Korg_Electronic_Keyboard_2E

To ensure long, trouble-free operation, please read this manual carefully.

Precautions

Location

Using the unit in the following locations can result in a malfunction.

???In direct sunlight

???Locations of extreme temperature or humidity

???Excessively dusty or dirty locations

???Locations of excessive vibration

Power supply

Please connect the designated AC/AC power sup- ply to an AC outlet of the correct voltage. Do not connect it to an AC outlet of voltage other than that for which your unit is intended.

Interference with other electrical devices

This product contains a microcomputer. Radios and televisions placed nearby may experience reception interference. Operate this unit at a suitable distance from radios and televisions.

Handling

To avoid breakage, do not apply excessive force to the switches or controls.

Care

If the exterior becomes dirty, wipe it with a clean, dry cloth. Do not use liquid cleaners such as ben- zene or thinner, or cleaning compounds or ???amma- ble polishes.

Keep this manual

After reading this manual, please keep it for later reference.

Keeping foreign matter out of your equipment

???Never set any container with liquid in it near this equipment. If liquid gets into the equipment, it could cause a breakdown, fire, or electrical shock.

???Be careful not to let metal objects get into the equipment. If something does slip into the equipment, unplug the AC/AC power supply from the wall outlet. Then contact your nearest Korg dealer or the store where the equipment was purchased.

THE FCC REGULATION WARNING (for U.S.A.)

This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protec- tion against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communi- cations. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:

???Reorient or relocate the receiving antenna.

???Increase the separation between the equipment and receiver.

???Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.

???Consult the dealer or an experienced radio/TV technician for help.

Unauthorized changes or modi???cation to this system can void the user???s authority to operate this equipment.

CE mark for European Harmonized Standards

CE mark which is attached to our company???s products of AC mains operated apparatus until December 31, 1996 means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC). And, CE mark which is attached after January 1, 1997 means it conforms to EMC Directive (89/336/EEC), CE mark Directive (93/68/EEC) and Low Voltage Directive (73/23/ EEC).

Also, CE mark which is attached to our company???s products of Battery operated apparatus means it conforms to EMC Directive (89/336/EEC) and CE mark Directive (93/68/EEC).

Data handling

Malfunctions due to incorrect operation may cause the contents of memory to be lost, so we recommend that you save important data on the external media (SD card etc.). Please be aware that Korg will accept no responsibility for any damages which may result from loss of data.

About copyright

This device is intended for use with material of which you yourself are the copyright owner or for which you have received permission from the copyright owner to duplicate. If you are not the copyright owner or have not received permission from the copyright owner to duplicate the mate- rial, you are in violation of copyright law, and may be liable for damages and penalties. If you are unsure of your rights to the material, please con- sult a legal specialist.

*Company names, product names, and names of formats etc. are the trademarks or registered trademarks of their respective owners.

Thank you for purchasing the Korg TR music workstation.

To ensure trouble-free enjoyment, please read this manual carefully and use the instrument as directed.

About this manual

The owner???s manuals and how to use them

The TR come with the following owner???s manuals.

???Operation Guide

???Parameter Guide

???Voice Name List (included in the CD-ROM)

Operation Guide

First read this manual carefully to gain a basic under- standing of the instrument and to learn basic opera- tion.

???Introduction??? explains the function of each part, how to make connections, basic operation, and gives an overview of each mode.

???Quick Start??? explains basic topics (selecting sounds, convenient functions for performance). If you wish to begin playing immediately, read this section ???rst.

???Basic Functions??? contains mode-by-mode explana- tions of what you need to know to edit sounds, record on the sequencer, and record samples (If the separately sold EXB-SMPL option is installed). This section also explains how to use the arpeggiator, effects. ???Appendices??? contains information on troubleshoot- ing, speci???cations, and various other information.

Parameter Guide

The Parameter Guide contains explanations and other information regarding the operations of the parame- ters and settings on the TR. The explanations are orga- nized by mode, and page. Explanations and other information on the effects and their parameters are also provided for each effect.

Refer to this guide when an unfamiliar parameter appears in the display, or when you need to know more about a particular function.

Voice Name List

This lists the multisamples and drumsamples that are built into the TR, and the factory preset combinations, programs, drum kits, and user arpeggio patterns.

Refer to these lists when you wish to know more about the preloaded sounds.

Conventions in this manual

References to the TR

The TR is available in 88-key, 76-key and 61-key mod- els, but all three models are referred to without distinc- tion in this manual as ???the TR.??? Illustrations of the front and rear panels in this manual show the 61-key model, but the illustrations apply equally to the 76-key and 88-key models.

Abbreviations for the manuals OG, PG, VNL

References to the manuals included with the TR are abbreviated as follows in this document.

OG: Operation Guide

PG: Parameter Guide

VNL: Voice Name List (included in the CD-ROM)

Switches and knobs [ ]

References to the switches, dials, and knobs on the panel are enclosed in square brackets [ ].

Parameters in the LCD display screen ??? ???

Parameters displayed in the LCD screen are enclosed in double quotation marks ??? ???.

Boldface type

Parameter values are printed in boldface type. Content that is of particular importance is also printed in boldface type.

Procedure steps 1 2 3 ...

Steps in a procedure are listed as 1 2 3 ...

???p.???, ???PG p.???

These symbols indicate a reference page number in the Operation Guide or in the Parameter Guide.

These symbols respectively indicate cautions, advice, and MIDI-related explanations.

Example screen displays

The values of the parameters shown in the example screens of this manual are only for explanatory pur- poses, and may not necessary match the values that appear in the LCD screen of your instrument.

MIDI-related explanations

CC# is an abbreviation for Control Change Number. In explanations of MIDI messages, numbers in square brackets [ ] always indicate hexadecimal numbers.

iii

Introduction

Overview

Introduction

Main features

Overview

The TR Music Workstation features Korg???s acclaimed HI (Hyper Integrated) synthesis system.

It contains high-quality preset multisamples/pro- grams/combinations, an effect section, plus a sequencer, dual polyphonic arpeggiator, RPPR, four- channel audio output, and numerous other functional- ity.

Controllers such as the joystick, [SW1] and [SW2] keys, REALTIME CONTROLS [1]???[4] knobs, or connected pedals can be used to control ???lter or effects, allowing you to modify the sound in realtime as you perform. Arpeggiator gate or velocity, or the tempo of the arpeg- giator or sequencer can also be controlled.

In addition, the optional EXB-SMPL sampling upgrade can be installed to add two-channel audio input and sampling functionality. (???p.35, 88, ???PG p.260)

The TR is the ideal music workstation for music pro- duction or live performance.

HI (Hyper Integrated) synthesis system

The HI (Hyper Integrated) synthesis system is a PCM tone generator system with full digital signal process- ing that guarantees pristine sound, and features enor- mous ???exibility in musical extensibility, modulation, and effect routing.

