1 AMS Mixer AMS A Decay [00…+99] Smoothing This controls the decay time of the smoother, or how long it This Mixer Type smooths out the AMS input, creating more takes the smoother to reach a new, lower value. gentle transitions between values.
Page 120 Program mode: HD-1 AMS Mixer Shape examples Quantize Bipolar Triangle Wave This Mixer Type changes the input from a continuous signal Asymmetric Asymmetric into a series of discrete steps. Instead of moving smoothly between values, it will snap immediately from one value to + 9 9 another.
Page 121 Program P6: AMS Mixer/Common Key Track 6–1: OSC 1 AMS Mixer Fixed Value [-99…+99] Gate This lets you set a specific value to be used when the AMS Mixer, Type = Gate Control Source is less than the Threshold. This only applies when Below Threshold is set to Fixed Value.
Page 122: 6-5: Osc 2 Ams Mixer
Program mode: HD-1 6. On the Pitch Mod page, assign the AMS Mixer to Now, the AMS mixer will always generate this static value. control the pitch. 7. Also on Pitch Mod, set the standard JS+X and JS–X 6–1b: AMS Mixer 2 amounts to 0.
Page 123: 6-9: Common Keyboard Track
Program P6: AMS Mixer/Common Key Track 6–9: Common Keyboard Track 6–9: Common Keyboard Track 6–9PMC 6–9a 6–9b The two Oscillators share two Common keyboard tracking Common Keyboard Tracking generators, in addition to each Oscillator’s dedicated At the C enter Key, the A MS value is alw ays 0. keyboard tracking for the Filter and Amp.
Page 124 Program mode: HD-1 Ramp value AMS change 6–9a: Keyboard Track 1 no change +10 per octave Low Break [C–1…G9] +20 per octave This sets the breakpoint note between the two lower ramps - +Inf goes to +99 in 1 half-step the “hinge”...
Page 125: Program P7: Karma
Program P7: KARMA 7–1: GE Setup/Key Zones Program P7: KARMA This pages let you control the Program’s KARMA settings. Normally, when you select a new Program, its KARMA In Program mode, you can use one KARMA Module settings will be loaded as well. In some cases, however, you (Module A).
Page 126 Program mode: HD-1 Preset GE Bank User GE Bank RTC Model Name GE Category Select [Arpeggio…Real-Time] For a detailed description of this parameter, please see “Load GE Options” on page 14. This lets you select a GE by category, from Arpeggio through Real-Time.
Page 127 Program P7: KARMA 7–1: GE Setup/Key Zones Off (unchecked): Only the phrase or pattern generated by v 7-1: Page Menu Commands KARMA will sound. Keys played within the Key Zone will not sound. The number before each command shows its ENTER + number-key shortcut.
Page 128: 7-2: Midi Filter/Cc Offset
Program mode: HD-1 7–2: MIDI Filter/CC Offset 7–2PMC 7–2a 7–2b 7–2c In this page you can make MIDI-related settings for example) make settings so that the damper pedal is enabled KARMA. You can specify the following settings. when the KARMA Module is off, and disabled when it is on. (See the diagram below, “KARMA Receive/Transmit •...
Page 129 Program P7: KARMA 7–2: MIDI Filter/CC Offset KARMA function KARMA Module Receive MIDI MIDI IN Filter Transmit MIDI Tone Filter generator KRONOS controllers Dynamic MIDI Ribbon (CC#16) [Off, On] automatically be optimized so that it will produce the same bend effect as if the KARMA were off (in most Specifies whether MIDI control change message #16 cases).
Page 130: 7-3: Module Parameters-Control
Program mode: HD-1 The value of the transmitted message is specified by v 7-2: Page Menu Commands “Value”. The number before each command shows its ENTER + If the KARMA ON/OFF switch is on, the specified MIDI number-key shortcut. For more information on these control change message will be transmitted when you shortcuts, see “ENTER + 0-9: shortcuts for menu select a program whose KARMA ON/OFF switch is...
Page 131 Program P7: KARMA 7–3: Module Parameters-Control The note data from the keyboard or the MIDI IN connector the keyboard will “wrap around” when the scale step of the will be input to the KARMA Module. (see Program 7–1a: root of the chord is determined to be “G,” dropping the notes “Bottom (Key Zone Bottom,”...
Page 132 Program mode: HD-1 the GMaj7 chord. This allows you to keep a GE in a specific If the input notes span more than an octave, the effect is less range regardless of where a chord is played on the keyboard, predictable.
Page 133 Program P7: KARMA 7–3: Module Parameters-Control Size , Event] incoming MIDI note generated by KARMA (0-127) to be remapped to any other MIDI note (0-127), or filtered out This is valid when Mode is Dyn, Auto + Dyn1 or Auto + (removed).
Page 134 Program mode: HD-1 Chord Track (Note Map Chord Track) [Off, On] v 7-3: Page Menu Commands Selects whether the Note Map Table will track your chord The number before each command shows its ENTER + changes within the range of a single octave. number-key shortcut.
Page 135: 7-4: Module Parameters-Trigger
Program P7: KARMA 7–4: Module Parameters-Trigger 7–4: Module Parameters-Trigger 7–4PMC 7–4a 7–4b Here you can set KARMA Module Trigger parameters. In 16th triplet…Quarter: Specify the time window as a note Program mode, you can use one KARMA Module (Module value interval relative to the tempo. For triplet-based patterns, you may need to select one of the triplet-based settings if you intend to retrigger “off the beat.”...
Page 136 Program mode: HD-1 On (checked): Notes that are released are removed from the Dyn (Dynamic MIDI): Triggering will be produced by input source material, thereby changing the effect to use only operating the controller specified by Dynamic MIDI those notes still being held. This is typically the way simple (Program 7–7).
Page 137 Program P7: KARMA 7–4: Module Parameters-Trigger Envelope Latch [Off, Sus1, Rel1, Sus2, Rel2] Off: The envelope will not be latched. When all keys are released or a Dynamic MIDI trigger is released (note-off), the envelope will move to the release segment. Sus1: Once the envelope is started, it will proceed through attack decay...
Page 138: 7-5: Ge Real-Time Parameters/Scenes
Program mode: HD-1 7–5: GE Real-Time Parameters/Scenes 7–5PMC 7–5a 7–5b Here you can edit the Real-Time parameters of the GE and maximum values will be reset to the values saved in the selected for the KARMA Module. By assigning GE GE, and the controller assignment will be set to the defaults parameters to KARMA Real-Time Controls, you can control for the GE’s RTC Model.
Page 139 Program P7: KARMA 7–5: GE Real-Time Parameters/Scenes ---: No assignment. Slider1…8: Assign the parameter to KARMA SLIDERS 1- 8. The slider will continuously control the “value.” For example, let’s assume that the “Rhythm Swing%” parameter of the selected GE is set to a MIN of +0000, and a MAX of +0100.
Page 140 Program mode: HD-1 7–5PMC 7–5c: Scenes Here you can set a Scene Change Quantize Window that controls a time interval for when the scene changes will occur, and view information about upcoming scene changes. Scene Change Quantize Window … , 1 Bar…4 Bars] Specify the metric division by which scene changes will be quantized.
Page 141: 7-6: Perf Real-Time Parameters
Program P7: KARMA 7–6: Perf Real-Time Parameters Note: if you have selected a scene change in advance, and it • 0: Write Program. For more information, see “Write has not yet occurred, the Control Surface and various editing Program” on page 153. pages such as the KARMA GE Page 0-6 and the Control •...
Page 142 Program mode: HD-1 Parameter [---, Time Signature… Group: Mix Retrigger Each Time] Transpose [–0036…+0036] Indicates the parameter that you wish to assign. The Assigns the “Transpose” (Program 7–3b) function. Control parameters that can be selected will differ according to the the transposition in semitone steps.
Page 143 Program P7: KARMA 7–6: Perf Real-Time Parameters CA Chord Trigger Mode [+0000…+0004] For more information, see “Quantize Trigger” on page 121. Assigns the “Chord Trigger Mode” (Program 7–3b) Quantize Window [+0000…+0005] function. +0000…+0005: 16th triplet to Quarter Note +0000: Off Assigns the “Quantize Window”...
Page 144 Program mode: HD-1 Transpose Octave/5th Out Thru [–0036…+0036] +0002: Rel1 +0003: Sus2 Assigns the “Transpose Out Zone” (Program 7–1a) function. This controls the transposition of note data from the +0004: Rel2 keyboard outside the Key Zone, in units of an octave and a For more information, see “Envelope Latch”...
Page 145 Program P7: KARMA 7–6: Perf Real-Time Parameters v 7-6: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 153. •...
Page 146: 7-7: Dynamic Midi
Program mode: HD-1 7–7: Dynamic MIDI 7–7PMC 7–7a 7–7b Bottom (Range Bottom) [000…127] Dynamic MIDI lets you use the KRONOS’s controllers and MIDI control messages to modulate specific KARMA Specifies the lower limit for the value controlled by Source. functions. If Source is Short Note, Note No., White Note, or Black You can take advantage of this to control KARMA in Note, the numeric value corresponds to the note numbers C-...
Page 147 Program P7: KARMA 7–7: Dynamic MIDI destination off. If Polarity is +, on and off will alternate each time the source controller value exceeds the Top value after having passed through the Bottom value. Example When Bottom: 0 and Top: 127 The controller value and the on/off status are related as follows.
Page 148: 7-8: Random Seeds
Program mode: HD-1 7–8: Random Seeds 7–8PMC 7–8a 7–8b The Random Seeds page allows you to control some of the 0: Random: A different phrase will be generated each time randomizable characteristics of a Module’s GE. the trigger occurs. Within the KARMA Module, a different “Start Seed”...
Page 149 Program P7: KARMA 7–8: Random Seeds Freeze Loop Length [Off, 01…32] Specifies the number of measures in the phrases that are repeatedly generated by the KARMA Module. After being triggered, the module will generate a phrase of the number of measures you specify here, and will then repeat that phrase.
Page 150 Program mode: HD-1 for a KARMA Module that generates random changes each time it is triggered, the exact same phrase will loop every time. The phrase that is looped will be different if you change the “Start Seed” value. For example, suppose there is a GE that, if you input C-D-E-F, will randomly vary the order of notes, and repeatedly play four notes in each measure.
Page 151: 7-9: Name/Note Map
Program P7: KARMA 7–9: Name/Note Map 7–9: Name/Note Map 7–9PMC 7–9a 7–9b 7–9c Here you can assign the names for KARMA SLIDERS 1-8 7–9c: Note Map and KARMA SWITCHES 1-8, view Global Note Map Tables, and edit the Custom Note Map Table stored with the Note Maps allow notes being generated by the GE to be Program.
Page 152 Program mode: HD-1 7–9c Out (Note Out) [Remove, C-1…G9] v 7-9: Page Menu Commands Specify what will be done with the note you specified in the The number before each command shows its ENTER + “In” field. number-key shortcut. For more information on these Remove: The note specified by “In”...
Page 153: Program P8: Insert Effect
Program P8: Insert Effect 8–1: Routing Program P8: Insert Effect These pages let you can make settings for the insert effects. • Make detailed settings for insert effects For instance, you can: • Make common LFO settings for effects • Send the output of a oscillator to an insert effect For more information, please see “Effect Guide”...
Page 154 Program mode: HD-1 Use Dkit Setting = On 8–1c: Bus Select (IFX/Indiv.Out Assign) 8–1e: REC Bus All OSCs to [L/R, IFX1…12, 1…4, 1/2…3/4, Off] All OSCs to [Off, 1…4, 1/2, 3/4] This specifies the output bus for both oscillators 1 and 2. These settings send the output of oscillators 1 and 2 to the REC busses (four mono channels: 1, 2, 3, 4).
Page 155 Program P8: Insert Effect 8–1: Routing 8–1f: OSC MFX Send OSC1 Send1 (to MFX1) [000…127] Sets the volume (send level) at which the output of oscillator 1 will be sent to master effect 1. This applies only when Bus Select (8–1c) is set to L/R or Off. If Bus Select is set to IFX1–IFX12, the send levels to master effects 1 and 2 are set by Send 1 and Send 2 (8–5a) after passing through IFX1–12.
Page 156: 8-5: Insert Fx
Program mode: HD-1 8–5: Insert FX 8–5b 8–5PMC 8–5a 8–5a: IFX Here you can choose effects for each of the 12 inserts, turn them on and off, configure chaining, and adjust the post-IFX mixer settings. Meters below the IFX labels display the effect output levels in realtime, showing the combined peak signals of the left and right channels.
Page 157 Program P8: Insert Effect 8–5: Insert FX Send1 [000…127] Separately from this setting, you can use MIDI CC #92 (on the global MIDI Channel) to turn all insert effects Send2 [000…127] off. A value of 0 turns them off, and values of 1–127 restore the original setting.
Page 158: 8-6: Track View
Program mode: HD-1 • 4: Insert IFX Slot. For more information, see “Insert • 6: Clean Up IFX Routings. For more information, see IFX Slot” on page 166. “Clean Up IFX Routings” on page 168. • 5: Cut IFX Slot. For more information, see “Cut IFX Slot”...
Page 159: 8-7: Ifx 1-12
Program P8: Insert Effect 8–7: IFX 1–12 • 1: Exclusive Solo. For more information, see “Exclusive 8–6b: Selected Solo” on page 153. Here you can specify the “Effect Type” and “On/Off” status • 2: Copy Insert Effect. For more information, see “Copy of the insert effect slot selected by Track Select.
Page 160 Insert FX page. You can’t save your own settings here. P01…P15: These usually contain Korg preset data (though some effects may not include presets). We recommend that you store your settings in U00–U15.
Page 161: 8-9: Common Fx Lfo
Program P8: Insert Effect 8–9: Common FX LFO 8–9: Common FX LFO 8–9PMC 8–9a 8–9b Frequency [0.02…20.00 Hz] The two Common FX LFOs allow you to synchronize LFO- based modulation for multiple effects, such as phasers, This specifies the frequency of the Common FX LFO. flangers, filters, and so on.
Page 162 Program mode: HD-1 C ommon FX LF O LF O Type = C ommon1 Stereo Flanger C ommon FX LF O 1 Frequency[H z] W aveforem = Triangle Reset Phase O ffset = 0 [deg] G enerate original LF O w aveform Stereo Phaser W aveforem = Sine Phase O ffset = 0 [deg]...
Page 163: Program P9: Master/Total Effect
Program P9: Master/Total Effect 9–1: Routing Program P9: Master/Total Effect Here you can make settings for the master effects and total • Make detailed settings for master effects and total effects effects. For instance, you can: For more information, please see “Effect Guide” on •...
Page 164 Program mode: HD-1 Category/MFX Select menu MFX2 TFX1 MFX2 [000…197] TFX1 [000…197] This selects the effect type for total effect 1. You can use any MFX2 On/Off [Off, On] of the available effects, without limitation. Return 2 [000…127] Category/TFX Select menu These parameters specify the effect type for master effect 2, When you press the popup button, the Category/TFX Select its on/off status, and the return level from master effect 2 to...
Page 165: 9-2: Mfx1
Program P9: Master/Total Effect 9–2: MFX1 9–1c: Master Volume v 9–1: Page Menu Commands The number before each command shows its ENTER + Master Volume [000…127] number-key shortcut. For more information on these This controls the final volume level after total effects 1 and shortcuts, see “ENTER + 0-9: shortcuts for menu 2, as heard at AUDIO OUTPUT (MAIN OUT) L/MONO commands”...
Page 166: 9-3: Mfx2
Program mode: HD-1 P (Effect Preset) [P00, P01…15, U00…15, --------] v 9–2: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these This selects the effect preset. For more information, please shortcuts, see “ENTER + 0-9: shortcuts for menu see “P (Effect Preset)”...
Page 167: Program: Page Menu Commands
Program: Page Menu Commands ENTER + 0-9: shortcuts for menu commands Program: Page Menu Commands 2. If you wish to modify the Program name, press the ENTER + 0-9: shortcuts for menu text edit button to move to the text edit dialog box, commands and enter the desired program name.
Page 168: Show Ms/Ws/Dkit Graphics
Program mode: HD-1 For more information on Solo, please see: 2. Press OK. The Program’s edit buffer will be initialized, restored to • Program mode: “Solo” on page 28 default values. Note that in this case the stored data is not •...
Page 169: Copy Note Map
Program: Page Menu Commands Copy Note Map 1. Choose “Auto Assign KARMA RTC Name” to open If you run out of memory, try using this command; it may the dialog box. free up some extra space. 2. To execute the command, press the OK button. To You can check the remaining amount of RAM in Sampling cancel without executing, press the Cancel button.
Page 170: Select Directory/File For Sample To Disk
Program mode: HD-1 In general, +12dB should be On for drums and loops, and This dialog also lets you audition WAVE files directly from Off for any sounds that you play polyphonically. For more the disk; you can use this as a shortcut, instead of using the information, see “+12dB”...
Page 171 Program: Page Menu Commands Auto Sampling Setup This command automatically configures the Program mode 1. Use “Save to” to select either RAM or DISK as the sampling-related parameters, making it easy for you to destination to which the resampled data will be sample an external audio source or to resample your written.
Page 172 Program mode: HD-1 REC Audio Input select the insert effect you want to use. Turn this off if you don’t want to use an insert effect. 6. Press the OK button to execute REC Audio Input. If you decide not to execute, press the Cancel button. See also “Automatically-set parameters and their values”...
Page 173: Copy Tone Adjust
Program: Page Menu Commands Copy Tone Adjust 3.Auto Copy Tone Adjust 2.REC Resample Parameter Audio Copy Tone Adjust is available on the Control Surface page Initialize through Input when CONTROL ASSIGN is set to Tone Adjust. This command replaces the current Tone Adjust settings Analog, (Source Analog,...
Page 174: Copy Oscillator
Program mode: HD-1 Single EXi Programs will use the default assignments for Swap Oscillator their EXi. Assignments for double EXi Programs are turned Off except for the EXi Common parameters. Swap Oscillator is available on all of the tabs under the Basic/Vector, OSC/Pitch, Filter, Amp/EQ, and AMS For details on the default Tone Adjust assignments, see: Mix/Common Key Track pages.
Page 175: Sample Parameters
Program: Page Menu Commands Sample Parameters The Sample Parameters dialog will appear. Initially, the Index parameter will be selected, so you can control it via the keyboard: 3. Hold down the ENTER button, and play notes on the keyboard to select the Index you’d like to edit. Selection from the keyboard works only when the Index parameter is selected.
Page 176: Sync Both Egs
Program mode: HD-1 Each Sample also has a +12dB setting, as configured in The LCD screen will indicate “Sync Both EGs,” and the Sampling mode; if this is on, the Sample will play back two EGs will be synchronized. approximately 12dB louder. For more information, see “+12dB”...
Page 177: Initialize Karma Module
Program: Page Menu Commands Initialize KARMA Module Settings copied by “Copy KARMA Module” If you turn “Perf. RTP & Panel Setting” On (checked) In addition to the content copied when “Perf. RTP & When copying from a program Panel Settings” is Off (unchecked), the following content If “GE RTP Control Setting &...
Page 178: Copy Scene
Program mode: HD-1 In addition to the parameters initialized with the Off 1. Select “Capture Random Seed” to open the dialog (unchecked) setting, the following parameters will also be box. initialized. • 7-5: GE Real-Time Parameters/Scene page, Drum Track Run setting. •...
Page 179 Program: Page Menu Commands Capture Random Seed 2. Turn the front panel KARMA ON/OFF switch on. Once again, even though the randomizations are being repeated every 2 bars, the 8 step GE Phase Pattern allows 3. Press the Common button to access the 7–4: Module longer evolving phrases to be created.
Page 180: Copy Insert Effect
Program mode: HD-1 Post IFX Mixer Settings [check-box] Copy Insert Effect When this is checked, the Pan, Bus Sel., Ctrl Bus, REC Copy Insert Effect is available on all of the IFX pages. Bus, and Sends 1 and 2 settings that follow the copy source insert effect will also be copied.
Page 181 Program: Page Menu Commands Insert IFX Slot Auto Routing always enabled on the Track View page You can’t change the Auto Routing setting if you’ve executed the Insert IFX Slot command from the Track View page. The command will always be executed with this option Drum Kits not supported by Auto Routing Drum Kits can store separate Bus Select settings for each key.
Page 182: Cut Ifx Slot
Program mode: HD-1 5. Press the OK button to execute the Cut IFX Slot Cut IFX Slot command, or press the Cancel button to cancel. Cut IFX Slot is available on the Routing and Insert FX tabs of the IFX page. This command removes an IFX slot, and moves the other IFX upwards to fill in the gap–convenient when you want to remove an effect that you’re not using.
Page 183: Copy Mfx/Tfx
Program: Page Menu Commands Copy MFX/TFX IFX1 IFX2 IFX3 IFX4, and the vacant slots (000: No Effect, unless located within a chain) have been rearranged consecutively. At this time, the following parameters are automatically adjusted to maintain the existing routings. •...
Page 184: Swap Mfx/Tfx
Program mode: HD-1 5. To execute the Copy Master/Total Effect command, Erase Drum Track Pattern press the OK button. To cancel, press the Cancel button. This erases the specified drum track pattern. For more information, see “Erase Drum Track Pattern” on page 648. Swap MFX/TFX Remap MS/Sample Banks Swap MFX/TFX is available on all of the MFX/TFX pages.
Page 185 Program: Page Menu Commands Remap MS/Sample Banks 4. Set the To parameter to the new Multisample and/or Sample bank—the one that remapped references will be changed to. 5. Press the OK button to complete the remapping, or press the Cancel button to exit without making changes.
Page 186 Program mode: HD-1...
Page 187: Program Mode: Exi
Program mode: EXi EXi Program P0: Play This is the main page of Program mode for EXi Programs. Among other things, you can: • Select Programs • Jump directly to the main editing pages • Make basic edits to KARMA •...
Page 188: 0-1: Main
Program mode: EXi 0–1: Main 0–1PMC 0–1a 0–1b Common EXT means that the tempo will sync to external MIDI 0–1a: Bank, Program, and Category clocks. You’ll see this if the Global MIDI page MIDI Clock Select parameter is set to External MIDI, or if it’s set to Auto and the KRONOS is currently receiving MIDI clocks.
Page 189: 0-2: Performance Meters
EXi Program P0: Play 0–2: Performance Meters Common Voice Assign Mode 0–1c: Quick Layer, Split This shows the voice assign mode of the Program–either Quick Layer POLY or MONO. Press this area to jump to the Program Basic page. Quick Split Common Step Sequencer Graphic Quick Layer and Quick Split let you automatically combine two Programs into a split or layered Combination.
Page 190: 0-9: Control Surface
Program mode: EXi 0–9: Control Surface The Control Surface is the set of 9 sliders, 8 knobs, and 16 “PolysixEX: Tone Adjust,” on page 342. switches to the left of the LCD display. It looks like a mixer, “MOD-7: Tone Adjust” on page 393. but it can do other things as well, including editing sounds, “SGX-2: Tone adjust”...
Page 191: Exi Program P4: Basic/Vector
EXi Program P4: Basic/Vector 4–1: Program Basic EXi Program P4: Basic/Vector These pages control the basic elements of the Program, • Set up Vector fades between EXi 1 and EXi 2 along with the Vector synthesis features. For instance, you •...
Page 192 Off disables the Chord function. On (checked): When you play with legato phrasing, the Bsc (Basic) re-creates the chord mode of the Korg Polysix. notes within a legato phrase will sound smoother, according Each time you play a new chord, it will cut off the previous to the setting of the Mode parameter, below.
Page 193 EXi Program P4: Basic/Vector 4–1: Program Basic Adv (Advanced) uses the Program’s Voice Assign settings, Depending on the Thickness setting, the detuning may lean as if each note in the chord was a transposed set of slightly to one side. oscillators layered within the Program.
Page 194 Hold Bottom and Hold Top parameters, below. A half-damper pedal is a special type of continuous foot pedal, such as the Korg DS-1H. In comparison to a standard Off (unchecked): Notes will play normally. This is the footswitch, half-damper pedals offer more subtle control of default setting.
Page 195: 4-2: Exi Audio Input
EXi Program P4: Basic/Vector 4–2: EXi Audio Input Note: The EXi 1/2 key zones directly represent the physical 2.1x 2.1x keyboard, and are not affected by these transpose settings. 3.2x For more information, see “4–1d: Key Zone” on page 179. 5.9x EXi 1 [–60…+60]...
Page 196: 4-3: Drum Track
Program mode: EXi REC 1/2…3/4 and FX Control 1, 2 use the audio from the 4–2a: EXi 1 selected bus. Input Source [PRG, Off, Audio Input 1/2, IFX 1…12, MFX 1, 2, and TFX 1, 2 use the output of the selected effect.
Page 197: 4-8: Set Up Controllers
EXi Program P4: Basic/Vector 4–8: Set Up Controllers 4–8: Set Up Controllers This page lets you set up the functionality of SW1/2 and • 0: Write Program. For more information, see “Write Real-Time Knobs 5–8. It works exactly like the similar page Program”...
Page 198: Exi Program P5: Modulation
Program mode: EXi EXi Program P5: Modulation The entire Program shares several modulation sources, • Two Common Key Tracking generators, which are set up including: for the entire Program, but then calculated individually for each voice • A single Common LFO, shared by all the voices - similar to the global LFO on some vintage analog synths These pages let you set up these Program-wide modulation sources.
Page 199 EXi Program P5: Modulation 5–1: Common Step Seq 2. Set the Filter Type to Lowpass, and the Routing to 5–1a: Step Sequencer 24dB (4-pole). 3. Set the Filter Cutoff to 00. Mode [Loop, One Shot] 4. On the Filter Mod page, set Filter A’s AMS to Loop makes the Step Sequence loop continuously between Common Step Sequencer, and set the Intensity to 90.
Page 200 Program mode: EXi Command buttons 5–1b: Sequencer Reset Step [AMS Sources] Step [01…32] This selects an AMS source to reset the sequence to the Start Step. Selects the step that you want to edit. To create an effect similar to the per-voice Step Sequencer’s Insert Key Sync Off setting, set this to Gate 1+ Damper, and set Inserts the cut or copied step at the current step.
Page 201: 5-2: Common Lfo
EXi Program P5: Modulation 5–2: Common LFO • 0: Write Program. For more information, see “Write v 5–1: Page Menu Commands Program” on page 153. The number before each command shows its ENTER + • 1: Exclusive Solo. For more information, see “Exclusive number-key shortcut.
Page 202: Exi Program: Page Menu Commands
Program mode: EXi EXi Program: Page Menu Commands Copy EXi Oscillator Copy Step Sequencer This command copies the oscillator settings of a EXi This command copies the step sequencer settings of the program. desired EXi program. 1. Select “Copy EXi Oscillator” to open the dialog box. 1.
Page 203: Exi: Al-1 Analog Synthesizer
EXi: AL-1 Analog Synthesizer AL-1 Overview The AL-1 is Korg’s most full-featured virtual analog • Two key tracking generators and two AMS mixers synthesizer to date. It’s played from within EXi Programs, so • Up to 80 voices of polyphony you can layer it with any other EXi–or layer two AL-1s...
Page 204: Exi Program P0: Play
EXi: AL-1 Analog Synthesizer EXi Program P0: Play 0–1: Main 0–1b Common Key Zone This is the main page of Program mode. For a full description of this page and all of its functions, please see This shows the key zones for EXi1 and EXi2, as set on the “EXi Program P0: Play”...
Page 205 EXi Program P0: Play 0–1: Main EGs, LFOs, and Step Sequencer Step Sequencer Graphic This shows a graphic overview of the per-voice step sequencer. Press this area to jump to the Step Sequencer page. EG 1…4, Amp EG Graphics These show the shapes of the five EGs. Touch any of them to jump directly to the corresponding edit page.
Page 206: Program P4: Osc/Pitch
EXi: AL-1 Analog Synthesizer Program P4: OSC/Pitch These pages control the most basic elements of AL-1’s • Set the basic pitch of the sound, including the octave, sounds: the waveforms that the oscillators play, and the pitch fine tuning, and so on. at which it plays them.
Page 207 Program P4: OSC/Pitch 4–1: OSC Basic Detuned Saw 2 is similar to Detuned Saw 1, except that the The width controls the timbre of the oscillator, from pure second sawtooth is 180 degrees out of phase. This produces and hollow at 50% (a square wave) to thin and reedy at the a timbre similar to pulse width modulation, with the Detune extremes.
Page 208 EXi: AL-1 Analog Synthesizer Transpose [–12…+12] Note also that FM, Sync, and Ring Mod can all be used simultaneously. This adjusts the pitch in semitones, over a range of ±1 octave. [List of AMS Sources] Tune [–1200…+1200] This selects an AMS source to control the FM Amount. For a list of AMS sources, see “Alternate Modulation Source This adjusts the pitch in cents, over a range of ±1 octave.
Page 209: 4-2: Sub/Noise/Ring Mod
Program P4: OSC/Pitch 4–2: Sub/Noise/Ring Mod 4–2: Sub/Noise/Ring Mod 4–2PMC 4–2a 4–2b 4–2c Ring Mod produces the traditional ring modulation effect. 4–2a: Sub Oscillator AM includes both the traditional ring modulation effect and The Sub Oscillator plays exactly one octave below the dry signal of the Carrier input.
Page 210: 4-3: Mixer
EXi: AL-1 Analog Synthesizer To create key contact noise (such as you might find on v 4–2: Page Menu Commands vintage analog synths), create speckled noise as described above, and then use a fast EG to control its volume in the The number before each command shows its ENTER + mixer.
Page 211 Program P4: OSC/Pitch 4–3: Mixer 99 means that Oscillator 1 goes into Filter B. In between, the oscillator will go to a combination of both filters. By modulating the Balance via AMS, you can crossfade between routing through Filter A and Filter B. For more information, see “Interaction between the filters and the mixer,”...
Page 212: 4-4: Pitch Common
EXi: AL-1 Analog Synthesizer 4–4: Pitch Common 4–4PMC 4–4a 4–4b 4–4c This page lets you modulate the pitch of Oscillators 1, 2, and When this is set to 0, playing different notes on the keyboard the Sub Oscillator simultaneously, so that the modulation won’t change the pitch at all;...
Page 213 Program P4: OSC/Pitch 4–4: Pitch Common Even if you don’t assign SW1/2 to Portamento, you can 4–4b: Portamento still use MIDI Controller #65 to turn Portamento on and off. Portamento lets the pitch glide smoothly between notes, instead of changing abruptly. 4–4c: LFO Enable [Off, On]...
Page 214: 4-5: Pitch Eg/Mod
EXi: AL-1 Analog Synthesizer 4–5: Pitch EG/Mod 4–5PMC 4–5a 4–5b 4–5c 4–5d [List of AMS Sources] This page lets you modulate the pitches of Oscillators 1 and 2 separately–as opposed to the Pitch Common page, whose This selects an AMS modulation source to scale the amount controls affect both Oscillators at once.
Page 215 Program P4: OSC/Pitch 4–5: Pitch EG/Mod Intensity [+/-48.00 semitones] This controls the depth and direction of the Intensity Mod AMS, in semitones. The result is summed with the main AMS 1 Intensity to produce the final pitch modulation amount. AMS 2 [List of AMS Sources] This selects a second modulation source for controlling the pitch of Oscillator 1 and the Sub Oscillator.
Page 216: Program P5: Filter
EXi: AL-1 Analog Synthesizer Program P5: Filter 5–1: Filter Basic 5–1PMC 5–1a 5–1b 5–1c 2. Set all of the mixer’s Balance controls to 50. Interaction between the filters and the This routes all of the inputs to both filters, at equal volumes. mixer Dual signal paths When the Filter Routing is set to either Single or 24dB/oct,...
Page 217 Program P5: Filter 5–1: Filter Basic Single. This uses only Filter A as a single 2-pole, Filter Types and Cutoff Frequency 12dB/octave filter (6dB for Band Pass and Band Reject). When this option is selected, the controls for Filter B will be grayed out.
Page 218 EXi: AL-1 Analog Synthesizer Frequency [00…99] 5–1c: Filter B This controls the cutoff frequency of Filter A, in increments Filter B is available when the Filter Routing is set to Serial of 1/10 of an octave. The specific effect of the cutoff or Parallel.
Page 219: 5-2: Multi Filter
Program P5: Filter 5–2: Multi Filter 5–2: Multi Filter 5–2PMC 5–2a 5–2b 5–2c 5–2c This page is available only when the Filter A Type is set to 5–2b: Mode Crossfade Multi Filter. Mode 1 [List of filter types] What’s a Multi Filter? This sets the filter type for Mode 1.
Page 220: 5-3: Filter Modulation
EXi: AL-1 Analog Synthesizer Intensity Mod AMS [List of AMS Sources] Highpass [–99…+99] This selects an AMS source to modulate the intensity of the This sets the volume of the Highpass filter output. main Mode 1-2 Crossfade AMS. Bandpass [–99…+99] For instance, you can set AMS to use one of the LFOs, and This controls the volume of the Bandpass filter output.
Page 221 Program P5: Filter 5–3: Filter Modulation High-Top [-Inf, –99…+99, +Inf] The KRONOS keyboard tracking can also be much more complex, since it allows you to create different rates of This sets the slope between the High Break key and the top change over up to four different parts of the keyboard.
Page 222 EXi: AL-1 Analog Synthesizer For a list of AMS sources, see “Alternate Modulation Source (AMS) List” on page 1109. Intensity [–99…+99] This controls the depth and direction of the AMS modulation. Filter B The EG parameters for Filter B are the same as those for “Filter A,”...
Page 223: 5-4: Filter Lfo Mod
Program P5: Filter 5–4: Filter LFO Mod 5–4: Filter LFO Mod 5–4PMC 5–4a 5–4b Intensity [–99…+99] There are three LFO-to-Frequency controls for each filter: a basic amount (LFO Intensity), joystick -Y control of LFO This controls the depth and direction of the LFO AMS amount (JS- Y Intensity), and AMS control of LFO amount modulation.
Page 224: Program P6: Amp
EXi: AL-1 Analog Synthesizer Program P6: Amp These pages let you control the sound’s volume (also called • Set the pan position and pan modulation. “amplitude,” or “amp” for short), pan, and Drive, as well as • Control amp level and modulation, including keyboard its dedicated amp envelopes and keyboard tracking tracking, the amp envelope, LFO modulation, and AMS generators.
Page 225 Program P6: Amp 6–1: Amp/Driver [List of AMS Sources] You can also control pan via MIDI Pan (CC#10). A CC#10 value of 0 or 1 places the sound at the far left, 64 This selects an AMS modulation source to control the Low places the sound at the location specified by the Pan Boost amount.
Page 226: 6-2: Amp Modulation
EXi: AL-1 Analog Synthesizer 6–2: Amp Modulation 6–2PMC 6–2a 6–2b High Break [C–1…G9] This page contains the settings for Oscillator 1’s Amp level modulation. Among other things, you can: This sets the breakpoint note between the two higher ramps. • Set up complex keyboard tracking shapes to control the Ramp Amp level.
Page 227 Program P6: Amp 6–2: Amp Modulation High-Top [-Inf, –99…+99, +Inf] Intensity [–99…+99] This sets the slope between the High Break key and the top This controls the depth and direction of the Intensity Mod of the MIDI note range. For normal key track, use positive AMS.
Page 228: 6-3: Amp Eg
EXi: AL-1 Analog Synthesizer 6–3: Amp EG 6–3PMC 6–3a 6–3b 6–3c 6–3d The AL-1’s Amp EG is identical to the HD-1’s. For more 6–3b: Amp EG detailed explanations of the Amp EG features, please see “4– 3: Amp1 EG,” on page 91. These parameters specify how the amp EG will change over time.
Page 229 Program P6: Amp 6–3: Amp EG Attack [00…99] Note: Once the EG has started a segment between two points, that segment can no longer be modulated. For This sets how long the EG takes to move from the Start level instance, if the EG is in the middle of the Decay time, you to the Attack level.