Tone generator section:

???64 MB of preset PCM ROM containing 470 multisamples and 518 drumsamples.

???The sampling frequency is 48 kHz, and the maximum polyphony is 62 voices.

Filter/synthesis section:

???24 dB/oct Low Pass Resonance type or 12 dB/oct Low Pass & High Pass type filters can be used. A wide variety of filter effects can be achieved, from active sounds with aggressive resonance to subtle tones using a high pass filter.

???A broad range of editing parameters gives you control over every aspect of the sound.

Effect section:

???One insert effect (stereo-in/stereo-out), two master effects (mono-in/stereo-out), and a three-band master EQ (stereo-in/stereo-out) can all be used simultaneously. You can select from 89 types of effect algorithms, and edit them.

???Highly flexible effect routing is possible. Effects can also be routed freely to the individual outputs.

Alternate Modulation and Effect Dynamic Modula- tion:

???The synthesis section (filter etc.) provides Alternate Modulation functionality, and the effect section provides Effect Dynamic Modulation functionality. This allows you to freely apply modulation to parameters that affect the pitch, filter, amp, EG, LFO, effects etc.

???LFO and delay time parameters can be synchronized to MIDI clock/tempo. You can synchronize sounds or effects to the tempo of the sequencer or the arpeggiator.

Programs and combinations

???In the Program mode, the TR provides 512 user programs, plus 128 programs + 9 drum sets for GM compatibility.

When shipped from the factory, it is loaded with high-quality programs that cover a wide range of musical needs.

The 512 user programs can be modi???ed by adjusting the numerous editing parameters, the effects and the arpeggiator, to create your own original pro- grams.

???The TR provides 24 user drum kits and nine GM2- compatible ROM drum kits. With the factory settings, preset drum kits that cover a variety of musical genres are provided. You can create your own original drum kits by assigning a drumsample or an original sampled sound to each note of the keyboard. For each note, you can make filter and amp settings, and even route the sound through effects and to a individual audio output.

???The TR provides 384 user combinations. The factory settings contain a wide variety of Preload combinations.

A combination allows you to use layers, splits, or velocity switches etc. to combine up to eight pro- grams together with effects and two arpeggiators, in order to create complex sounds that could not be produced by a program. You can also make settings that include external tone generators.

Overview

Sequencer

TR provides a high-performance 16-track MIDI sequencer, with more than suf???cient power for use as a stand-alone sequencer. The sequencer can serve as the core that brings together TR???s numerous capabilities, allowing it to serve as an integrated music worksta- tion.

For more on TR???s sequencer (???p.63).

RPPR

TR features a RPPR (Realtime Pattern Play/Record- ing) function.

In Sequencer mode, this function allows you to assign preset patterns or user patterns (with a speci???ed play- back track) to individual keys on the keyboard, and playback or record that pattern in realtime simply by pressing the assigned key. Numerous preset patterns, including patterns ideal for drum tracks, are built into the internal memory.

Dual polyphonic arpeggiator

???Five preset arpeggio patterns (UP, DOWN, ALT1 ALT2, RANDOM) and 216 user arpeggio patterns are provided. With the factory settings, these contain a wide variety of preset user patterns.

In addition to providing conventional arpeggiator functionality, the polyphonic arpeggiator of the TR can respond to the pitches or timing at which you play the keyboard, and produce a diverse range of chords or phrases. This can be used to play a variety of drum phrases (using the ???Fixed Note Mode??? that is ideal for drums), bass phrases, or guitar and key- board backing riffs. The arpeggiator is also effective for use with subtly moving pads, synth sounds, or sound effects.

In Combination mode, and Sequencer mode, the TR provides dual arpeggiators that can simultaneously play two arpeggio patterns. You can apply separate arpeggio patterns to drum and bass programs, or use keyboard splits or velocity to switch between arpeggio patterns for an even more dynamic perfor- mance.

4 channel audio output

???In addition to the L/MONO and R main stereo audio outputs, TR provides two individual audio outputs, for a total of four channels of audio output. The sound from each oscillator, drum, timbre/track, or insertion effect can be routed freely to any output.

EXB-SMPL sampling upgrade

The following functionality can be added by installing the separately sold EXB-SMPL option.

???Sampling mode is added. Input sources from the two-channel audio inputs can be sampled and edited to create original multisamples or samples, which can then be used in a program or drum kit. For details on the features of Sampling mode, refer to p.86.

???Two-channel audio input is added. This two- channel audio input allows 48 kHz 16 bit linear mono/stereo sampling. A MIC or LINE level select switch and level adjustment control supports a wide range of external audio sources, from mic level to line level.

The audio input can also be routed to the effects. You can apply an effect while sampling, or use the TR as a 2-in/4-out effect processor.

???A SCSI connector is added, allowing external SCSI devices such as hard disks to be connected. A connected external SCSI device can be used in the same way as an SD card to save or load data.

Overview of the modes

The TR has a large number of functions that let you play and edit programs and combinations, record and play sequence data, and manage data on media. The largest unit used to organize these functions is called a mode. The TR has ???ve modes.

If the separately sold EXB-SMPL option is installed, Sampling mode will be added (for a total of six modes), and you will be able to record and edit sam- ples.

Program mode

???Select and play programs

You can choose programs from rewritable banks A, B, C, and D which contain a total of 512 programs, and non-rewritable bank G (128 programs compati- ble with the GM standard, and nine drum pro- grams).

???Edit a program

Make settings for the oscillator, ???lter, amp, EG, LFO, effects, and arpeggiator.

Select a multisample (the following multisamples are available)

???470 internal multisamples (ROM, EX)

???Multisamples (RAM) created in Sampling mode (if the separately sold EXB-SMPL option is installed)

???Create drum programs using a drum kit (created in Global mode)

Combination mode

???Select and play combinations

A combination is a set of two or more programs (a maximum of eight), and allows you to produce complex sounds that could not be created by an individual program.

You can choose combinations from rewritable banks A, B, and C which contain a total of 384 combina- tions.

???Edit a combination

Make settings for volume, pan, layer/split etc. for each timbre (program), and make settings for effects and the two arpeggiators etc.

Sequencer mode

???Use the 16-track sequencer to record and playback songs.

???Make effect settings for the song.

???You can record a performance using the arpeggiator(s) into a song or pattern.

???You can use a cue list to set up consecutive playback of multiple songs, and specify the number of repeats for each song.

???You can use a maximum of 20 cue lists, 200 songs, and 150 preset patterns. One song can use as many as 100 patterns.

???The TR can be used as a 16-track multitimbral tone generator.

Introduction

Overview

SAMPLING MODE (if the separately sold EXB-SMPL option is installed)

Insert Effect

IFX

Sample

Multi Sample

Sample

GLOBAL MODE

DRUM KIT

Key

Assign Drum Sample / Sample - H

Drum Sample / Sample - L

ARPEGGIATOR PATTERN

User Pattern: P0 - 4

User Pattern: U00 - 215

MEDIA MODE

???Create and playback patterns in realtime, using the RPPR (Realtime Pattern Play/Recording) function.

Global mode

???Make settings that affect the entire TR, such as master tune and global MIDI channel.

???Create drum kits (24 kits), user arpeggio patterns (216 patterns), and user scales (16 one-octave scales and 1 all-note scale).

???Create drum kits using the 518 internal drum samples (ROM, EX). You can also use samples (RAM) that were created in Sampling mode (requires the separately sold EXB-SMPL option).

???Set the function of the assignable pedals and assignable switches.

???Transmit data dumps of MIDI exclusive data.

???Adjust the input level from AUDIO INPUT 1 and 2 (if the EXB-SMPL option is installed). This setting is valid outside of Sampling mode. The internal effects can be applied to the external input sound. The settings for Sampling mode are made independently in Sampling mode itself.

Media mode

???Data of each mode can be saved and loaded using the SD card slot or an external SCSI device (if the separately sold EXB-SMPL option is installed).

???Media such as an SD card or hard drive (EXB-SMPL option required) can be formatted, and then data can be managed by copying etc.

???Korg format, AKAI, AIFF, and WAVE format sample data can be loaded. Sample data can also be saved in Korg format, or exported in AIFF or WAVE format (if the separately sold EXB-SMPL option is installed).

???Songs that you created in Sequencer mode can be saved in SMF format. SMF files can be loaded as Sequencer mode songs.

???You can use the Data Filer function (to save/load MIDI exclusive data).

Sampling mode

(If the EXB-SMPL option is installed)

???An external audio device or mic connected to the rear panel AUDIO INPUT jacks can be sampled (recorded as a sample). An insert effect can also be applied to the select input sound while it is being sampled.

???Waveform data that was sampled or loaded in Media mode can be modified using a variety of editing functions, such as adjusting the loop point, using Time Slice, or Time Stretch.

???You can edit multisamples (which consist of multiple samples).

???You can convert a multisample into a program. When this conversion is performed, a multisample created in Sampling mode can be used in Program, Combination, and Sequencer modes.

Front and rear panel

Front panel

Front and rear panel Introduction

These keys are on/off switches for the functions to which they were assigned in Program, Combination, Sequencer and Sampling modes (if the EXB-SMPL option is installed). When on, the key will light (???p.24).

2. Joystick

This controls pitch or modulation, etc.

Move the joystick up/down or left/right (+Y, ???Y, ???X, +X) to control (???p.24).

Various program parameters and effect parameters will determine what is controlled by the joystick.

3. Headphone jack

A set of headphones with a (1/4") stereo phone plug can be connected here.

The output from the L/MONO and R OUTPUT jacks can be monitored in stereo through the headphones.

4. [VOLUME] slider

This adjusts the volume that is output from the OUT- PUT jacks (L/MONO, R) and the headphone jack.

Use the [SELECT] key to select realtime controller mode A/B/C, and use knobs [1]???[4] to control the tone, effects, MIDI control changes, and arpeggiator etc. while you perform. (???p.25, 27)

[SELECT] key

This key switches the realtime controller between A- mode, B-mode, and C-mode. The LED of the selected mode will light.

[ARP ON/OFF] key

This key turns the arpeggiator on/off. When on, the key will light.

[1], [2], [3], [4] knob

A-mode

[1] LPF CUTOFF:

Controls the cutoff frequency of the low pass ???lter.

[2] RESONANCE/HPF:

Controls the ???lter resonance level or the high pass ???lter cutoff frequency.

[3] EG-INTENSITY:

Controls the ???lter EG intensity.

[4] EG-RELEASE:

Controls the ???lter/amp release time.

B-mode

[1]ASSIGNABLE 1:

[2]ASSIGNABLE 2:

[3]ASSIGNABLE 3:

[4]ASSIGNABLE 4:

Controls the functions that are assigned in each mode (Program, Combination, Sequencer, or Sampling (if the EXB-SMPL option is installed)).

C-mode

[1]?????????: not used

[2]ARP-GATE:

Controls the gate time (note duration) of the arpeggi- ated notes. At the center position (12 o???clock), the set- ting of the arpeggiator ???Gate??? parameter will be used. Rotating the knob toward the left will shorten the time, and rotating it toward the right will lengthen the time.

[3] ARP-VELOCITY:

Controls the velocity (playing strength) of the arpeggi- ated notes. At the center position (12 o???clock), the set- ting of the arpeggiator ???Velocity??? parameter will be used. Rotating the knob toward the left will weaken the velocity, and rotating it toward the right will strengthen the velocity.

[4] TEMPO:

Controls the tempo of the arpeggiator or of the Sequencer mode .

The LED beside ???TEMPO??? will blink at quarter note intervals of the speci???ed tempo.

6. Mode keys, [COMPARE] key

These keys are used to enter each mode.

Pressing a key will enter the corresponding mode (the key will light). (???p.15)

[COMBI] key

Combination mode will be selected.

[PROG] key

Program mode will be selected.

[SEQ] key

Sequencer mode will be selected.

[GLOBAL] key

Global mode will be selected

[MEDIA] key

Media mode will be selected.

[COMPARE] key

Use this key when you wish to compare the sound of the program or combination that you are currently editing with the un-edited sound that was written into memory. You can also use this key to make ???before and after??? comparisons when recording or editing in Sequencer mode (???p.16).

[SAMPLING] (EXB-SMPL) key

This key selects the Sampling mode.

This is valid only if the separately sold EXB-SMPL option is installed.

If the separately sold EXB-SMPL option is not installed, pressing the [SAMPLING] key will cause a message of ???No Sampling Upgrade Installed??? to be displayed.

7.[TIMBRE/TRACK] key,

[F1 T1/T9] ??? [F8 T8/T16] keys

Function [F1]???[F8] keys

These keys select the tabs that are displayed in each page. They are also used to execute utilities and other functions.

Timbre/track select [T1/T9]???[T8/T16] keys

By holding down the [TIMBRE/TRACK] key and pressing a [T1/T9]???[T8/T16] key, you can select the timbre/track parameters corresponding to the key number.

When a single page displays the parameters for tim- bres 1???8 of a Combination or for tracks 1???8/9???16 of Sequencer mode, these keys select one of these tim- bres/tracks.

8. LCD screen

Here you can select pages, and parameters, and set val- ues. (???p.10)

9. VALUE controllers

The following VALUE controllers are used to set the value of the selected parameter (???p.16).

[VALUE] dial

Use this dial to modify the value of the parameter.