Page 230 EXi: AL-1 Analog Synthesizer AMS2 and AMS3 These select the second and third AMS sources, respectively, for controlling the EG’s Time parameters. Each has its own intensities for Attack, Decay, Slope, and Release. The parameters of both AMS2 and AMS 3 are identical to those of AMS1, above.
Page 231: Program P7: Eg 1-4
Program P7: EG 1-4 7–1: EG 1 (Filter) Program P7: EG 1-4 There are four assignable EGs, in addition to the Amp EG. In the midst of all this flexibility, we thought it would also be Each of these can be used as an AMS modulation source to good to provide a little structure.
Page 232 EXi: AL-1 Analog Synthesizer Attack [00…99] 7–1b: Envelope This sets how long the EG takes to move from the Start level to the Attack level. The minimum attack time is 2/3 of a millisecond–as fast as Attack Bre ak Sustain the most punchy of classic analog synths.
Page 233 Program P7: EG 1-4 7–1: EG 1 (Filter) Attack [0 (Linear), 1…9, 10 (Exp/Log)] For a list of AMS sources, see “Alternate Modulation Source (AMS) List” on page 1109. This sets the curvature of the Attack segment - the transition from the Start level to the Attack level.
Page 234: 7-2: Eg 2 (Pitch)
EXi: AL-1 Analog Synthesizer Release [–99…+99] v 7–1: Page Menu Commands This controls the depth and direction of the AMS modulation The number before each command shows its ENTER + for the Release time. number-key shortcut. For more information on these AMS2 and AMS3 shortcuts, see “ENTER + 0-9: shortcuts for menu commands”...
Page 235: Program P8: Step Seq/Lfo
Program P8: Step Seq/LFO 8–1: Step Sequencer Program P8: Step Seq/LFO 8–1: Step Sequencer 8–1d 8–1PMC 8–1a 8–1a 8–1b 8–1c Overview 8–1a: Step Sequencer The Step Sequencer creates complex, rhythmic patterns, for Mode [Loop, One Shot] use as an AMS modulation source. For instance, you can Loop makes the Step Sequence loop continuously between modulate a filter to create sample-and-hold effects, modulate the Start Step and the End Step.
Page 236 EXi: AL-1 Analog Synthesizer When Key Sync is Off, the Step Sequencers for all notes are 8–1d: Step Parameters synchronized together (unless the Start Step is modulated by note-specific AMS sources). The first note in a legato Each of the 32 steps has its own settings for Value and phrase will start from the Start Step;...
Page 237: 8-2: Lfo 1
Program P8: Step Seq/LFO 8–2: LFO 1 Exp/Comp Duration When you press the Exp/Comp button, the Step Sequence Value dialog box will appear. The value of each step will be This doubles the duration of the steps or the “x (Multiply expanded or compressed by the percentage (%) you specify.
Page 238 EXi: AL-1 Analog Synthesizer Note: Shape does not affect the Square and Random 3 8–2a: LFO 1 waveforms, since their values are always either +99 or -99. When these are selected, Shape is grayed out. Waveform [Triangle…Random6 (Continuous)] [List of AMS Sources] This selects the basic LFO waveform, as shown in the graphic below.
Page 239 Program P8: Step Seq/LFO 8–2: LFO 1 Fade [00…99] determined by the combination of the Waveform, Start Phase, Shape, and Offset), and then holds that value until The LFO can fade in gradually, instead of simply starting the end of the note. immediately at full strength.
Page 240: 8-3: Lfo 2
EXi: AL-1 Analog Synthesizer Intensity Mod AMS [List of AMS Sources] Off (unchecked): The Frequency settings will determine the speed of the LFO, and the tempo settings will have no effect. This selects a secondary AMS modulation source to scale [r …...
Page 241: Program P9: Ams Mixer
Program P9: AMS Mixer 9–1: AMS Mixer Program P9: AMS Mixer The AMS Mixers combine two AMS sources into one, or This also means that the original, unmodified inputs to the process an AMS source to make it into something new. AMS Mixers are still available as well.
Page 242: Al-1: Tone Adjust
EXi: AL-1 Analog Synthesizer AL-1: Tone Adjust AL-1 Tone Adjust Default Settings Oscillators 1 & 2 Oscillators 1 & 2 Filters A & B Filters A & B FM Amount FM Amount Drive Drive LFOs 1 & 2 LFOs 1 & 2 Width/Phase/Detune Width/Phase/Detune EG Intensity...
Page 243 AL-1: Tone Adjust 9–1: AMS Mixer In addition to supporting the standard Tone Adjust EG parameters, the AL-1 adds the following separate controls for both EG3 and EG4: • Attack time (relative) • Decay & Slope time (relative) • Sustain level (relative) •...
Page 244: Al-1: Page Menu Commands
EXi: AL-1 Analog Synthesizer AL-1: Page Menu Commands Copy Envelope Swap LFO This copies settings from one AL-1 envelope to another. This exchanges settings between two AL-1 LFOs. 1. Select “Copy Envelope” to open the dialog box. 1. Select “Swap LFO” to open the dialog box. 2.
Page 245: Exi: Cx-3 Tonewheel Organ
The CX-3 is a detailed model of a classic tone-wheel organ, Because of this, you can use a maximum of eight CX-3s based on Korg’s ground-breaking CX-3 keyboard. simultaneously in a Combination or Song. If other EXis with fixed resources are in use, the maximum number of CX-3s Its awesome sound starts with perfect tone-wheel phase will be reduced accordingly.
Page 246: Exi Program P0: Play
EXi: CX-3 Tonewheel Organ EXi Program P0: Play 0–1: Main Rotary Speaker speed indicator 0–1b Rotary Speaker speed indicator This is the main page of Program mode. For a full and you’ll jump to the page containing its parameters. For description of this page and all of its functions, please see instance, if you touch the Filter EG graphic, you’ll go to the “EXi Program P0: Play”...
Page 247 EXi Program P0: Play 0–1: Main Speaker graphic The lower portion shows the key zones for EXi1 and EXi2, as set on the Common section’s Program Basic page, in This graphic represents the Amp/VC/Rotary Mode (Classic relation to the entire MIDI note range. The range of the 61-, CX-3 or Custom).
Page 248: Program P4: Basic
EXi: CX-3 Tonewheel Organ Program P4: Basic 4–1: Basic 4–1PMC 4–1a 4–1b 4–1c 4–1d 4–1c Drawbar Level Curve [Bright, Mellow] 4–1a: Drawbar Mode This controls the way in which the tone-wheel levels change Drawbar Mode [Normal, EX] in relation to pitch, which contributes to the overall brightness of the sound.
Page 249 Program P4: Basic 4–1: Basic Gate Type [Clean, Dirty] 4–1d: Key Click This affects the sound character when notes are turned on or Pressing down or releasing a key on a tone wheel organ can off. It is similar in concept to Key Click, below, but has a result in arcing between the contacts, producing a different timbral character.
Page 250: 4-2: Controllers
EXi: CX-3 Tonewheel Organ 4–2: Controllers 4–2PMC 4–2a 4–2b 4–2c Expression Level [0…99] 4–2a: Pitch Bend This sets the default Expression level. It will be grayed out if JS+ X [-60…+12] the Mode, below, is set to AMS Only. This sets the maximum amount of pitch bend, in semitones, [List of AMS Sources] when you move the joystick to the right.
Page 251 Program P4: Basic 4–2: Controllers last value from AMS is ignored. If the AMS input moves, it AMS lets you switch to the opposite of the programmed also directly controls Expression, and the setting of the setting. For instance, if Wheel Brake is set to On (unlikely Expression Level parameter is ignored.
Page 252: Program P5: Split & Drawbars
EXi: CX-3 Tonewheel Organ Program P5: Split & Drawbars You can set up the organ to use a single sound across the entire keyboard, or to split the keyboard between two different sets of drawbars. 5–1: Keyboard Split 5–1PMC 5–1a 5–1a: Split v 5–1: Page Menu Commands The number before each command shows its ENTER +...
Page 253: 5-2: Drawbars
Program P5: Split & Drawbars 5–2: Drawbars 5–2: Drawbars 5–2PMC 5–2a 5–2b 5–2c Interaction between Percussion, 1’ drawbar, and The drawbars are the heart of the CX-3. These settings control the basic harmonic content of the sound, the EX mode perceived fundamental pitch, and the basic volume level.
Page 254: 5-3: Ex Drawbars
EXi: CX-3 Tonewheel Organ 5-1/3’ , 8’ , 4’ , 2-2/3’ , 2’ , 1-3/5’ , 1-1/3’ , 1’ [0…8] On (checked): When Drag Across Drawbars is On, you can edit multiple drawbars in a single gesture. Just drag a These set the volume levels for the remaining 8 drawbars.
Page 255 Program P5: Split & Drawbars 5–3: EX Drawbars 5–3b: Custom Drawbar Settings Ex Drawbar 1 Pitch [16’ … 1’ +24] This specifies the pitch assigned to EX Drawbar 1. The values are expressed in organ feet and semitones, with single-semitone steps from 16’ to 1’ +24 semitones. This parameter is only available if the EX Drawbar Mode is set to Custom.
Page 256: Program P6: Percussion
EXi: CX-3 Tonewheel Organ Program P6: Percussion Percussion adds a pitched attack to the notes, for a more crisp, punchy timbre. When you play legato, percussion will only sound for the first note in the phrase. 6–1: Percussion 6–1c 6–1PMC 6–1a 6–1b 6–1d...
Page 257 Program P6: Percussion 6–1: Percussion Loud Drawbar Attenuation [00…99] On traditional tonewheel organs, setting the Level to Loud (or disabling the Soft button) reduces the overall drawbar volume. To put it another way, setting the Level to Soft makes the drawbars louder.
Page 258: 6-2: Ex Percussion
EXi: CX-3 Tonewheel Organ 6–2: EX Percussion 6–2PMC 6–2a 6–2b When the Drawbar Mode is set to EX, the Percussion can 6–2b: Drag Across Drawbars use a mix of up to five drawbar pitches, instead of just one. Drag Across Drawbars [Off, On] These include 2-2/3’...
Page 259: Program P7: Amp, V/C, Rotary Speaker
Program P7: Amp, V/C, Rotary Speaker 7–1: Amp & V/C Program P7: Amp, V/C, Rotary Speaker 7–1: Amp & V/C 7–1PMC 7–1b 7–1a 7–1c 7–1d 7–1e 7–1f 7–1a: Amp 7–1b: EQ Amp Type [Type 1, Type 2, Pre Amp] Treble [-10…+10] This selects one of two amp models, or a direct line-out from This adjusts the high frequency range of the amp, as selected...
Page 260 EXi: CX-3 Tonewheel Organ [List of AMS Sources] 7–1e: Custom This selects an AMS source to turn Vibrato/Chorus on or off These parameters are available only if the Mode, above, is for the Upper Drawbars. set to Custom. AMS Mode [Toggle, Momentary] [0…100] This determines the behavior of the Vibrato/Chorus AMS for...
Page 261: 7-2: Rotary Speaker
Program P7: Amp, V/C, Rotary Speaker 7–2: Rotary Speaker [List of AMS Sources] When this is set to Random, the Pan position will change at each note-on. Note that all notes of the CX-3 share the same This selects an AMS source to modulate Pan. Note that all Pan value, and will move together to the new position.
Page 262 EXi: CX-3 Tonewheel Organ Rotary Speaker Off Output [Pre-Crossover, [List of AMS Sources] Post-Crossover] This selects an AMS source to switch between the Slow and Fast speeds. This determines the sound when the Rotary Speaker is turned Off, above. It also determines the “dry” signal in the We've added a special trick for controlling Rotary Speed Wet/Dry mix;...
Page 263 Program P7: Amp, V/C, Rotary Speaker 7–2: Rotary Speaker Mic Spread [000…100] 7–2e: Balance and Speaker Simulator This adjusts the distance between the two Horn Horn/Rotor Balance [Rotor, 1…99, Horn] microphones, to widen the stereo field. Higher values increase the stereo effect. This sets the output balance between the high frequencies of the Horn and the low frequencies of the Rotor.
Page 264: Program P9: Ams Mixer
EXi: CX-3 Tonewheel Organ Program P9: AMS Mixer The AMS Mixers combine two AMS sources into one, or This also means that the original, unmodified inputs to the process an AMS source to make it into something new. AMS Mixers are still available as well. For instance, if you use Aftertouch as an input to a AMS Mixer, you can use the For instance, they can add two AMS sources together, or use processed version of the Aftertouch to control one AMS...
Page 265: Cx-3: Tone Adjust
CX-3: Tone Adjust 9–1: AMS Mixer CX-3: Tone Adjust CX-3 Tone Adjust Default Settings Vibrato/Chorus Type Vibrato/Chorus Type Amp Gain Expression Level Overtone Level Key-On Click Level Amp Gain Expression Level Overtone Level Key-On Click Level EQ Bass EQ Bass EQ Mid EQ Mid EQ Treble...
Page 266: Changes From The Original Cx-3
EXi: CX-3 Tonewheel Organ Changes from the original CX-3 Rotary Speaker Acceleration and Deceleration With the KRONOS CX-3, Korg has taken the original, ground-breaking CX-3 model and made it even better. If The Rotary Speaker Acceleration/Deceleration parameters you’d like to convert sounds from the original CX-3, the were named “Transit”...
Page 267: Cx-3: Page Menu Commands
CX-3: Page Menu Commands Copy Drawbars CX-3: Page Menu Commands Copy Drawbars This copies drawbar or EX drawbar settings within the CX-3 oscillator. 1. Select “Copy Drawbars” to access the dialog box. 2. Use the “From” field to specify the copy-source drawbars.
Page 268 EXi: CX-3 Tonewheel Organ...
Page 269: Exi: Str-1 Plucked String
EXi: STR-1 Plucked String STR-1 Overview The STR-1 Plucked String offers a comprehensive and • Dual multi-mode resonant filters (including Korg’s Multi sophisticated set of physical modeling synthesis tools, Filter, as first introduced in the AL-1), plus an additional capable of creating both traditional sounds (acoustic and...
Page 270 EXi: STR-1 Plucked String STR-1 uses EXi fixed resources The STR-1 uses EXi fixed resources for its modeled feedback. This uses up a small amount of processing power, even if you’re not playing any notes. Because of this, you can use only sixteen STR-1s simultaneously in a Combination or Song.
Page 271: Exi Program P0: Play
EXi Program P0: Play 0–1: Main EXi Program P0: Play 0–1: Main 0–1b Excitation Pluck Excitation PCM Oscilltor Excitation (Mixer) Key Zone String (Main) String (Damping / Dispersion) This is the main page of Program mode. For a full • Green: Sampling Mode Multisamples description of this page and all of its functions, please see •...
Page 272 EXi: STR-1 Plucked String This shows the Amp section’s Pan and Amp Level values. Press this area to jump to the 6–1 Amp page. EGs and LFOs EG 1…4, Amp EG Graphics These show the shapes of the five EGs. Touch any of them to jump directly to the corresponding edit page.
Page 273: Program P4: String
Program P4: String 4-1: Pluck and Noise Program P4: String 4-1: Pluck and Noise 4–1PMC 4–1a 4–1b Dark Clav, Midrange Clav, Bright Clav. These offer 4-1a: Pluck variations on clavinet sounds. Type [Ac Guitar 1…Harpsichord] Harpsichord. This type includes small amount of noise before the main pluck.
Page 274 EXi: STR-1 Plucked String attack time to control the volume or filter cutoff of the PCM • Set the main Filter Type to Highpass, and track its Oscillator or Noise Generator, and then combining this with cutoff frequency with Note Number. If you are using a delayed Pluck.
Page 275: 4-2: Pcm Oscillator
Program P4: String 4-2: PCM Oscillator 4-2: PCM Oscillator 4–2PMC 4–2a Using the string as a comb filter for PCM Using PCM in the STR-1 You can use the string as a comb filter for the PCM Using PCM samples to “pluck” the string Oscillator.
Page 276 EXi: STR-1 Plucked String Layering PCM with modeled string timbres Multisamples, or recorded some new samples. Once the KSC is saved to disk, the name will update to show the file You can also simply layer PCM samples with string timbres. path (as described below).
Page 277 Program P4: String 4-2: PCM Oscillator Reverse [Off, On] The parameters for MS4 (Low) are also similar to those for MS1, except that MS4 has no setting for Bottom Velocity This lets you play the selected multisample backwards, (which is always fixed at 1). without looping.
Page 278: 4-3: Pcm Oscillator Pitch
EXi: STR-1 Plucked String 4-3: PCM Oscillator Pitch 4–2PMC 4–3a 4–3b 4–3c 4–3d 4–3e This section controls the pitch modulation for the PCM When this is set to 0, playing different notes on the keyboard oscillator. won’t change the pitch at all; it will be as if you’re always playing C4.
Page 279 Program P4: String 4-3: PCM Oscillator Pitch 4-3b: Portamento 4-3c: LFO Portamento lets the pitch glide smoothly between notes, LFO Select [LFO 1, LFO 2, LFO 3, LFO 4, instead of changing abruptly. Common LFO] Portamento and MIDI This selects an LFO to modulate the PCM Oscillator’s pitch. If Portamento is either enabled for both the String and the The LFO Intensity, JS+ Y Intensity, and AMS are all PCM, or off for both, then MIDI CCs 5 (Portamento Time)
Page 280 EXi: STR-1 Plucked String The Pitch EG’s shape can swing all the way from +99 to -99. v 4–3: Page Menu Commands When the Intensity is set to a positive (+) value, positive values from the EG raise the pitch, and negative values The number before each command shows its ENTER + lower the pitch.
Page 281: 4-4: Excitation Mixer
Program P4: String 4-4: Excitation Mixer 4-4: Excitation Mixer 4–4PMC 4–4b 4–4a 4–4c 4–4d Intensity [-100…+100] 4-4a: PCM Oscillator This controls the depth and direction of AMS 2. Level [0…100] 4-4b: Pluck This controls the PCM Oscillator’s input level to the String. Phase Invert [Off, On] These parameters control the Pluck Table’s input level to the...
Page 282 EXi: STR-1 Plucked String Frequency [00…100] High Pass. This cuts out the parts of the sound which are lower than the cutoff frequency. You can use this to make This controls the cutoff frequency of Filter A, in increments timbres sound thinner or more buzzy. of 1/10 of an octave.
Page 283: 4-5: String Main
Program P4: String 4-5: String Main • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 153. 4-5: String Main 4–5PMC 4–5a 4–5c 4–5b 4–5d Excitation Position 4-5a: Excitation Position = 0.0 Position = 1 0 0.0 The Excitation is the force that makes the string start to vibrate.
Page 284 EXi: STR-1 Plucked String Tone [-100…+100] The graphic below shows the shape of this comb filter, and the resulting basic harmonic structure. (Comb filters are This controls the affect of the Position on the overall tone. named because their shape looks a little like the teeth of a When Tone is set to 0, Position has no effect.
Page 285 Program P4: String 4-5: String Main If Use Excitation Position is On, this parameter is grayed 4-5b: Harmonic out. This models pressing down lightly (or firmly) in the middle Pressure [0.0…100.0] of the string, like playing harmonics on a guitar. This controls how hard the string is being pressed down.
Page 286 EXi: STR-1 Plucked String Intensity [-100.0…+100.0] 4-5c: Decay This controls the depth and direction of the Nonlinearity Decay [0…100] modulation. This controls the overall decay time of the string without AMS2 [List of AMS Sources] affecting frequency content. This interacts with Damping, This selects a second modulation source to control the which controls the decay time for high frequencies.
Page 287: 4-6: Damping And Dispersion
Program P4: String 4-6: Damping and Dispersion 4-6: Damping and Dispersion 4–6PMC 4–6a 4–6b Intensity [-100.0…+100.0] 4-6a: Damping This controls the depth and direction of AMS 2. Damping [0…100.0] AMS 3 [List of AMS Sources] This controls the decay time for the string’s high This selects a third modulation source to control the frequencies.
Page 288 EXi: STR-1 Plucked String Dispersion can be modulated by three AMS sources, which v 4–6: Page Menu Commands are added to the Dispersion setting. The number before each command shows its ENTER + Character [Bell, String] number-key shortcut. For more information on these This changes the way that the upper harmonics become shortcuts, see “ENTER + 0-9: shortcuts for menu detuned as Dispersion is increased.
Page 289: 4-7: String Pitch
Program P4: String 4-7: String Pitch 4-7: String Pitch 4–7PMC 4–7a 4–7c 4–7b 4–7d 4–7e When you lift off of the ribbon, the pitch will snap back to 4-7a: Main the center (unless you’re using the SW1/2 “Ribbon Lock” feature). So, by tapping on the right edge of the ribbon and Octave [–2[32’], –1[16’], +0[8’], +1[4’]] then releasing quickly, you can create guitar-style “hammer-...
Page 290 EXi: STR-1 Plucked String Fingered [Off, On] As this value is increased, moving the joystick in the +Y direction will cause the LFO to produce deeper pitch This parameter allows you to control Portamento through modulation. your playing style. When it’s enabled, playing legato will turn on Portamento, and playing detached will turn it off Negative (–) settings will invert the phase of the LFO.
Page 291 Program P4: String 4-7: String Pitch Intensity [+/-48.00 semitones] This controls the depth and direction of the AMS 1 pitch modulation, in semitones. Intensity Mod AMS [List of AMS Sources] You can modulate AMS 1’s Intensity from another AMS source. This selects that source. Intensity [+/-48.00 semitones] This controls the depth and direction of the Intensity Mod...
Page 292: 4-8: Pickups And Feedback
EXi: STR-1 Plucked String 4-8: Pickups and Feedback 4–8PMC 4–8b 4–8a 4–8c Pickups don’t “hear” the entire string; they only hear the part 4-8a: Pickup 1 of the string directly above them. If that part of the string isn’t vibrating (for instance, if it’s being held down!), there’s Position [0…100.0] very little for a pickup to listen to–and thus the pickup won’t...
Page 293 Program P4: String 4-8: Pickups and Feedback Pickup Position You can also route live or recorded audio through the string an/or filters, in realtime–and we’re sure that you’ll be able to think of other creative uses! Position = 0.0 Position = 1 0 0.0 Source and Channel The feedback source and channel (left, right, or L+R summation) are selected by the Input Source and Channel...
Page 294: 4-9: Mixer
EXi: STR-1 Plucked String • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 153. 4-9: Mixer 4–9PMC 4–9a 4–9b 4–9c 4–9d 4–9e Balance [0…100] The Mixer page controls the volume levels and filter routing for the main String output, as well as the direct outputs This controls the filter routing for the String.
Page 295 Program P4: String 4-9: Mixer 4-9c: Noise The Noise Generator has the same mixer parameters as described under “4-9a: String,” above. 4-9d: Pickup 1 Pickup 1 has the same mixer parameters as described under “4-9a: String,” above. Try inverting the phase for one of the two pickups; this can produce an interesting effect.
Page 296: Program P5: Filter
EXi: STR-1 Plucked String Program P5: Filter 5-1: Filter Basic 5–1PMC 5–1a 5–1b 5–1c 2. Set all of the mixer’s Balance controls to 50. Interaction between the filters and the This routes all of the inputs to both filters, at equal volumes. mixer Dual signal paths When the Filter Routing is set to either Single or 24dB/oct,...
Page 297 Program P5: Filter 5-1: Filter Basic Serial. This uses both filters. The output of Filter A is Filter Types and Cutoff Frequency processed through Filter B. Parallel. This also uses both Filter A and Filter B. Unlike Serial, above, the outputs of the two filters are kept separate, with individual control over both level and pan.
Page 298 EXi: STR-1 Plucked String Frequency [00…99] 5–1c: Filter B This controls the cutoff frequency of Filter A, in increments Filter B is available when the Filter Routing is set to Serial of 1/10 of an octave. The specific effect of the cutoff or Parallel.
Page 299: 5-2: Multi Filter
Program P5: Filter 5-2: Multi Filter 5-2: Multi Filter 5–2PMC 5–2a 5–2b 5–2c 5–2c This page is available only when the Filter A Type is set to 5-2b: Mode Crossfade Multi Filter. Mode 1 [List of filter types] What’s a Multi Filter? This sets the filter type for Mode 1.
Page 300 EXi: STR-1 Plucked String Intensity [–99…+99] This controls the depth and direction of the Mode 1-2 Crossfade modulation. Intensity Mod AMS [List of AMS Sources] This selects an AMS source to modulate the intensity of the main Mode 1-2 Crossfade AMS. For instance, you can set AMS to use one of the LFOs, and then set the Intensity Mod AMS to JS -Y.
Page 301: 5-3: Filter Modulation
Program P5: Filter 5-3: Filter Modulation 5-3: Filter Modulation 5–3PMC 5–3a 5–3b 5–3c 5–3c Intensity to A [–99…+99] This page contains all of the settings for Filter Frequency modulation (except for the LFOs, which are on their own This controls how much the keyboard tracking will affect page).
Page 302 EXi: STR-1 Plucked String +Inf and –Inf are special settings which create abrupt In the midst of all this flexibility, we thought it would also be changes for split-like effects. When a ramp is set to +Inf or – good to provide a little structure. With this in mind, EG 1 is Inf, the keyboard tracking will go to its extreme highest or named EG 1 (Filter) and EG 2 is labeled EG 2 (Pitch).
Page 303: 5-4: Filter Lfo Mod
Program P5: Filter 5-4: Filter LFO Mod When Link is On, or when the Filter Routing is set to Single • 0: Write Program. For more information, see “Write or 24dB/oct, all of these parameters are grayed out. Program” on page 153. •...
Page 304 EXi: STR-1 Plucked String 5-4b: Filter B The settings for Filter B are the same as those for “5-4a: Filter A,” above. When Link is On, or when the Filter Routing is set to Single or 24dB/oct, all of these parameters are grayed out. v 5–4: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Page 305: Program P6: Amp
Program P6: Amp 6-1: Amp Program P6: Amp These pages let you control the sound’s volume (also called • Set the pan position and pan modulation. “amplitude,” or “amp” for short), pan, and the dedicated amp • Control amp level and modulation, including keyboard envelopes and keyboard tracking generators.
Page 306: 6-2: Amp Modulation
EXi: STR-1 Plucked String 3. Move Knob 1 to set the pan for EXi 1, and Knob 2 to For example, if Pan is set to C064 and AMS is set to Note set the pan for EXi 2. Number, positive (+) intensities will cause the sound to move toward the right as you play higher than C4, and You can also control pan via MIDI Pan (CC#10).
Page 307 Program P6: Amp 6-2: Amp Modulation High Break [C–1…G9] Intensity [–99…+99] This sets the breakpoint note between the two higher ramps. This sets the initial amount of AMS1. The Intensity Mod AMS then adds to this initial amount. Ramp Intensity Mod AMS [AMS Sources] Bottom-Low [-Inf, –99…+99, +Inf]...
Page 308: 6-3: Amp Eg
EXi: STR-1 Plucked String 6-3: Amp EG 6–3PMC 6–3a 6–3b 6–3c 6–3d The STR-1’s Amp EG is identical to the HD-1’s. For more 6–3b: Amp EG detailed explanations of the Amp EG features, please see “4– 3: Amp1 EG,” on page 91. These parameters specify how the amp EG will change over time.
Page 309 Program P6: Amp 6-3: Amp EG Attack [00…99] Note: Once the EG has started a segment between two points, that segment can no longer be modulated. For This sets how long the EG takes to move from the Start level instance, if the EG is in the middle of the Decay time, you to the Attack level.
Page 310 EXi: STR-1 Plucked String AMS2 and AMS3 These select the second and third AMS sources, respectively, for controlling the EG’s Time parameters. Each has its own intensities for Attack, Decay, Slope, and Release. The parameters of both AMS2 and AMS 3 are identical to those of AMS1, above.
Page 311: Program P7: Eg 1-4
Program P7: EG 1-4 7-1: EG 1 (Filter) Program P7: EG 1-4 The STR-1 has four assignable EGs, in addition to the Amp In the midst of all this flexibility, we thought it would also be EG. Each of these can be used as an AMS modulation source good to provide a little structure.
Page 312: Program P9: Ams Mixers And String Track
EXi: STR-1 Plucked String Program P9: AMS Mixers and String Track AMS Mixers Finally, you can cascade the AMS Mixers together–for instance, you can use AMS Mixer 1 as an input to AMS The AMS Mixers combine two AMS sources into one, or Mixer 2.
Page 313 Program P9: AMS Mixers and String Track 9-9: String Track In order to physically model these differences, it’s 9-9b: Strings sometimes helpful to modulate certain parameters separately for each string, such as Damping, Decay, Dispersion, Strings 1-6 [C–1…G9] Inharmonicity, etc. These six parameters set the pitches of the strings, from the String Track lets you do exactly this.
Page 314: Str-1: Tone Adjust
EXi: STR-1 Plucked String STR-1: Tone Adjust STR-1 Tone Adjust Default Settings String String String String String String String String Str Excitation Str Excitation Str Harmonic Str Harmonic Pickup 1 Pickup 1 Pickup 2 Pickup 2 Damping Damping Dispersion Dispersion Decay Decay Nonlinearity...
Page 315 STR-1: Tone Adjust 9-9: String Track LFOs • Harmonic Position • Harmonic Pressure AMS1 Intensity In addition to supporting the standard Tone Adjust LFO parameters, the STR-1 adds the following separate controls: • Decay • LFO 1, 2, 3, and 4 Waveform •...
Page 316 EXi: STR-1 Plucked String...
Page 317: Exi: Ms-20Ex
• AMS modulation of all original MS-20 parameters, distinctive, often aggressive timbral signature. along with four AMS Mixers To this core, we added features first introduced in the Korg • Live audio input Legacy MS-20 plug-in. Then, we added significant patch- •...
Page 318: On-Screen Knobs And Switches And The Parameter Details Area
EXi: MS-20EX All of the other voice allocation options are fully supported, Unsupported EXi Common parameters including Mono, Mono Legato, Unison, etc. The MS-20EX supports all of the EXi Common parameters, except for two of the voice allocation options: Poly Legato and Mono Mode (Normal/Use Legato Offset).
Page 319: Exi Program P0: Play
EXi Program P0: Play 0–1: Main EXi Program P0: Play 0–1: Main 0– 1b Patch Panel This is the main page of Program mode. For a full description of this page and all of its functions, please see This section shows a miniature overview of the Patch Panel, “EXi Program P0: Play”...
Page 320 EXi: MS-20EX Press this area to jump to the Program Basic page. Common Step Sequencer Graphic This shows a graphic overview of the Common Step Sequencer. Press this area to jump to the Common Step Sequencer page. Common LFO Graphic This shows the waveform of the Common LFO.
Page 321: Program P4: Oscillators & Filters
Program P4: Oscillators & Filters 4-1: Oscillators & Filters Program P4: Oscillators & Filters 4-1: Oscillators & Filters 4 – 1 b 4 – 1 c 4 – 1 d 4 – 1 e 4 – 1 PM C 4 – 1 a 4 –...
Page 322 EXi: MS-20EX VOLTAGE CONTROLLED OSCILLATOR 2 FINE TUNE WAVEFORM , RING] FINE TUNE [–5.00…+5.00] This sets the basic timbre of Oscillator 2. This adjusts the pitch of the oscillators, in steps of 1/5 of a cent (for a total range of +/- 1 semitone). (Sawtooth): This produces the traditional, buzzy analog synth sound.
Page 323 Program P4: Oscillators & Filters 4-1: Oscillators & Filters PEAK [0.00…10.00] FREQUENCY [0.00…10.00] Peak controls the resonance of the filter, which emphasizes This controls the cutoff frequency of the Lowpass Filter. the frequencies around the cutoff frequency. This is scaled by MIDI CC#74. When this is set to 0, there is no emphasis, and frequencies PEAK [0.00…10.00]...
Page 324 EXi: MS-20EX Intensity [range depends on parameter] You can also control pan via MIDI Pan (CC#10). A CC#10 value of 0 or 1 places the sound at the far left, 64 This controls the depth and direction of the Intensity Mod places the sound at the location specified by the “Pan”...
Page 325: Program P5: Mg, Eg, & Modulation
Program P5: MG, EG, & Modulation 5-1: MG, EG, & Modulation Program P5: MG, EG, & Modulation 5-1: MG, EG, & Modulation 5 – 1 d 5 – 1 e 5 – 1 f 5 – 1 g 5 – 1 PM C 5 –...
Page 326 EXi: MS-20EX TEMPO SYNC [ON, OFF] 5–1c: ENVELOPE GENERATOR 1 Touch the text/LED area to turn TEMPO SYNC on and off. By default, EG 1 is triggered by note-ons. However, you can On (LED lit): When TEMPO SYNC is On, the MG use the Patch Panel’s TRIG IN or EG 1 TRIG IN jacks to synchronizes to the system tempo, as set by either the Tempo trigger it from a different source, such as the MG, AMS...
Page 327 Program P5: MG, EG, & Modulation 5-1: MG, EG, & Modulation HOLD TIME [0.00…10.00] This is scaled by MIDI CC#72. Adjusts the time for which the input state of the trigger Using EGs 3–6 to control the amplitude signal (e.g., note-on) is held after the trigger is released. EG 2 is always connected to the VCA.
Page 328 EXi: MS-20EX The rest of the parameters on this page can be modulated by 5–1f: EXTERNAL MODULATION 2 AMS, as described below. Source [Off, MG Tri, MG Pulse, EG 1, EG 1 REV, (Parameter group) EG 2, EG 2 REV, List of AMS Sources] This shows the group of the parameter (such as VCO This selects the modulation source to control the parameters MIXER).
Page 329: Program P6: Patch Panel
Program P6: Patch Panel 6-1: Patch Panel Program P6: Patch Panel 6-1: Patch Panel 6 – 1 e 6 – 1 b 6 – 1 c 6 – 1 a 6 – 1 i 6 – 1 d 6 – 1 j 6 –...
Page 330 EXi: MS-20EX Touch method 2. Press the Disconnect button in the Detail Panel. All of the output’s connections will be deleted. 1. Touch the input jack. Note: you can also select the output jack. However, if the Clearing all connections from the Patch Panel output is connected to more than one input, all of the To completely clear the Patch Panel, so that you can start connections from that output will be affected, as described...
Page 331 Program P6: Patch Panel 6-1: Patch Panel • Route VCO 1 through the HPF, and VCO 2 through the 6–1a: VCOs 1 and 2 LPF (or vice-versa) • Mix VCO 1 and VCO 2 together, and then route the mix through the HPF and LPF in parallel, instead of in series •...
Page 332 EXi: MS-20EX VOLUME [POWER OFF, 0.01…10.00] 6–1b: HPF and LPF This controls the basic volume level of the MS-20EX. Note that you can modulate this via AMS, for each individual voice; for more information, see “Using EGs 3–6 to control the amplitude”...
Page 333 Program P6: Patch Panel 6-1: Patch Panel MODULATION GENERATOR (MG) 4. Connect the SAMPLE & HOLD OUT to the modulation destination. The MG has separate outputs for its two basic waveforms, so For instance, the LPF CUTOFF FREQ IN jack, or the that you can use both simultaneously.
Page 334 EXi: MS-20EX Trigger inputs 6–1g: NOISE GENERATOR TRIG IN jack These outputs provide pink and white noise, respectively. You can use these as sound sources or as modulation signals. This lets you use an external trigger sources (such as the MG rectangle output, the trigger output of the ESP, or a switch PINK output jack controller via AMS) to trigger both EG 1 and EG 2.
Page 335 Program P6: Patch Panel 6-1: Patch Panel KBD TRIG OUT jack 6–1k: EXTERNAL SIGNAL PROCESSOR Whenever you play a key on the keyboard, a trigger signal is (ESP) generated. Important: the ESP is only active when notes Using the Parameter Details box, you can select whether this trigger represents Note Gate + Sustain, or Note Gate only.
Page 336 EXi: MS-20EX Frequency-to-Voltage (F×V) CONVERTER NOTE: In the Legacy MS-20 plug-in, the audio input is normalled to the HPF’s Ext Signal Input. To enable more This converter generates a “control voltage” signal based on flexibility in patching, this signal is not normalled in the MS- the pitch of the audio input, which you can then use to 20EX.