[INC]/[DEC] keys

These are used to increase or decrease the parameter value in steps of one. It is convenient to use these to make ???ne adjustments.

Numeric keys [0] ??? [9], [ENTER] key, [???] key, [./HOLD] key

Use these keys to numerically input a parameter value. Use numeric keys [0]???[9], the [???] key, and the [./ HOLD] key to enter the value, and press the [ENTER] key to con???rm it. The [./HOLD] key lets you input a value with a decimal point. The [???] key inverts the sign (+/???) of the parameter value.

In addition, [./HOLD] can be used if you wish to select sounds by category in program or combination mode.

By holding down the [ENTER] key and pressing a numeric key [0]???[9], you can select up to ten utility menu commands for the current page.

10. [CATEGORY] key, [AUDITION] key

[CATEGORY] key

In each mode, you can directly access the utility menu ???Select by Category??? by choosing a parameter that can be selected by category and then pressing the [Cate- gory] key.

This allows you to view and select programs or combi- nations by category. (???p.22)

[AUDITION] key

This key activates the Audition function, which plays a riff (phrase) suitable for each preloaded or preset pro- gram.

In Program mode, pressing the [AUDITION] key (the key will light) will cause the audition riff to play repeatedly.

In Sampling mode (if the EXB-SMPL option is installed), the selected sample will be played.

11.[EXIT] key, [MENU PAGE +/???] key, CURSOR keys [], [ ???], [], [+]

[EXIT] key

In Program, Combination, Sequencer, Sampling (if the separately sold EXB-SMPL option is installed), and Global modes, pressing this key from anywhere other than page 1.1 will take you to page 1.1 of that mode. When a dialog box is open, this key will cancel the set- tings made in the dialog box and close the dialog box (corresponds to the ???Cancel???). If a Utility menu or page menu is open, pressing [EXIT] will close the menu.

[MENU PAGE +/???] key

Use this key to select different pages on screen. When you press this key, a list of the pages within the mode will appear in the LCD screen. Use the function key [F1]???[F7] or cursor keys [], [], [], [] to select the desired page, and press the [F8] key to move to the selected page.

You can also move to a desired page by holding down the [MENU] key and using numeric keys [1]???[7] to enter a two-digit page number.

In addition, you can hold down the [MENU] key and use cursor keys [], [] to switch pages in the order of 1.1???2.1???2.2???2.3. (???p.15)

CURSOR keys [], [ ???], [], [+]

Use these keys to select different parameters on screen. In addition, you can hold down the [MENU] key and use cursor keys [], [] to switch pages in the order of 1.1???2.1???2.2???2.3. (???p.15)

12.BANK keys

These keys are used to switch Program/Combination banks.

PROG BANK: [A], [B], [C], [D], [GM]

When selecting programs, use keys [A], [B], [C], [D], and [GM]. The key of the selected bank will light. Each time you press [GM], you will cycle through the GM banks and the drum bank as follows: G, g(d), G ...

etc.

COMBI BANK: [A], [B], [C]

When selecting combinations, use keys [A], [B], and [C]. The LED of the selected bank will light.

In Combination, and Sequencer modes when the edit cell (highlighted area) is located at the program of a timbre or track, you can use the BANK keys to select the bank of the program. The bank key of the program selected for that timbre/track will light.

In dialog boxes such as Write Program or Write Com- bination, these keys are used to specify the program or combination bank that will be the writing destination, etc.

Front and rear panel Introduction

13.SEQUENCER/SAMPLING

(If the separately sold EXB-SMPL option is installed)

[PAUSE] key

This key pauses playback of a song or cue list (the key will light). Press the key again to cancel Pause (the key will go dark).

[ REW] key

This key rewinds playback of a song or cue list. Rewind will occur when you press the key (the key will light). (This will not operate during recording.)

[FF ] key

This key fast-forwards playback of a song or cue list. Fast-forward will occur when you press the key (the key will light). (This will not operate during record- ing.)

[LOCATE] key

This key resets the playback location of a song or cue list to a speci???ed location. You can also press this key when ???stuck notes??? occur for some reason.

[REC/WRITE] key

When you press this key in Sequencer mode, the TR will enter recording-ready mode (the key will light). If you then press the [START/STOP] key, recording will start. (???p.81)

When you press this key in Program, Combination, or Global modes, a dialog box will appear. If you then press the [F8] (???OK???) key, the edited content will be written. (???p.43, 45)

When you press this key in Sampling mode (if the EXB-SMPL option is installed) and then press the [START/STOP] key, sample recording will begin. (???p.35)

[START/STOP] key

In Sequencer mode, this key starts/stops song record- ing/playback, or cue list playback. (The key will blink in time with the beat during recording or playback.)

In Sampling mode (if the EXB-SMPL option is installed), press the [REC/WRITE] key and then press the [START/STOP] key to start/stop sample recording. In the SMPL 2.1???2: Sample Edit, Edit2 page, pressing this key will sound the sample.

Rear panel

1. SD card slot

You can insert an SD card in this slot.

Refer to p.14 for details on inserting, removing, and handling media.

2.USB B connector (for connecting to a computer)

You can connect your computer to this connector. Using a single USB cable, your TR can send and receive MIDI information to and from a computer . This elimi- nates the need for a MIDI interface and the associated cables. (???PG p.233)

What is USB?

USB stands for Universal Serial Bus, and is an interface for transferring data between a computer, a keyboard and/or peripheral devices.

The USB connector of the TR is only able to trans- mit and receive MIDI data.

3. [POWER] switch

This switch turns the power on/off (???p.18).

4. AC power supply connector (~AC9V)

Connect this to the included AC/AC power supply. After connecting the power supply cable to TR, con- nect the other end to an AC outlet (???p.12).

5. AUDIO OUTPUT

Connect these outputs to the input jacks of your amp or mixer. In addition to the L/MONO and R main ste- reo audio outputs, TR provides two individual audio outputs. The sound from each oscillator, drum, tim- bre/track, or insertion effect can be freely routed to any output (???p.112???).

(MAIN) L/MONO, R

These are unbalanced phone jacks (???p.12).

These are the main audio output jacks. By setting ???Bus Select??? to L/R, the output from an oscillator, an inser- tion effect, an individual drum part, or the metronome can be output to the (MAIN) L/MONO and R jacks. When making connections in stereo, use L/MONO and R. When making connections in mono, use the L/ MONO jack.

(INDIVIDUAL) 1, 2

These are unbalanced phone jacks (???p.12).

These are individual (independent) audio output jacks. By cycling the ???Bus Select??? through 1, 2, 1/2 an oscilla- tor, an insertion effect, an individual drum part, or the metronome etc. can be assigned to be output from the (INDIVIDUAL) 1, 2 jacks. The output from the 1, 2 jacks is not affected by the [VOLUME] slider.