Page 337 Program P6: Patch Panel 6-1: Patch Panel TRIG OUT LED [Off, On] 10.Play the highest note the ESP is to pick up, and slowly increase the HIGH CUT until the desired pitch is This LED shows that input signal is over the trigger picked up.
Page 338 EXi: MS-20EX [List of AMS Sources] This selects the modulation source to route into the patch Knobs panel. For a list of AMS sources, see “Alternate Modulation If a knob is selected, this area shows its parameter group and Source (AMS) List” on page 1109. parameter name, its exact value, and its AMS assignments.
Page 339: 7-1: Eg 3
Program P6: Patch Panel 7-1: EG 3 Program P7: EG 3-6 The MS-20EX has four assignable EGs, in addition to the original MS-20 EGs 1 and 2. Each of these can be used as an AMS modulation source to control a wide variety of parameters.
Page 340: 9-1: Ams Mixers 1-2
EXi: MS-20EX Program P9: AMS Mixers The AMS Mixers combine two AMS sources into one, or This also means that the original, unmodified inputs to the process an AMS source to make it into something new. AMS Mixers are still available as well. For instance, if you use Aftertouch as an input to a AMS Mixer, you can use the For instance, they can add two AMS sources together, or use processed version of the Aftertouch to control one AMS...
Page 341: Ms-20Ex: Tone Adjust
MS-20EX: Tone Adjust Common Tone Adjust parameters MS-20EX: Tone Adjust MS-20EX Tone Adjust Default Settings VCO1 VCO1 VCO2 VCO2 Cutoff Cutoff Peak Peak EG2/Ext Mod EG2/Ext Mod Cutoff Cutoff Peak Peak EG2/Ext Mod EG2/Ext Mod Waveform Waveform Waveform Waveform Switches 7, 8, 15, 16: Switches 7, 8, 15, 16: LFO 1, 2, 3, 4 Stop LFO 1, 2, 3, 4 Stop...
Page 342 EXi: MS-20EX ENVELOPE GENERATOR 1 The full name of the currently selected parameter is shown in the status line at the top of the Control Surface page, as EG1 Delay Time well as in the popup menu. Some parameters with longer EG1 Attack Time names may show an abbreviation for the slider, knob, and switch labels.
Page 343: Ms-20Ex: Page Menu Commands
MS-20EX: Page Menu Commands Delete All Connections MS-20EX: Page Menu Commands Delete All Connections This command removes all of the connections from the Patch Panel, so that you can start from a blank slate.
Page 344 EXi: MS-20EX...
Page 345: Exi: Polysixex
(up to 180 voices!). It the Common LFO, Common Step Sequencer, Key Track combines the features and sonic character of the classic Korg 1 & 2, KARMA, EQ, and effects–as well as layering Polysix (and the Legacy Polysix plug-in) with many with any other EXi (including using two PolysixEXs additional capabilities unique to the KRONOS.
Page 346: On-Screen Knobs And Switches And The Parameter Details Area
EXi: PolysixEX All of the other voice allocation options are fully supported, Unsupported EXi Common parameters including Mono, Mono Legato, Unison, etc. The PolysixEX supports all of the EXi Common parameters, except for two of the voice allocation options: Poly Legato and Mono Mode (Normal/Use Legato Offset).
Page 347: Exi Program P0: Play
EXi Program P0: Play 0–1: Main EXi Program P0: Play 0–1: Main 0–1b EGs and LFOs This is the main page of Program mode. For a full description of this page and all of its functions, please see EG 2,3 Graphics “EXi Program P0: Play”...
Page 348 EXi: PolysixEX Common Step Sequencer Graphic This shows a graphic overview of the Common Step Sequencer. Press this area to jump to the Common Step Sequencer page. Common LFO Graphic This shows the waveform of the Common LFO. Press this area to jump to the Common LFO page. 3 Band EQ Graphic This shows the mid-sweepable 3-band EQ.
Page 349: Program P4: Main
Program P4: Main 4-1: Main Program P4: Main 4-1: Main 4 – 1 PM C 4 – 1 a 4 – 1 g 4 – 1 h 4 – 1 b 4 – 1 c 4 – 1 i 4 – 1 d 4 –...
Page 350 EXi: PolysixEX BASE NOTE [1/1…1/32] Pulse waveform at different widths When TEMPO SYNC is ON, this sets the basic speed of the Pulse W idth = 0.0 0 Pulse W idth = 5.0 0 Pulse W idth = 9.0 0 MG, relative to the system tempo.
Page 351 Program P4: Main 4-1: Main Note: unlike some of the other EXi, the PolysixEX keyboard You can also use EGs 2 or 3 to modulate the main tracking does not include the effects of pitch bend. This VOLUME parameter via AMS. matches the behavior of the original synthesizer.
Page 352 EXi: PolysixEX TRANSPOSE [-24.00…+24.00] the Intensity range will be double that: –48.00…+48.00. This allows full modulation of the parameter, regardless of This controls the coarse tuning, in half-steps and cents, up or the initial setting. down two octaves. You can modulate this smoothly via AMS.
Page 353: Program P5: Modulation & Arpeggiator
Program P5: Modulation & Arpeggiator 5-1: Modulation & Arpeggiator Program P5: Modulation & Arpeggiator 5-1: Modulation & Arpeggiator 5 – 1 P M C 5 – 1 a 5 – 1 b 5 – 1 d 5 – 1 c 5-1a: EXTERNAL MODULATION 5-1b: ARPEGGIATOR The External Modulation section offers an easy way to...
Page 354 EXi: PolysixEX SPEED/TIMES [0.00…10.00/16…1] Int Mod [List of AMS Sources] If TEMPO SYNC is OFF, this controls the speed of the You can modulate the main AMS Intensity from another arpeggiator. AMS source. This selects that source. If TEMPO SYNC is ON, this multiplies the length of the For a list of AMS sources, see “Alternate Modulation Source BASE NOTE.
Page 355: 7-1: Eg 2
Program P5: Modulation & Arpeggiator 7-1: EG 2 • 0: Write Program. For more information, see “Write v 5–1: Page Menu Commands Program” on page 153. The number before each command shows its ENTER + • 1: Exclusive Solo. For more information, see “Exclusive number-key shortcut.
Page 356: Polysixex: Tone Adjust
EXi: PolysixEX PolysixEX: Tone Adjust PolysixEX Tone Adjust Default Settings Filter Filter Filter Filter Filter EG Filter EG Filter Filter Cutoff Cutoff Resonance Resonance Intensity Intensity Kbd Track Kbd Track Octave Octave Waveform Waveform Speed Speed Switches 7 & 8: Switches 7 &...
Page 357 PolysixEX: Tone Adjust PolysixEX Tone Adjust parameters PITCH Vibrato Int Transpose Vibrato Int AMS Int Transpose AMS Int VCO Octave Tune VCO Waveform Tune AMS Int PW/PWM EFFECTS PW/PWM AMS Int Effect Mode PWM Speed Effect Spread PWM Speed AMS Int Effect Spread AMS Int Sub Osc Effect Speed/Intensity...
Page 358 EXi: PolysixEX...
Page 359: Synthesizer
• 101 different waveshaping tables, whose response can be including Mono, Mono Legato, Unison, etc. controlled via modulatable drive and offset. • A PCM sample playback oscillator using Korg’s ultra- low-aliasing PCM technology, as first introduced in the HD-1. This supports four-way velocity-switching between any mono samples from ROM, EXs, Sampling Mode, or User Sample Banks.
Page 360 EXi: MOD-7 Waveshaping VPM Synthesizer MOD-7 over view EG 1-9 Amp EG LFO1-4 Mixer 1-4 Mixer 5-8 Per-voice step LFO1 LFO1 LFO1 LFO1 sequencer LFO1 LFO1 LFO1 LFO1 LFO1 LFO1 LFO1 LFO1 Amp Key Filter Key Track Track FM Oscillators/ Waveshapers FM Osc 1-6 FM Osc 1-6 FM Osc 1-6...
Page 361: Using The Parameter Details Area
MOD-7 Overview Using the Parameter Details area Using the Parameter Details area Parameter Details area Main area indicates that the Parameter Details area includes the Overview possibility of AMS modulation, but that none is assigned; the red “D” and arrow show that an AMS source is already The LCD displays are divided into two sections.
Page 362 EXi: MOD-7 Waveshaping VPM Synthesizer 5. In the Drive Select parameter, select the media from Brightness Vel. Sens. parameter to reduce the velocity step 2, above. sensitivity to taste. For more information, see “Brightness Vel. Sens.” on page 366. 6. Select the DX7 .SYX file. 7.
Page 363: Synthesis With The Mod-7: A Guided Tour
VPM and FM Synthesis articles to highly technical academic treatises. Try searching for “FM synthesis” or “frequency modulation synthesis.” Variable Phase Modulation (VPM) synthesis refers to Korg’s patented contributions to Frequency Modulation (FM) Aliasing synthesis.
Page 364: Individual Oscillators And Subtractive Synthesis
EXi: MOD-7 Waveshaping VPM Synthesizer Individual oscillators and subtractive synthesis Each of the six VPM Oscillators can be used on its own, to This causes the pitch to be very slightly higher than nominal. generate sine, saw, triangle, or square waveforms, plus We’re going to detune all six oscillators, to create a fat, timbres created by waveshaping.
Page 365: Vpm (Aka Fm)
Synthesis with the MOD-7: a guided tour VPM (aka FM) VPM (aka FM) 2. Play the keyboard. Basic VPM Notice that the sound is now a sine wave, since we’re To start using VPM in earnest, simply connect the output of hearing only the un-modulated VPM Oscillator 2.
Page 366: Filtered Vpm
EXi: MOD-7 Waveshaping VPM Synthesizer This also adds a chorusing effect. There’s a difference These change the Ratio and Output Level of VPM Osc 1. between changing the Ratio and the Freq Offset, however, Notice the different sounds that this creates. Slider 1 will as we’ll see next: often work well in the mid-to-low ranges;...
Page 367: Pcm As A Vpm Modulator
Synthesis with the MOD-7: a guided tour PCM as a VPM modulator This means that the volume will be at its maximum, There should now be a brown cable connecting the output of unaffected by an EG. Filter A to In 1 of VPM Osc 4. 6.
Page 368: Waveshaping
EXi: MOD-7 Waveshaping VPM Synthesizer • MS2: 95 PCM samples can often be very bright and harmonically complex. When using bright or complex signals as FM • MS3: 080 modulators, high levels going into the carrier may result in (MS4’s Bottom Velocity is always set to 1.) lots of noise;...
Page 369 Synthesis with the MOD-7: a guided tour Waveshaping Input 1 is the top-most jack on the Output Mixer, just below 11.Set the Table to Resonant2. the Parameter Details area. VPM Osc 1 is connected to this In the popup list, Resonant2 is near the middle of the third jack by default, as you can see by the thin black line.
Page 370: Ring Modulation
EXi: MOD-7 Waveshaping VPM Synthesizer This controls the intensity of the modulation from the This controls the cutoff frequency of Filter A. This filter filtered PCM. isn’t processing the output of VPM Osc 1; it’s just affecting the modulator signal going into VPM Osc 1. VPM Osc 1 6.
Page 371 Synthesis with the MOD-7: a guided tour Ring Modulation 6. Set the Mode to Saw. 7. Set the Ring Mod Crossfade to Ring Mod. 8. In Parameter Details, set the AMS Intensity to 000. Now, the output will contain only the ring mod sound. Previously, the sound had crossfaded between the dry and ring mod timbres.
Page 372: Exi Program P0: Play
EXi: MOD-7 Waveshaping VPM Synthesizer EXi Program P0: Play 0–1: Main 0–1b This is the main page of Program mode. For a full description of this page and all of its functions, please see Pan, Amp Level “EXi Program P0: Play” on page 173. This section describes only the overview display, which differs for each individual This shows the Amp section’s Pan and Amp Level values.
Page 373 EXi Program P0: Play 0–1: Main Common The graphics along the right side of the screen show the most important Common parameters, which are shared by both EXi in the Program. This section will always show the same parameters, regardless of which EXi are being used. Common Voice Assign Mode This shows the voice assign mode of the Program–either POLY or MONO.
Page 374: Program P4: Patch Panel
EXi: MOD-7 Waveshaping VPM Synthesizer Program P4: Patch Panel 4–1: Patch Panel 4–1PMC 4–1b 4–1a The patch panel shows an overview of most components in Plugging a cable into an output jack lets you use the signal the MOD-7, and lets you: elsewhere on the patch panel, and does not interrupt the “normal”...
Page 375 Program P4: Patch Panel 4–1: Patch Panel Note that modulation can affect these levels, as well–so you PCM + VPM offers a selection of VPM configurations may have to look at the individual edit pages to get the layered with PCM samples. complete picture.
Page 376 EXi: MOD-7 Waveshaping VPM Synthesizer Group Algorithm Group Algorithm PCM+4+2 -> 4-pole DX #1 & #2 PCM+3+3 -> 4-pole DX #3 PCM+2+2+2 -> 4-pole DX #4 PCM+2+2+1+1 -> 4-pole DX #5 PCM+2+1+1+1+1 -> 4-pole DX #6 PCM + VPM PCM+4+2 -> parallel filters DX #7, #8, &...
Page 377 Program P4: Patch Panel 4–1: Patch Panel (Connection) [Jack name] This read-only parameter shows the jack to which the selected jack is connected, including the normalled connection. If nothing is connected to the jack, the bottom line reads “(No Connection).” If the selected jack is an output connected to multiple inputs, only the first connection is shown, followed by an ellipse.
Page 378: Program P5: Oscillators
EXi: MOD-7 Waveshaping VPM Synthesizer Program P5: Oscillators 5–1: Osc Main 5–1PMC 5–1a 5–1g 5–1d 5–1b 5–1f 5–1c 5–1e This page includes: Pitch Slope, pitch, and note • Pitch slope and portamento settings • Pitch modulation applied equally to the PCM Oscillator Pitch and all six VPM Oscillators (note that individual oscillators have their own pitch modulation, as well)
Page 379 Program P5: Oscillators 5–1: Osc Main JS- X [-60…+60 semitones] Intensity [–48.00…+48.00] This sets the maximum amount of pitch bend, in semitones, This controls the depth and direction of the LFO AMS when you move the joystick to the left. For normal pitch modulation, in semitones.
Page 380 EXi: MOD-7 Waveshaping VPM Synthesizer 1. Go to Program page 1-8, Controller Setup. To create “speckled noise” such as rocket sounds and thunder, set Saturation to 99, and Filter Frequency to 10. 2. Under Panel Switch Assign, set either SW1 or SW2 to Portamento SW (CC#65).
Page 381 Program P5: Oscillators 5–1: Osc Main • The Pitch Slope graphic appears when any of the Pitch 5–1f: EXi Audio Input parameters are selected. Important: the audio input is only active when v 5–1: Page Menu Commands notes are played The MOD-7 can process live audio inputs, feedback from The number before each command shows its ENTER + effects, or any other audio from within the KRONOS.
Page 382: 5-2: Pcm Osc
EXi: MOD-7 Waveshaping VPM Synthesizer 5–2: PCM Osc 5–2PMC 5–2b 5–2a MS1 (High) For more information about using PCM in the MOD-7, including hands-on tutorials, see “PCM as a VPM These are the settings for the first and highest velocity zone. modulator”...
Page 383 Program P5: Oscillators 5–2: PCM Osc Reverse [Off, On] Multisamples, or recorded some new samples. Once the KSC is saved to disk, the name will update to show the file This lets you play the selected multisample backwards, path (as described below). without looping.
Page 384: 5-3: Pcm Mod
EXi: MOD-7 Waveshaping VPM Synthesizer 5–2b: Velocity Graphic v 5–2: Page Menu Commands The number before each command shows its ENTER + Velocity zone graphic number-key shortcut. For more information on these This is a graphic representation of the velocity zones for shortcuts, see “ENTER + 0-9: shortcuts for menu MS1–4.
Page 385 Program P5: Oscillators 5–3: PCM Mod Intensity [-48.00…0.00…+48.00] You can think of the resulting shape as being like two folding doors attached to a hinge in the center. At the Center This controls the depth and direction of the AMS 1 pitch key (the main hinge), the keyboard tracking has no effect.
Page 386 EXi: MOD-7 Waveshaping VPM Synthesizer Keyboard Track Parameter Details Multiply: This is the default, and is similar to the way that most other KRONOS Amp modulation works. AMS is The Keyboard Track graphic appears in the Parameter multiplied along with all of the other modulators. Details area when any of the Keyboard Track parameters are Expressed mathematically, this is: selected.
Page 387: 5-4: Vpm Osc1
Program P5: Oscillators 5–4: VPM Osc1 5–4: VPM Osc1 5–4PMC 5–4g 5–4a 5–4b 5–4d 5–4c 5–4e 5–4f The six VPM Oscillators are the main tools of the MOD-7, and can be used in various ways for both generating waveforms and processing audio. For general information about these different possibilities, please see “Synthesis with the MOD-7: a guided tour”...
Page 388 EXi: MOD-7 Waveshaping VPM Synthesizer Mode Parameter Details Square A diagram of the selected Mode’s signal flow appears in the Parameter Details area when any of the Main parameters are selected. Sine + Waveshaper: This is the ultra-super-deluxe mode: 5–4b: Oscillator sine oscillator, waveshaper, lowpass and highpass filters, and ring modulator.
Page 389 Program P5: Oscillators 5–4: VPM Osc1 Random sets the oscillator to a random value, with the value Ratio Pitch in semitones randomized per oscillator. (This is the same as the AL-1 + 39.65 -- 3 octaves + major third (-35 cents) behavior for random.) +43.06 -- 3 octaves + fifth (+6 cents) Free Run sets the oscillator to Initial Phase plus a random...
Page 390 EXi: MOD-7 Waveshaping VPM Synthesizer Sine Sine2 Sine4 5–4c: Waveshaper This section is available only when the Mode is set to Sine + Waveshaper or Waveshaper. Note that, if the same oscillator is using both FM and waveshaping, they occur in that order: first the sine oscillator Pickups is modulated by the inputs, and then the result is waveshaped.
Page 391 Program P5: Oscillators 5–4: VPM Osc1 Add 1Plus3: This produces the fundamental plus the 3rd TX Wave 2 TX Wave 3 TX Wave 4 TX Wave 7 harmonic at equal amplitude, and sounds like an 8’ + 2 2/3’ organ stop. Add 1Plus4: This produces the fundamental plus the 4th harmonic at equal amplitude, and sounds like an 8’...
Page 392 Pulse Octave Inverter1 01/W and Waveshaper Effect tables Integers Super Square Line Sine2 Comb The rest of the tables are based on those of the classic Korg 01/W and the Waveshaper effect. Sine + Saw 2 Cycle Frequency3 Frequency7 Snake...
Page 393 Program P5: Oscillators 5–4: VPM Osc1 Key Slope [0…75] overall level. You can compensate for this with a combination of Makeup Gain and Output Level This scales the amount of Drive as you move up and down modulation: the keyboard, with a center point of C4. Key Slope can help to keep the timbre even across the keyboard, and also help to 1.
Page 394 EXi: MOD-7 Waveshaping VPM Synthesizer High-Top [–Inf, –99…+99, +Inf] The four ramp values control the rate of change between each pair of keys. For instance, if the Low-Center Ramp is This sets the slope between the High Break key and the top set to 0, the value will stay the same between the Low Break of the MIDI note range.
Page 395 Program P5: Oscillators 5–4: VPM Osc1 Amp Keyboard Tracking Ramp values: + 9 9 + 5 0 + 2 5 Louder x2 Change to N o change Volume Silence Ramp values: –9 9 –9 7 –9 5 –4 8 –2 5 Low Bre ak: D1 C enter: G 2 High Bre ak: C 4...
Page 396 EXi: MOD-7 Waveshaping VPM Synthesizer AMS Mode [Add, Multiply] If both inputs contain three frequencies each, the number of sidebands grows to 18; if they contain four frequencies each, To calculate the VPM Oscillator’s output volume, the main it grows to 32; with five each, the sidebands grow to 50. So, Level parameter, Velocity Sens, Key Tracking, and the the effect can become very complicated, very fast! selected EG are always multiplied together.
Page 397: 5-5: Vpm Osc 2
Program P5: Oscillators 5–5: VPM Osc 2 • The Keyboard Track graphic appears when any of the • 0: Write Program. For more information, see “Write parameters in the Keyboard Track section are selected. Program” on page 153. • Crossfade Modulation appears when (Ring Mod) •...
Page 398: Program P6: Filter
6 inputs. The MOD-7 includes dual multimode resonant filters, For detailed descriptions of the filter parameters, see “5–1: including Korg’s Multifilter. These filters are almost Filter Basic” on page 202. identical to those of the AL-1, except for the following: For information about using the filters in the MOD-7, •...
Page 399: Program P7: Amp
Program P7: Amp 7–1: Mixers 1-3 Program P7: Amp 7–1: Mixers 1-3 7–1PMC 7–1a 7–1c 7–1b 7–1c 7–1b When the Source is set to Note Number, a Threshold of Overview 00 is middle C. These are the three 2-in, 1-out mixers on the Patch Panel. 8.
Page 400: 7-2: Output Mixer
EXi: MOD-7 Waveshaping VPM Synthesizer Link 1->2 [Off, On] 7–1b: Mixers 2 and 3 This merges the output of Mixer 1 into the output of Mixer 2. The controls for Mixers 2 and 3 are the same as those for “7– Link 2->3 [Off, On] 1a: Mixer 1,”...
Page 401: 7-3: Amp
Program P7: Amp 7–3: Amp [List of AMS Sources] Next, make the following settings in the LFO: This selects an AMS source to modulate Pan. For a list of 4. Enable the Key Sync check-box. AMS sources, see “Alternate Modulation Source (AMS) 5.
Page 402: 8-1: Eg 1
EXi: MOD-7 Waveshaping VPM Synthesizer Program P8: EG 1–9 The MOD-7 has nine assignable EGs, in addition to the Amp These EGs are similar to those of the AL-1, but with slightly EG. Each of these can be used as an AMS modulation source simplified AMS modulation, Sustain Level modulation, and to control a wide variety of parameters.
Page 403: Program P8: Eg 1-9
Program P8: EG 1–9 8–1: EG 1 Level Release [00…99] This sets how long it takes the EG to move from the Sustain Each of the five levels can be either positive or negative. level to the Release level. Positive levels will make the cutoff frequency (or other AMS destination) go up from its programmed value;...
Page 404 EXi: MOD-7 Waveshaping VPM Synthesizer By using different settings for each of the four levels, you 8–1d: Time Modulation can cause both subtle and dramatic changes to the EG shape, as shown below. These settings let you use an AMS source to control the Time parameters of the EG.
Page 405: 8-2: Eg 2
Program P8: EG 1–9 8–2: EG 2 • 1: Exclusive Solo. For more information, see “Exclusive v 8–1: Page Menu Commands Solo” on page 153. The number before each command shows its ENTER + • 2: Copy Envelope. For more information, see “Copy number-key shortcut.
Page 406: And Ams Mixers
EXi: MOD-7 Waveshaping VPM Synthesizer Program P9: Step Sequencer, LFO 1-4, and AMS Mixers The MOD-7 has one per-voice Step Sequencer and four There are also eight AMS Mixers: four full-functioned, and assignable LFOs, in addition to the EXi Program’s Common another four which support only the A+B and Amt AxB LFO and Common Step Sequencer.
Page 407: Mod-7: Tone Adjust
MOD-7: Tone Adjust Common Tone Adjust parameters MOD-7: Tone Adjust MOD-7 Tone Adjust Default Settings Filter A Filter A Filter B Filter B Cutoff Cutoff Cutoff Cutoff VPM Osc 1-6 Ratio VPM Osc 1-6 Ratio Switches 1-6: Switches 1-6: Switches 7 & 8: Switches 7 &...
Page 408 EXi: MOD-7 Waveshaping VPM Synthesizer MS Min MS Max Start Offset Reverse Transpose Tune VPM Oscillators 1…6 On/off Mode Feedback Ratio Table Drive Output Level Filters A and B Type Cutoff Resonance EG Int LFO Int LFOs In addition to supporting the standard Tone Adjust LFO parameters, the MOD-7 adds the following separate controls: •...
Page 409: Mod-7: Page Menu Commands
MOD-7: Page Menu Commands Copy VPM Oscillator MOD-7: Page Menu Commands Copy VPM Oscillator This command copies all the parameters of one VPM Oscillator to another VPM Oscillator. A dialog box allows you to select the source and destination Oscillators, within the current Program.
Page 410 EXi: MOD-7 Waveshaping VPM Synthesizer...
Page 411: Exi: Sgx-2 Premium Piano
EXi: SGX-2 Premium Piano SGX-2 Overview The SGX-2 Premium Piano EXi is designed to provide an optimal acoustic piano experience, combining world-class sounds, subtle performance nuances, and a dedicated, easy- to-use interface. Features include: • Virtual Memory Technology (VMT), for access to gigabytes of sample data •...
Page 412: Exi Program P0: Play
EXi: SGX-2 Premium Piano EXi Program P0: Play 0–1: Main 0–1b Piano Type Components and Levels Common Key Zone Piano graphic This is the main page of Program mode. For a full description of this page and all of its functions, please see This shows the lid position setting.
Page 413 EXi Program P0: Play 0–1: Main Common LFO Graphic This shows the waveform of the Common LFO. Press this area to jump to the Common LFO page. 3 Band EQ Graphic This shows the mid-sweepable 3-band EQ. Press this area to jump to the EQ page. IFX, MFX/TFX Press the IFX area to jump to the IFX Routing page.
Page 414: Program P4: Main
EXi: SGX-2 Premium Piano Program P4: Main 4–1: Main 4–1PMC 4–1a 4–1b 4–1c [Random, L001…C064…R127] 4–1a: Piano Type This controls the stereo position of the piano, “leaning” the Piano Type [List] original stereo image to the left or right as desired. A setting of C064 maintains the original stereo image;...
Page 415 Program P4: Main 4–1: Main Stereo Perspective [Player, Audience] –100 removes the velocity modulation entirely. +100 means maximum modulation in the same direction, positive or This controls the left/right perspective of the piano. You can negative, as the original Piano Type. choose to hear the sound either as you would in the playing position or as someone listening on the other side of the 4–1c: Components...
Page 416: Program P5: String Resonance/Una Corda
EXi: SGX-2 Premium Piano Program P5: String Resonance/Una Corda 5–1: String Resonance/Una Corda 5–1PMC 5–1a 5–1b 5–1a: String Resonance 5–1b: Una Corda Grand pianos typically have three pedals. From left to right, String Resonance [Off, On] these are the Una Corda pedal (also called the soft pedal), the When a note is played on an acoustic piano, any other un- sostenuto pedal, and the sustain or damper pedal.
Page 417 Program P5: String Resonance/Una Corda 5–1: String Resonance/Una Corda The graphic also shows whether the Una Corda pedal is currently off (CC#67=0) or on (CC#67=127)—notice that the left-most pedal moves up and down. Finally, you can touch the graphic to toggle CC#67 on and off.
Page 418: Sgx-2: Tone Adjust
EXi: SGX-2 Premium Piano SGX-2: Tone adjust SGX-2 Tone Adjust Default Settings Resonance Resonance Velocity Velocity Release Release Note Release Note Release Mechanical Mechanical Damper Damper Velocity Velocity Lid Position Lid Position Level Level Intensity Intensity Time Time Level Level Noise Level Noise Level Noise Level...
Page 419: Exi: Ep-1 Mds Electric Piano
Multi-Dimensional Synthesis (MDS) • Poly Legato MDS is a brand-new technology from Korg. To create the • Mono Mode (Normal or Use Legato Offset) EP-1 models, we first sample the instrument at many different dynamic levels and pitches.
Page 420: On-Screen Knobs, Sliders & Switches And The Parameter Details Area
EXi: EP-1 MDS Electric Piano On-screen knobs, sliders & switches and the Parameter Details area Parameter Details The LCD displays include graphic knobs for all of the main EP-1 parameters. These let you view and edit parameters quickly and easily. You can program any sound from the original electric pianos using only these knobs.
Page 421: Exi Program P0: Play
EXi Program P0: Play 0–1: Main EXi Program P0: Play 0–1: Main 0–1b Common Key Zone Common Key Zone This is the main page of Program mode. For a full description of this page and all of its functions, please see This shows the key zones for EXi1 and EXi2, as set on the “EXi Program P0: Play”...
Page 422 EXi: EP-1 MDS Electric Piano IFX, MFX/TFX Press the IFX area to jump to the IFX Routing page. Press the MFX/TFX area to jump to the MFX Routing page. KARMA GE Name This shows the name of the selected KARMA GE. Press this area to jump to the GE Setup/Key Zones page.
Page 423: Program P4: Basic/Oscillator
Program P4: Basic/Oscillator P4–1 Basic Program P4: Basic/Oscillator P4–1 Basic 4–1PMC 4–1a 4–1b Pitch Slope, pitch, and note 4–1a: Electric Piano Model Type [Tine EP I, Tine EP II, Pitch Tine EP V, Tine EP DMP, Reed EP 200, Reed EP 200A] This selects the electric piano model.
Page 424 EXi: EP-1 MDS Electric Piano When you lift off of the ribbon, the pitch will snap back to the center (unless you’re using the SW1/2 “Ribbon Lock” feature). So, by tapping on the right edge of the ribbon and then releasing quickly, you can create guitar “hammer-on” effects.
Page 425: P4-2 Oscillator
Program P4: Basic/Oscillator P4–2 Oscillator P4–2 Oscillator 4–2PMC 4–2b 4–2a 4–2c [List of AMS Sources] 4–2a: Harmonic Sound This selects an AMS source to control the Release. For a list Level [000…100] of AMS sources, see “Alternate Modulation Source (AMS) List”...
Page 426 EXi: EP-1 MDS Electric Piano Intensity [–100…+100] This controls the depth and direction of the Release Noise Level AMS modulation. Attack Brightness [-18.0…+00.0…+18.0] This controls the brightness of the attack noise. [List of AMS Sources] This selects an AMS source to control the Attack Brightness.
Page 427: Program P5: Panel/Ifx/Amp & Cabinet
Program P5: Panel/IFX/Amp & Cabinet P5–1 Common Program P5: Panel/IFX/Amp & Cabinet P5–1 Common 5–1PMC 5–1a 5–1b 5–1g 5–1e 5–1h 5–1f 5–1c 5–1d You can also set the Pan directly from the Control Surface 5–1a: Model Type knobs. To do so: EP Model Type [Tine EP I, Tine EP II, 1.
Page 428 EXi: EP-1 MDS Electric Piano 5–1c: Insert Effect Type [Off, Small Phase, Orange Phase, Black Phase, Vintage Chorus, Black Chorus, EP Chorus, Vintage Flanger, Red Comp, VOX Wah] This selects the pedal to use for the insert effect. Touch either the text or the effect graphic to call up a graphical list of the effects.
Page 429: Tine Ep
Program P5: Panel/IFX/Amp & Cabinet Tine EP Tine EP 5–1PMC 5–1a 5–1b 5–1g 5–1e 5–1h 5–1f 5–1c 5–1d [List of AMS Sources] These parameters apply when one of the Tine pianos is selected as the EP Model Type. This selects an AMS source to control the BASS setting. For a list of AMS sources, see “Alternate Modulation Source 5-1e: Pre-amp (AMS) List”...
Page 430 EXi: EP-1 MDS Electric Piano [List of AMS Sources] AMS lets you switch to the opposite of the programmed setting. For instance, if vibrato is ON, and the AMS Mode is This selects an AMS source to control the DRIVE. For a list set to Momentary, then pressing down on the footswitch of AMS sources, see “Alternate Modulation Source (AMS) would turn off the Vibrato.
Page 431: Reed Ep
Program P5: Panel/IFX/Amp & Cabinet Reed EP Reed EP 5–1a 5–1b 5–1i 5–1h 5–1j 5–1c 5–1d SPEED [00.0…10.0] These parameters apply when the EP Model Type is set to either Reed 200 or Reed 200a. This controls the rate of the vibrato effect. On the original instrument, SPEED wasn’t adjustable;...
Page 432: Insert Effects
EXi: EP-1 MDS Electric Piano Insert Effects Source [List of Dmod Sources] The parameters vary depending on the selected effect. This selects a modulation source to control the LFO Small Phase modulation Depth. Amount [–100…+100] This classic phaser, made in New York City during the 70s, has a notably warm and rich tone with liquid transparency.
Page 433 Program P5: Panel/IFX/Amp & Cabinet Insert Effects Vintage Chorus Black Chorus This models a chorus best-known for being built into a guitar Modeled after a classic stereo chorus known for both crystal- amp. You can use the Speed and Depth knobs for an even clean tone and quiet operation, and especially well-suited to broader range of possibilities than on the original device.
Page 434 EXi: EP-1 MDS Electric Piano Wet/Dry [Dry, 1: 99…99:1, Wet] Source [List of Dmod Sources] Sets the balance between the “wet” processed sound and the This selects a modulation source to control the Depth. dry input. The default is Wet. Amount [–100…+100] Note: When Mode is set to Chorus, the Intensity control is...
Page 435 Program P5: Panel/IFX/Amp & Cabinet Insert Effects OUTPUT Auto Sensitivity [0…100] This sets the sensitivity of auto-wah. Increase the value if the Wet/Dry [Dry, 1:99…99:1, Wet] input signal is too low to sweep the wah. Reduce the value if Sets the balance between the “wet” processed sound and the the input signal is so high that the sweep stops temporarily.
Page 436: Program P9: Ams Mixers
EXi: EP-1 MDS Electric Piano Program P9: AMS Mixers P9 AMS Mixers The EP-1’s AMS Mixers are identical to those of the AL-1. For detailed explanations, please see “9–1: AMS Mixer,” on page 227.
Page 437: Ep-1: Tone Adjust
EP-1: Tone Adjust P9 AMS Mixers EP-1: Tone Adjust EP-1 Tone Adjust Default Settings Tine Tine Tine Tine Vibrato Vibrato Vibrato Vibrato Cabinet Cabinet Hammer Hammer Attack Attack Volume Volume Treble Treble Bass Bass Intensity Intensity Speed Speed Drive Drive Width Width Brightness...
Page 438 EXi: EP-1 MDS Electric Piano Oscillator Harmonic Sound Level Harmonic Sound Decay Harmonic Sound Release Attack Noise Level Release Noise Level Attack Brightness Hammer Width Panel Volume Tine Treble Tine Bass Tine Vibrato On/Off Vibrato Speed Vibrato Intensity Cabinet On/Off Cabinet Drive Insert Effects IFX Speed [Hz]...
Page 439: Combination Mode
Combination mode Combination P0: Play This is the main page of Combination mode. Among other If inspiration for a phrase or song strikes you while you’re things, you can: playing, you can use this function to start recording immediately. To do so: •...
Page 440 Combination mode Bank Category Popup Hold Balance Tempo Combination Select Popup Combination Select Favorite Find Each bank contains rewritable areas for 128 Combinations (a Note: On this page only, the VALUE slider functions as a total of 1,792). modulation source - which means that you can’t use it to select combinations.
Page 441 Combination P0: Play 0–1: Program Select/Mixer Category/Combination Select menu Category tab Sub-category tab Scroll bar magnifying-glass icon, and is located at the bottom of 6. Press the OK button to execute, or press the Cancel the window to the right of the OK button. button to cancel your selection.
Page 442 Combination mode Hold Balance [Off, On] Press this popup button to get the Category/Program Select menu, then select the desired category and sub-category, and On (checked): When any one of the volume sliders is finally select the desired program. moved, the volume of the other timbres will change as well. The volume balance of timbres 1–16 will be maintained.
Page 443 Combination P0: Play 0–1: Program Select/Mixer change, and volume (CC#7) messages will be transmitted Off: Use this to disable the Timbre. With this setting, the on the MIDI channel specified for each timbre whose Timbre’s Program will not sound, and MIDI data will not be Status (0–1b, 2–1a) is set to EXT or EX2.