6. Pedal connections

ASSIGNABLE PEDAL jack

The separately sold Korg XVP-10 EXP/VOL pedal or EXP-2 foot controller (options) can be connected to this jack. (???p.13).

Its function can be assigned in Global mode, allowing you to use the pedal to control the volume, etc. (???p.117)

ASSIGNABLE SWITCH jack

A separately sold on/off foot switch such as the Korg PS-1 foot switch can be connected here (???p.13).

Its function can be assigned in Global mode, allowing you to use the foot switch as a modulation controller, to select programs or combinations, or to start/stop the sequencer (???p.117).

DAMPER jack

A separately sold switch-type pedal such as the Korg DS-1H damper pedal can be connected here.

If a DS-1H is connected, it will function as a half- damper pedal. In order to ensure that the half-damper pedal functions correctly, please adjust the polarity and the sensitivity (???PG p.126, 128).

If any other switch-type pedal is connected, it will function as a damper switch.

Set the polarity according to the pedal that you con- nected. (???PG p.128)

7. MIDI

MIDI IN connector

Musical data and sound settings etc. are received at this connector.

Use this to play TR from another connected MIDI device (???PG p.233).

MIDI OUT connector

Musical data and sound settings etc. are transmitted from this connector.

Use this to control another connected MIDI device from TR (???PG p.233).

If MIDI data is being transmitted from the TR via USB to your computer, transmission from the MIDI OUT connector is halted.

MIDI THRU connector

Musical data and sound settings etc. that are received at the MIDI IN connector are re-transmitted without change from the MIDI THRU connector.

You can use this to connect multiple MIDI devices via MIDI cables (???PG p.233).

8. EXB-SMPL

(If the separately sold EXB-SMPL option is installed)

These connectors are used to sample mono or stereo audio from a mic or audio device (???p.35, 39), or to use the internal effect processor to apply effects. (???p.115) The MIC/LINE level select switch ([MIC/LINE] switch) and the level adjustment knob ([LEVEL] knob) allow a wide range of audio sources to be input, from mic level to line level.

SCSI connector

Use a SCSI cable to connect this to a SCSI-compatible device (hard disk drive, CD-ROM drive, etc.). (??? EXB- SMPL owner???s manual)

AUDIO INPUT 1, 2 jacks

These are unbalanced phone audio input jacks. (???p.14) Connect them to the OUTPUT jack(s) of your external audio device or mic.

[LEVEL] knob

This knob adjusts the input level of the AUDIO INPUT 1, 2 jacks. (???p.35)

[MIC/LINE] switch

This switch selects the input level of the AUDIO INPUT 1, 2 jacks. (???p.35)

Front and rear panel Introduction

Objects and functions in the LCD screen

a: Current page

This indicates the currently selected page within the mode. From the left, this area shows the mode name, page number:name, tab name, and the parameter name of the edit cell.

Tab name

b: Tab

Most pages are divided into two or more tabs. By pressing the closest function key [F1]???[F7], you can select a tab to access the corresponding page.

c: Parameters

The parameters for various settings are displayed in the LCD screen. Use cursor keys [], [], [], [] to select the desired parameter.

d: Edit cell

When you use the cursor keys [], [], [], [], the selected parameter will be highlighted in the LCD screen. This area is called the edit cell, and your editing will affect the highlighted area.

The parameter value of the edit cell can be modi- ???ed using VALUE controllers such as the [VALUE] dial or the [INC]/[DEC] keys (???p.16). For parame- ters that accept a key number or a velocity value, you can also hold down the [ENTER] key and play a note on the keyboard to enter the key number or velocity value.

e: Check box

Use cursor keys [], [], [], [] to select a check box (edit cell), and use a VALUE controller such as the [VALUE] dial or the [INC]/[DEC] keys to add or remove the check mark.

When checked, the parameter will function, when unchecked, the parameter will not function.

f: Function buttons

By pressing the function key [F1]???[F8] nearest this button, you can turn various functions on/off.

, :

In Media mode, these select the current directory.

Accesses the utility menu where you can execute utility menu commands.

Other function buttons examples

Sequencer mode: EDIT/DONE, INSERT, CUT, COPY, JUMP, DONE, Tie, Rest, Back, Done (used in Cue List, Event Edit, Step Recording) REVERT (copy and paste RPPR settings)

Global mode: TEXT, KEY+, ???

Sampling mode (if the separately sold EXB-SMPL option is installed):

INSERT, CUT, COPY, CREATE (create multisample), L/R,

ZOOM

*Utility menu

In each page, you can press the ???UTILITY??? func- tion button (the [F8] key) to access the utility menu. The utility menu contains commands that can be used in that page. The utility menu that appears will differ depending on the page that is selected.

You can also select up to ten utility menu com- mands by holding down the [ENTER] key and pressing a numeric key [0]???[9].

Press the [EXIT] key to close the utility menu.

For , press the [F7] key to select the desired utility menu command. You can also use the cur- sor keys [], [], [], [] to make your selection. For , press the [F8] key to open the dialog box of the selected utility menu command.

This key also switches the status of commands that you check or uncheck.

*Dialog boxes

When you select a utility menu command etc., a dialog box will open.

Use the cursor keys [ ], [ ], [ ], [ ] to select parameters. Use the VALUE controllers (???p.16) to input the parameter values. When selecting pro- gram or combination numbers in a dialog box, you can use the BANK [A]???[GM] keys in addition to the VALUE controllers.

As in the utility menu, press the function key [F1]??? [F8] nearest etc. (function button 2) to access the execution or operation screen. In some cases, a dialog box will appear. Follow the directions shown in the dialog box.

To execute, select (press the [F8] key). To cancel without executing, select (press the [F7] key). The dialog box will close. The [EXIT] key is equivalent to ???Cancel,??? ???Done,??? or ???Exit.???

*Page menu

In Combination, Program, Sequencer, Global, or Sampling (if the separately sold EXB-SMPL option is installed) modes, pressing the [MENU] key will display a list of the pages in that mode. (The page in which you where when you pressed the [MENU] key will be highlighted.)

To select a page, press the nearest function key [F1]???[F7]. By pressing the same key you can move consecutively downward. You can also use cursor keys [], [], [], [] to move left/up/down/ right.

You can also move to the desired page by holding down the [MENU] key and using numeric keys [0]???[7] to enter a two-digit page number. In addi- tion, you can hold down the [MENU] key and use the cursor keys [], [] to move in steps of one page; in the example shown below, this would be Play ??? P/M ??? Ctrl ??? Prm1 ??? ... etc.

Front and rear panel Introduction

*Function buttons 2

Press the function key [F1]???[F8] nearest this button to execute the function.

Utility menu, etc.

*Text dialog box

When you use the function keys to select , a text dialog box will appear.

In this dialog box you can rename text (e.g., the name of a program, combination, or song). (???p.44)

*Scroll bar

This indicates that the list contains selections or parameters that cannot all be shown in the screen at once. Use the cursor keys [ ], [ ], [ ], [ ] to move within the list.

Scroll bar

*Other objects

To use slider- or knob-shaped objects, use the cur- sor keys [], [], [], [] to select the desired item, and use the VALUE controllers to adjust the value.

Other types of objects are shown in the effect rout- ing screen. (???p.112)

Routing

Setup

Connecting audio equipment etc.

Connections must be made with the power turned off. Please be aware that careless operation may damage your speaker system or cause malfunc- tions.

1.Connecting the AC/AC power supply

Connect the included AC/AC power supply to the AC power supply inlet of TR, and then connect the other end of the cable to an AC outlet.

Connect the AUDIO OUTPUT (MAIN) L/MONO and R jacks to the INPUT jacks of your powered monitor system, mixer etc.

L/MONO and R are the main outputs. If you are outputting in stereo, make connections to the (MAIN) L/MONO jack and the R jack. If you are outputting in monaural, make connections to the (MAIN) L/MONO jack. We recommend that you playback in stereo if possible.

If you wish to output from the AUDIO OUTPUT (INDIVIDUAL) 1, 2, jacks, connect these jacks to your mixer, and then connect the mixer output to the INPUT of your powered monitor system etc.

For details on the output of each jack (???p.112??? ???Routing???).

2. Connecting audio output devices

AUDIO OUTPUT (MAIN) L/MONO, R, (INDIVIDUAL) 1, 2

Here, you can connect a set of ampli???ed monitor speakers or your audio system to output TR???s sound. If you wish to use the AUDIO OUTPUT (INDIVID- UAL) 1???2 jacks of TR, we recommend that you use a mixer.

If you playback TR through your stereo audio sys- tem, be aware that high volumes may damage your speakers. Be careful not to raise the volume excessively.

Headphones

When using headphones, plug them into the head- phones jack located on the front panel.

Power Switch

Headphones

PHONES

USB cable

computer

Connection to a computer

Connecting separately sold

to an AC outlet

AC/AC power supply

Connecting MIDI equipment

Connecting audio output devices

Connecting pedals etc

Powered monitors, etc.

3. Connecting pedals etc.

Foot pedal connections

A foot pedal can be connected to control the volume or other functions.

Connect a separately sold Korg assignable pedal such as the XVP-10 EXP/VOL or EXP-2 to the rear panel ASSIGNABLE PEDAL jack.

The function controlled by the foot pedal is speci???ed in GLOBAL 1.1???3: System, Foot page ???Foot Pedal Assign??? (???p.117, PG p.127, 227).

Foot switch connections

A foot switch controls sostenuto, soft pedal on/off, arpeggiator on/off, to select programs or combina- tions, and to start/stop the sequencer etc.

Connect a separately sold Korg foot switch such as the PS-1 to the rear panel ASSIGNABLE SWITCH jack. The function that will be controlled by the foot switch and the polarity of the foot switch can be set in GLO- BAL 1.1???3: System, Foot page ???Foot SW Assign,??? and ???Foot SW Polarity??? (???p.117, PG p.127, 226).

Damper pedal connections

Allows you to sustain the sound while playing. Connect a Korg DS-1H damper pedal (separately sold option) to the rear panel DAMPER jack. If a DS-1H is connected, you can produce half-damper effects.

The polarity of the damper pedal can be set in GLO- BAL 1.1???3: System, Foot page ???Damper Polarity,??? and its sensitivity can be adjusted by the GLOBAL 1.1???1 System utility menu command ???Half Damper Calibra- tion.??? (???PG p.126, 128)

Connections to MIDI equipment/ computers

1. Connections to MIDI equipment

The keyboard, controllers, and sequencer etc. of TR can be used to control an external MIDI tone generator. Conversely, another MIDI keyboard or sequencer can control the tone generator of TR to produce sound.

Use MIDI cables to connect the MIDI connectors of TR with the MIDI connectors of your external device.

???PG p.233 ???MIDI applications ??? Connecting MIDI devices/computers???

If MIDI data is being transmitted from the TR via USB to your computer, transmission from the MIDI OUT connector is halted.

2. Connections to a computer

Your performance on the TR, as well as controller and sequencer data, can be sent to a computer, and the tone generator of the TR can be played from the computer either via USB or via a MIDI interface.

You can use a MIDI interface to connect the MIDI connectors of TR to the MIDI connectors of your computer.

You can connect the TR???s USB B connector to the USB connector of your computer.

???PG p.233 ???MIDI applications ??? Connecting MIDI devices/computers???

Some USB-MIDI interfaces may not be able to transmit or receive the TR???s MIDI exclusive mes- sages.

The USB connector of the TR is only able to trans- mit and receive MIDI data.

Introduction

Setup

Inserting/removing a card in the SD card slot

If an SD card is inserted in the SD card slot, you can use it to save or load various types of TR data.

Inserting a card

1Insert an SD card in the SD card slot.

With the card label facing upward, insert the con- nector end of the card into the SD card slot and press it in until you hear a click.

SD card slot

SD card

Make sure that the card is oriented correctly when you insert it. Forcing it in the wrong direction may damage the slot or the card, and the data may be lost.

Removing a card

Never remove an SD card from the slot while load- ing, saving, or formatting is in progress.

1Remove the card from the SD card slot.

Press the card inward; you will hear a click, and the card will pop out part-way, allowing you to pull it completely out.

Refer to the owner???s manual included with your card, and observe the guidelines for handling and use.

Connecting separately sold options

By installing the separately sold EXB-SMPL option you can add two channels of audio input jacks and a SCSI connector.

For details on installing the EXB-SMPL, refer to PG p.260.

Guitar

1. Audio input connections

Connect a mic or the OUTPUT jacks of an external audio device to the AUDIO INPUT 1, 2 jacks when you want to sample in Sampling mode (if the separately sold EXB-SMPL option is installed), or in Program, Combination, or Sequencer mode when you want to apply an internal effect to an external input sound and output the processed sound from the OUTPUT jacks.

For details on connections when sampling in Sam- pling mode, refer to p.35.

For details on connections when applying an effect in other modes and outputting to the OUT- PUT jacks, refer to p.115.

2. SCSI connections

You can connect SCSI-compatible devices (hard disks, CD-ROM drives etc.). (???EXB-SMPL Operation Man- ual)

Basic operation

Introduction

Selecting modes, pages and tabs; setting parameters

1. Selecting modes

In order to use a particular function on the TR, you must ???rst select the appropriate mode. Press one of the front panel mode keys to enter the correspond- ing mode.

2. Selecting pages and tabs

Each mode has a large number of parameters, which are grouped into pages. Each page is further divided into as many as seven groups. These are referred to as

???tabs.???