Page 444 Combination mode The Solo function operates differently depending on the If Status (0–1b, 2–1a) has been set to INT, incoming setting of the Exclusive Solo page menu command. MIDI CC#7 or CC#11 messages will control the volume If Exclusive Solo is off, you can turn Solo on for more than of a timbre.
Page 445 Combination P0: Play 0–1: Program Select/Mixer For instance, you can use up to eight CX-3s simultaneously, 0–1c: Quick Layer and Quick Split or eighteen EP-1s, or a combination of the two (e.g., four buttons CX-3s and nine EP-1s). The other EXi have no practical limitation by themselves, but if you’re using a lot of CX-3 or These buttons access the Quick Layer and Quick Split EP-1 Programs you may run into situations in which the...
Page 446: Quick Layer
Combination mode Quick Layer KEYBOARD Graphic Category Find (Layer) Layer Program Select KARMA Layer On/Off Volume Category image Layer Top/Bottom Key Bank Solo(Layer) (Bank/Program Select) Zone Layer Program Select Category Layer Octave (Category/Main Program Select) Find (Main) Volume Category image Main Solo On/Off Bank...
Page 447 Combination P0: Play Quick Layer Split Point and keyboard slopes When a Layer Program is selected, some limitations may cause either the layer Program or the main Combination to Combinations support keyboard slopes, in which sounds sound a bit different. For more information, see “Limitations gradually fade in or out over a range of notes.
Page 448 Combination mode unused KARMA Module, if one is available. If the Main Drum Track Combination had already used all four KARMA Modules, the Program’s settings are copied into Module D, replacing Select Drum Track whatever was there previously. If this occurs, a caution icon You can choose to use the Drum Track from either the Main will appear, and the main Combination may not sound Combination or Layer Program.
Page 449: Quick Split
Combination P0: Play Quick Split Quick Split Select Split Mode KEYBOAD Graphic Solo On/Off Split Point Category Find (Category/Combination Select) Find Category (Category/Program Select) Solo On/Off Lower Program Select Main Combination Select Octave Octave Category image Volume Main KARMA Lower On/Off KARMA Volume Main On/Off...
Page 450: 0-2: Performance Meters
Combination mode Category image Solo [On, Off] This display-only graphic represents the category or sub- This turns the Solo function on/off. If Solo is enabled, only category of the Split Program. tracks with Solo On will sound; other tracks will be muted. The setting will alternate on/off each time you press the Solo Octave [-2, -1, 0, +1, +2]...
Page 451: 0-6: Karma Ge
Combination P0: Play 0–6: KARMA GE 0–6: KARMA GE 0–6PMC 0–6a 0–6b 0–6c 0–6d This page gives you an overview of the four KARMA 0–6b: GE Select Modules (A-D), and lets you make basic adjustments. For more detailed editing of KARMA parameters, see The phrases and patterns produced by a KARMA Module “Combination P7: KARMA”...
Page 452 Combination mode KARMA Value User GEs can be loaded from disk. Some are already included with the factory pre-load; others may be included When you move or press a KARMA SLIDER or SWITCH, with new banks of sounds, and can also be created using this area shows the number and value of the GE Real-Time KARMA KRONOS software (dedicated software for the Parameters or Perf Real-Time Parameters assigned to the...
Page 453 Combination P0: Play 0–6: KARMA GE Scan Zone v 0–6: Page Menu Commands The key zone settings of the KARMA Modules are The number before each command shows its ENTER + displayed as solid blue lines under the notes display. number-key shortcut.
Page 454: 0-7: Controller View/Effect
Combination mode 0–7: Controller View/Effect 0–7PMC 0–7a 0–7b 0–7c SW1, SW2, Knob5…8 Here you can view the function that is assigned to the vector joystick, SW1 and 2, and knobs 5–8, and view information SW1, SW2: These indicate the functions assigned to SW1 about the effects.
Page 455: 0-8: Audio Input/Sampling
Combination P0: Play 0–8: Audio Input/Sampling • 1: Exclusive Solo. For more information, see “Exclusive v 0–7: Page Menu Commands Solo” on page 153. The number before each command shows its ENTER + • 2: Copy From Program. For more information, see number-key shortcut.
Page 456 Combination mode Input1 & 2 Save to [RAM, DISK] These are settings for the analog inputs. Mode (Sample Mode) [L-Mono, R-Mono, Stereo] Bus Select (IFX/Indiv.) [L/R, IFX1…12, 1…4, Sample Time [min sec] 1/2…3/4, Off] These parameters are the same as in Program mode P0– FX Ctrl Bus (FX Control Bus) [Off, 1, 2] Audio Input/Sampling.
Page 457: 0-9: Control Surface
Combination P0: Play 0–9: Control Surface 0–9: Control Surface 0–9PMC 0–9b 0–9a 0–9c 0–9d 0–9e 0–9f The Control Surface is the set of 9 sliders, 8 knobs, and 16 • Regardless of the Local Control setting, you can always switches to the left of the LCD display. It looks like a mixer, edit Control Surface parameters via the touch-screen.
Page 458 Combination mode R.TIME KNOBS/KARMA lets you modulate sounds and Random is available only via the VALUE controls, and not effects with the knobs, and control KARMA with the sliders by the physical knob or touch-drag. (Otherwise, it would be and switches. difficult to use the knob to sweep smoothly from left to right.) With the Random setting, each note will have a TONE ADJ./EQ lets you edit Programs within the context...
Page 459 Combination P0: Play 0–9: Control Surface Select 1–8/9–16 [Off, On] Note: with some EXi sounds, such as the CX-3, Random pan may affect all notes at once. These buttons either select or solo the Timbre, depending on the state of the Solo switch. For more details, see Solo, Pan 2/10–8/16 [Random, L001…C064…R127] above.
Page 460 Combination mode Control Surface - Audio In 0– 9c Knobs 1–8, Channel Strip 0–9c: Audio Inputs When the Mixer Knobs switch is set to Channel Strip, the This Control Assign setting lets you adjust the volume, pan, knobs provide quick access to the selected input’s Pan and and FX send settings for each of the six audio inputs: Analog FX Send parameters.
Page 461 Combination P0: Play 0–9: Control Surface Play/Mute (1–6) [Play, Mute] When this switch is on (LED = on), the input will be enabled. When the switch is off (LED = off), the input will be muted. Solo switch and Select switches 1–6 Solo [Off, On] Solo lets you isolate one or more Timbres or Audio Inputs,...
Page 462 MIDI gear on stage, another for Note: to change the mapping of CCs to controls, edit the controlling a software synthesizer (such as one of Korg’s External Setups in Global P1–2: External 1. For more Legacy Collection synths), and so on.
Page 463 Combination P0: Play 0–9: Control Surface Value (1–8) [000…127] Gch means that the slider will transmit on the Global MIDI Channel, as set in Global mode. This is the current value of the slider’s MIDI CC. CC# Assign (1–8) [Off, 000…119] This read-only parameter shows the MIDI CC sent by the slider.
Page 464 Combination mode Knobs 1–8 To select a Scene, just press its switch - you’ll see all of the KARMA SLIDERS and SWITCHES update instantly to Knobs 1–4 all have dedicated functions which correspond to their new values. MIDI CCs. Knobs 5–8 can be assigned to a wide variety of functions, many of which also have corresponding MIDI KARMA SWITCHES 1-8 CCs.
Page 465 Combination P0: Play 0–9: Control Surface Control Surface - Tone Adjust 0–9f Timbre select 0–9f: Tone Adjust Timbre [1…16] Tone Adjust provides two important features This selects the Timbre whose Tone Adjust parameters simultaneously: appear on the screen and the Control Surface. You can •...
Page 466 Combination mode Knobs 1–8 Once the Program has been loaded, you can change any or all of the Tone Adjust settings as desired, including both Assign [List of Tone Adjust assignments] assignments and values. All such edits are stored in the Combi, without affecting the original Program.
Page 467 Combination P0: Play 0–9: Control Surface Amp EG Decay Time. This scales the decay and slope Common Tone Adjust Parameters times of the Amp EGs. These parameters affect both Oscillators in a HD-1 Program, Amp EG Sustain Level. This scales the sustain levels of the or both EXi in an EXi Program.
Page 468 Combination mode Detune. This Absolute parameter sets amount of detuning between the Unison voices. If Unison is not On, this parameter has no effect. For more information, please see “Detune” on page 43. Thickness. This Absolute parameter sets the pattern of detuning between the Unison voices.
Page 469: Combination P1: Eq/Vector/Controller
Combination P1: EQ/Vector/Controller 1–1: Timbre EQ Combination P1: EQ/Vector/Controller 1–1: Timbre EQ 1–1PMC 1–1a 1–1b Each Timbre has a dedicated three-band EQ, with sweepable 040.00…300.00 allow you to set a specific tempo in BPM, mid band. This page lets you view and adjust the settings for with 1/100 BPM accuracy.
Page 470: 1-3: Drum Track
Combination mode Mid Gain [–18.0…+00.0…+18.0dB] Regardless of this setting, subsequent edits to the Program’s EQ in Program mode will not affect the Combination. This controls the gain of the Mid Sweep EQ, in increments On: the Program’s EQ settings will be loaded automatically of 0.5dB.
Page 471: 1-5: Vector Volume Control
Combination P1: EQ/Vector/Controller 1–5: Vector Volume Control 1–3d: Keyboard Trigger Zone v 1–3: Page Menu Commands The number before each command shows its ENTER + Keyboard Top [C–1…G9] number-key shortcut. For more information on these Bottom [C–1…G9] shortcuts, see “ENTER + 0-9: shortcuts for menu commands”...
Page 472 Combination mode Note: For an interesting variation on this effect, turn Equal 1–5a: Combination Name Amount Off, and instead set all of the Timbre Center Volumes to 50%. The Timbres will still fade together Bank [INT–A…G, USER–A…G] smoothly, but with a more gentle effect towards the extremes of the Vector axes.
Page 473 Combination P1: EQ/Vector/Controller 1–5: Vector Volume Control Vector Synthesis system, Combi mode Combination Combi Vector Volume Control Vector Modulation of Timbres 1-1 6 C enter Volume Timbre Volume and Equal Power settings C ombi switch: Ena ble Volume control C ombi Vector E G Combi Vector CC Control C ombi switch:...
Page 474 Combination mode Timbre 01 Timbre Center Volume, VJS Assign = –X VJS Assign [Off, +X, –X, +Y, –Y] 1 0 0% This assigns an axis of the Vector to control the Timbre’s volume. See the diagram “VJS Assign and Program Volume,”...
Page 475: 1-6: Vector Cc Control
Combination P1: EQ/Vector/Controller 1–6: Vector CC Control 1–6: Vector CC Control 1–6PMC 1–1a 1–6a Vector and MIDI 1–6a: Vector CC Control The Vector features interact with MIDI in two different Vector CC Control lets you use the combination of the ways: through the Vector Joystick, and through the Vector Vector Joystick and the Vector EG to control the Combi’s CC Control.
Page 476 Combination mode VJS X Mode [Positive, Negative, Xfade, Split] Finally, you can also assign +X to control the Master Volume. You can set up the Vector to send out CCs in several different patterns, as shown in the graphic below. This –X [Off…MIDI CC#119] controls the pattern for the X axis.
Page 477: 1-7: Vector Envelope
Combination P1: EQ/Vector/Controller 1–7: Vector Envelope • 0: Write Combination. For more information, see v 1–6: Page Menu Commands “Write Combination” on page 515. The number before each command shows its ENTER + • 1: Exclusive Solo. For more information, see “Exclusive number-key shortcut.
Page 478 Combination mode Off (unchecked): When Key Sync is Off, the Vector Vector EG times, Loop Type = 1->3 Volume EG starts from the phase determined by the first note in the phrase, so that the EGs for all notes being held are N ote-on or reset N ote-off synchronized together.
Page 479 Combination P1: EQ/Vector/Controller 1–7: Vector Envelope Point 4 Time [0ms…60sec] This parameter lets you set the Hold Time in seconds and Point 4 is the Vector EG’s release destination. Its time setting milliseconds. It applies only when the Mode is set to Time. is different from those of the other Points.
Page 480: 1-8: Set Up Controllers
Combination mode • 2: Copy From Program. For more information, see • 3: Copy Vector Envelope. For more information, see “Copy From Program” on page 515. “Copy Vector Envelope” on page 160. 1–8: Set Up Controllers 1–8PMC 1–1a 1–8a 1–8b Here you can set the Combination functions of the SW1 1–8b: Realtime Modulation Knob Assign switch, SW2 switch, and the Realtime Modulation Knob 5–...
Page 481: 1-9: Pads
“Input Channel” on page 486. • By playing directly on the screen Gch: Use the global MIDI Channel setting. This is the • Via a pad-equipped Korg USB MIDI controller default. For more information, see “MIDI Channel (Global MIDI Channel)” on page 781.
Page 482 Combination mode Pads and MIDI Channel • 2: Copy From Program. For more information, see “Copy From Program” on page 515. G ch • 3: Copy Pad Setup. For more information, see “Copy T0 1: Piano G ch Pad Setup” on page 160. T0 2: Strings G ch G ch...
Page 483: Combination P2: Timbre Parameters
Combination P2: Timbre Parameters 2–1: MIDI Combination P2: Timbre Parameters 2–1: MIDI 2–1PMC 1–1a 1–1b 2–1a Timbre Priority [Off, On] Here you can make MIDI settings for each Timbre. Sometimes, if a lot of voices are already sounding, there 2–1a: MIDI won’t be enough free power to play a new voice.
Page 484: 2-2: Osc
Combination mode • 0: Write Combination. For more information, see v 2–1: Page Menu Commands “Write Combination” on page 515. The number before each command shows its ENTER + • 1: Exclusive Solo. For more information, see “Exclusive number-key shortcut. For more information on these Solo”...
Page 485 Combination P2: Timbre Parameters 2–2: OSC Portamento [PRG, Off, 001…127] Poly, Poly Legato, Single Trigger, Mono, Mono Legato, Legato Offset, Mono Priority, and Mono and Poly Unison all This controls the Timbre’s portamento. apply. PRG: Portamento will be applied as specified by the You can achieve the same effect as Bsc, above, by setting Program settings.
Page 486: 2-3: Pitch
Combination mode 2–3: Pitch 2–3PMC 1–1a 1–1b 2–3a Here you can make pitch-related settings for each timbre. If the Timbre does not use an HD-1 Drum Program–for example, if it uses a Single or Double HD-1 Program, or an EXi Program–then MIDI RPN Coarse Tune will 2–3a: Pitch control Transpose, and RPN Fine Tune will control Detune.
Page 487: 2-4: Delay
Combination P2: Timbre Parameters 2–4: Delay Timbres 02…16 Random [0…7] As this value is increased, an increasingly random deviation These are the pitch-related settings for timbres 2 through 16. will be added to the pitch at each note-on. The settings are the same as for timbre 1. For more information, see “Timbre 01”.
Page 488: 2-5: Wave Sequence/Karma
Combination mode [r … w ] Timbres 02…16 Base Note These are the delay time settings for Timbres 2 through 16. Times [01…32] They are the same as for Timbre 1, as described above. This setting is available when Mode is set to Tempo. It specifies the delay time from note-on until the timbre begins v 2–4: Page Menu Commands to produce sound, in terms of a note value relative to the...
Page 489 Combination P2: Timbre Parameters 2–5: Wave Sequence/KARMA Wave Sequence Quantize Trigger [PRG, Off, On] • 2: Copy From Program. For more information, see “Copy From Program” on page 515. This allows you to override the Program’s Wave Sequence “Quantize Trigger” setting (Program 1–1d). If you’re using multiple Programs with rhythmic Wave Sequences, you can use this to synchronize all of the Wave Sequences at note-on.
Page 490: 2-6: Exi Audio Input
Combination mode 2–6: EXi Audio Input 2–6PMC 1–1a 1–1b 2–6a 2–6b These parameters let you route audio into EXi instruments REC 1/2…3/4 and FX Control 1, 2 use the audio from the which support audio input, including the STR-1, MS-20EX, selected bus.
Page 491: Combination P3: Midi Filter/Zones
Combination P3: MIDI Filter/Zones 3–1: MIDI Filter1 Combination P3: MIDI Filter/Zones 3–1: MIDI Filter1 3–1PMC 1–1a 1–1b 3–1a These settings allow you to apply filters to the MIDI data 3–1a: MIDI Filter1 that will be transmitted and received by each timbre 1–16. For example even if two timbres are being played by the Timbre 01 same MIDI channel, you can make settings so that the...
Page 492 Combination mode Enable JS–Y [Off, On] Specifies whether MIDI CC#2 (the –Y axis of the KRONOS’s joystick, or a realtime modulation knob assign setting) will be transmitted and received. Enable Ribbon [Off, On] Specifies whether or not MIDI CC#16 (the KRONOS’s ribbon controller, or specified as the assignment of a realtime modulation knob) will be transmitted or received.
Page 493: 3-2: Midi Filter2
Combination P3: MIDI Filter/Zones 3–2: MIDI Filter2 3–2: MIDI Filter2 3–2PMC 1–1a 1–1b 3–2a 3–2a: MIDI Filter2 v 3–2: Page Menu Commands The number before each command shows its ENTER + Timbre 01 number-key shortcut. For more information on these Enable Realtime Control Knob 1 [Off, On] shortcuts, see “ENTER + 0-9: shortcuts for menu...
Page 494: 3-3: Midi Filter3
Combination mode 3–3: MIDI Filter3 3–3PMC 1–1a 1–1b 3–3a Enable KARMA Waveform SysEx [Off, On] 3–3a: MIDI Filter3 This allows you to enable or disable the System Exclusive Timbre 01 messages used by KARMA Wave Sequencing. Timbres 02…16 Enable SW1 [Off, On] These are the MIDI Filter3 settings for timbres 2 through 16.
Page 495: 3-5: Keyboard Zones
Combination P3: MIDI Filter/Zones 3–5: Keyboard Zones 3–5: Keyboard Zones 3–5PMC 1–1a 3–5a 1–1b 3–5b These settings specify the keyboard range in which each 3–5a: Zone Map timbre will sound. This area provides a graphic display of the note and velocity The top/bottom key parameters specify the range of notes in ranges in which each MIDI Track will sound.
Page 496 Combination mode 3–5b: Keyboard Zones v 3–5: Page Menu Commands The number before each command shows its ENTER + Timbre 01 number-key shortcut. For more information on these Top Key [C–1…G9] shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 153. Specifies the top key (upper limit) of the notes that will sound each timbre.
Page 497: 3-6: Velocity Zones
Combination P3: MIDI Filter/Zones 3–6: Velocity Zones 3–6: Velocity Zones 3–6PMC 1–1a 3–6a 1–1b 3–6b Sets the Top/Bottom Velocity parameters to specify the 3–6b: Velocity Zones range of velocities that will sound for each timbre 1–16, and set the Top/Bottom Slope parameters to specify the range Timbre 01 over which the volume will change.
Page 498 Combination mode How volume will change according to keyboard location Volume Velocity Bottom Slope Top Slope Bottom Velocity Top Velocity “Top Velocity” and “Bottom Velocity” settings can also be input by holding down the ENTER switch and playing a note on the keyboard.
Page 499: Combination P7: Karma
Combination P7: KARMA 7–1: GE Setup/Key Zones Combination P7: KARMA Here you can make KARMA function settings for the Normally, when you select a new Combination, its KARMA combination. In Combination mode, you can use all four settings will be loaded as well. In some cases, however, you KARMA Modules (A, B, C, and D).
Page 500 Combination mode Load GE Options [Dialogue] GE Bank Select [Preset…USER-L] These options let you specify whether the values and This selects the GE bank. The Preset bank is part of the assignments for controllers such as the KARMA SLIDERS system software; User banks can be loaded from disk. For 1–8 and KARMA SWITCHES 1–8 will be set automatically, more information, see “GE Select”...
Page 501 Combination P7: KARMA 7–1: GE Setup/Key Zones Off (unchecked): The selected Module will receive data Gch: The MIDI channel will always match the global MIDI from the specified “Input Channel,” and will not receive data channel (Global P1–1a). from the Global Input Channel. Timbre Thru (when KARMA Off) [Off, On] On (checked): The selected Module will receive data from...
Page 502 Combination mode Example setting 2 1. Follow steps 1–3 from Example setting 1, above. 2. Set KARMA Module A as follows. GE Select: Any riff from the Bass GE category Input Channel: Gch Output Channel: Gch Timbre Thru: Off 3. Set KARMA Module B as follows. GE Select: Any riff from the Keyboard GE category Input Channel: Gch Output Channel: 02...
Page 503: 7-2: Midi Filter/Cc Offset
Combination P7: KARMA 7–2: MIDI Filter/CC Offset 7–2: MIDI Filter/CC Offset 7–2PMC 1–1a 7–2a 7–2b this time, pitch bender data produced by operating the 7–2a: MIDI Filter joystick will automatically be adjusted to produce the same bend effect as when KARMA is off (in most cases). Receive MIDI Filter If multiple timbres are being controlled by one KARMA For each KARMA Module, specify whether to filter the...
Page 504: 7-3: Module Parameters-Control
Combination mode • 3: Initialize KARMA Module. For more information, v 7–2: Page Menu Commands see “Initialize KARMA Module” on page 521. The number before each command shows its ENTER + • 4: Copy Scene. For more information, see “Copy Scene” number-key shortcut.
Page 505: 7-4: Module Parameters-Trigger
Combination P7: KARMA 7–4: Module Parameters-Trigger Note Map • 0: Write Combination. For more information, see “Write Combination” on page 515. Mode (Note Map Mode) • 1: Exclusive Solo. For more information, see “Exclusive [Off, On-Main, On-Rpt, On-All] Solo” on page 153. Table (Note Map Table) •...
Page 506 Combination mode Note v 7–4: Page Menu Commands Note Trigger [Any, AKR, 1st, Dyn] The number before each command shows its ENTER + Please see “Note Trigger” on page 122. number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu Note Latch [Off, On] commands”...
Page 507: 7-5: Ge Real-Time Parameters/Scenes
Combination P7: KARMA 7–5: GE Real-Time Parameters/Scenes 7–5: GE Real-Time Parameters/Scenes 7–5PMC 7–5a 7–5b 7–5c 7–5d GE Real-Time Parameters 01…32 Here you can edit the Real-Time Parameters of the GE for each KARMA Module, A–D. In addition, you can assign GE Here you can edit GE parameters and assign GE parameters Real-Time Parameters to the KARMA Real-Time Controls to KARMA Real-Time Controls etc.
Page 508 Combination mode 7–5c: GE Real-Time Parameters for Module Control = A, B, C, D Module Control = A, B, C and D let you control GE Real- Time Parameters independently for the corresponding KARMA Module. GE Real-Time Parameters 01…32 Here you can edit the GE Real-Time Parameters of each KARMA Module and assign them to KARMA Real-Time Controls for use with Module Control = Master, A, B, C and Scene Selection...
Page 509 Combination P7: KARMA 7–5: GE Real-Time Parameters/Scenes Scene Status Each layer is independent - this is the mode you would use mainly in the sequencer when you want to copy in four This area displays information related to upcoming scene unrelated KARMA GEs one a time and use them in a song.
Page 510: 7-6: Perf Real-Time Parameters
Combination mode 7–6: Perf Real-Time Parameters 7–6PMC 1–1a 7–6a Assign [---, Slider1…8, Slider1…8(SW), Here you can assign controllers to KARMA Performance Real-Time Parameters (Perf. RTP) outside of the GE Real- SW1…8, DynaMIDI1…8] Time Parameters that control the internal settings of the GE. For more information, see “Assign”...
Page 511: 7-7: Dynamic Midi
Combination P7: KARMA 7–7: Dynamic MIDI Please see “Trigger By Module” on page 492. • 0: Write Combination. For more information, see “Write Combination” on page 515. GE Phrase Length [+0000…+0100] • 1: Exclusive Solo. For more information, see “Exclusive Assign the function of “GE Phrase Length (7–4a).
Page 512: 7-8: Random Seeds
Combination mode Destination [Off, RT Params Control… v 7–7: Page Menu Commands Buffer Latch] The number before each command shows its ENTER + For more information, see “Destination” on page 133, and number-key shortcut. For more information on these “Dynamic MIDI Sources & Destinations” on page 1126. shortcuts, see “ENTER + 0-9: shortcuts for menu A/B/C/D [Off, On]...
Page 513 Combination P7: KARMA 7–8: Random Seeds CC–A/B (CC–A/B Seed) 7–8a: Seed Controls the randomizable characteristics for the CCs/Pitch Rhythm (Rhythm Seed) Group, similar to those explained under “Rhythm (Rhythm Seed)” above. For more information, see “CCs/Pitch Group” [1, 2, 3, 4] on page 1072.
Page 514: 7-9: Name/Note Map
Combination mode 7–9: Name/Note Map 7–9PMC 1–1a 7–9a 7–9b Here you can assign the names for KARMA SLIDERS 1–8 7–9b: Note Map (Custom) and KARMA SWITCHES 1-8, view Global Note Map Tables, and edit the Custom Note Map Table stored with the Table [Custom, Global 1…64] Combi.
Page 515 Combination P7: KARMA 7–9: Name/Note Map Note Map display 7–9PMC 7–9b v 7–9: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands”...
Page 516: Combination P8: Insert Effect
Combination mode Combination P8: Insert Effect You can also specify the bus routing for the program used by • Make detailed settings for insert effects each timbre 1–16. For instance, you can: • Make common LFO settings for effects • Send the output of a timbre to an insert effect For more details on the Insert Effects, see the “Effect Guide”...
Page 517 Combination P8: Insert Effect 8–1: Routing1 8–1b: Routing1 Timbre 01 (Timbre Number) Bus Select (IFX/Indiv. Out Assign) Dkit [Off, On] You can select this only if the Timbre’s Program is a drum program (Oscillator Mode Drums). This parameter can also be edited from the P8–...
Page 518 Combination mode Example: Inserting a single IFX into multiple timbre Example: Inserting a separate IFX into each timbre, and then inserting an IFX at the final stage Example: Sharing a portion of a timbre’s IFX chain with another timbre Send1 (MFX1) [000…127] Note: You can use the control surface to control Send1 and Send2.
Page 519: 8-2: Routing2
Combination P8: Insert Effect 8–2: Routing2 • 1: Exclusive Solo. For more information, see “Exclusive • 3: Swap Insert Effect. For more information, see “Swap Solo” on page 153. Insert Effect” on page 166. • 2: Copy Insert Effect. For more information, see “Copy •...
Page 520: 8-5: Insert Fx
Combination mode Off: The signal will not be sent to a REC bus. Normally you v 8–2: Page Menu Commands will leave this off. The number before each command shows its ENTER + 1…4: The output of the timbre will be sent to the number-key shortcut.
Page 521 Combination P8: Insert Effect 8–5: Insert FX IFX1 [000…197] • 6: Clean Up IFX Routings. For more information, see “Clean Up IFX Routings” on page 168. IFX1 On/Off [Off, On] Chain to [IFX2…IFX12] Chain [Off, On] Pan(CC#8) (Post IFX Pan) [L000…C064…R127] Bus Sel.
Page 522: 8-6: Track View
Combination mode 8–6: Track View 8 – 6 PM C 8 – 6 a 8 – 6 b For example if you select Timbre 03, only the insert effects 8–6a: Track View used by timbre 3 will be shown. Here you can view the timbre output and insert effect routing.
Page 523: 8-7: Ifx 1-12
Combination P8: Insert Effect 8–7: IFX 1–12 • 5: Cut IFX Slot. For more information, see “Cut IFX • 6: Clean Up IFX Routings. For more information, see Slot” on page 168. “Clean Up IFX Routings” on page 168. 8–7: IFX 1–12 8–7PMC 8–7a 8–7b...
Page 524 Insert FX page. You can’t save your own settings here. P01…P15: These usually contain Korg preset data (though some effects may not include presets). We recommend that you store your settings in U00–U15.
Page 525: 8-9: Common Fx Lfo
Combination P8: Insert Effect 8–9: Common FX LFO 8–9: Common FX LFO 8–9PMC 8–9a 8–9b [MIDI, 040.00…300.00] The two Common FX LFOs allow you to synchronize LFO- based modulation for multiple effects, such as phasers, [r … w ] Base Note flangers, filters, and so on.
Page 526: Combination P9: Master/Total Effect
Combination mode Combination P9: Master/Total Effect Here you can make settings for the master effects and total • Make detailed settings for master effects and total effects effects. For instance, you can: For more information, please see “Effect Guide” on •...
Page 527: 9-2: Mfx1
Combination P9: Master/Total Effect 9–2: MFX1 • 0: Write Combination. For more information, see 9–1c: Master Volume “Write Combination” on page 515. Master Volume [000…127] • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 153. • 2: Copy MFX/TFX. For more information, see “Copy v 9–1: Page Menu Commands MFX/TFX”...
Page 528: 9-3: Mfx2
Insert FX page. Guide” on page 871. You can’t save your own settings here. P01…P15: These usually contain Korg preset data (though v 9–2: Page Menu Commands some effects may not include presets). We recommend that you store your settings in U00–U15.
Page 529: Combination: Page Menu Commands
Combination: Page Menu Commands ENTER + 0–9: shortcuts for menu commands Combination: Page Menu Commands ENTER + 0–9: shortcuts for menu commands Each page has a set of menu commands, which provide access to different utilities, commands, and options, depending on the page you’re currently on. You can use the menu commands entirely from the touch-screen, by pressing the menu button in the upper right-hand corner of the screen and then selecting an option from the menu that appears.
Page 530: Edit Program
Combination mode IFX-All: The settings of all insert effect settings (the Edit Program contents of the Insert FX page and the IFX1–12 effect parameters) of the copy-source program will be copied. This command, available on the P0–1: Program Select/Mixer page in Combi mode and the P0–1: MIDI Prog IFX-All used: Only the insert effects used by the copy- Select/Mixer page in Sequencer mode, allows you to edit a source program will be copied.
Page 531: Initialize Combination
Combination: Page Menu Commands Initialize Combination Parameters unavailable while editing in context Initialize Combination When editing a Program in context, you’ll hear the Initialize Combination is available on the Play page. This Combination or Song’s effects, EQ, KARMA, and Drum command restores all Combination settings to their defaults, Track.
Page 532: Auto Sampling Setup
Combination mode 2. Select “Copy Tone Adjust” to open the dialog box. Auto Sampling Setup Auto Sampling Setup is available on the Audio In/Sampling tab of the Play page. This command automatically sets sampling-related parameters in Combination mode. This is a helpful convenience when you’re resampling your performance on a combination, or when you’re using a combination as a guide while sampling an external source.
Page 533: Reset Tone Adjust
Combination: Page Menu Commands Reset Tone Adjust Reset Tone Adjust Reset Tone Adjust is available on the Control Surface page when CONTROL ASSIGN is set to Tone Adjust. This command affects only the selected Timbre or Track, as opposed to the entire Combination or Song. It resets the Tone Adjust settings for all of the Track/Timbre’s Knobs, Switches, and Sliders to their default values.
Page 534: Copy Karma Module
Combination mode The appropriate Detune value will be calculated • Settings of the KARMA module parameters (from pages automatically from these two values. 7–3: Module Parameter-Trigger and 7–4: Module Parameter-Control). For example, if you set “From” to 60 bpm and “To” to 120 bpm, Detune will be set to +1200 (one octave up).
Page 535: Initialize Karma Module
Combination: Page Menu Commands Initialize KARMA Module Initialize KARMA Module Swap Insert Effect This command initializes the settings of the KARMA This command swaps (exchanges) insert effect settings. For Module. more information, please see “Swap Insert Effect” on page 166. The GE selection will not be initialized.
Page 536: Copy Mfx/Tfx
Combination mode Alternatively, you can press the Reset button to restore the same settings. Copy MFX/TFX This command copies effect settings from Program, Combination, Song, or Sampling modes. For more information, please see “Copy MFX/TFX” on page 169. Note: the slot’s MIDI control channel, as specified by the Ch parameter on the MFX 1-2 and TFX 1-2 pages, will not be copied.
Page 537: Sequencer Mode
Sequencer mode Sequencer Overview The KRONOS contains a sophisticated sequencer that Note that Template Songs do not include the MIDI data for integrates a 16-track MIDI sequencer with a 16-track hard song tracks and patterns, audio data, or settings that govern disk recorder.
Page 538 Sequencer mode the data, or modify the timing to freely re-create new Parameter-related features rhythm loops. • When the Status of a track is set to INT or BTH, an • The KRONOS provides an In-Track Sampling function external sequencer can be used to play KRONOS as a which lets you sample an external audio source while the multi-timbral tone generator.
Page 539: Setup Parameters & Musical Data
Sequencer Overview Setup parameters & Musical data • When you’ve created songs, you can resample them to Common section hard disk to create WAVE files, and then use Disk mode to create an audio CD from these WAVE files. • As the MIDI clock master, you can choose either Internal, External or Auto, letting you synchronize the •...
Page 540: Tip: Auto Song Setup
Sequencer mode You should be aware that audio events and regions can be /TEMP folder detected. deleted by event editing or region editing commands, and This folder may contain unsaved WAVE files from a can also be lost by turning off the power before saving them previous audio track recording session.
Page 541: Sequencer P0: Play/Rec
Sequencer P0: Play/REC 0–1: MIDI Track Prog Select/Mixer Sequencer P0: Play/REC 0–1: MIDI Track Prog Select/Mixer 0–1PMC 0–1a Selected Track Info 0–1b Here you can make basic settings for MIDI track recording **/**: This will be displayed when you press the and playing back in the song, and can select the program that SEQUENCER REC/WRITE switch.
Page 542 Sequencer mode Changing the time signature in the middle of a Tempo Mode [Auto, Manual, REC] song Auto: The tempo will follow the tempo of the Master Track. The tempo of the master track can be specified by using the If you know beforehand the location at which you wish to MIDI Event Edit menu command, with the Master Track change time signatures in the middle of a song, use the...
Page 543 Sequencer P0: Play/REC 0–1: MIDI Track Prog Select/Mixer Either select the song name from the popup menu, or use Also, if other tracks are set to the same MIDI channel as numeric keys 0–9 to specify the song number and then press the selected track, and their Status is set to EXT, EX2, or the ENTER switch.
Page 544 Sequencer mode You can also record up to four audio tracks simultaneously. indication of this, the Track number’s background turns red, and the message “Samples Not Loaded” will appear If the Multi REC box is checked, the Play/Rec/Mute status at the top of the display. To fix this, load the required EXs of the track you select in Track Select will be set to REC;...
Page 545 Sequencer P0: Play/REC 0–1: MIDI Track Prog Select/Mixer OK button. For more information, see “Find dialog” on Note: You can use the control surface to turn Solo on/off. page 5. You can also make this setting from the front panel mixer section or from the P0–...
Page 546 Sequencer mode Note: You can use the control surface to adjust the pan. You • 0: Memory Status. For more information, see “Memory can also make this setting from the front panel mixer section Status” on page 637. or from the P0– Control Surface page of the LCD. The •...
Page 547: 0-2: Audio Track Mixer
Sequencer P0: Play/REC 0–2: Audio Track Mixer 0–2: Audio Track Mixer 0–2PMC 0–1a 0–1b 0–2a Here you can make settings for recording and playback of audio tracks in the song. You can specify the audio source for recording, and change the Play/Mute status, Solo status, pan, and volume for playback.
Page 548 Sequencer mode REC Source = Indiv. Audio Input 1, 2, 1/2 CLIP ! Recording Track: REC (Mono) Stereo Track: REC (Mono) Insert Effects Audio Input 1 Monitor Level L/MONO AUDIO OUTPUT Insert HEADPHONES Effects [x] Source Direct Solo Audio Input 2 Level Insert Effects...
Page 549 Sequencer P0: Play/REC 0–2: Audio Track Mixer L, R, L/R: This is the L/R bus, after passing through both L/R bus) in response to sequencer playback, keyboard TFX 1 and 2. Choose this if you want to record an external playing, or MIDI input.
Page 550 Sequencer mode If Stereo Pair is on and you’ve selected Indiv.1/2, the Indiv. bus 1 will be sent to odd-numbered tracks, and Indiv. bus 2 will be sent to even-numbered tracks. REC Source Indiv. 1,2,3,4 1,2, 3, 4 = Indiv.1, 2 (3, 4) REC Source Recording (Multi REC) CLIP !
Page 551 Sequencer P0: Play/REC 0–2: Audio Track Mixer If a mono insert effect is in use, the settings you make here • 1: Exclusive Solo. For more information, see “Exclusive will be ignored. In this case, the “Pan (CC#8)” parameter in Solo”...
Page 552: 0-3: Midi Track Loop
Sequencer mode 0–3: MIDI Track Loop 0–3PMC 0–1a 0–1b 0–3a When playing or recording a song, you can independently This will be valid if “Track Play Loop” is checked and loop the MIDI tracks. “Loop Start Measure” is set to other than 001. Example) When “Play Intro”...
Page 553: 0-4: Performance Meters
Sequencer P0: Play/REC 0–4: Performance Meters Track 02…16 (Track Number) • 5: Load Template Song. For more information, see “Load Template Song” on page 637. For details, see “Track 01 (Track Number)” on page 533. • 6: Save Template Song. For more information, see “Save Template Song”...
Page 554 Sequencer mode Overwrite Auto Punch In Start Measure [M001…M999] When recording for the first time, you will normally select Auto Punch In End Measure [M001…M999] this method. When Recording Setup is set to Auto Punch In, specify the To begin recording, press the SEQUENCER REC/WRITE measures at which recording will start and end.
Page 555 Sequencer P0: Play/REC 0–5: Preferences hold down the SEQUENCER REC/WRITE switch to delete Audio track monitor channels the automation events that occur while you’re holding down (Line: REC Source, Track: track playback) that switch. During Punch Rec 0–5b: Recording Setup (Audio Track) Automation Only [Off, On] On (checked): Only audio track automation events will be...
Page 556 Sequencer mode Audio Input/Output Stereo Pair (0-2c) Audio Input (0–2a) = On BUS(IFX/Indiv.) REC Source (0-2c) = L/R ADC OVERLOAD ! = L/R or IFX1-12 Insert CLIP ! Effects L-Mono AUDIO INPUT 1,2 Total R-Mono Stereo Effects LEVEL Analog to Level (MIC/LINE) Digital...
Page 557: 0-6: Karma Ge
Sequencer P0: Play/REC 0–6: KARMA GE • 8: Set Location (for Locate Key.) For more information, • 12: Add to Set List. For more information, see “Add To see “Set Location (for Locate Key)” on page 639. Set List” on page 154. •...
Page 558 Sequencer mode GE Bank Select [Preset…USER-L] v 0–6: Page Menu Commands GE Category Select [Arpeggio…Real-Time] You can use a front-panel shortcut for menu items 0-9. For For more information, please see “0–6b: GE Select” on more information on these shortcuts, see “ENTER + 0-9: page 437.
Page 559: 0-7: Controller View/Effect
Sequencer P0: Play/REC 0–7: Controller View/Effect 0–7: Controller View/Effect 0–7PMC 0–7a 0–7b 0–7c Here you can view the function that is assigned to the vector Knob5…8: These indicate the functions assigned to knobs joystick, SW1 and 2, and knobs 5–8, and view information 5–8.
Page 560: 0-8: Audio In/Sampling
Sequencer mode • 1: Exclusive Solo. For more information, see “Exclusive • 8: Set Location (for Locate Key.) For more information, Solo” on page 153. see “Set Location (for Locate Key)” on page 639. • 2: Rename Song. For more information, see “Rename •...
Page 561 Sequencer P0: Play/REC 0–8: Audio In/Sampling Input 1 & 2 Threshold: Sampling will begin automatically when the input level exceeds the specified Level value. For more USB 1 & 2 information, see “0–8c: Sampling Setup” on page 699. Sequencer START SW: Press the SAMPLING REC switch S/P DIF L &...
Page 562: 0-9: Control Surface
Sequencer mode • 10: Copy From Combi. For more information, see • 14: Select Directory/File for Sample to Disk. This “Copy from Combi” on page 639. applies only when Save to is set to Disk. For more information, see “Select Directory/File for Sample To •...
Page 563 Sequencer P0: Play/REC 0–9: Control Surface Control Assign Switches and Tabs EXT means that the tempo will sync to external MIDI clocks. You can switch the Control Surface between its different 040.00…300.00 allow you to set a specific tempo in BPM, functions using either the tabs on the left side of the LCD with 1/100 BPM accuracy.
Page 564 Sequencer mode Mid EQ Freq [100Hz…10kHz] For more details, see Play/Mute 1/9, above. This sets the center frequency for the Mid sweep EQ. Solo switch and Select switches 1/9–8/16 Mid EQ Gain [–18.0…+00.0…+18.0dB] Solo [Off, On] This controls the gain of the Mid Sweep EQ, in increments Solo lets you isolate one or more MIDI Tracks, HDR Audio of 0.5dB.
Page 565 Sequencer P0: Play/REC 0–9: Control Surface Volume Sliders 1/9–8/16 Master Volume These sliders adjust the volume level of the Tracks. The Control Surface Universal Exclusive Front Panel meters to the left of the sliders display the audio levels in Master Volume Master Volume Analog Volume Slider...
Page 566 Sequencer mode Mixer Knobs [Channel Strip, Individual Pan] When Solo is On, and one or more Tracks or Audio Inputs are soloed, the Solo LED will blink on and off to remind you This switch controls whether the knobs show the pan that solo is in use.
Page 567 MIDI gear on stage, another for external devices. Each slider, knob, and switch can be controlling a software synthesizer (such as one of Korg’s assigned to a separate MIDI controller and MIDI channel. Legacy Collection synths), and so on.
Page 568 Sequencer mode CC# Assign (1–8) [Off, 000…119] These assignments are determined by the selected External Setup. The KRONOS has 128 External Setups, which can be This read-only parameter shows the MIDI CC sent by the edited in Global mode (see “1–2: External 1” on page 788). slider.
Page 569 Sequencer P0: Play/REC 0–9: Control Surface Control Surface - RT/KARMA 0–9f To change the parameter assignments, use the KARMA GE 0–9f: RT (Real Time Knobs)/KARMA RTP and Perf RTP pages. For more information, please see “7–5: GE Real-Time Parameters/Scenes” on page 124, and This Control Assign setting lets you modulate Program and “7–6: Perf Real-Time Parameters”...
Page 570 Sequencer mode Knob 4: EG Release (CC#72) [000…127] Also, when the CC is received via MIDI or generated by KARMA, the knob value will change to match the CC value. This knob scales the release time of the Filter and Amp EGs, Note that the Knob 1–8 settings of the individual Programs and transmits and receives MIDI CC#72.
Page 571 Sequencer P0: Play/REC 0–9: Control Surface Note that any edits you’ve made using Tone Adjust in 0–9g: Tone Adjust Program mode will already have been stored into the Program’s parameters. This means that the Program will still Tone Adjust provides two important features sound the same, whether or not you load the Tone Adjust simultaneously: settings.
Page 572 Sequencer mode Stored Value [Original Parameter Value] When the switch is assigned to a two-state Absolute parameter, such as Hold, this will always be the same as the This shows the original value of the parameter, before the Switch Status (see below). effects of Tone Adjust.
Page 573: Sequencer P1: Eq/Vector/Controller
Sequencer P1: EQ/Vector/Controller 1–1: MIDI Track EQ Sequencer P1: EQ/Vector/Controller 1–1: MIDI Track EQ 1–1PMC 1–1a 1–1b Each Track has a dedicated three-band EQ, with sweepable If you’ve selected an audio track, this shows the AT: audio mid band. This page lets you view and adjust the settings for track number/region number and name of the first audio all 16 MIDI Tracks at once.
Page 574 Sequencer mode Off: the Program’s EQ settings won’t be loaded. Use this if • 2: Rename Song. For more information, see “Rename you’ve set up the EQ in a specific way, and then want it to Song” on page 637. stay unchanged while you try out different Programs.
Page 575: 1-2: Audio Track Eq
Sequencer P1: EQ/Vector/Controller 1–2: Audio Track EQ 1–2: Audio Track EQ 1–2PMC 1–1a 1–1b 1–2a Audio Track EQ and the control surface Here you can adjust the three-band EQ (with sweepable mid range) for audio track. EQ parameters other than “Bypass” can be edited not only from within the screen, but also using the control surface.
Page 576: 1-3: Drum Track
Sequencer mode • 3: Initialize Song. For more information, see “Initialize • 9: GM Initialize. For more information, see “GM Song” on page 637. Initialize” on page 639. • 4: Copy From Song. For more information, see “Copy • 10: Copy From Combi. For more information, see From Song”...
Page 577 Sequencer P1: EQ/Vector/Controller 1–3: Drum Track Tch is the currently selected Keyboard Track. • 13: Erase Drum Track Pattern. For more information, see “Erase Drum Track Pattern” on page 648. 1–3c: Trigger Mode [Start Immediately, Wait KBD Trig] Latch [On, Off] Sync [On, Off] These control the way in which the Drum Pattern starts and...
Page 578: 1-5: Vector Volume Control
Sequencer mode 1–5: Vector Volume Control 1–5PMC 1–5a 1–5b Vector Synthesis lets you control Track volumes and Program & Effects parameters by moving the Vector Joystick, by using the programmable Vector Envelope, or by the combination of the two. For more background information on Vector Synthesis, please see “What does Vector mean?”...
Page 579 Sequencer P1: EQ/Vector/Controller 1–5: Vector Volume Control Vector Synthesis system, Sequencer mode Song Song Vector Volume Control Vector Modulation of Track 1-1 6 C enter Volume Track Volume and Equal Power settings Song switch: Ena ble Volume control Song Vector E G Song Vector CC Control Song switch: Ena ble C C control...
Page 580 Sequencer mode When Equal Amount is On, the Vector will fade between VJS Assign and Program Volume all four Vector axes while maintaining a total amount of 100%. This provides a smooth fade between the different –X Program volume incre ases Program volume incre ases sounds, and is the type of volume control used by classic from left to right.
Page 581: 1-6: Vector Cc Control
Sequencer P1: EQ/Vector/Controller 1–6: Vector CC Control When this is turned Off, the Program’s Vector Volume • 3: Initialize Song. For more information, see “Initialize control will be disabled. Song” on page 637. • 4: Copy From Song. For more information, see “Copy Tracks 02–16 From Song”...
Page 582 Sequencer mode [Off…MIDI CC#119] Program Vector CCs affect only their own Program, even if other Tracks are set to the same MIDI channel. This assigns the controller sent by the +X vector. You can There is also a single, separate Vector EG for the entire use this as an AMS source to control Program parameters, or Song, with its own Vector Volume and CC control settings.
Page 583 Sequencer P1: EQ/Vector/Controller 1–6: Vector CC Control Show Point [VJS, Vector EG Point 0…4] • 6: Save Template Song. For more information, see “Save Template Song” on page 638. You can view the volume and CC values for the current position of the Vector Joystick, or for any of the EG’s five •...
Page 584: 1-7: Vector Envelope
Sequencer mode 1–7: Vector Envelope 1–7PMC 1–1a 1–7a 1–7b 1–7c The Vector Envelope works together with the Vector When Key Sync is On, each note’s Volume Control EG will Joystick to control the Vector position. It’s particularly start at note-on, and go into release at note-off. All the notes convenient for modulating effects, since it’s the only will still share a single CC Control EG.
Page 585 Sequencer P1: EQ/Vector/Controller 1–7: Vector Envelope milliseconds, you can specify the EG times as rhythmic Points 0, 1, and 2’s Transition times, however, work in values, using the Base Note and x (Multiply Base Note reverse when moving backwards during a forwards- by…) parameters.
Page 586 Sequencer mode Transition Release This sets the length of time that the EG takes to move from This sets the length of time that it takes to move to Point 4 Point 0 to Point 1. after note-off. You can set this in either seconds/milliseconds or rhythmic values, depending on whether the Mode is set to When the Loop Type is set to 0<->3, this also sets the time Time or Tempo.
Page 587: 1-8: Set Up Controllers
Sequencer P1: EQ/Vector/Controller 1–8: Set Up Controllers • 8: Set Location (for Locate Key.) For more information, • 11: Copy From Program. For more information, see see “Set Location (for Locate Key)” on page 639. “Copy From Program” on page 639. •...
Page 588 Sequencer mode Knob 5 [Off, …, MIDI CC#119] Knob 6 [Off, …, MIDI CC#119] Knob 7 [Off, …, MIDI CC#119] Knob 8 [Off, …, MIDI CC#119] v 1–8: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Page 589: 1-9: Pads
• By playing directly on the screen Tch: With this setting, the pads will follow the MIDI • Via a pad-equipped Korg USB MIDI controller channel of the currently selected Track. • Via incoming MIDI notes or CCs, or the same from the local keyboard For more information, see “Playing the pads”...
Page 590 Sequencer mode Pads and MIDI Channel • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 153. • 2: Rename Song. For more information, see “Rename G ch Song” on page 637. T0 1: Piano G ch • 3: Initialize Song. For more information, see “Initialize T0 2: Strings G ch Song”...
Page 591: Sequencer P2: Track Parameters
Sequencer P2: Track Parameters 2–1: MIDI Sequencer P2: Track Parameters 2–1: MIDI 2–1PMC 0–1a 1–1b 2–1a Here you can make MIDI-related settings for each MIDI EXT: When the musical data recorded in the MIDI track is track. played back, or when you select a MIDI track that is set to EXT and play the keyboard and operate the controllers, MIDI data will be transmitted to an external device, but the 2–1a: MIDI...
Page 592 Sequencer mode • 2: Rename Song. For more information, see “Rename Yes (using the Bank Song” on page 637. Select message specified on the MIDI • 3: Initialize Song. For more information, see “Initialize tab of the Track Param Song” on page 637. page) •...
Page 593: 2-2: Osc
Sequencer P2: Track Parameters 2–2: OSC 2–2: OSC 2–2PMC 0–1a 1–1a 2–2a These parameters specify how each MIDI track will be When the track whose Status (2–1a) is INT or BTH, MIDI sounded. control change CC#5 (Portamento Time) and CC#65 (Portamento Switch) can be received to control this and change the setting.
Page 594 Sequencer mode In double Programs, the Max # of Notes applies equally to • 7: FF/REW Speed. For more information, see “FF/REW both OSC or EXi. For instance, if Max # of Notes is set to 4, Speed” on page 638 you can play up to 4 notes on each OSC/EXi.
Page 595: 2-3: Pitch
Sequencer P2: Track Parameters 2–3: Pitch 2–3: Pitch 2–3PMC 0–1a 1–1a 2–3a Bend Range [PRG, –24…+00…+24] Here you can make pitch-related settings for each MIDI track. Specifies the amount of pitch change that will occur when the pitch bender is operated, in semitone units. 2–3a: Pitch PRG: The pitch range specified by the program will be used.
Page 596 Sequencer mode [C…B] Selects the tonic key of the selected scale. Random [0…7] As this value is increased, an increasingly random deviation will be added to the pitch at each note-on. If Status (2–1a) is INT, this setting will affect the pitch produced by the KRONOS.
Page 597: 2-4: Delay
Sequencer P2: Track Parameters 2–4: Delay 2–4: Delay 2–4PMC 0–1a 1–1a 2–4a This specifies the time (delay) from when the MIDI track Use Base Note to specify the desired note value, and use receives a note-on until the sound begins. Times to extend that note value by the specified multiple.
Page 598: 2-5: Wave Sequence/Karma
Sequencer mode • 7: FF/REW Speed. For more information, see “FF/REW • 10: Copy From Combi. For more information, see Speed” on page 638 “Copy from Combi” on page 639. • 8: Set Location (for Locate Key.) For more information, •...
Page 599 Sequencer P2: Track Parameters 2–5: Wave Sequence/KARMA by Off (Track Off by KARMA Off): The track will sound • 4: Copy From Song. For more information, see “Copy as usual when the KARMA ON/OFF switch is on. From Song” on page 637. The track will not sound when the KARMA ON/OFF switch •...
Page 600: 2-6: Exi Audio Input
Sequencer mode 2-6: EXi Audio Input 2–6PMC 1–1a 1–1b 2–6a 2–6b These parameters let you route audio into EXi instruments L/R Output and Indiv. Output 1/2…3/4 use the audio as it which support audio input, including the STR-1, MS-20EX, is heard from the selected output (like connecting a cable and MOD-7.
Page 601: 2-7: Audio Track Delay
Sequencer P2: Track Parameters 2–7: Audio Track Delay • 4: Copy From Song. For more information, see “Copy • 8: Set Location (for Locate Key.) For more information, From Song” on page 637. see “Set Location (for Locate Key)” on page 639. •...
Page 602 Sequencer mode • 11: Copy From Program. For more information, see “Copy From Program” on page 639.
Page 603: Sequencer P3: Midi Filter/Zones
Sequencer P3: MIDI Filter/Zones 3–1: MIDI Filter1 Sequencer P3: MIDI Filter/Zones 3–1: MIDI Filter1 3–1PMC 1–1a 1–1b 3–1a Here you can select whether or not to apply filtering to the 3–1a: MIDI Filter 1 MIDI data received by MIDI tracks 1–16. For example even if two tracks are receiving the same MIDI channel, one can Track 01 (Track Number) be set to respond to damper pedal activity while the other...
Page 604 Sequencer mode Enable JS–Y [Off, On] Specifies whether or not MIDI CC#2 (the –Y axis of the KRONOS’s joystick, or a Modulation Knob Assign setting) will be received. Enable Ribbon [Off, On] Specifies whether or not MIDI CC#16 (the KRONOS’s ribbon controller, or specified as the assignment of a realtime modulation knob) will be received.
Page 605: 3-2: Midi Filter2
Sequencer P3: MIDI Filter/Zones 3–2: MIDI Filter2 3–2: MIDI Filter2 3–2PMC 1–1a 1–1b 3–2a Track 02…16 (Track Number) Here you can enable transmission for the REALTIME CONTROLS 1–8 knobs. The MIDI control messages of These are the MIDI Filter 2 settings for MIDI tracks 2 knobs 1–4 are fixed.
Page 606: 3-3: Midi Filter3
Sequencer mode • 10: Copy From Combi. For more information, see • 11: Copy From Program. For more information, see “Copy from Combi” on page 639. “Copy From Program” on page 639. 3–3: MIDI Filter3 3–3PMC 1–1a 1–1b 3–3a Enable KARMA Waveform SysEx [Off, On] 3–3a: MIDI Filter 3 This allows you to enable or disable the System Exclusive...
Page 607: 3-5: Keyboard Zones
Sequencer P3: MIDI Filter/Zones 3–5: Keyboard Zones • 7: FF/REW Speed. For more information, see “FF/REW • 10: Copy From Combi. For more information, see Speed” on page 638 “Copy from Combi” on page 639. • 8: Set Location (for Locate Key.) For more information, •...
Page 608 Sequencer mode 12: The volume will increase gradually as you play upward, 72: The volume will increase gradually as you play upward, and will reach the original volume one octave above the and will reach the original volume six octaves above the bottom key.
Page 609: 3-6: Velocity Zones
Sequencer P3: MIDI Filter/Zones 3–6: Velocity Zones 3–6: Velocity Zones 3–6PMC 1–1a 3–6a 1–1b 3–6b Top Slope [0…120] Here you can set the Top/Bottom Velocity parameters to specify the range of velocities that will be sounded by MIDI Specifies the number of velocity steps over which the tracks 1–16, and Top/Bottom Slope specify the range over original volume will be reached, starting from the Top which the volume will be adjusted.
Page 610 Sequencer mode “Top Velocity” and “Bottom Velocity” settings can also be input by holding down the ENTER switch and playing a note on the keyboard. Track 02…16 (Track Number) These are the velocity zone settings for MIDI tracks 2 through 16. They are the same as for track 1. See “Track 01”:.
Page 611: Sequencer P4: Track Edit
Sequencer P4: Track Edit 4–1: Track Edit Sequencer P4: Track Edit 4–1: Track Edit 4–1PMC 0–1a 4–1b 4–1a 4–1b Here you can edit MIDI tracks, the master track, and audio Note: To perform track editing (or step editing), use Track tracks.
Page 612 Sequencer mode • 5: Erase Track. For more information, see “Erase 4–1b: Track Select, From Measure, To Track” on page 655. End of Measure • 6: Copy Track. For more information, see “Copy Track” on page 655. Track Select[MIDI Track01…MIDI Track16, Master Track, Audio Track01…Audio Track16] •...
Page 613: 4-2: Midi Track Name
Sequencer P4: Track Edit 4–2: MIDI Track Name • 11: Repeat Measure. For more information, see “Repeat • 17: Adjust Song’s Tempo to Region. For more Measure” on page 658. information, see “Adjust Song’s Tempo to Region” on page 666. •...
Page 614: 4-3: Audio Track Name
Sequencer mode 4–3: AUDIO Track Name 4–3PMC 0–1a 1–1a 4–3a Here you can assign a name to each audio track. 4–3a: Audio Track Names T01…T16 [Audio Track Name] Here you can rename the audio tracks. Press the text edit button to open the dialog box, and set the name as desired (up to 24 characters).
Page 615: Sequencer P5: Pattern/Rppr
Sequencer P5: Pattern/RPPR 5–1: Pattern Edit Sequencer P5: Pattern/RPPR On the KRONOS you can use preset patterns P00–718, and Normally, you will create a track of performance data by user patterns U00–99. using the “Put To MIDI Track” or “Copy To MIDI Track” page menu commands to place patterns consisting of several Preset patterns provide patterns that are suitable for drum measures into a track.
Page 616 Sequencer mode USED IN RPPR 5–1b: Pattern, Pattern Select, This area indicates the RPPR in which the selected pattern is Metronome, Remove Data used. The assigned key and the specified track are shown. How to record a user pattern v 5–1: Page Menu Commands 1.
Page 617: 5-2: Pattern Name
Sequencer P5: Pattern/RPPR 5–2: Pattern Name 5–2: Pattern Name 5–2PMC 5–1a 5–1b 5–2a • 7: Bounce Pattern. For more information, see “Bounce 5–2a: User Pattern Names Pattern” on page 667. Pattern name [U00…U99] • 8: Get From MIDI Track. For more information, see “Get From MIDI Track”...
Page 618: 5-3: Rppr Setup
Sequencer mode 5–3: RPPR Setup 5–3PMC 5–3a 5–3b 5–3c Here you can make settings for the RPPR (Realtime Pattern 5–3a: Song Select, Track Select, Tempo Play/Recording) function. RPPR lets you assign patterns to individual keys, and then playback patterns simply by Song Select [00…199: name] pressing individual notes on the keyboard.
Page 619 Sequencer P5: Pattern/RPPR 5–3: RPPR Setup Keyboard & Assigned graphics This shows the selected key, and the keys to which a pattern has been assigned by the RPPR function. See diagram below. Non-assignable Assigned keys and Track of the Track selected by keys tracks selected key...
Page 620 Sequencer mode Paste Sync settings This pastes the settings from the copy buffer (obtained by Key 1 on Key 2 on Key 1 off Copy) into the selected KEY. Example: Assigning Patterns to Keys Song Before you begin, assign a drum Program to MIDI track 1. Patterns 1 and 2 are set to Mode= M anual, and have identical Sync settings...
Page 621: Sequencer P7: Karma
Sequencer P7: KARMA 5–3: RPPR Setup Sequencer P7: KARMA Here you can make settings for KARMAs used in Sequencer mode. Songs can use four KARMA Modules: A, B, C, and In Sequencer mode, you can use KARMA on song tracks or for pattern real-time recording.
Page 622: 7-1: Ge Setup/Key Zones
Sequencer mode 7–1: GE Setup/Key Zones 7–1PMC 7–1a 7–1b 7–1c Selected KARMA Module Info Here you can select the GE that will be used by each KARMA Module, and specify the Key Zone and MIDI GE Number & Name Setup for the four KARMA Modules used by the Sequencer mode song.
Page 623 Sequencer P7: KARMA 7–1: GE Setup/Key Zones Btm (Key Zone Bottom) [C–1…G9] 7–1c: MIDI I/O Top (Key Zone Top) [C–1…G9] Specifies the MIDI input/output channels for the four Please see “Key Zones” on page 486. KARMA Modules used by a Sequencer mode song. Note: In Sequencer mode, MIDI data for each KARMA Note: These settings make it possible to use multiple Module is transmitted and received on the “Input Channel”...
Page 624 Sequencer mode Example 1 KARMA ON/OFF = ON Track Select = MIDI Track 01 Guitar Riff 01ch In : 01ch MIDI Track 01: Guitar In : 01ch KARMA Module [A] Out : 01ch Track Select = MIDI Track 02 02ch Bass Riff In : 02ch KARMA Module [B]...
Page 625 Sequencer P7: KARMA 7–1: GE Setup/Key Zones “GE Select”: a drum pattern (a pattern of GE category • 3: Initialize KARMA Module. For more information, Drums) see “Initialize KARMA Module” on page 521. “Input Channel”: Tch • 4: Copy Scene. For more information, see “Copy Scene” on page 521.
Page 626: 7-2: Midi Filter/Cc Offset
Sequencer mode 7–2: MIDI Filter/CC Offset 7–2PMC 1–1a 7–2a 7–2b 7–2a: MIDI Filter 7–2b: CC Offset Receive MIDI Filter These settings specify the MIDI control change messages and values that are transmitted from each KARMA Module After Touch [Off, On] to the tone generator when you press the KARMA ON/OFF switch to turn on KARMA or when you select a song for Pitch Bend...
Page 627: 7-3: Module Parameters-Control
Sequencer P7: KARMA 7–3: Module Parameters-Control • 3: Initialize KARMA Module. For more information, • 7: FF/REW Speed. For more information, see “FF/REW see “Initialize KARMA Module” on page 521. Speed” on page 638. • 4: Copy Scene. For more information, see “Copy Scene” •...
Page 628: 7-4: Module Parameters-Trigger
Sequencer mode Keyboard Track (C2 Ref) • 3: Initialize KARMA Module. For more information, (Note Map Keyboard Track) [Off, On] see “Initialize KARMA Module” on page 521. • 4: Copy Scene. For more information, see “Copy Scene” Note Map Table Display on page 521.
Page 629: 7-5: Ge Real-Time Parameters/Scenes
Sequencer P7: KARMA 7–5: GE Real-Time Parameters/Scenes Envelope1, Envelope2, Envelope3 • 0: Memory Status. For more information, see “Memory Status” on page 637. Envelope Trigger [Any, AKR, 1st, Dyn] • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 153. Envelope Latch [Off, Sus1, Rel1, Sus2, Rel2] •...
Page 630 Sequencer mode q (Tempo) Link Scenes To Master [040.00…300.00, EXT] For more information, see “Tempo” on page 5. [Off, On] [Off, On] 7–5b: GE Real-Time Parameters for Module Control = Master [Off, On] GE PARAMETER [Parameter Name] [Off, On] MIN (Minimum Value) [–5000…+5000] Enable RTC By Master MAX (Maximum Value)
Page 631: 7-6: Perf Real-Time Parameters
Sequencer P7: KARMA 7–6: Perf Real-Time Parameters 7–6: Perf Real-Time Parameters 7–6PMC 1–1a 7–6a Here you can assign controllers to KARMA Performance v 7–6: Page Menu Commands Real-Time Parameters (Perf. RTP) outside of the GE Real- Time Parameters that control the internal settings of the GE. The number before each command shows its ENTER + Examples include the KARMA Key Zone parameters number-key shortcut.
Page 632: 7-7: Dynamic Midi
Sequencer mode 7–7: Dynamic MIDI 7–7PMC 1–1a 7–7a Dynamic MIDI is a function that lets you use the • 0: Memory Status. For more information, see “Memory KRONOS’s controllers and MIDI control messages to Status” on page 637. modulate specific KARMA functions. •...
Page 633: 7-8: Random Seeds
Sequencer P7: KARMA 7–8: Random Seeds 7–8: Random Seeds 7–8PMC 1–1a 7–8a 7–8b The Random Seeds page allows you to control some of the v 7–8: Page Menu Commands randomizable characteristics of a Module’s GE. Different Modules using the same GE can have various randomizable The number before each command shows its ENTER + characteristics “linked”...
Page 634: 7-9: Name/Note Map
Sequencer mode 7–9: Name/Note Map 7–9PMC 1–1a 7–9a 7–9b Here you can assign the names for KARMA SLIDERS 1-8 v 7–9: Page Menu Commands and KARMA SWITCHES 1-8, view Global Note Map Tables, and edit the Custom Note Map Table stored with the The number before each command shows its ENTER + Sequence.
Page 635 Sequencer P7: KARMA 7–9: Name/Note Map 7–9PMC 7–9b...
Page 636: Sequencer P8: Insert Effect
Sequencer mode Sequencer P8: Insert Effect You can also specify the bus routing for the program used by • Make detailed settings for insert effects each MIDI track 1–16 and audio track 1–16. For instance, • Make common LFO settings for effects you can: For details on Insert Effects, see “Effect Guide”...
Page 637 Sequencer P8: Insert Effect 8–1: MIDI Routing1 On (checked): The Bus Select, FX Control Bus, Send1, Note: You can use the control surface to control Send1 and and Send2 settings for each key of the selected drum kit will Send2. These can also be controlled from the mixer section be used.
Page 638: 8-2: Midi Routing2
Sequencer mode 8–2: MIDI Routing2 8–2PMC 8–1a 1–1a 1–1b 8–2a REC Bus (All OSCs to) [Off, 1, 2, 3, 4, 1/2, 3/4] Here you can specify the program oscillator output bus, effect control bus, and REC bus for each MIDI track 1 These settings send the output of the track to the REC buses through 16.
Page 639: 8-3: Audio Routing1
Sequencer P8: Insert Effect 8–3: Audio Routing1 Track 02…16 (Track Number) • 1: Exclusive Solo. For more information, see “Exclusive Solo” on page 153. These settings specify the program oscillator output bus, • 2: Copy Insert Effect. For more information, see “Copy effect control bus, and REC bus used by MIDI tracks 2 Insert Effect”...
Page 640 Sequencer mode If Bus Select is set to 1…4 or 1/2…3/4, these settings are ignored. The Send 1 and 2 setting you specify here are used when playing-back or recording from the beginning of the song. If you modify these settings during recording, your changes will be recorded as automation event;...
Page 641: 8-4: Audio Routing2
Sequencer P8: Insert Effect 8–4: Audio Routing2 8–4: Audio Routing2 8–4PMC 8–1a 1–1a 1–1b 8–4a Here you can specify the buses, effect control bus, and REC v 8–4: Page Menu Commands bus for the outputs of audio tracks 1–16. The number before each command shows its ENTER + 8–4a: Audio Routing2 number-key shortcut.
Page 642: 8-5: Insert Fx
Sequencer mode 8–5: Insert FX 8–5PMC 1–1b 8–5a or EX2 will transmit these settings via MIDI. This data 8–5a: IFX will be transmitted on the MIDI channels specified in the IFX 1–12 pages (8–7). Here you can choose the type of each insert effect 1 through 12, its on/off status, chaining, and adjust the post-IFX mixer IFX1 settings.
Page 643 Sequencer P8: Insert Effect 8–5: Insert FX IFX2: Chain to [IFX3…IFX12] IFX3: Chain to [IFX4…IFX12] IFX4: Chain to [IFX5…IFX12] IFX5: Chain to [IFX6…IFX12] IFX6: Chain to [IFX7…IFX12] IFX7: Chain to [IFX8…IFX12] IFX8: Chain to [IFX9…IFX12] IFX9: Chain to [IFX10…IFX12] IFX10: Chain to [IFX11…IFX12] IFX11: Chain to [(IFX12)]...
Page 644: 8-6: Track View
Sequencer mode 8–6: Track View 8–6PMC 1–1b 8–6a 8–6b 8–6a: Track View Here you can view the track output and insert effect routing. Used in Tracks The upper and lower rows of boxes with eight boxes in each “OUTPUT” indicates the Bus Select settings that follow the row indicate the timbre that is being sent to the insert effect.
Page 645: 8-7: Ifx 1-12
Sequencer P8: Insert Effect 8–7: IFX 1–12 • 6: Clean Up IFX Routings. For more information, see • 8: FF/REW Speed. For more information, see “FF/REW “Clean Up IFX Routings” on page 670. Speed” on page 638. • 7: Put Effect Setting To Track. For more information, •...
Page 646 Insert FX page. You can’t save your own settings here. P01…P15: These usually contain Korg preset data (though some effects may not include presets). We recommend that you store your settings in U00–U15.
Page 647: 8-9: Common Fx Lfo
Sequencer P8: Insert Effect 8–9: Common FX LFO 8–9: Common FX LFO 8–9PMC 1–1b 8–9a 8–9b Times [01…32] The two Common FX LFOs allow you to synchronize LFO- based modulation for multiple effects, such as phasers, These parameters are the same as in Program mode. For flangers, filters, and so on.
Page 648: Sequencer P9: Master/Total Effect
Sequencer mode Sequencer P9: Master/Total Effect Here you can make settings for the master effects and total effects. For more information, please see “Effect Guide” on page 871. 9–1: Routing 8–5b 9–1PMC 1–1b 9–1a 9–1c 9–1b Chain: Here you can specify the type of master effects and total effects, and turn them on/off.
Page 649: 9-2: Mfx1
Sequencer P9: Master/Total Effect 9–2: MFX1 • 2: Copy MFX/TFX. For more information, see “Copy v 9–1: Page Menu Commands MFX/TFX” on page 169. The number before each command shows its ENTER + • 3: Swap MFX/TFX. For more information, see “Swap number-key shortcut.
Page 650: 9-3: Mfx2
Sequencer mode • 3: Swap MFX/TFX. For more information, see “Swap v 9–2: Page Menu Commands MFX/TFX” on page 170. The number before each command shows its ENTER + • 4: Write FX Preset. For more information, see “Write number-key shortcut. For more information on these FX Preset”...
Page 651: Sequencer: Page Menu Commands
Sequencer: Page Menu Commands Memory Status Sequencer: Page Menu Commands Memory Status Copy From Song If you select “Memory Status,” the remaining amount of This command copies all of the setting data and musical data sequencer memory will be displayed. from the specified song to the currently selected song.
Page 652: Save Template Song
Sequencer mode automatically after “Load Template Song” has been Save Template Song executed. If you execute without checking this, only the template This command saves the program selections, track parameters, effect settings, KARMA settings, and the name song you specified in step 2 will be loaded. and tempo of the current song as a user template song U00–...
Page 653: Set Location (For Locate Key)
Sequencer: Page Menu Commands Set Location (for Locate Key) that track will be selected in Track Select. After the copy is Set Location (for Locate Key) executed, you will immediately be able to play in the same state as that combination. This sets the Sequencer’s locate point.
Page 654 Sequencer mode GM Initialize menu command - Automatically-set parameters and their values Page Parameter MIDI Track 1–9, 11–16 Track 10 Program Select G001 g(d)001 Play/Mute, Solo MIDI Prog/Mixer C064 C064 Volume Auto Load Prog EQ Bypass Input Trim MIDI Track EQ High Gain +00.0 +00.0...
Page 655: Stereo Pair
Sequencer: Page Menu Commands Stereo Pair Stereo Pair Select Sample No. This lets you assign adjacent audio tracks as a stereo pair. This command specifies the sample number into which The following parameters of paired channels will be linked samples will be written. You can also specify whether the with the same values.
Page 656: Select Directory/File For Sample To Disk
Sequencer mode began, and note-off will occur at the location at which Auto HDR/Sampling Setup sampling ended. The note event will be created as in Recording Setup Overdub mode (i.e., it will be added This command walks you through making the appropriate without erasing existing events).