Selecting a page

1Make sure that the desired mode is selected.

To select a mode, press the appropriate mode key. Here we will use Combination mode as an example for our explanation. Press the [COMBI] key.

2Press the [MENU] key.

The page menu will appear.

In Media mode there is only one page, so the page menu will not appear.

3Press the function key [F1]???[F7] that is nearest the page you wish to select.

If multiple pages are assigned to one function key, press the same key to move the cursor downward. You can also use the [], [], [], [] cursor keys to move.

4Press the [F8] (???Open???) key.

When you press the [F8] key, you will jump to the selected page, and that page will appear.

As an example here, press the [F3] key three times to select ???KeyZ,??? and then press the [F8] (???Open???) key. The 3.3: Ed-Key Zone page will appear.

You can also use the following alternative methods to select a page.

???Press the [MENU] key, and then use the [], []

keys to move forward or backward through the pages in the order of 1.1???2.1???2.2???3.1 etc.

???Hold down the [MENU] key, and use numeric keys [1]???[7] to enter a two-digit page number to move directly to the corresponding page. (To select the page shown above, you would press [3], [3].)

If only one page is assigned to each function key (group), as in COMBI 1.1: Play or the pages of Global mode, the first digit of the numeric key [1]??? [7] will move to the corresponding page.

The page selected at this time will be the page that was last selected. If there is no corresponding page, nothing will happen.

When you press the [EXIT] key, you will return to 1.1 from any page.

Basic operation

Selecting a tab

5Press the function key [F1]???[F7] that is nearest the tab displayed at the bottom of the LCD screen.

As an example, we will select the ???Slope??? tab. Press the [F3] key.

Some pages have no tabs.

6To move to another page, press the [MENU] key and repeat the procedure from step 3.

3. Selecting parameters

Use the [], [], [], [] cursor keys to select the parameter that you wish to edit.

In Combination mode pages that display timbres 1???8, or in Sequencer mode pages that display tracks 1???8 or 9???16, you can hold down the [TIMBRE/TRACK] key and press the nearest function key [F1]???[F8] to select the desired timbre or track.

4. Setting a parameter

The parameter value in the edit cell can be set by using the front panel VALUE controllers ([INC]/[DEC] keys, [VALUE] dial, numeric keys [0]???[9], [???] key, [./HOLD] key, and [ENTER] key). As necessary, you can also use the BANK [A]???[GM] keys, and the [COMPARE] key.

In the case of parameters that require you to enter a note or velocity value, you can enter the value by play- ing a key on the keyboard while holding down the [ENTER] key.

VALUE controllers

[INC]/[DEC] keys

Use these when you wish to make ???ne adjustments to the value.

[VALUE] dial

Use this when you wish to make large changes in a value.

Numeric keys [0]???[9], [ENTER] key, [???] key, [./HOLD] key

Use these when you know the parameter value that you wish to input.

After using the numeric keys [0]???[9] to input a number, press the [ENTER] key to ???nalize the parameter value. Use the [???] key to enter negative numbers.

Use the [./HOLD] key to enter a decimal point. In the 1.1: Play page of Program and Combination modes, the [./HOLD] key will perform the Category Hold or 10???s Hold function. (???PG p.2)

BANK [A]???[GM] keys

The BANK [A]???[GM] keys are used in Program mode to select the program bank and in Combination mode to select the combination bank. In Combination mode, they are also used to select the program bank for each timbre of the combination. In Sequencer mode, these keys are used to select the bank of the program used by each track of the song.

These keys are also used to specify the bank in dialog boxes such as Write Program or Write Combination.

[COMPARE] key

Use this key when you wish to compare an edited pro- gram or combination sound with the un-edited origi- nal (i.e., the sound that is written into memory). When editing a program or combination, press this key. The key will light, and the last-written settings for that program number or combination number will be recalled. When you press the [COMPARE] key once again, the key will go dark and you will return to the settings that you were editing.

If you edit the settings that are recalled by pressing the [COMPARE] key (i.e., the settings that are written into memory), the key will go dark, and it will not be possi- ble to return to the previous settings by pressing the [COMPARE] key again.

In Sequencer mode, you can use the [COMPARE] key to make ???before and after??? comparisons immediately after using realtime recording or step recording to record a song, or after performing a track edit opera- tion.

For example, this can be used effectively when real- time-recording a track for a song.

1 Realtime-record a track. (Take 1)

2Once again, realtime-record on the same track. (Take 2)

3Press the [COMPARE] key. The key will light, and take 1 will be recalled.

4Press the [COMPARE] key once again. The key will go dark, and take 2 will be recalled.

5If after recording two different takes on the same track, you record a third, the Compare function will now alternate between the second and third takes. Recording a fourth take will mean that Compare now alternates between takes three and four, and so on. In this fashion, Compare always alternates between the last two recorded passes that are made on the same track.

In this way, the Compare function lets you recall the previous recording or the previous state of event edit- ing.

The Compare function is not available in Global, Media and Sampling modes.

Keyboard input

When inputting a note name or velocity value as the value of a parameter, you can use the keyboard to input the setting. Hold down the [ENTER] key and play the note that you wish to enter as a value. The note name (number) or velocity value will be input. When the GLOBAL 5.1: DKit page or SEQ 5.1: RPPR, RPPR Setup page is displayed, you can hold down the [ENTER] key and play a note to recall the settings that have been assigned to the note you played.

Basic operation Introduction

Quick Start

Turning the power on/off

Before you turn on the power, make sure that the desired connections have been made as described in ???Setup??? (???p.12).

1. Turning the power on

1Press the TR???s [POWER] switch to turn on the power.

The LCD screen will display the name of your model, and the software version.

(The following graphic shows the factory-set LCD screen . The version number is subject to change without notice.)

2 Turn on your powered monitors or stereo amp.

3Raise this instrument???s [VOLUME] slider to an appropriate level, and adjust the volume of your powered monitors or stereo amp.

2. Turning the power off

1Set this instrument???s [VOLUME] slider and the volume of your powered monitor or stereo amp to zero.

2Turn off the power of your powered monitor or stereo amp.

3Press this instrument???s [POWER] switch to turn off the power.

Never turn off the power while data is being writ- ten into internal memory.

If the power is turned off while processing is being performed, memory write operations will not be completed correctly. If this occurs, this instrument will automatically initialize its internal memory so thatitwilloperatecorrectly.Thisisnotamalfunction.

While data is being written, the LCD screen will indicate ???Now writing into internal memory.??? Data is written into internal memory by the fol- lowing operations.