Page 657 Sequencer: Page Menu Commands Auto HDR/Sampling Setup 3. The settings for the rest of the procedure will depend 4. Specify whether you want to apply an insert effect to on what you selected in step 2. (For details, refer to the the input source (i.e., to record the processed signal).
Page 658 Sequencer mode Bounce Audio Track Effects are not recorded when bouncing tracks directly 1. Refer to Auto HDR/Sampling Setup steps 1 and 2, and If you don’t change the settings after executing the select Bounce Audio Track. command, the effect settings will be ignored, and the audio from the audio track will be bounced directly.
Page 659 Sequencer: Page Menu Commands Auto HDR/Sampling Setup Resample SEQ Play the convert-destination, and play the C2 key to hear the result. 1. Refer to Auto HDR/Sampling Setup steps 1 and 2, and select Resample SEQ Play. If you didn’t check “Convert to Program,” use Sampling mode to select and audition the sample.
Page 660 Sequencer mode When sampling ends, the entire process of creating a new multisample through converting it to a program and assigning it to a track will be performed automatically. 6. Press the OK button to execute the command. If you decide not to execute, press the Cancel button.
Page 661 Sequencer: Page Menu Commands Auto HDR/Sampling Setup Auto HDR/Sampling Setup: Automatically-set parameters and their values HDR (Audio Bounce Audio 2ch Mix to Resample In-Track Initialize Track Recording) Track Disk SEQ Play Sampling Input 1 & 2, Input 1 & 2, Input 1 &...
Page 662: Bounce All Tracks To Disk
Sequencer mode *1 [ ] User Global Setting: Edit Song Parameters Reset Tone Adjust [x] User Global Setting: Edit Global Parameters For more information, see “Reset Tone Adjust” on page 159. *2 The input source specified as Source Audio will be set. *3 L-Mono if the Source Audio is Mono-L, R-Mono if it is Mono-R, and Stereo if it is Stereo Show EQ Graphic...
Page 663: Midi Step Recording
Sequencer: Page Menu Commands MIDI Step Recording 5. In “Note Duration,” specify the length that the note MIDI Step Recording will actually be held, relative to the “Step Time.” Step recording allows you to specify the length and velocity In general, 100% will be tenuto, 85% will be normal, and of each note numerically, and to input MIDI data, the 50% will be staccato.
Page 664: Midi Event Edit
Sequencer mode If you press the COMPARE switch, you will return to the 5. In the upper part of the dialog box, Measure and condition of before you began step recording. Index show the measure that you are editing and the events of the index numbers within the measure.
Page 665: Audio Event Edit
Sequencer: Page Menu Commands Audio Event Edit If you press the COMPARE switch you will return the data to the condition in which it was before you began event editing. The following table shows the types of musical data that can be edited by “MIDI Event Edit”...
Page 666 Sequencer mode Me asure 0 0 1 0 0 2 0 0 3 0 0 4 O h – ye ah Anchor= O ff Anchor Trim Region Start= O ff Point M = 0 0 2, BT= 0 1.0 0 0 ye ah Anchor Anchor= O ff...
Page 667: Audio Automation Edit
Sequencer: Page Menu Commands Audio Automation Edit sound. This will operate in the same way as if “Trim enter a value directly, you will move to the zero-cross Region Start” is checked in step 4. point that is nearest that value. The region will be modified when you press the Done Off (unchecked): You can adjust the “Edit Range Start”...
Page 668: Set Song Length
Sequencer mode Use the Cut button to delete the event that you wish to move, then use the Insert button to insert it at the desired location. You can also move an event by modifying its “Beat Tick” value. • Copying an event Select the event that you wish to copy, and press the Copy button.
Page 669: Erase Track
Sequencer: Page Menu Commands Erase Track All data following the measure specified by “Length” MIDI tracks will be deleted. If you execute this command with “Length” shorter than the song, causing an audio event to extend beyond the end of the track, a new region will be automatically named and created to specify the region of the WAVE file that will actually be played.
Page 670: Erase Measure
Sequencer mode Pan: Erase only pan data. Erase Measure Volume: Erase only volume data. This command erases the specified type(s) of musical data 5. Select the track(s) for which you want to execute the from the specified range of measures. The Erase Measure command.
Page 671: Insert Measure
Sequencer: Page Menu Commands Insert Measure MIDI tracks Example: W hen me asures 2 and 3 (3 / 4 time) of track 2 are deleted, the me asures that were at 4 and 5 are moved forw ard, and their time signature will change to 3 / 4. 1 (4 / 4) 2 (3 / 4) 3 (3 / 4)
Page 672: Repeat Measure
Sequencer mode specified in Track Edit page From Measure will be set Repeat Measure as a default.) 4. In “Length,” specify the number of measures that will This command repeatedly inserts the specified measures for the specified number of times. When you execute the Repeat be inserted.
Page 673: Copy Measure
Sequencer: Page Menu Commands Copy Measure If you check All Audio Tracks (when an Audio track is If you check All MIDI Tracks (when a MIDI Track is selected), the data will be inserted into all audio tracks. selected), all MIDI tracks will be copied. 6.
Page 674: Create Control Data
Sequencer mode Audio Tracks 3. Specify the range into which the control data will be 2. Use From: Track or “Audio Track” to select the move- inserted. source track. In From Measure and To End of Measure specify the (By default, this will be the Track Select track.) measures, and in Beat.Tick specify the beat and clock.
Page 675: Erase Control Data
Sequencer: Page Menu Commands Erase Control Data Similarly, two or more data events of an identical type Erase Control Data existing at the identical timing will be combined into one, also conserving memory. This command erases data such as control changes, after touch, pitch bend, or tempo in the specified range.
Page 676: Shift/Erase Note
Sequencer mode With a setting of 0, no correction will take place. With a setting of 100, the data will be moved all the way to the timing intervals specified by step 5 and 6. By varying the Offset and Intensity settings, you can create quantization effects such as the following: Original 100%...
Page 677: Modify Velocity
Sequencer: Page Menu Commands Modify Velocity 8. To execute the Modify Velocity operation, press the Modify Velocity OK button. To cancel, press the Cancel button. This command modifies the velocity values of notes in the specified area so that they will change over time according Region Edit to a selected curve.
Page 678 Sequencer mode The available buttons will differ depending on whether 6. Play back the region. you’ve checked Song. Select the region that you want to play back, and press the • Importing a region Play button to play the region from its “Start” to “End” (Trim step 6).
Page 679: Volume Ramp
Sequencer: Page Menu Commands Volume Ramp On: If you edit the “Start” or “End” address, the “End” or 1. Use Track Select to select the audio track that you “Start” address will automatically be adjusted to preserve want to edit, and use From Measure and To End of the existing length between “Start”...
Page 680: Adjust Song's Tempo To Region
Sequencer mode Note: The tempo of a region is specified at the time of Adjust Region to Song’s Tempo recording. You can also modify it using Trim in “Audio Event Edit.” If the tempo of regions used by audio events in the specified range differs from the tempo of the range in which those The tempo will not be copied if “Allow Tempo”...
Page 681: Event Edit
Sequencer: Page Menu Commands Event Edit Erase Pattern This command erases the data from the selected pattern. 1. Use Pattern and Pattern Select to specify the pattern. 2. Select “Erase Pattern” to open the dialog box. Time signature Length (be ats, clocks) 3.
Page 682: Get From Midi Track
Sequencer mode If MIDI control data exists in the selected pattern and in the By creating patterns that contain frequently-used phrases or bounce destination pattern, the resulting playback following drum patterns, and then placing them on the tracks, you can the bounce operation may produce unexpected results.
Page 683: Convert To Drum Track Pattern
Sequencer: Page Menu Commands Convert to Drum Track Pattern Unlike the Put To MIDI Track command, this command If there isn’t enough drum pattern memory, or if there actually writes the musical data of the pattern into the MIDI aren’t enough pattern locations, an error message of “Not track, so that you can edit the copied data in the track.
Page 684: Capture Random Seed
Sequencer mode Capture Random Seed Put Effect Setting to Track Please see “Capture Random Seed” on page 164. This inserts effect settings into a track as System Exclusive events. Use this when you want to change the effect settings during a song. Auto Assign KARMA RTC Name If you use MIDI parameter change system exclusive messages to change the effect settings, it will take a...
Page 685 Sequencer: Page Menu Commands Put Effect Setting to Track Note: Return the location to a point earlier in the song, and play back to verify that the effect changes as you intend. You can also use the P4: Track Edit page menu command “MIDI Event Edit”...
Page 686 Sequencer mode Notice that a MIDI parameter change system exclusive message is inserted at the beginning and at measure 9 of track 3. 2) Using the song’s own effect settings from the beginning of the song, and inserting effect settings from elsewhere into the middle of the song In this example, we’ll apply an insert effect (IFX3) to MIDI track 3, and make settings so that it uses 051: Stereo Phaser...
Page 687: System Exclusive Events Supported
System Exclusive events supported in Sequencer mode Put Effect Setting to Track System Exclusive events supported in Sequencer mode You can record and play back System Exclusive events, and • Exclusive messages received from an external MIDI edit tracks that contain System Exclusive events. device •...
Page 688 Sequencer mode...
Page 689: Set List Mode
Set List mode Overview Set Lists make it simple to play and organize any of the sounds loaded into the KRONOS, without regard for what bank they’re stored in or whether they’re Programs, Combinations, or even Songs. Large on-screen buttons with selectable colors make sound selection fast and foolproof, and the Program Up or Down footswitch assignments can be used for hands-free sound changes.
Page 690: Set List P0: Play
Set List mode Set List P0: Play 0–1: Play 0–1PMC 0–1a 0–1b 0–1c 0–1d Previous Next 0–1 Overview 0–1b: 4/8/16 Slots A Set List has 128 Slots, each of which can be assigned to These buttons select how many Slots are shown at once. any Program, Combination, or Song.
Page 691 Set List P0: Play 0–1: Play To edit the comment, press the Edit Comment button at the 3. Press the Inc button, or a footswitch assigned to bottom of the window. For more information, see Program Up. “Comment” on page 680. Slot 4 is selected, and the display returns to Slots 0-15.
Page 692 If you want to review your edits, and not proceed to the new Set List: Global P0 Bank Map 1. Press the Cancel button. The Global P0 Bank Map (KORG, GM(2)) parameter does not affect the reception or transmission of Set List Program and Bank Select messages. v 0–1: Page Menu Commands...
Page 693: Set List P1: Edit
Set List P1: Edit 1–1: Edit Set List P1: Edit 1–1: Edit 1–1PMC 0–1a 0–1b 1–1a 1–1b Previous Next 1–1c On this page, you can: 1–1d: Slot parameters • Edit the individual Slots in the list, including their (Item Type) [Program, Combination, Song] Program/Combination/Song assignment, comment text and font size, (such as lyrics or performance notes),...
Page 694 Set List mode Keyboard Track [1…16] to edit long comments or lyrics. For more information, see “Editing names and entering text” on page 201 of the For songs, you can assign the local keyboard to play any of Operation Guide. the 16 MIDI tracks.
Page 695: Adding Items To The Set List, From Other Modes
Set List P1: Edit Adding items to the Set List, from other modes Volume [0…127] 1–1e: Slot Select This sets the volume for the current slot. Slot Select [000…127] Note that the stored Master Volume setting of the Slot’s Program, Combination, or Song still applies as well. You can The 128 Slots are shown either 4, 8, or 16 at a time, edit this from the Control Surface, if desired.
Page 696 Set List mode v 1–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 153. • 0: Write Set List. For more information, see “Write Set List”...
Page 697: Set List P9: Control Surface
Set List P9: Control Surface 9–1: Control Surface Set List P9: Control Surface 9–1: Control Surface 9–1PMC 9–1a 9–1b Saving edits Overview Any changes that you make via the Control Surface—such In general, the Control Surface works very similarly for as editing mixer levels, tweaking the real-time knobs, or Programs, Combinations, and Songs.
Page 698 Set List mode Control Assign From [Slot, Set List] 1kHz Gain [dB] [–18.0…+18.0] The Control Assign setting determines the functions This sets the gain for the 1kHz band. assigned to the Control Surface, such as the mixer, Tone 2kHz Gain [dB] [–18.0…+18.0] Adjust, KARMA and Real-Time Knobs, and so on.
Page 699: Set List: Page Menu Commands
Set List: Page Menu Commands Write Set List Set List: Page Menu Commands Write Set List Initialize Set List This command writes the current Set List into the KRONOS This brings up a confirmation dialog, with the text: internal memory. It’s available on every page in Set List Initialize Set List: Are You Sure? mode.
Page 700 Set List mode...
Page 701: Sampling Mode
The KRONOS uses widely available, off-the-shelf DIMMs. Installation by an authorized Korg service center is required; user installation is not supported and may void your warranty. For more information on how to purchase and arrange for installation of RAM, please contact your country’s Korg Distributor:...
Page 702: Sampling Features
HD-1 Program. It can then be edited and played just like any other Program, including processing with filters and The KRONOS features Korg’s Open Sampling System. This effects. You could even re-sample that Program, and lets you use sampling and resampling not only in Sampling start all over again…...
Page 703 Sampling Overview Sampling features • The grid function displays a BPM-based grid on the performance that uses the KRONOS’s filters, effects, waveform display, helping you to create loops or make KARMA, and sequencer etc. waveform edits that match the desired BPM. At this •...
Page 704 Sampling mode the interval is 1 (second)/48,000 (times) = approximately 0.00002083 (seconds) = approximately 0.02083 ms (milliseconds). The higher the sampling frequency is, the closer to the original analog signal the waveform in memory will be. Each level is read, and converted into digital data. The accuracy at this time is determined by the bit resolution.
Page 705: Sampling P0: Recording
Sampling P0: Recording 0–1: Recording Sampling P0: Recording This page is where you make basic settings for recording • Specifying the sampling time, loop settings, and +12dB (sampling), including: boost • Creating and editing multisamples and indexes • Specifying the output destinations for the external audio inputs •...
Page 706 Sampling mode Keyboard & Pads Stereo 0001: NewMS_ _ _ _ _ _ _ _ _ _ _ _ _ _001–L 0002: NewMS_ _ _ _ _ _ _ _ _ _ _ _ _ _001–R Keyboard: This shows the key range, original key, and root key for the selected index.
Page 707 Sampling P0: Recording 0–1: Recording Original Key [C-1…G9] the contents of the Cut or Copy. Re-set the Zone Range, and press the OK button. Specifies the key that will play the sample at its original pitch (i.e., the pitch at which it was recorded). The pitch will change in semitone steps relative to the original key.
Page 708 Sampling mode ADC OVERLOAD ! You can check the remaining amount of RAM in the section labeled “0–1f: Free Sample Memory/Locations,” as If the signal level from AUDIO INPUT 1 & 2 jacks is too described on page 696. high, the “ADC OVERLOAD !” indication will appear. You’ll need to adjust the MIC/LINE gain select switch, the Note: The amount of RAM available for user sampling will LEVEL knobs, or the output level of your external audio...
Page 709 Sampling P0: Recording 0–1: Recording Immediately after the power is turned on, this parameter Note: Auto +12 dB On is set separately for each mode: indicates amount of remaining RAM memory in the selected Program, Combination, Sequencer, and Sampling. In memory bank (the available sampling time).
Page 710 Sampling mode see diagram in 0–8c: Source Bus = Audio Input1/2) Left (to Selected Index): The new index will be created at the left of the currently selected index. If using the L/R Bus: Zone Range [1 Key…127 Keys] Input1 Bus Select (IFX/Indiv.): L/R (0–8a) Specifies the key range of the newly created index.
Page 711: 0-8: Audio Input
Sampling P0: Recording 0–8: Audio Input • 4: Sample Mono To Stereo. For more information, see Mono To Stereo/MS Stereo To Mono “Sample Mono To Stereo (Change Sample Type)” on (Change Multisample Type)” on page 741. page 739. • 10: MS Stereo To Mono. This will appear only if the •...
Page 712 Sampling mode 1/2…3/4: The input signal will be sent in stereo (including Tip: You can use the control surface to control this the effect of the Pan control) to the specified INDIVIDUAL parameter. (See “Using the control surface with the Audio OUTPUT pair.
Page 713 Sampling P0: Recording 0–8: Audio Input Trigger[Sampling START SW, Note On, Threshold] When using the S/P DIF input, make sure that the word clocks on all connected digital audio devices are Specifies how sampling will be initiated. configured correctly. For more information, see “System Sampling START SW: Pressing the SAMPLING REC Clock”...
Page 714 Sampling mode Alternatively, sampling will end automatically if it Note: When resampling ends, the Bus Select (8–1b) setting continues to the time specified for Sample Time (0–1d). will automatically be reset to L/R. At the same time, the “MFX1 On/Off,” “MFX2 On/Off,” “TFX1 On/Off,” and Metronome Precount [Off, 4, 8, 3, 6] “TFX2 On/Off”...
Page 715: 0-9: Control Surface
Sampling P0: Recording 0–9: Control Surface • 4: Sample Mono To Stereo. For more information, see Mono To Stereo/MS Stereo To Mono “Sample Mono To Stereo (Change Sample Type)” on (Change Multisample Type)” on page 741. page 739. • 10: MS Stereo To Mono. This will appear only if the •...
Page 716 Sampling mode Knobs 1–8, Channel Strip Control Assign switches When the Mixer Knobs switch is set to Channel Strip, the knobs provide quick access to the Pan, EQ, and FX Send parameters. The Pan and EQ parameters duplicate the similarly-named parameters found on the Program editing pages.
Page 717 Sampling P0: Recording 0–9: Control Surface MIX PLAY/MUTE 1 Master Volume This switch allows you to turn Oscillator 1 on and off. Control Surface Universal Exclusive Front Panel Master Volume Master Volume Analog Volume Play/Mute [Off, On] Slider (Fom Knobs, Pedals, Knob MIDI, or Sequencer) The oscillator will sound if this switch is on (LED = lit).
Page 718 Sampling mode 0–9c Audio Input Pan (1–6) [L000…C064…R127] 0–9c: Audio Inputs These control the pan for Analog 1 & 2, USB 1 & 2, and This Control Assign setting lets you adjust the volume, pan, S/P DIF left and right, respectively. A setting of L000 places and FX send settings for each of the six audio inputs: Analog the sound at the far left, C064 in the center, and R127 to the 1 &...
Page 719 (such as one of CC# Assign (1–8) [(Off, 000…119)] Korg’s Legacy Collection synths), and so on. For more This read-only parameter shows the MIDI CC sent by the information, see “1–2: External 1” on page 788.
Page 720 Sampling mode Switch On/Off (1–16) [On, Off] Gch means that the slider will transmit on the Global MIDI Channel, as set in Global mode. When the switch is turned on, it sends a value of 127; when it is turned off, it sends a value of 0. CC# Assign (1–8) [(Off, 000…119)] Sliders 1–8 &...
Page 721 Sampling P0: Recording 0–9: Control Surface Knob 5–8 [000…127] This is the current value of the knob and its MIDI CC. You can set knobs 5–8 to a wide variety of modulation functions, using the Controller Setup page (P1–8). Many of the functions scale a particular set of Program parameters.
Page 722: Sampling P1: Sample Edit
Sampling mode Sampling P1: Sample Edit In this page you can edit sample data (waveform data). You reverse (backward playback), and link (connect two can make detailed edits while watching the sample samples) waveform display. Here are the main operations you will •...
Page 723 Sampling P1: Sample Edit 1–1: Sample Edit If you have selected a stereo multisample or sample, the L channel and R channel of the sample data will be shown above and below. Sample waveform display [ h, h3, q, q3, e, e3, x, x3, r ] Resolution 1–1d: Edit Range This specifies the resolution of the grid.
Page 724 Sampling mode If the zoom ratio is low (1X or less), the Sample • 19: Mix. For more information, see “Mix” on page 747. waveform display may differ slightly from the displayed • 20: Paste. For more information, see “Paste” on waveform before and after waveform editing, but this page 748.
Page 725: Sampling P2: Loop Edit
Sampling P2: Loop Edit 2–1: Loop Edit Sampling P2: Loop Edit In this page you can specify the region of the sample that • When performing the above operations, you can will play and the portion that will loop. You can edit the automatically detect zero-crossing points, or display a waveform down to the level of individual samples while grid (vertical lines) and edit according to BPM values or...
Page 726 When Loop is On, this is the end point of the see “Auto +12dB On” on page 695. loop. This setting is saved in Korg format sample files (.KSF), and is recognized by the OASYS, M3, TRITON Extreme, Loop (Loop On) [Off, On] and TRITON STUDIO.
Page 727 Sampling P2: Loop Edit 2–1: Loop Edit v 2–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands” on page 153. •...
Page 728: Sampling P3: Multisample Edit
Sampling mode Sampling P3: Multisample Edit In this page you can edit multisamples. You can create, • Create and edit multisamples and indexes delete, copy, and paste indexes, and assign samples to • Edit the playback level and pitch of samples indexes.
Page 729 Sampling P3: Multisample Edit 3–1: Multisample Edit Copy Since in Sampling mode the playback unity level will normally be the maximum level, adjustments in the + This copies the content of the selected index to the Insert direction will have no effect. If Volume (CC#07) or buffer.
Page 730 Sampling mode • 11: Optimize RAM. For more information, see “Optimize RAM” on page 155. • 12: Select Directory/File for Sample to Disk. This applies only when Save to is set to Disk. For more information, see “Select Directory/File for Sample To Disk”...
Page 731: Sampling P4: Eq/Controller
Sampling P4: EQ/Controller 4–1: EQ Sampling P4: EQ/Controller In this page you can edit a mid-sweepable three-band EQ You can also assign the functions of the SW1 and SW2 that is applied to the output of the multisample. switches and Modulation 5–8 knobs, and the note number and velocity that are produced by pads 1–8.
Page 732: 4-8: Set Up Controllers
Sampling mode • 7: Rename MS. For more information, see “Rename MS v 4–1: Page Menu Commands (Rename Multisample)” on page 740. The number before each command shows its ENTER + • 8: Move MS. For more information, see “Move MS number-key shortcut.
Page 733 Sampling P4: EQ/Controller 4–8: Set Up Controllers [Off, …, Soft (CC#67)] • 0: Delete Sample. For more information, see “Delete Sample” on page 737. Assigns the function of the SW1 switch. The on/off status is also saved. When you change the assignment, the status is •...
Page 734: 4-9: Pads
Sampling mode 4–9: Pads 4–9PMC 4–9a To avoid damaging the display, use care when playing the v 4–9: Page Menu Commands pads. Do not press strongly on the display or strike forcefully; instead, use a light and precise The number before each command shows its ENTER + touch.”Velocity”...
Page 735 Sampling P4: EQ/Controller 4–9: Pads • 10: MS Stereo To Mono. This will appear only if the current MS is Stereo. For more information, see “MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type)” on page 741. • 11: Optimize RAM. For more information, see “Optimize RAM”...
Page 736: Sampling P5: Audio Cd
Sampling mode Sampling P5: Audio CD You can use a USB CD-R/RW drive, to sample directly from Be aware that if you play the keyboard or controllers an audio CD. while the CD-R/RW drive is operating, the vibration may cause data skips or read errors, making it impossible to You can even send the live audio from the CD through Insert play the CD successfully.
Page 737 Sampling P5: Audio CD 5–1: Ripping Track [01…] The REC buses are used to sample in each mode, and to record audio tracks in Sequencer mode. They are dedicated Selects the track of the audio CD that you want to play or buses for recording.
Page 738 Sampling mode Duration [00:00.0…] Displays the length of time between Range Start and Range End. Range Graphic This graphic shows the selected range within the current Track and Index, as set by the Range Start and Range End parameters. v 5–1: Page Menu Commands The number before each command shows its ENTER + number-key shortcut.
Page 739: Sampling P8: Insert Effect
Sampling P8: Insert Effect 8–1: Routing Sampling P8: Insert Effect Here you can make insert effect settings for use in Sampling • Make detailed settings for insert effects mode. • Make common LFO settings for effects If you want to apply an insert effect IFX1–12 to the external For details on insertion effects, see “Effect Guide”...
Page 740 Sampling mode 8–1c: FX Control Bus FX Control Bus [Off, 1, 2] This sends the output of the oscillator (multisample) to a FX Control bus (stereo 2-channel; FX Ctrl1, 2) Use the FX Control buses when you want to use a separate sound to control the input of an effect.
Page 741: 8-5: Insert Fx
Sampling P8: Insert Effect 8–5: Insert FX 8–5: Insert FX 8–5b 8–5PMC 8–5a In this page you can select the effect types for the insert Separately from this setting, you can use control change effects, turn them on/off, and make chaining settings. #92 to turn all insert effects off.
Page 742 Sampling mode Bus Sel. (Bus Select) [L/R, 1…4, 1/2…3/4, Off] 8–5b: Tempo Specifies the bus to which the signal will be sent q (Tempo) [040.00…300.00, EXT] immediately after the insert effect. L/R: The signal will be output to the L/R bus. Then after This specifies the tempo.
Page 743: 8-6: Track View
Sampling P8: Insert Effect 8–6: Track View 8–6: Track View 8–5b 8–6PMC 8–6a 8–6b 8–6a: Track View This shows the oscillator output and insert effect routing. The selected slot is shown in dark blue. In the “Selected” area below, you can specify the “Effect Type” and “On/Off” status.
Page 744: 8-7: Ifx 1-12
Insert FX page. page 727 and “8–6: Track View” on page 729. You can’t save your own settings here. P01…P15: These usually contain Korg preset data (though 8–7a: IFX1 some effects may not include presets). We recommend that you store your settings in U00–U15.
Page 745: 8-9: Common Fx Lfo
Sampling P8: Insert Effect 8–9: Common FX LFO • 0: Copy Insert Effect. For more information, see “Copy v 8–7: Page Menu Commands Insert Effect” on page 166. The number before each command shows its ENTER + • 1: Swap Insert Effect. For more information, see “Swap number-key shortcut.
Page 746 Sampling mode • 0: Copy Insert Effect. For more information, see “Copy Insert Effect” on page 166. • 1: Swap Insert Effect. For more information, see “Swap Insert Effect” on page 166.
Page 747: Sampling P9: Master/Total Effect
Sampling P9: Master/Total Effect 9–1: Routing Sampling P9: Master/Total Effect Here you can select the effect types for the master effects Note: When you sample, MFX1 On/Off, MFX2 On/Off, and total effects, and turn them on/off. TFX1 On/Off, and TFX2 On/Off are automatically turned off.
Page 748 Sampling mode MFX2 TFX2 MFX2 [000…197] TFX2 [000…197] MFX2 On/Off [Off, On] TFX2 On/Off [Off, On] These parameters specify the effect type and on/off status for Return 2 [000…127] total effect 2. See “TFX1,” above. These parameters specify the effect type for master effect 2, its on/off status, and the return level from master effect 2 to 9–1c: Master Volume the L/R bus.
Page 749: 9-2: Mfx1
Sampling P9: Master/Total Effect 9–2: MFX1 9–2: MFX1 9–2PMC 9–2a 9–2a: MFX1 v 9–2: Page Menu Commands Here you can edit the parameters of the effect you choose for The number before each command shows its ENTER + MFX1 in the P9– Routing page. number-key shortcut.
Page 750: 9-3: Mfx2
Sampling mode 9–3: MFX2 9–4: TFX1 9–5: TFX2 These pages let you edit the parameters of Master Effect 2 and Total Effects 1 and 2. To select different effects types, use the Routing page, as described under “9–1: Routing” on page 733.
Page 751: Sampling: Page Menu Commands
Sampling: Page Menu Commands Delete Sample Sampling: Page Menu Commands ENTER + 0-9: shortcuts for menu commands Note: To edit the Start, Loop Start, or End points, use P2: Loop Edit. Each page has a set of menu commands, which provide access to different utilities, commands, and options, If the above parameters are located within an area of sample depending on the page you’re currently on.
Page 752: Copy Sample
Sampling mode Copy Sample Rename Sample This command copies the currently selected sample to This command lets you modify the name of the currently another sample. selected sample. Note: The copy destination sample number will 1. Use Sample Select (0–1b) to select the sample whose automatically be included in the resulting sample name.
Page 753: Sample Mono To Stereo (Change Sample Type)
Sampling: Page Menu Commands Sample Mono To Stereo (Change Sample Type) 3. To execute the Change Sample Type command, press the OK button. To cancel, press the Cancel button. When you execute this command, the sample type will change as follows. 3.
Page 754: Copy Ms (Copy Multisample)
Sampling mode 4. To execute the Rename Multisample command, press Copy MS (Copy Multisample) the OK button. To cancel, press the Cancel button. This command copies the selected multisample to another multisample. Convert MS (Multisample) To Program Note: The copy destination multisample number will This command converts the selected multisample into a automatically be included in the resulting multisample name.
Page 755: Ms Mono To Stereo/Ms Stereo To Mono (Change Multisample Type)
Sampling: Page Menu Commands MS Mono To Stereo/MS Stereo To Mono (Change Multisample Type) 5. In To Program, select the convert destination Move MS (Move Multisample) program. This command lets you move the currently selected When the edit cell is selected, you can use the numeric multisample to the specified number (i.e., to change the keys 0–9, the VALUE dial, the VALUE slider, and multisample number), or to rearrange the multisample...
Page 756: Optimize Ram
Sampling mode Example: If there is no empty multisample number and You can record to either an internal disk or a USB storage forward movement is not possible, multisamples will be device renumbered downward. 3. Use the Open button and Up button to move between directories.
Page 757 Sampling: Page Menu Commands Auto Sampling Setup 2. Use the radio buttons to select the type of settings you When using S/P DIF, make sure that the System Clock is want to make. set correctly. For more information, see “System Clock” on page 766.
Page 758 Sampling mode Auto Resample through IFX If you select Auto Resample through IFX: 1. Use “IFX” to select the effect that you want to apply to the sample. 2. Press the OK button to execute Auto Sampling Setup (Auto Resample through IFX), or press the Cancel button if you decide not to execute.
Page 759: Truncate (For Sample Edit)
Sampling: Page Menu Commands Truncate (for Sample Edit) Auto Sampling Setup: Automatically-set parameters and their values [Auto Resampling through [Initialize] [REC Audio Input] IFX] Input 1& 2, USB 1& 2, Input 1& 2, USB 1& 2, Input (Input Source) [Source Audio] S/P DIF S/P DIF Bus Select...
Page 760: Cut
Sampling mode 2. Select Truncate to open the dialog box. 3. The range to be edited is shown by Range Start and End. 4. In Save to No., specify the save destination sample number. By default, an unused sample number will be selected.
Page 761: Copy
Sampling: Page Menu Commands Copy 4. In Save to No., specify the save destination sample Copy number. By default, an unused sample number will be selected. This command copies the sample data from the area between the Start and End points into the sample data buffer. This If Overwrite is checked, the sample number will be fixed data can then be used by the Insert, Mix, or Paste to the current sample, and cannot be changed.
Page 762: Paste
Sampling mode 2. Select “Paste” to open the dialog box. Paste When you execute this command, the sample data placed in the buffer by executing Copy in the Sampling mode Sample Edit page will be placed in the sample starting at the Start address.
Page 763: Normalize/Level Adjust
Sampling: Page Menu Commands Normalize/Level Adjust If Overwrite is checked, the sample number will be fixed Normalize/Level Adjust to the current sample, and cannot be changed. See “About Overwrite” on page 737. This command uniformly modifies the data values (volume) of the data between the Start–End.
Page 764: Rate Convert
Sampling mode waveform with a different faded-out waveform (i.e., Reverse crossfade), using a Linear fade-in/out may produce an impression that the volume has dropped in the middle of This command reverses the sample data (i.e., exchanges the the curve. In such cases, use Power to perform the fade- beginning and end).
Page 765 Sampling: Page Menu Commands Link you specify 50%, the last half of the Front Sample will S O U N D A S O U N D B crossfaded. If the rear sample is short, the Crossfade Length cannot be set any longer than the length of the Rear sample. In this case, it will not be possible to specify a value up to CR O SSFA DE LI N K 100%.
Page 766: Truncate (For Loop Edit)
Sampling mode • Change the pattern of the loop by swapping or deleting Truncate (for Loop Edit) individual hits, or otherwise editing the sequencer or sample data This command deletes unwanted data that lies outside of the Start, Loop Start, and End points (2–1d). After setting the In detail, Time Slice does the following: start address, loop start address, and end address of the •...
Page 767 Sampling: Page Menu Commands Time Slice to 120.00, due to inaccuracies in the start address (or loop start address) and end address, change the Source BPM to 120.00. Source BPM: Specifies the tempo at the original key of the source waveform. Edit the performance d ata 4.
Page 768 Sampling mode Time Slice step 4 Index [Source, xxx(001…090)/yyy(001…090)] and by executing Divide or Link to adjust the slice location. Selects the sample index. Start: Specify the start address for the sample of the If this is set to Source, the original waveform before time currently selected Index.
Page 769 Sampling: Page Menu Commands Time Slice When you use Time Slice on a rhythm loop sample, the quality of the playback in Sequencer mode will depend largely on the “cutoff” of each percussion instrument sound that was sliced. Be aware that if you change the Sensitivity after adjusting the slice location, the attacks will be re-detected and the sample will automatically be sliced again.
Page 770 Sampling mode It is not possible to make settings that would cause Source BPM or New BPM to exceed the range of 40.00– 480.00. It is not possible to make settings that would cause Ratio to exceed the range of 50.00–200.00. Press the Stretch button to execute Time Stretch.
Page 771: Time Stretch
Sampling: Page Menu Commands Time Stretch Time Slices requires vacant samples, multisamples, and relative parameters in order to execute. Be sure that there is sufficient free area before you execute. If there is insufficient free area, an error will occur. Note: If you open the Time Slice dialog box on the same sample, it will be sliced in the same way as previously.
Page 772 Sampling mode 120.00 due to inaccuracies in the start address (or loop ZOOM: This controls horizontal and vertical zoom start address) or end address, adjust Source BPM to the in/out for the waveform shown in the “Sample waveform correct value of 120.00. display.”...
Page 773 Sampling: Page Menu Commands Time Stretch Be aware that if you exit Time Stretch without using the loop start address to the end address (if loop is on). If you Save button then press the OK button to save the sample, already know the BPM value and the calculated value is the sample(s) you created will be lost.
Page 774 Sampling mode Index [Source, Result, xxx(001…090)/yyy(001…090)] Selects the index for the sample whose waveform you wish to display. If you select Source, the original waveform before time- stretching will be selected. If you select Result, the time-stretched sample will be selected.
Page 775: Crossfade Loop
Sampling: Page Menu Commands Crossfade Loop 4. Set “Curve” to specify how the volume will change in Crossfade Loop the crossfaded region. When looping a pitched instrument sample of a complex Linear: The volume will change linearly. sound such as strings or woodwinds to make the sound Power: The volume will change non-linearly.
Page 776: Destination (Audio Cd Ripping)
Sampling mode Destination (Audio CD Ripping) Swap Insert Effect Specifies the writing data of the ripped data, and executes For more information, please see “Swap Insert Effect” on ripping. page 166. Ripping will create a stereo 44,100 Hz sample. You can rip to RAM memory, or disk.
Page 777: Global Mode
Global mode Global P0: Basic Setup In Global mode you can make settings that affect the entire If you want settings made in Global mode to persist after instrument, such as master tuning, MIDI, and memory the power is turned off, you must write them into protect.
Page 778 Global mode Key Transpose [–12…+00…+12] When Convert Position (1–1a) is PreMIDI, variations in keyboard playing dynamics will affect the velocity effect This adjusts the pitch in semitone steps over a ±1 octave and the transmitted velocity data as shown in the left-hand range.
Page 779 Global P0: Basic Setup 0–1: Basic Setup With a setting of PostMIDI, variations in after touch 0–1b: Effect Global SW pressure (and in the value of incoming after touch data) will create change as shown in the right-hand diagram. IFX1–12 Off [Off, On] For the transmitted data, the after touch curve number 3 On (checked): All insert effects IFX1–12 will be off.
Page 780 Combinations. Bank Select can work in one of two ways: the “Clock Error!” at the top of the display. More standard way (“Korg”) or the General MIDI way. Usually, importantly, the KRONOS will not sound correctly. the standard method is preferable. When using General...
Page 781 Global P0: Basic Setup 0–1: Basic Setup When Internal Headroom is set to +12dB, +24dB, +36dB, In the above example, the Volume will not immediately or +48dB, the FX Bus signals are allowed to be higher than change from the current value of 64 when you begin the maximum D/A levels.
Page 782 Global mode Play Page Overview Beep Enable [Off, On] On (checked): A beep will be heard when you press an Show MS/WS/DKit Graphics [Off, On] object in the LCD screen. HD-1 Programs can show a graphic on the P0:Play page, Auto Optimize RAM [Off, On] instead of the Multisample, Wave Sequence, or Drum Kit...
Page 783 Global P0: Basic Setup 0–1: Basic Setup • Receiving song data via MIDI data dump • 3: Touch Panel Calibration. For more information, see “Touch Panel Calibration” on page 817. Off (unchecked): Data can be written to internal song memory. •...
Page 784: 0-2: Audio
Global mode 0–2: Audio 0–2PMC 0–2a 0–2b This page controls the default mixer settings for the audio • In other pages of Global mode, if you switch to Global inputs, including level, pan, effects busing, and so on. It also mode from a Program, Combi, or Song with Use Global lets you route the main L/R outputs to a pair of individual Setting set to On.
Page 785 Global P0: Basic Setup 0–2: Audio FX Ctrl Bus (FX Control Bus) [Off, 1, 2] Exclusive Solo On: When you press SOLO ON/OFF, only that channel will be soloed. This sends the external audio input signal to an FX Control bus (two stereo channels;...
Page 786 Global mode In studio or live performance situations, you can use this • 1: Set Program Bank Type. For more information, see parameter to monitor sounds in privacy, without changes at “Set Program Bank Type” on page 816. the main board. •...
Page 787: 0-3: Ksc Auto-Load
KSCs, or making any other changes to the auto-load settings. This allows the system time to KSC stands for Korg Sample Collection. KSC files contain complete the process, which includes saving the settings links to RAM and/or EXs sample data, including to the internal disk.
Page 788 Global mode EXS/USR BANK If a KSC is loaded in disk mode, it is automatically added to the list on a temporary basis. If you then check the KSC’s This shows the amount of memory used for EXs and User Load check-box, the KSC is added to the list just as if it had Sample Banks.
Page 789 Global P0: Basic Setup 0–3: KSC Auto-Load Remove KSC This button lets you remove KSCs from the list. It only affects the contents of the list; it does not affect the files themselves. When you press the Remove KSC button, a confirmation dialog appears: Are you sure? [Cancel] [OK]...
Page 790: 0-4: Sample Management
Global mode 0–4: Sample Management 0–4PMC 0–4a 0–4b 0–4c Overview 0–4c: Sample/Multisample This page offers tools for managing all the loaded sample This list shows the Multisamples, Samples, or Drum data, including Sampling Mode, EXs, and User Sample Samples of the selected Bank, according to the Bank and Banks.
Page 791 Global P0: Basic Setup 0–4: Sample Management To select two or more items at once, enable the Multiple Select check-box. 3. Press the Unload button. A confirmation dialog will appear. 4. Press the OK button to confirm, or Cancel to exit the dialog without making changes.
Page 792: 0-5: Network
Global mode 0–5: Network 0–5PMC 0–5a 0–5c 0–5b This page lets you set up the USB ethernet connection, and With zero-configuration networking, the KRONOS FTP configure the built-in FTP server for file transfers between server will appear automatically in any Bonjour or Avahi- the KRONOS and your computer.
Page 793 Global P0: Basic Setup 0–5: Network Connecting to your computer or network Config failed: This indicates either that the KRONOS was turned on without an ethernet cable connected, or that an You can connect the KRONOS directly to an ethernet- internal error has occurred.
Page 794 Global mode Cancel button • 4: Half Damper Calibration. For more information, see “Half Damper Calibration” on page 817. Pressing the Cancel button will close the dialog without making any changes to the settings. • 5: After Touch Calibration. For more information, see “After Touch Calibration”...
Page 795: Global P1: Midi
Global P1: MIDI 1–1: MIDI Global P1: MIDI 1–1: MIDI 1–1c 1–1PMC 1–1a 1–1b 1–1d 1–1e Here you can make MIDI-related settings that affect the In Combination mode (P0: Play), program changes received entire KRONOS. You can also transmit MIDI System on the global MIDI channel will switch the combination (1–...
Page 796 Global mode Local Control On [Off, On] Local Control and the Control Surface: more detail Local Control On (Checked): The KRONOS’s internal tone generator will be controlled by its own keyboard, The information under “Local Control and the Control joystick, SW1 and SW2, and connected foot pedal. If you are Surface,”...
Page 797 Global P1: MIDI 1–1: MIDI Convert Position [PreMIDI, PostMIDI] Velocity MIDI IN Velocity This setting controls how the Transpose, Velocity Curve, Curve Curve=4 Record Play Sequencer and After Touch Curve settings work. Aftertouch Curve=3 You can think of these as a group of MIDI effects processors, Tone Scale Transpose...
Page 798 Global mode Controller MIDI CC Assign (Global P2: 2–1c) CC#110 Pad1: MIDI CC#110 Pad2: MIDI CC#111 Pad3: MIDI CC#112 Pad4: MIDI CC#113 Pad5: MIDI CC#114 Pad6: MIDI CC#115 Pad7: MIDI CC#116 Pad8: MIDI CC#117 Pads MIDI Out Pads Chord Pad CC/Note (Program, Combination, Song) PAD1 Pads...
Page 799 Global P1: MIDI 1–1: MIDI Combination, or Song. Use this setting if you want vector On (checked): MIDI events generated by KARMA Module joystick operations or the vector envelope to transmit MIDI will be transmitted to external devices. control change messages. Off (unchecked): MIDI events generated by KARMA will Normally you will use this to control the internal tone play the internal KRONOS sounds, but MIDI messages will...
Page 800 Global mode Local Control On = On 1–1c: MIDI Filter You can also use MIDI input to trigger KARMA. For instance, you can control KARMA from an external Enable Program Change [Off, On] controller. Or, use an external sequencer to record only the On (checked): Program changes will be transmitted and notes you physically play on the KRONOS keyboard (and received.
Page 801 Global P1: MIDI 1–1: MIDI Off (unchecked): An incoming program change message on 1–1d: SEQ MIDI Out Setup the global MIDI channel will switch the program of any timbre whose MIDI Channel (Combination 2–1a) matches Song Track [for Master, the global MIDI channel. The combination will not be for External Seq] switched.
Page 802: 1-2: External 1
MIDI different pieces of MIDI gear on stage, another for controller and MIDI channel. controlling a software synthesizer (such as one of Korg’s Legacy Collection synths), and so on. The eight pads also have separate settings which apply only when Control Assign is set to External;...
Page 803 Global P1: MIDI 1–2: External 1 When you select an External Setup, it stays selected even • 1: Dump Program. For more information, see “Dump when you change Programs, or switch to Combi or Program” on page 819. Sequencer modes. This makes it easy to select different •...
Page 804: 1-3: External 2
Global mode 1–3: External 2 1–3PMC 1–3a 1–3b This page lets you set up the pad assignments for the Control The Fixed Velocity button (on the Pads page in each mode) Surface’s EXTERNAL mode. Each pad can play a note, or controls whether or not the pads respond to how hard you send a Control Change (CC) message, on any of the MIDI play.
Page 805 Global P1: MIDI 1–3: External 2 • 7: Dump Set List. For more information, see “Dump Set List” on page 820. • 8: Dump Drum Track Pattern. For more information, see “Dump Drum Track User Pattern” on page 820. • 9: Dump KARMA User GE. For more information, see “Dump KARMA User GE”...
Page 806: Global P2: Controllers/Scales
This selects the function that will be controlled by a pedal result. If no damper pedal is connected, set this to (–) Korg switch (such as the optional Korg PS-1) connected to the Standard.
Page 807 Global P2: Controllers/Scales 2–1: Controllers Default CC assignments Pads 1-8 [Off, Note C-1…G9, MIDI CC#00…#119] As shipped from the factory, for simplicity, all KARMA and Pad assignments are set to Off. However, the KRONOS has These assign note numbers or control change messages to a set of recommended CC assignments which can be loaded Pads 1–8.
Page 808: 2-2: User Scale
Global mode 2–2: User Scale 2–2PMC 2–2a 2–2b Here you can make settings for sixteen different User Octave By executing the page menu command “Copy Scale,” you Scales and one User All Notes scale. can copy settings from a preset scale (other than Stretch) or from another user scale.
Page 809: 2-3: Function Assign
Global P2: Controllers/Scales 2–3: Function Assign 2–3: Function Assign 2–3PMC 2–3a This page is designed for use with external MIDI and USB 2–3: Special Function Assignments for MIDI controllers in live performance. It allows you to map External MIDI Input incoming MIDI CCs to all of the functions available for assignment to the KRONOS rear-panel foot switch input or All of the assignments have the same two parameters, MIDI...
Page 810 Global mode Program Up and Program Down JS X Lock, JS Y Lock, JS+Y Lock and JS–Y Lock These functions increment (Program Up) or decrement JS X & Ribbon Lock, JS Y & Ribbon Lock, JS+Y & (Program Down) the current Program, Combination, or Set Ribbon Lock and JS–Y &...
Page 811: Global P3: Category Name
Global P3: Category Name 3–1: Program Category Global P3: Category Name Programs, Combinations, and KARMA GEs are organized On these pages, you can: into categories and sub-categories. Categories make it easy • Change the names of any of the categories and sub- to find a particular type of sound, such as keyboards, bass, or categories, including both the factory and user categories drums, or a specific type of KARMA GE, such as arpeggios...
Page 812: 3-2: Combi Category
Global mode • 0: Write Global Setting. For more information, see v 3–1: Page Menu Commands “Write Global Setting” on page 816. The number before each command shows its ENTER + number-key shortcut. For more information on these shortcuts, see “ENTER + 0-9: shortcuts for menu commands”...
Page 813: Global P4: Wave Sequence
As shipped from the factory, all banks except I (Internal), U– Sequence as a whole. A, and U–F are empty. You can use these for storing sounds that you create yourself, optional sound banks from Korg, or third-party sound libraries. Each User bank has space for 32 4–1a: Basic Wave Sequences.
Page 814 Global mode Mode [Time, Tempo] Swing adjusts the position of the up-beats, relative to the Wave Sequence’s Resolution setting. For instance, if the This switches between Time mode (for crossfading Wave Resolution is set to 1/8, Swing affects every other 8th note. Sequences) and Tempo mode (for rhythmic Wave Sequences).
Page 815 Global P4: Wave Sequence 4–1: Sequence Parameters How Quantize Triggers works 4–1c: Wave Sequence The Quantize Triggers feature tries to make a good guess at Start Step [1…64] where you intended the note to be. If you play the note just a bit late–within a 32nd note of the 8th note–it will assume This is the step on which the Wave Sequence starts.
Page 816 Global mode Backwards/Forwards plays from the Start Step to the Loop 5th note: 3, 4, 5, 6 End, then backwards from the Loop End to the Loop Start, 6th note: 4, 5, 6 and then forwards again to the Loop End, and so on. 7th note: 5, 6 Backwards plays from the Start Step to the Loop End, then 8th note: 6...
Page 817: 4-2: Step Parameters
Global P4: Wave Sequence 4–2: Step Parameters Intensity [–63…+63] Intensity [1…400%] This controls the depth and direction of the Position This controls the amount of Duration modulation. modulation. Negative modulation moves the position earlier 1% means that, at the maximum AMS value, step durations in the sequence, to the limit of Step 1.
Page 818 Global mode [Off, On] Tie simply extend the duration of the previous step; all parameters other than Duration, Crossfade, and Fade-Out This determines whether or not the Wave Sequence will Shape will be grayed out. move through its steps automatically. For more information, please see “Run,”...
Page 819 Global P4: Wave Sequence 4–2: Step Parameters [r … w, GATE] Start Offset [Off, 1st…8th] (Base Note) In addition to simply starting playback from the beginning, This sets the basic duration of the step, relative to the system ROM and EXs Multisamples can have up to 8 different pre- tempo.
Page 820 Global mode AMS Output 2 [0…127] This sets the step’s second AMS output. Wave Sequence step Durations, Crossfade times, and Fade-In and Fade-Out shapes Step 1 Step 2 Step 3 Step 4 Duration Duration Duration Duration Volume Time Step 1 Step 2 Step 3 Step 4...
Page 821: Global P5: Drum Kit
Global P5: Drum Kit 4–2: Step Parameters Global P5: Drum Kit Drum Kits, as the name implies, are optimized for creating If you turn off the power or select another drum kit before drum sounds. They are created and edited here in Global writing, your edits cannot be recovered.
Page 822: 5-1: Sample Setup
Global mode 5–1: Sample Setup 5–1PMC 5–1a 5–1c 5–1b [C–1…G9] This page lets you assign sounds to each key in the Drum Kit. A single key is shown at a time. Each key can have up to Selects the key to which the drum sample (and its settings) 8 Drum Samples (DS1–8), and each DS has its own settings will be assigned.
Page 823 Global P5: Drum Kit 5–1: Sample Setup Drum Kit, Key Select, Assign Keys to which drum samples are assigned are shown in red. C 4 key Keyboard range “KEY”: The selected key is shown in blue. You can select a key by holding down the E N TER switch and playing the desired note.
Page 824 Global mode Curve [Linear, Power, Layer] Some ROM and EXs Drum Samples may have fewer than 8 pre-programmed points, in which case only the available This controls the volume curve of the crossfade. Linear and points can be selected. Power (short for Equal Power) let you fine-tune the way that With Sampling Mode and User Sample Bank Drum the two drum samples mix together;...
Page 825: 5-2: Sample Parameters
Global P5: Drum Kit 5–2: Sample Parameters • 0: Write Drum Kit. For more information, see “Write • 2: Swap Key Setup. For more information, see “Swap Drum Kit” on page 824. Key Setup” on page 824. • 1: Copy Key Setup. For more information, see “Copy Key Setup”...
Page 826: 5-3: Voice Assign/Mixer
Global mode 3 Band Parametric EQ [dB] v 5–2: Page Menu Commands [–36.0…+36.0] The number before each command shows its ENTER + number-key shortcut. For more information on these [–36.0…+36.0] shortcuts, see “ENTER + 0-9: shortcuts for menu High [–36.0…+36.0] commands”...
Page 827 Global P5: Drum Kit 5–3: Voice Assign/Mixer Normally you will leave this off, but you can use this setting 5–3b: Mixer if you want to control an effect by playing a specific key. Drum kits will sound using the settings of the program You can use this with the following effects: that is selected in Program mode.
Page 828: Global P6: Options Info
KRONOS. The Public ID is 16 Installing EXs characters long, and uses only the characters 0-9 and A-F. You’ll need this ID when registering on www.korg.com, EXs sample data is installed in Disk mode. For more which is required for purchasing options.
Page 829 KRONOS,” below. Purchasing option licenses from your Korg distributor If you do not have access to the internet, your national Korg distributor will be happy to assist you in purchasing option authorization codes. 1. Write down your KRONOS Public ID.
Page 830: Global: Page Menu Commands
Global mode Global: Page Menu Commands Write Global Setting Set Program Bank Type This command writes most of the Global mode settings, with This command lets you do two related things: the following exceptions. • Set the bank types of each of the Program banks (except •...
Page 831: Change All Bank References
Global: Page Menu Commands Change all bank references 2. If you are unable to select this command from the Change all bank references page menu, go to the main Global page as normal, and then hold down the ENTER button and press 3 on the This command changes all program banks specified for numeric keypad.
Page 832: Lcd Setup
KRONOS may become inoperable. If this occurs, using the Restore DVDs may be required; please 1. Using a computer, download the update from the contact your local Korg distributor. Korg website: www.korg.com/kronos. When the update is complete, a new message will appear: The update will be in compressed, zip format.
Page 833: Display Public Id
If you see this error or encounter other difficulties, try the Rear Panel Illumination Setup following: The Korg logo on the rear panel includes an LED for • Make sure that all other USB devices are disconnected illumination. This command lets you turn the LED on or off, •...
Page 834: Dump Sequencer
Global mode System Exclusive dump types Dump Sequencer All Programs, a specific bank of Programs, Dump Program This command lets you send the internal memory’s or a single Program Sequencer data, including all Songs in memory, as a System Dump All Combinations, a specific bank of Exclusive data dump.
Page 835: Setup Karma External Midi Routing
Global: Page Menu Commands Setup KARMA External MIDI Routing will have less than the required time to write the data into Setup KARMA External MIDI Routing memory, and will be unable to receive all of the data correctly. Several parameters in Global mode, including Enable KARMA Module to MIDI Out, Enable MIDI In to Receiving SysEx data dumps KARMA Module, and Local Control On, interact to...
Page 836: Reset External Setup
Global mode 3. Press the OK button to execute Reset External Setup, or press the Cancel button to cancel. Reset Controller MIDI Assign MIDI Sequencer Local O FF (Echo back O n) control Tone Recording G enerator This command resets the MIDI control change (CC) Enable MIDI O UT MIDI I N...
Page 837: Copy Scale
Global: Page Menu Commands Copy Scale Reset Controller MIDI Assign Default Copy Scale Default KRONOS Controls CC Default This command copies data from a preset scale or between Setting user scales. For details on the preset scales, see “1–1g: ON/OFF CC#14 Scale”...
Page 838: Write Drum Kit
Global mode 4. Press the OK button to execute the Write Wave Do not turn off the power for at least 10 seconds after Sequence command, or press the Cancel button to using the Write Drum Kit command. This allows the cancel without executing.
Page 839: Uninstall Exs
Global: Page Menu Commands Uninstall EXs Uninstall EXs Optional EXs may be uninstalled to reclaim space on the internal disk(s). To do so: 1. Go to the Global P6: Options Info page. 2. In the list of Installed Options, select the EXs that you’d like to remove.
Page 840 Global mode same message will appear again. You can also use the Change Setting button to bring up the Auto Power-Off Setting dialog, as described above.
Page 841: Disk Mode
.EXL MIDI System Exclusive data • Hard disk drives .KGE KARMA Generated Effects file • Removable disk drives Korg Multisample Parameter file Songs and .KMP • USB flash media regions (KRONOS format) • CD-R/RW drives .KSF Korg Sample File (Korg format) With external drives and flash media, the KRONOS supports .KSC...
Page 842 Disk mode Files available in Disk Mode DOS file All programs 1 program 1 program .PCG file bank I-A...F, U-A...GG (Grey) All combinations 1 combination 1 combination DOS directory bank I-A...G, U-A...G (Red) All drum kits 1 drum kit 1 drum kit DOS directory (created by Save SEQ on the KRONOS) (User) bank INT, U-A...GG...
Page 843: Disk P0: File
Disk P0: File 0–1: Load Disk P0: File 0–1: Load 0–1PMC 0–1b 0–1c 0–1a This page lets you load a selected file or directory into So, before you start auditioning sounds, it’s best to first internal memory. Use the Open and Up buttons to select the select a suitable sound in Program mode, and then return to desired file or directory, and press the Load button to load it.
Page 844 Disk mode Volume label Choose one of the following sorting orders. No Label: Media that has no volume label No order: Unsorted Unformatted: Media that has not been formatted Name (Ascending order), Directories First: Sort in alphabetical order, first directories and then files No Disc: Media is not inserted in the CD-ROM or CD- R/RW drive Name (Ascending order): Sort alphabetically...
Page 845 Disk P0: File 0–1: Load Lock [Off, On] Files and directories with this symbol are locked, and cannot be overwritten, copied, or deleted. Use the “Lock/Unlock” page menu command to lock or unlock a file or directory. File When the menu command Translation is off (not checked), Multisample (.KMP) and Sample (.KSF) files will be shown with their low-level DOS file names—for example, “TROMB073.KMP.”...
Page 846: 0-2: Save
Disk mode 0–2: Save 0–2PMC 0–1b 0–1c 0–1a Here you can save data from internal memory to internal or • 2: Show L/R as Stereo Pair. For more information, see external disks, CD-R/RW, flash media, etc. “Show L/R as Stereo Pair” on page 840. Use the Open and Up buttons to move to the desired •...
Page 847: 0-3: Utility
Disk P0: File 0–3: Utility 0–3: Utility 0–3PMC 0–1b 0–1c 0–1a Here you can rename, copy, or delete the selected disk or • 7. Delete Unused WAV Files. For more information, file, create a new directory, format, and set the date and time. see “Delete Unused WAV Files”...
Page 848: 0-9: Media Information
Disk mode 0–9: Media Information 0–9a 0–1a This screen shows information about the media. Use “Drive Select” to select the media. 0–9a: Media Information Volume Label: The volume label of the media. Drive: This is the specified drive. Device Type: The type of media. Product ID: The vendor ID, product, and product version, etc.
Page 849: Disk P1: Audio Cd
Disk P1: Audio CD 1–1: Make Audio CD Disk P1: Audio CD 1–1: Make Audio CD 1–1PMC 1–1a 1–1b 1–1c Here you can use a USB CD-R/RW drive to create an audio 1–1a: Track, Total, Free Track (Track Select) [01…99, --] To create an audio CD, you can use WAVE files created by bouncing to disk in the KRONOS’s sequencer.
Page 850 Disk mode Use “Drive Select” to select the drive containing the file you 1–1b: Audio CD Track List want to add, use the Open button and Up button to navigate to the appropriate directory, and select the Wave file. Track [(01…99)] Insert: Adds the selected (highlighted) WAVE file.
Page 851: 1-2: Play Audio Cd
Disk P1: Audio CD 1–2: Play Audio CD 1–2: Play Audio CD 1–2b 1–2a This page lets you play audio CDs from an external USB 1–2a: Audio CD Play CD-R/RW drive. Among other things, this lets you verify CDs created using the Make Audio CD page. Location [00:00.0…] Audio CDs must be finalized before they can be played.
Page 852 Disk mode [L000…C064…R127] 1–2b: CD-R/RW Drive Audio Input This specifies the panning of the audio signal from the CD- This specifies the output destination for the signal from an R/RW drive. Normally you will set Left and Right to L000 audio CD played back on a USB CD-R/RW drive.
Page 853: 1-9: Media Information
Disk P1: Audio CD 1–9: Media Information 1–9: Media Information 1–9a 1–9b This screen shows information about the media in the CD- R/RW drive. Use “Drive Select” (1–9b) to select the drive/media. For more information, please see “0–9: Media Information” on page 834.
Page 854: Disk: Page Menu Commands
Disk mode Disk: Page Menu Commands 3. To load the data, press the OK button. If you decide to Hide unknown files cancel, press the Cancel button. When this option is turned on, files not recognized by the For more information on loading specific file types, please KRONOS will not be shown in the directory window.
Page 855 Disk: Page Menu Commands Load selected • “Load .AIF” on page 851 screen to make the KRONOS recognize the media, and select the appropriate directory. • “Load .WAV” on page 852 It is not possible to open .PCG, .SNG, or .KFX files in the •...
Page 856 Disk mode If the specified bank is not included in the .PCG file, the Bank data before loading the new .KSC file. This frees up error “No readable data” will appear, and the load the most memory for the new .KSC. operation will be halted.
Page 857 Disk: Page Menu Commands Load selected Note: You cannot set the “To” field to a bank whose type Load Programs differs from the selected program. Note: If “Multiple Select” (0–1a) is checked and you’ve All program data from the .PCG file will be loaded. selected more than one program, the data will be loaded starting with the program you specified in the “To”...
Page 858 Disk mode When you press the popup button, the “Bank/Combination Select” window will appear. Load a single Drum Kit 3. To load the data, press the OK button. To cancel The selected drum kit will be loaded into the drum kit without loading, press the Cancel button.
Page 859 Disk: Page Menu Commands Load selected The INT bank can hold 150 Wave Sequences, while each USER bank can hold only 32. If you load from a stored Load .SNG INT bank into one of the USER banks, only the first 32 All data in the .SNG file will be loaded.
Page 860 Disk mode Load a single Song Load Pattern Data Data for the selected song will be loaded into the song The selected user pattern will be loaded into a user pattern of number you specified as the load destination. the selected loading destination song. 1.
Page 861 Disk: Page Menu Commands Load selected Load a Region Load Presets for a single Effect (P01–15) This loads the selected region data into the region number Preset (preset) data (P01–15) for the selected effect will be you select as the load-destination. loaded.
Page 862 “Bank Map” (Global 0–1d) setting. For more information, see “Sampling and RAM” on If “Bank Map” is Korg, bank A will be selected for bank page 687. select 00.00 (MSB.LSB). If “Bank Map” is GM(2), bank Maximum numbers of Samples and Multisamples G will be selected.
Page 863 KSF files Select “SFX_A_00.WAV,” and choose “Load selected” to open the dialog box. Files with the extension .KSF (Korg Sample File) contain the parameters and waveform data which make up a single sample. A .KSF file can be used as one of the samples used by a multisample.
Page 864 Disk mode SFX_A_00.WAV This sets the preferred way to load the KSC’s EXs and User Sample Bank data: load it into RAM, or use Virtual SFX_A_01.WAV Memory. Note that if the data is extremely large, and SFX_B_00.WAV would not fit into RAM even if no other samples were SFX_B_01.WAV loaded, the data will be loaded into Virtual Memory regardless of this setting.
Page 865 Disk: Page Menu Commands Load selected Samples used by the Multisample Load .KSF • Un-referenced Samples folder All samples not in Multisamples The selected .KSF file will be loaded as a sample. EXs(n) (Name) • Multisamples folder Multisamples • Drum Samples List of Drum Samples To load data from within a .KSC: 1.
Page 866 Append option). If you save the data, it will be in the same directory. See “Multiple Select” on page 830 and stored in Korg format. It is also possible to export as a “Loading multiple files at once” on page 849 .AIF or .WAV file;...
Page 867 Disk: Page Menu Commands Load selected Note: When you load two multisamples whose multisample names are identical except for ending in “-L” and “-R,” they Load AKAI Program File will be recognized in Sampling mode as a stereo The selected Program file will be loaded as a KRONOS multisample.
Page 868 Disk mode When you execute the command, the combinations that SoundFont 2.0 files may contain sound data that is are created will be loaded starting at the bank and number assigned to use ROM sample data from a specific sound you specify here.
Page 869 Disk: Page Menu Commands Load selected Load .KGE Load a single GE This command loads all data from the .KGE file. This command loads the selected GE data into the GE number you specify as the load-destination. 1. If you want to load a GE other than the selected one, use the “GE”...
Page 870 Disk mode Load PCG (RAM) and Samples Load PCG (RAM) and Samples loads only the Programs, Wave Sequences, and Drum Kits that use Sampling Mode data, as well as the Combinations or Songs that use these Programs. This is useful when you are editing Programs and Combinations that use Sampling Mode data.
Page 871: Save All (Pcg, Sng And Ksc)
Disk: Page Menu Commands Save All (PCG, SNG and KSC) 8. Use the Append to “Wave Sequence” field to specify Insert the next volume of media and press the LCD screen the load-destination number for the wave sequences in to make the KRONOS detect the media, or use “Drive the .PCG file.
Page 872: Save Pcg & Seq
Disk mode Programs, combinations, drum kits, wave sequences, and user GE can be saved in units of banks. Information on the bank to be saved is displayed below each Selection button. Banks that are checked will be saved. If you want to modify the selections, press the Selection button to open the dialog box, and check the check boxes for the data you want to save.
Page 873: Save Pcg
“NewFile” will result in a file named What’s a KSC file? NewFile.PCG. KSC stands for Korg Sample Collection. .KSC files contain If a USB QWERTY keyboard is connected, you can use links to Sampling Mode, EXs, and/or User Sample Bank this to enter text instead of the on-screen keyboard.
Page 874: Save User Ge
Disk mode Using Save Sampling Data greater than 9,999, only the first three characters will be used. For example: 1. Select “Save Sampling Data” to open the dialog box. 0000: NewSample_0000 NEWS0000.KSF Save Multisample and Sample Data 0001: C#3-EGuitar C#3-0001.KSF Note: If you wish to export the data in AIFF (.AIF) or WAVE (.WAV) format, use the menu command Export Samples as AIF/WAV instead.
Page 875: Save To Standard Midi File
Disk: Page Menu Commands Save to Standard MIDI File The song data (MIDI track data) you save here can be played back on a device that supports Standard MIDI Files. However if you intend to playback the data on the KRONOS, we recommend that you use “Save SEQ”...
Page 876: Save Exclusive
Note: Normally, it is recommended that you use Save All or box, and set the name as desired. Save Sampling Data to save sample data in Korg format If a USB QWERTY keyboard is connected, you can use (.KSC, .KMP, .KSF). This preserves all of the parameters of this to enter text instead of the on-screen keyboard.
Page 877: Save Audio Cd Track List
Disk: Page Menu Commands Save Audio CD Track List Export Samples as AIFF/WAVE When exporting One Sample, it is not possible to export sample data that will not fit on one volume of media. 5. To export the data, press the OK button. To cancel without exporting, press the Cancel button.
Page 878: Copy
Disk mode “PRELOAD1.” will be copied at the same time, regardless Copy of their file extension: i.e., PRELOAD1.PCG, PRELOAD1.SNG, PRELOAD1.KSC, etc. Copy is valid only when a DOS file or a DOS directory is selected. If you are browsing inside a .PCG, .SNG, .KSC, or “?”...
Page 879: Create Directory
Disk: Page Menu Commands Create Directory 1. Select the .SNG file for which you want to delete “Hour” 0–23 unused sounds. “Minute” 0–59 2. Select the “Delete Unused WAV Files” menu “Second” 0–59 command. 3. To set the date and time, press the OK button. To cancel, press the Cancel button.
Page 880: Convert To Iso9660 Format
Disk mode Note: You will normally select Full Format for CD-RW media etc. that has not been UDF-formatted. If an error message of “Media not formatted” appears, execute Full Format. Depending on the capacity of the media, executing Full Format may require a substantial length of time.
Page 881: Swap Track
Disk: Page Menu Commands Swap Track but all other processing will occur just as if data were Swap Track actually being written. Use this when you want to check whether writing can be performed correctly. If an error This command exchanges (swaps) the order of two audio occurs, the display will indicate “Error in writing to CD tracks.
Page 882: Install Exs
Disk mode 3. Select the mode by which the audio CD tracks will be erased. Quick Erase: Normally you will select this. Full Erase: The data will be erased completely. Substantial time will be required for the erasure. When you execute Quick Erase, the files and data will appear to be gone, but the data itself will remain on the Found installer for: [EXs name] disc until it is overwritten.
Page 883 Disk: Page Menu Commands Install EXs “Error: not enough disk space for the installation” means that the internal SSD is too full. Remove data from the SSD, backing it up to USB media, in order to free up space. Uninstalling EXs Optional EXs may be uninstalled to reclaim space on the internal disk(s).
Page 884 Disk mode...
Page 885: Effect Guide
Effect Guide Overview The KRONOS provides 12 insert effects, two master effects, Cho/Fln/Phs: Pitch and phase modulation effects such as and two total effects, together with a mixer section that 040…054 chorus and flanger controls the routing of these effects. Mod/P.Shift: Other modulation effects such as tremolo and For each of these effect processors, you can choose from 197...
Page 886 Effect Guide Combination and Sequencer modes Send Return Master Effect 1, 2 OUTPUT Timbre 1 /MIDI Track 1 Insert Effect 1–12 Total Effect 1, 2 L/MONO, R Timbre 16 /MIDI Track 16 Audio Track 1 Audio Track 16 Sampling mode Use the P0: Recording–...
Page 887: Dynamic Modulation (Dmod) And Tempo Synchronization
Overview Dynamic modulation (Dmod) and Tempo Synchronization Dynamic modulation (Dmod) and Tempo Synchronization Dynamic modulation (Dmod) BPM / MIDI Sync: Delay Time W et Dynamic modulation lets you control certain effects parameters in real-time, using either the built-in controllers or MIDI. These effect parameters are marked with the logo W et For more information, see “Dynamic Modulation Sources (Dmod)”...
Page 888: Common Fx Lfos
Effect Guide Common FX LFOs Normally, LFO-based effects–such as choruses, flangers, C ommon FX LF O phasers, filters, and auto-panners–each have their own LF O Type = C ommon1 Stereo Flanger independent LFO. The KRONOS effects support this C ommon FX LF O 1 standard mechanism, but add a new one: Common FX Frequency[H z] W aveforem = Triangle...
Page 889 Overview FX Control Buses 1. Set up the Timbres and effects as shown in the Compressor (Combination mode) diagram below. Compressors, limiters, and gates use the level of the audio 2. Set IFX2’s Ctrl Bus to FX Ctrl1. input to control the level of the audio output. For these This sends the output of IFX2 to FX Control Bus 1.
Page 890: Effect I/O
Effect Guide 1. For Timbre 1 (the carrier), set Bus Select to IFX1. Rhythmic Vocoder (Combination mode) This sends the signal to the Vocoder, as the carrier. Vocoder effects produce their distinctive sound by using an 2. For Timbre 2 (the drum program we’re using as the audio signal (the modulator) to modulate a different audio modulator), set FX Control Bus to FX Ctrl1.
Page 891 Overview Effect I/O Program mode (CX-3) Program mode (EP-1) Expression Minimum, Level (P4) Harmonic/Attack Noise/Release Noise Level (P4) Drawbar (P5) Output Level (P4) Output Level (P7) Volume (P5) Cabinet On/Off, Drive (P5) Program mode (STR-1) Combination and Sequencer modes Mixer Level (P4) Filter Input Trim, Level (P5) Volume (P0) Amp Level (P6)
Page 892: Insert Effects (Ifx1
Effect Guide Insert Effects (IFX1…IFX12) In/Out Insert Effects (IFX 1–12) have a stereo input and a stereo IFX1: 148: P4EQ // Phaser output. If you set the Wet/Dry parameter (P8– IFX1–12 page) to Dry (no effect), the input signal will be passed through, in stereo, without being processed by the effect.
Page 893: Routing
Insert Effects (IFX1…IFX12) Routing Routing You can use up to twelve channels (IFX 1…12) for the Insert If you check the IFX1 checkbox, the output of IFX1 will be Effects in any mode. sent to the input of the IFX you specify in “Chain to.” Effects can be chained only in ascending order of their number;...
Page 894 Effect Guide If you de-select the box, all drum instrument outputs are sent to the bus specified by Bus Select (Program 8–1c). You may apply any Insert Effects to all drum instruments, regardless of the DrumKit settings. Fig. 2–1b Fig. 2–1c...
Page 895 Insert Effects (IFX1…IFX12) Routing Tip: You can use each timbre/track’s Bus Select, post-IFX Combination and Sequencer modes Chain to and Chain parameters (P8 - Insert FX page of each mode) to create a variety of routings. Use Bus Select (P8: “Routing” 1 and 2 page in each mode) for timbres (Combination) and tracks (Sequencer) to select an Insert Effect to apply to the corresponding timbres and tracks.
Page 896 Effect Guide The following diagram (Fig. 2–2a) shows an example of Select setting. Other timbres are sent to L/R. The output Combination mode. The Timbre 1 output is sent to IFX1 and signal passes through the TFX1 and 2, then goes to AUDIO the Timbre 2 output is sent to IFX2 according to the Bus OUTPUT (MAIN) L/MONO and R.
Page 897 Insert Effects (IFX1…IFX12) Routing IFX5, IFX6 IFX6, IFX7 IFX7, IFX8 IFX8, Drum Programs in Combination and IFX9 IFX9, IFX10 IFX10, IFX11 IFX11, and Sequencer modes IFX12 IFX12. You can also revert to the original settings by pressing the RESET button. If a drum program (Oscillator Mode = Drums) is selected In diagram (Fig.
Page 898 Effect Guide Fig. 2–2e...
Page 899 Insert Effects (IFX1…IFX12) Routing In the example shown in the diagram (Fig. 2–3a), the signal Sampling mode from AUDIO INPUT 1 and 2 is being sent to IFX1. Use the P8: Insert Effect page to select an insert effect, and edit its The analog, S/P DIF, and USB audio inputs can be processed parameters.
Page 900 Effect Guide Set Bus Select to specify the bus to which the external audio Analog, USB, and S/P DIF inputs input will be sent. You can select L/R, IFX1–12, 1–4, 1/2– 3/4, or Off. If you want to apply an insert effect, select In Program, Combination, Sequencer, and Disk modes, IFX1–12.
Page 901 Insert Effects (IFX1…IFX12) Routing The Send1 (to MFX1) and Send2 (to MFX2) settings Audio CD which specify the send levels to the master effects are valid if Bus Select is set to L/R or Off. If Bus Select is set to In Sampling mode, the sound from an audio CD in a USB IFX1–12, use the post-IFX Send1 and Send2 settings to external CD drive can be processed by the insert effects,...
Page 902: Mixer
Effect Guide Mixer In Program, Combination, and Sequencer modes, the P8 - Center. Use the “Pan (CC#8)” parameter (P8: “Insert FX” Insert FX page lets you set “Pan (CC#8)” (post-IFX page) to set the pan. “L000” is hard left, and “R127” is hard panning), “Bus Sel.
Page 903 Insert Effects (IFX1…IFX12) Mixer setting if you want to use the Send1 or Send2 levels to route REC Bus the signal through a master effect in series (i.e., not as a send effect). KRONOS provides two stereo recording (REC) buses: REC 1/2 and REC 3/4.
Page 904: Controlling The Insert Effects Via Midi
Effect Guide Controlling the Insert Effects via MIDI Using the Dynamic Modulation (Dmod) function enables Note: Since Sequencer mode lets you record and play you to control all effect parameters in real-time during exclusive messages and edit tracks that include System performance from the controllers of the KRONOS or a Exclusive events, you can use them to switch effects or connected MIDI sequencer.
Page 905: Master Effects (Mfx1, 2)
Master Effects (MFX1, 2) In/Out Master Effects (MFX1, 2) In/Out Mono–Mono Parallel The I/Os of Master Effects MFX1 and MFX2 are stereo- in/stereo-out. Send1 and Send2 determine the send level to 141: P4EQ//P4EQ-185: Mt.BPM Dly//Mt.BPM Dly the Master Effects. (For Send1 and 2, see “Routing” and “Mixer.”) Master effects will not output the Dry (unprocessed) signal Mono In / O ut Effect...
Page 906: Routing
Effect Guide Routing Master effects MFX1 and MFX2 can both be used in any In this case the Send 1 and Send 2 settings are ignored, and mode. If you are not using any Insert Effects in any mode, the Master Effects will not be applied (see “Individual the Master Effects send levels are determined by the Send1 Outputs”...
Page 907 Master Effects (MFX1, 2) Routing Fig. 2–1b Fig. 2–1c Send level If IFX1–12 is selected for Bus Select, use the Send1 and Send2 parameters for the post-IFX signals. If 1–4 or 1/2–3/4 For example if you set the program’s OSC1 Send1 (to is selected instead, these Send1 and 2 settings are ignored MFX1) to 127, Send2 (to MFX2) to 064, OSC2 Send1 (to and the Master Effect is not applied.
Page 908 Effect Guide An example for Combination mode is given below. In the Fig. 2–2b upper figure (Fig. 2–2a), Bus Select is set so that Timbre 1 is routed to IFX1, Timbre 2 to IFX2, Timbre 3 to IFX3, Timbre 4 to IFX4, Timbres 5 and 6 to IFX5, and Timbres 7 and 16 to L/R.
Page 909: Mixer
Master Effects (MFX1, 2) Mixer In Disk mode, effects will use the settings of the mode in MFX1) and Send2 (to MFX2). If Bus Select is set to IFX1– which you previously were. 12, adjust the post-IFX Send1 and Send2. If Bus Select is set to 1–4 or 1/2–3/4, the CD audio will not be sent to the Note: You can use the control surface to control Send 1 and master effect.
Page 910: Controlling The Master Effects Via Midi
Effect Guide Chain Direction Chain Level If you have checked the Chain box, you can set the direction This parameter determines the level of signals routed from of the connection here. You can also visually confirm the one MFX to the other MFX in a chain connection. direction on the LCD.
Page 911: Total Effects (Tfx1, 2)
Total Effects (TFX1, 2) In/Out Total Effects (TFX1, 2) In/Out The total effects TFX1 and TFX2 are stereo-in and stereo- If you select 000:No Effect, the stereo input will be passed to out. The Dry (unprocessed) side of the Wet/Dry parameter the stereo output without any processing.
Page 912: Mixer
Effect Guide Mixer Note: You can use the control surface to control the master Master Volume volume. Master volume can also be controlled from the P0– Control Surface page. This sets the level of the final output after passing through the total effects.
Page 913: Outputs
Outputs Main Outputs Outputs Main Outputs The main L/MONO and R outputs of the KRONOS are output from the AUDIO OUTPUT (MAIN) L/MONO and R jacks, the S/P DIF OUT (MAIN) jack, and the headphone jack. Individual Outputs The KRONOS is equipped with four individual audio outputs, which can be used as individual mono outputs, stereo pairs, or any combination of the two.
Page 914: Effect/Mixer Block Diagrams
Effect Guide Effect/Mixer Block Diagrams Program mode...
Page 915 Effect/Mixer Block Diagrams Individual Outputs Combination mode, Sequencer mode...
Page 916 Effect Guide Sampling mode...
Page 917: Dynamics
Dynamics 000: No Effect Dynamics 000: No Effect Choose this option when you are not using the selected • Insert Effects and Total Effects pass through the dry, effects slot. This frees up processing resources for other unprocessed signal effects and/or synth voices. •...
Page 918: 002: Stereo Compressor
Effect Guide Output Level [0…100] Dyna Compressor - Sensitivity Level Sets the output level of the compressor. Sensitivity=100 Source [Off…Tempo] Sensitivity=40 Selects the modulation source for the Output Level. Amount [+/–100] Time Sets the modulation amount for the Output Level. Attack [1…100] OUTPUT...
Page 919 Dynamics 002: Stereo Compressor To hear the output of the limiter, set this to Off. ENVELOPE SIDE CHAIN EQ Source [Input, FX Control 1, FX Control 2] The action of the compressor is controlled by the level of the This multimode filter applies only to the control signal, and selected Source.
Page 920 Effect Guide Soft Knee Width [dB] [0…30] Increasing this value will produce a more gentle volume change around the Threshold level. Soft Knee Width Soft Knee Width = 0 dB Soft Knee Width = 30 dB Threshold Soft Knee Width Input Level Attack [msec] [0.45…500.0]...
Page 921: 003: Stereo Expander
Dynamics 003: Stereo Expander 003: Stereo Expander On-screen graphic, 003 Stereo Expander The yellow line shows the output level, relative to the input level. This will change according to the Ratio, Threshold, and Soft Knee Width. The expander lowers the level when the input signal is below the Threshold, to the left of the gray area.
Page 922: 004: St.multiband Compressor
Effect Guide OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 904. 004: St.Multiband Compressor On-screen graphic, 004 St. Multiband Compressor crossover Crossover between bands 3 and 4 Crossover between bands 2 and 3 Crossover between bands 1 and 2 This shows an approximation of each...
Page 923 Dynamics 004: St.Multiband Compressor Threshold [dB] [–80.0…0.0] The compression/expansion functions only in a range around the Threshold level. Signals outside of this range are not affected. For more information, see “Range [dB],” below. Range [dB] [–24.0…+18.0] The combination of Threshold and Range controls the band’s basic functionality (traditional compressor, low-level expander, etc.), and the combination of Range and Knee creates the band’s compression/expansion.
Page 924: 005: Stereo Limiter
Effect Guide 005: Stereo Limiter On-screen graphic, 005 Stereo Limiter The yellow line shows the output level, relative to the input level. This will change according to the Ratio and Threshold settings. Input above the Threshold will be compressed. In the example shown here, a –10 dB input will result in –20 dB output.
Page 925: 006: Multiband Limiter
Dynamics 006: Multiband Limiter Fc [Hz] [20…12.00k] Release [1…100] Sets the EQ center frequency for the control signal. Sets the release time. For more information, see “Release [msec]” on page 906. [0.5…10.0] Gain Adjust [dB] [–Inf, –38…+24] Sets the EQ bandwidth for the control signal. Sets the output gain.
Page 926: 007: Stereo Multiband Limiter
Effect Guide Threshold [dB] [–40…0] Sets the overall level above which the limiter is applied. Offset [dB] [–40…0] Each band’s Offset parameter then works as an offset for this parameter. This adjusts the Threshold level for the low range. For more information, see “Threshold [dB]” on page 905. Attack [1…100] Sets the attack time.
Page 927: 008: Stereo Mastering Limiter
Dynamics 008: Stereo Mastering Limiter 008: Stereo Mastering Limiter This stereo limiter is optimized for mastering full mixes. It OUTPUT uses a short look-ahead delay (1.3 ms) for zero-overshoot performance, and automatically optimizes the output level to Wet/Dry [Dry, 1:99…99:1, Wet] a specified maximum.
Page 928: 009: Stereo Gate
Effect Guide 009: Stereo Gate On-screen graphic, 009 Stereo Gate The red mark shows the Threshold setting. These lights show the relation of the control input to the Threshold, in real-time. Under (green) means the input is below the Threshold, and Over (red) means that it is above the Threshold.
Page 929: 010: Stereo Noise Reduction
Dynamics 010: Stereo Noise Reduction Polarity [+, –] With –, the direction in which the modulation source opens or closes the gate is reversed as well. This controls the way that the gate opens and closes in response to the input signal. OUTPUT +: This is the default setting, for normal gate behavior.
Page 930: Eq And Filters
Effect Guide EQ and Filters 011: Stereo Parametric 4EQ On-screen graphic, 011 Stereo Parametric 4EQ Purple area: • Shows the combined frequency response of all 4 bands. • The effect of Trim is not shown. The currently selected band is shown by a thick red line. Vertical axis: Gain (dB) Horizontal axis: Cutoff frequency (Hz) Red lines show the frequencies of bands 1, 2, 3, and 4.
Page 931: 012: Stereo Graphic 7Eq
EQ and Filters 012: Stereo Graphic 7EQ Band2 Source [Off…Tempo] GAIN MOD Selects the modulation source for the Band 2 gain. Parametric 4EQ - Band2 Gain Mod Amount [dB] [–18.0…+18.0] -mod +15dB Sets the modulation amount for the Band 2 gain. Band2 Cutoff +6dB +6dB...
Page 932: 013: Stereo Master 3Eq
Effect Guide 013: Stereo Master 3EQ This is a stereo three-band equalizer, with sweepable low OUTPUT and high shelving and a fully parametric mid-band. The low and high gains can be controlled in real-time. You can use This is the standard effects output section, with modulatable this as a TFX to make final adjustments to the sound.
Page 933: 014: Stereo Exciter/Enhncr
EQ and Filters 014: Stereo Exciter/Enhncr 014: Stereo Exciter/Enhncr This effect is a combination of the Exciter, which adds a ENHANCER punch to the sound and the Enhancer, which adds spread and presence. L Delay Time [msec] [0.0…50.0] The L and R Delay Time parameters set the delay times for Stereo In - Stereo Out the Enhancer’s left and right channels.
Page 934: 015: Stereo Isolator
Effect Guide 015: Stereo Isolator This is a stereo effect that separates the input signal into low, ISOLATOR mid, and high-frequency bands, and controls the volume of each band independently. For example you can separately Low Gain [dB] [–Inf, –59…+12] boost or cut the kick, snare, and hi-hat sounds from a drum Sets the low-frequency gain.
Page 935 EQ and Filters 016: Stereo Wah/Auto Wah Envelope Shape Level Frequency Bottom [0…100] Envelope This sets the wah frequency when the modulation signal (selected by Sweep Mode) is at its minimum level. value = 0...+100 value = 0...—100 To reverse the sweep direction, you can set this to be higher Time than the Frequency Top, below.
Page 936: 017: St. Vintage/Custom Wah
Effect Guide 017: St. Vintage/Custom Wah Common LFO Phase Offset [degrees] [+/–180] This effect models the tonal character of a vintage wah pedal. You can customize the tone and range settings. When Type is set to Common FX LFO 1 or 2, this lets you offset the phase from the master LFO.
Page 937: 018: Stereo Random Filter
EQ and Filters 018: Stereo Random Filter 018: Stereo Random Filter Phase [degrees] [–18…+18] This stereo band pass filter is modulated by an LFO, using either a step-shape waveform and or a sample-and-hold This sets the LFO phase difference between the left and shape.
Page 938: 019: Multi Mode Filter
Effect Guide Step LFO type OUTPUT Type (Step) [Individual, Common1, Common2] Wet/Dry [–Wet, –99:1…–1:99, This controls the LFO source for the steps. It does not affect Dry, 1:99…99:1, Wet] the triangle LFO. This sets the balance between the effect and the dry input. Individual: the steps use the Frequency and MIDI/Tempo From –Wet to –1:99, the effect sound’s phase will be Sync parameters, above.
Page 939: 020: Stereo Sub Oscillator
EQ and Filters 020: Stereo Sub Oscillator Amount [–20.00…+20.00] Type [Individual, Common1, Common2] This sets the Frequency modulation amount, in Hz. This controls whether the effect uses its individual LFO, or one of the Common FX LFOs. For more information, see MIDI/Tempo Sync [Check-box] “LFO Type”...
Page 940: 021: Talking Modulator
Effect Guide 021: Talking Modulator Voice Bottom [A, I, U, E, O] This effect adds an unusual character, like a human voice, to the input signal. Modulating the tone via dynamic Selects a vowel sound at the minimum modulation value. modulation, you can create an interesting effect that sounds Formant Shift [+/–100]...
Page 941: 022: Stereo Decimator
EQ and Filters 022: Stereo Decimator 022: Stereo Decimator Amount [+/–100] This effect creates a rough sound like a cheap sampler by lowering the sampling frequency, reducing the bit depth, and Sets the modulation amount of the output level. creating aliasing. Stereo In - Stereo Out Left Wet / Dry...
Page 942: 023: Stereo Analog Record
Effect Guide 023: Stereo Analog Record This effect simulates the noise caused by scratches and dust NOISE on analog records. It also reproduces some of the modulation caused by a warped turntable. Density [0…100] Sets the noise density. Stereo In - Stereo Out Left Tone [0…100]...
Page 943 EQ and Filters 024: Stereo Wave Shaper Resonant1 Resonant2 Zinger GeoGraphic Take6 Exciter Booster Claver Reptile SyncSter Profile Star Soft Road Rubber Parabola Wurly Take1 Vital Signs Forest Zigzag Pre LPF [0…100] Sets the damping amount in the high range. Source [Off…Tempo] Selects the source that will modulate the amount of high...
Page 944: 025: Piano Body/Damper
Effect Guide Source [Off…Tempo] OUTPUT Selects the modulation source for the Output Level. This is the standard effects output section, with modulatable Amount [+/–100] control over wet/dry balance. For more information, see “OUTPUT” on page 904. Sets the modulation amount for the Output Level. 025: Piano Body/Damper Source [Off…Tempo]...
Page 945 EQ and Filters 026: Vocoder Source [Input, FX Control 1, FX Control 2] For instance, bright synthesizer sounds, distorted guitars, noise, or strings all make good carrier signals. Selects the signal to use as the Modulator input. For more information on using vocoders, see “Vocoder Input uses the input to the Vocoder effect.
Page 946: Overdrive, Amp Models, And Mic Models
Effect Guide Overdrive, Amp models, and Mic models 027: OD/Hi-Gain Wah Drive Mode [Overdrive, Hi-Gain] This versatile effect offers two different-sounding distortion modes (Overdrive and Hi-Gain), a modulatable wah-wah This switches between two different distortion timbres: filter, a speaker simulation, and 3-band EQ. It’s suitable for overdrive and hi-gain distortion.
Page 947: 028: Od/Hypergain Wah
Overdrive, Amp models, and Mic models 028: OD/HyperGain Wah OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 904. 028: OD/HyperGain Wah Source [Off…Tempo] This distortion effect has two modes: overdrive and hyper- gain that produces a strong distortion.
Page 948: 029: Stereo Guitar Cabinet
Effect Guide 029: Stereo Guitar Cabinet Type [TWEED 1x12, TWEED 4x10, BLACK 2x10, This simulates the acoustical character of a guitar amp’s speaker cabinet. BLACK 2x12, AC15, AC30, AD412, UK H30, UK T75, US V30] Stereo In - Stereo Out Selects the type of the cabinet.
Page 949: 031: Guitar Amp Model +Cabinet
Overdrive, Amp models, and Mic models 031: Guitar Amp Model +Cabinet Band4 Fc [Hz] [500…20.00k] OUTPUT Sets the center frequency of Band 4. This is the standard effects output section, with modulatable [0.5…10.0] control over wet/dry balance. For more information, see “OUTPUT”...
Page 950: 032: Stereo Bass Cabinet
Effect Guide OUTPUT AMP MODEL CABINET UK 90'S UK T75 This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see UK MODERN UK T75, US V30 “OUTPUT” on page 904. US MODERN US V30 US HIGAIN US V30, UK T75 Recommended Combinations of Guitar...
Page 951: 034: Bass Amp Model +Cabinet
Overdrive, Amp models, and Mic models 034: Bass Amp Model +Cabinet Middle [0…100] Presence [0…100] Sets the middle (mid range) level. Sets the presence (high-frequency tone). Mid Range [0…4] OUTPUT Sets the mid-frequency range. This is the standard effects output section, with modulatable Treble [0…100] control over wet/dry balance.
Page 952: 035: Bass Amp Tubedrive +Cab
Effect Guide Recommended Combinations of Bass Amp Models and Cabinets AMP MODEL CABINET LA STUDIO LA 4X10 or LA 1X18 JAZZ JAZ 1X15 GOLD PANEL MDN 4X10 SCOOPED MTL 4X10 VALVE2 CLS 8X10 VALVE CLS 8X10 CLASSIC COMBI 035: Bass Amp TubeDrive +Cab This simulates a bass amp (with gain and drive) and speaker CABINET SIMULATOR cabinet.
Page 953: 036: Tube Preamp Modeling
Overdrive, Amp models, and Mic models 036: Tube PreAmp Modeling 036: Tube PreAmp Modeling This effect simulates a two-stage vacuum tube preamp. You With the Wet Invert setting, the phase of the signal will be can make individual settings for two vacuum tubes inverted between stage 1 and stage 2.
Page 954: 038: Mic Modeling +Preamp
Effect Guide 038: Mic Modeling +PreAmp This effect simulates a mic and vacuum tube preamp. You At higher settings, the waveform will change at high gain can choose from various types of mic and positions to create levels, tending to cause distortion. Lower settings will differing sonic characters.
Page 955: Chorus, Flanger, And Phaser
Chorus, Flanger, and Phaser 040: Stereo Chorus Chorus, Flanger, and Phaser 040: Stereo Chorus MIDI/Tempo Sync [Check-box] This effect adds thickness and warmth to the sound by modulating the delay time of the input signal. You can add [MIDI, 40.00…300.00] spread to the sound by offsetting the phase of the left and [r …...
Page 956: 041: Stereo Harmonic Chorus
Effect Guide 041: Stereo Harmonic Chorus Source [Off…Tempo] This effect applies chorus only to higher frequencies. This can be used to apply a chorus effect to a bass sound without This selects a modulation source for the Frequency. making the sound thinner. You can also use feedback to turn Amount [–20.00…+20.00] the chorus into a flanger.
Page 957: 042: St. Bi-Phase Modulation
Chorus, Flanger, and Phaser 042: St. Bi-phase Modulation 042: St. Bi-phase Modulation This stereo chorus effect adds two different LFOs together. LFO1/2 You can set the Frequency and Depth parameters for each LFO individually. Depending on the setting of these LFOs, Bi-Phase Modulation LFO very complex waveforms will create an analog-type, unstable modulated sound.
Page 958: 043: Multitap Cho/Delay 4Taps
Effect Guide 043: Multitap Cho/Delay 4Taps Pan 1…4 [L6…L1, C, R1…R6] This effect has four chorus blocks, each with a different LFO phase. You can create a complex stereo image by setting This sets the tap’s stereo position. each block’s delay time, depth, output level, and pan Tap 1 Feedback individually.
Page 959: 045: Bi Chorus
Chorus, Flanger, and Phaser 045: Bi Chorus Status 1…6 [Always On, Always Off, Source [Off…Tempo] On Off (Dmod), Off On (Dmod)] This selects a modulation source to modulate the tap output levels (as set by Status, above) and the Tap 1 Feedback This turns the tap on or off, or allows its output level to be amount.
Page 960 Effect Guide Stereo: Chorus 1 goes to the left output, and chorus 2 goes to LFO 1/2 Lock / LFO2 Phase the right output. LFO 1/2 Lock: Unlock LFO 1/2 Lock: Lock - LFO1 Chorus1 Output Level [0…100] LFO1 Chorus1 LFO1 Chorus1 Sets the output level for chorus 1.
Page 961: 046: Ensemble
This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 904. 047: Polysix Ensemble This models the ensemble effect built into the classic Korg OUTPUT PolySix programmable polyphonic synthesizer. This is the standard effects output section, with modulatable control over wet/dry balance.
Page 962: 048: Stereo Flanger
Effect Guide 048: Stereo Flanger MIDI/Tempo Sync [Check-box] This effect gives a significant swell and movement of pitch to the sound. It is more effective when applied to a sound [MIDI, 40.00…300.00] with a lot of harmonics. This is a stereo flanger. You can add spread to the sound by offsetting the phase of the left and [r …...
Page 963: 049: Stereo Random Flanger
Chorus, Flanger, and Phaser 049: Stereo Random Flanger 049: Stereo Random Flanger High Damp [%] [0…100] The stereo effect uses a step-shape waveform and random LFO for modulation, creating a unique flanging effect. This sets the amount of high-frequency attenuation in the flanger’s feedback loop.
Page 964: 051: Stereo Phaser
Effect Guide Feedback [+/–100] OUTPUT This controls the intensity of the flanger. For more Wet/Dry [–Wet…–1:99, Dry, 1: 99…Wet] information, see “Feedback” on page 948. Sets the balance between the “wet” processed sound and the High Damp [%] [0…100] dry input. Negative values invert the phase of the wet signal. This sets the amount of high-frequency attenuation in the This interacts with Feedback;...
Page 965: 052: Stereo Random Phaser
Chorus, Flanger, and Phaser 052: Stereo Random Phaser Source [Off…Tempo] OUTPUT Selects a modulation source for Wet/Dry. Wet/Dry [–Wet…–1:99, Dry, 1: 99…Wet] Amount [+/–100] Sets the balance between the “wet” processed sound and the Sets the modulation amount for Wet/Dry. dry input.
Page 966: 053: Stereo Envelope Phaser
Effect Guide 053: Stereo Envelope Phaser High Damp [%] [0…100] Stereo In - Stereo Out This sets the amount of high-frequency attenuation in the Left Wet / Dry phaser’s feedback loop. Increasing the value will cut high- Phaser range harmonics. Resonance High Damp OUTPUT...
Page 967: 054: Bi Phaser
Chorus, Flanger, and Phaser 054: Bi Phaser 054: Bi Phaser This effect provides two independent phasers that can be MODE connected in series or in parallel. Routing [Dual, Serial] Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out Selects whether the phasers are connected in parallel or in Left Wet / Dry...
Page 968: Modulation And Pitch Shift
Effect Guide Modulation and Pitch Shift 055: Stereo Vibrato This effect modulates the pitch of the input signal to create a VIBRATO shimmering timbre. AutoFade allows you to increase or decrease the vibrato speed. Depth [0…100] Sets the depth of LFO modulation Stereo In - Stereo Out Left Source...
Page 969: 056: Stereo Auto Fade Mod
Modulation and Pitch Shift 056: Stereo Auto Fade Mod. 056: Stereo Auto Fade Mod. Shape [+/–100] This stereo chorus/flanger effect enables you to control the LFO speed and effect balance using auto fade, and you can Changes the curvature of the LFO Waveform. For more spread the sound by offsetting the phase of the left and right information, see “Shape”...
Page 970: 057: 2-Voice Resonator
Effect Guide 057: 2-Voice Resonator MIDI/Tempo Sync [Check-box] This effect includes two independent resonators, which each resonate at a specified pitch in response to the input signal. [MIDI, 40.00…300.00] You can use this to add a unique character to a string sound by emphasizing certain harmonics, for instance, or to [r …...
Page 971: 058: Doppler
Modulation and Pitch Shift 058: Doppler 058: Doppler This effect simulates the “Doppler effect” of a moving sound When Mode is set to 1-Shot, the Doppler effect happens with a changing pitch, like the siren of a passing ambulance. only once when triggered, and then stops until it is triggered Mixing the effect sound with the dry sound will create a again.
Page 972: 059: Scratch
Effect Guide 059: Scratch This effect simulates the sound of scratching on a turntable, PLAYBACK by recording the input and then modulating the playback. Scratch Source [Off…Tempo] Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out This selects the modulation source for the “scratch.”...
Page 973: 061: Stereo Tremolo
Modulation and Pitch Shift 061: Stereo Tremolo Source [Off…Tempo] Sample Cycle / Duration Selects a modulation source for LFO speed. Sample Cycle Duration Amount [–20.00…+20.00] Sets the modulation amount of LFO speed. MIDI/Tempo Sync [Check-box] [MIDI, 40.00…300.00] [r … w ] Base Note Times [x1…x32]...
Page 974: 062: Stereo Envelope Tremolo
Effect Guide MIDI/Tempo Sync [Check-box] Common LFO Phase Offset [degrees] [+/–180] When Type is set to Common FX LFO 1 or 2, this lets you [MIDI, 40.00…300.00] offset the phase from the master LFO. [r … w ] Base Note OUTPUT Times [x1…x32]...
Page 975: 063: Stereo Auto Pan
Modulation and Pitch Shift 063: Stereo Auto Pan 063: Stereo Auto Pan Frequency [Hz] [0.02…20.00] Stereo In - Stereo Out This sets the LFO speed, in Hz. It applies only when Left Wet / Dry MIDI/Tempo Sync, below, is Off. Source [Off…Tempo] Depth...
Page 976: 064: Stereo Phaser+Tremolo
Effect Guide 064: Stereo Phaser+Tremolo This effect combines a stereo phaser and tremolo, with linked LFOs. Swelling phaser modulation and tremolo effects synchronize with each other, creating a soothing L/R Phase Type [Phaser - Tremolo, modulation effect particularly suitable for electric piano. Phaser - Tremolo Spin, Phaser - Tremolo LR, Stereo In - Stereo Out...
Page 977: 065: Stereo Ring Modulator
Modulation and Pitch Shift 065: Stereo Ring Modulator Common LFO Phase Offset [degrees] [+/–180] OUTPUT When Type is set to Common FX LFO 1 or 2, this lets you This is the standard effects output section, with modulatable offset the phase from the master LFO. control over wet/dry balance.
Page 978: 066: Stereo Frequency Shifter
Effect Guide OUTPUT This is the standard effects output section, with modulatable control over wet/dry balance. For more information, see “OUTPUT” on page 904. 066: Stereo Frequency Shifter MIDI/Tempo Sync [Check-box] This is a stereo effect that shifts the frequency of the input signal.
Page 979: 067: Detune
Modulation and Pitch Shift 067: Detune 067: Detune This effect offsets the pitch slightly from the input signal. PITCH SHIFTER Compared to a chorus, this can be used to create a more subtle thickening effect, Pitch Shift [cents] [+/–100] Sets the pitch difference from the input signal. Wet: Mono In - Mono Out / Dry: Stereo In - Stereo Out Left Source...
Page 980: 069: Stereo Pitch Shifter
Effect Guide Feedback [+/–100] DELAY Sets the feedback amount. Delay Time [msec] [0…2000] High Damp [%] [0…100] Sets the delay time. Sets the amount of high-frequency attenuation for the Feedback Position [Pre, Post] feedback path. Pre feeds the delay back through the pitch shifter. Each time OUTPUT the feedback repeats, the pitch will get increasingly lower or higher.
Page 981: 070: Pitch Shifter Bpm
Modulation and Pitch Shift 070: Pitch Shifter BPM 070: Pitch Shifter BPM [r … w ] Base Note This pitch shifter enables you to set the delay time to match the song tempo. This sets the basic delay length, relative to the BPM setting. The values range from a 32nd note to a whole note, including triplets.
Page 982: 071: Stereo Pitch Shifter Bpm
Effect Guide 071: Stereo Pitch Shifter BPM Time Over? R > [---, OVER!] This stereo pitch shifter enables you to set the delay time to match the song tempo. Display the error message if the right channel delay time exceeds the upper limit. p.967. Stereo In - Stereo Out [r …...
Page 983: 072: Pitch Shift Mod
Modulation and Pitch Shift 072: Pitch Shift Mod. 072: Pitch Shift Mod. Amount [–20.00…+20.00] This effect uses an LFO to modulate the pitch shift amount, and lets you adjust the panning and stereo width between the Sets the modulation amount of LFO speed. effected and dry sounds.
Page 984: 073: Organ Vibrato/Chorus
Effect Guide 073: Organ Vibrato/Chorus This effect simulates the chorus and vibrato circuitry of a CUSTOM vintage organ. The modulation speed and depth can be customized. [0…100] This effect works the same as the Chorus/Vibrato included in Sets the mix level of the direct sound when Mode=Preset. the CX-3.
Page 985 Modulation and Pitch Shift 074: Rotary Speaker Mode [Toggle, Moment] This parameter controls how the modulation source switches These settings model a pair of stereo microphones, recording between rotation and stop. the rotary speaker. When Mode = Toggle, the speaker rotates or stops alternately each time you press the pedal or move the Rotary Speaker - Mic Placement joystick.
Page 986: 075: Rotary Speaker Pro Od
Effect Guide 075: Rotary Speaker Pro OD This is a stereo rotary speaker model, including amp HORN overdrive and speaker simulation. These parameters control the speed and acceleration of the Rotary Speaker speed indicator horn. They are identical to those of the Rotary Speaker In Program, Combination, Sequencer, and Set List modes, if effect;...
Page 987: 076: Rotary Speaker Pro Cx
Modulation and Pitch Shift 076: Rotary Speaker Pro CX 076: Rotary Speaker Pro CX This effect models a vintage rotary speaker, with detailed Fast Override Stop control over both timbre and behavior. It provides the same Fast Override Stop: Off Fast Override Stop: On performance as the CX-3’s “Classic CX-3”...
Page 988 Effect Guide ROTOR The rotor carries the low frequencies of the Rotary Speaker. Its parameters are identical to those of the Horn, above. Fast Speed [0…100] Slow Speed [0…100] Acceleration [0…100] Deceleration [0…100] Start Acceleration [0…100] Stop Deceleration [0…100] Balance and Tone Horn/Rotor Balance [Rotor, 1…99, Horn] Sets the volume balance between the high-frequency horn...
Page 989: Delay
Delay 077: L/C/R Delay Delay 077: L/C/R Delay Level [0…50] This multitap delay outputs three Tap signals to the left, right, and center respectively. You can also adjust the stereo Sets the output level of the Right Delay. width of the delays. Feedback (C Delay) [+/–100] Sets the feedback amount of the Center Delay...
Page 990: 079: Stereo/Cross Delay
Effect Guide R Delay Time [msec] [0…5460] High Damp [%] [0…100] Sets the delay time of the Right Delay. Sets the amount of high-frequency attenuation for the feedback path. Level [0…50] Low Damp [%] [0…100] Sets the output level of the Right Delay. This controls the low-frequency damping in the feedback Feedback (C Delay) [+/–100]...
Page 991: 080: Stereo/Cross Long Delay
Delay 080: Stereo/Cross Long Delay 080: Stereo/Cross Long Delay R Delay Time [msec] [0.0…] 2730.0 This is a stereo delay with adjustable feedback routing, high and low damping, modulatable feedback and input level, and Sets the delay time for the right channel. up to 2,730msec of delay time.
Page 992: 082: Stereo Modulation Delay
Effect Guide Tap2 Time [msec] [0.0…1360.0] Low Damp [%] [0…100] Sets the Tap2 delay time. This controls the low-frequency damping in the feedback loop. See “Low Damp [%]” on page 975. Feedback (Tap2) [+/–100] Spread [+/–100] Sets the Tap2 feedback amount. This controls the stereo width of the effect.
Page 993: 083: Stereo Dynamic Delay
Delay 083: Stereo Dynamic Delay MIDI/Tempo Sync [Check-box] R Delay Time [msec] [0.0…1000.0] Sets the delay time for the right channel. [MIDI, 40.00…300.00] L Depth [0…200] [r … w ] Base Note Sets the amount of pitch modulation for the left channel. Times [x1…x32] 0…100 produce chorus-like effects;...
Page 994: 084: Stereo Auto Panning Delay
Effect Guide Low Damp [%] [0…100] DELAY This controls the low-frequency damping in the feedback L Delay Time [msec] [0.0…1360.0] loop. See “Low Damp [%]” on page 975. Sets the delay time for the left channel. Spread [+/–100] R Delay Time [msec] [0.0…1360.0] Sets the width of the stereo image of the effect sound.
Page 995: 085: Tape Echo
Delay 085: Tape Echo 085: Tape Echo Level and Pan 1…3 This effect models a tape echo unit with three playback heads, including the distortion and tonal changes typical of Each tap has its own controls for level and pan. magnetic tape.
Page 996: 086: Multiband Mod. Delay
Effect Guide 086: Multiband Mod. Delay Feedback [+/–100] This effect divides the input signal into low, mid, and high- frequency bands, and applies a modulation delay to each Sets the feedback amount for band 1. band. Amt (Feedback Amount) [+/–100] Sets the amount of modulation for the band 1 feedback.
Page 997: 087: Reverse Delay
Delay 087: Reverse Delay BAND4 LFO OUTPUT Band 4’s LFO has the same parameters as the “BAND1 This is the standard effects output section, with modulatable LFO,” above. control over wet/dry balance. For more information, see “OUTPUT” on page 904. 087: Reverse Delay This is a delay that plays back the input signal in reverse.
Page 998: 088: Hold Delay
Effect Guide Note: resetting the delay (using Sync Source) while reverse OUTPUT playback is still being heard may cause noise artifacts. This is the standard effects output section, with modulatable For drums or short phrases, you’ll need to adjust Reverse control over wet/dry balance.
Page 999: 089: Auto Reverse
Delay 089: Auto Reverse This is an easy way to get to the default effects settings, This stops the recording. The phrase will now start to loop. which we’ll be using: Since Loop Time is set to Auto, the loop’s duration will match that of the recording.
Page 1000: 090: Sequence Bpm Delay
Effect Guide 090: Sequence BPM Delay High Damp [%] [0…100] This four-tap tempo delay includes a selection of patterns in 16th notes and dotted 8th notes. Sets the amount of high-frequency attenuation for the feedback path. Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out Low Damp [%] [0…100] Left...
Page 1001: 091: L/C/R Bpm Delay
Delay 091: L/C/R BPM Delay 091: L/C/R BPM Delay [r … w ] R Delay Base Note The L/C/R delay enables you to match the delay time with the song tempo. You can also synchronize the delay time This sets the basic length of the Right Delay, relative to the with the arpeggiator or sequencer.
Page 1002: 092: L/C/R Bpm Long Delay
Effect Guide 092: L/C/R BPM Long Delay Times [x1…x32] The L/C/R delay enables you to match the delay time with the song tempo. You can set the delay time up to 5,460msec This multiplies the length of the Right Delay’s Base Note. Level [0…50] Wet: Mono In - Stereo Out / Dry: Stereo In -Stereo Out...

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Korg KRONOS SGX-2 Parameter Manual

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