???Writing (updating) a Program, Combination, Global Setting, Drum Kit, or Arpeggio Patterns

???Loading Program, Combination, Global Setting, Drum Kit, or Arpeggio Patterns data in Media mode

???Receiving a MIDI data dump for Program, Combination, Global Setting, Drum Kit data, or

18 Arpeggio Patterns

???When using Sampling mode (if the separately sold EXB-SMPL option is installed) utility commands (???Move Sample,??? ???Move MS,??? ???Conv.To Prog,??? ???Time Slice,??? etc.) to simultaneously modify programs or drum kits.

The mode and page that will be selected when the power is turned on

The state of this instrument when the power is turned on will depend on the setting of ???Power On Mode??? (GLOBAL 1.1: System, Preference page).

If ???Power On Mode??? is Reset (factory setting), this instrument will automatically selects the Combination mode 1.1: Play.

If ???Power On Mode??? is Memorize, this instrument will be in the mode and page that were last selected when the power was turned off.

The Memorize setting will remember the mode and page that were last selected, the combination number that was last selected in Combination mode, and the program number that was last selected in Program mode. If another mode is selected when the power is turned on, you can press the [COMBI] key or [PROG] key to select the 1.1: Play page with the last-selected combination number or program number.

LCD screen messages when separately sold options are installed (When the power is turned on)

This instrument allows you to install separately sold options.

When the power is turned on, the type of installed options will be displayed. After installing an option, be sure to check this display to verify that the option was installed correctly. If the option is not displayed here even though it was installed, it was not installed cor- rectly. Turn off the power and re-install the option. (???For details on installing an option, refer to PG p.260)

OPTIONS

EXB-SMPL:

The EXB-SMPL option is installed.

SIMM:

Slot1 (**MB)/Slot2 (**MB): SIMM???s are installed in SIMM slots 1 and/or 2. The capacity of each SIMM is shown in parentheses.

Listening to the demo songs

Loading demo playback data

The TR contains demo songs (and preloaded data). This data can be loaded in Global mode.

1 Press the [GLOBAL] key (the key will light).

You will enter Global mode.

Verify that the GLOBAL 1.1: System page is dis- played. If it is not displayed, press the [EXIT] key.

2Press the [F8] (???UTILITY???) key to access the Utility menu.

3Press the [F7] (??? ???) key to select ???Load Pre- load/Demo Data,??? and press the [F8] (???OK???) key.

A dialog box will appear.

4Use the [INC]/[DEC] keys to select the data that you want to load.

In the ???Kind??? ???eld, select the data that you want to load.

In this case, select All (Preload PCG and Demo Songs). When you execute the Load operation, the demo song data and preloaded data will be loaded.

5Press the [F8] (???OK???) key.

A dialog box will ask you for con???rmation.

6Press the [F8] (???OK???) key once again.

The preloaded data and demo song data will be loaded.

Never turn off the power while the data is being loaded.

If the Memory Protected dialog box appears, un- check the memory protect setting, and perform the Load operation again. (???p.43)

From the powered-off state, if you turn on the power while holding down the [MENU] key and [EXIT] key, the Load All (Preload PCG and Demo Songs) operation will be executed automatically. (The LCD screen will show a message of ???Now Writing Internal Memory.???) This will load all PCG data and demo song data. Never turn off the power while the data is being loaded.

Selecting and playing a demo song in the Sequencer mode

1 Press the [SEQ] key (the key will light).

You will enter Sequencer mode.

2 Access the SEQ 1.1: Play/REC, Play/REC page.

Play/REC page

SEQ 1.1:

Play/REC

Song Select

If the SEQ 1.1: Play/REC, Play/REC page does not appear, select it as follows.

1) Press the [MENU] key.

The LCD screen will show a list of the pages in Sequencer mode.

2)Press the [F1] key to select ???P/R,??? and press the [F8] (???OPEN???) key.

3)Press the [F1] key. The SEQ 1.1: Play/REC, Play/ REC page will be displayed.

3Use the cursor keys [], [] to choose ???Song

Select.???

The song name will be highlighted.

4Use the [INC]/[DEC] keys or other VALUE control- lers to select the demo song that you wish to play.

5Press the [START/STOP] key.

The key will blink and the selected song will play.

6If you wish to stop playback, press the [START/ STOP] key once again.

Quick Start

Listening to the demo songs

Playing a cue list

Here???s how to playback the demonstration cue list. By using a cue list, you can repeatedly play multiple songs that you specify in the cue list, or play songs consecutively. (???p.73)

1 Press the [MENU] key.

2Press the [F2] key to select ???Cue,??? and then press the [F8] (???OPEN???) key.

The SEQ 2.1: Cue List, Setup&Play page will appear.

3 Press the [START/STOP] key.

4To stop playback, press the [START/STOP] key once again.

If the last step is End, playback will stop automati- cally when it reaches that point. If the last step is Continue to Step01, playback will return to the ???rst step and continue.

To select a cue list, choose ???Cue List Select,??? and use the same procedure as when selecting a song. Refer to step 4 above.

Contents of the preloaded data and demo songs

Preload PCG

???Preloaded data (programs, combinations, drum kits, arpeggio patterns, global settings)

When you load the preloaded data, it will be writ- ten into internal memory. This data is preserved even when the power is turned off.

When this data is loaded, the current PCG data in the TR will be replaced. If you do not want to lose this data, save it to an SD card beforehand. (???p.46)

Demo Songs

???Demonstration song and demonstration cue list data

This data is loaded into the internal sequencer memory. The data will be lost when the power is turned off.

When you load All Demo Songs, any data cur- rently in the sequencer will be rewritten. If you wish to keep this data, you must ???rst save it on an SD card before loading All Demo Songs. (???p.46)

Selecting and playing a program

In Program mode you can select and play a program from banks A???D, G, g(d). Here we will show how to select preset programs. Select various programs and hear how they sound.

Selecting a program

1Press the [PROG] key (the key will light).

You will enter Program mode. Make sure that the upper line of the LCD screen indicates ???PROG 1.1: Play.???

Directory

A directory containing the multisamples (.KMP ???les) and samples (.KSF ???les) that are listed in the

.KSC ???le

Other ways to save

In addition to ???Save All,??? the page menu commands include a ???Save PCG??? command which saves program, combination, drum kit, user arpeggio pattern, and glo- bal setting data, a ???Save SEQ??? command which saves only the sequencer song and cue list data, and a ???Save Sampling Data??? command which saves only the multi- samples and samples of Sampling mode (if the EXB- SMPL option is installed). Select the page menu com- mand that is appropriate for the data you want to save to external media.

When using ???Save All,??? ???Save PCG & SEQ,??? and ???Save PCG??? to save combinations, you should also remember to save the programs used by each tim- bre (and the drum kits used by the programs) and user arpeggio patterns at the same time.

Similarly when saving programs, you should also remember to save the drum kits and user arpeggio patterns used by the programs.

If your programs or drum kits use multisamples and samples that were created in Sampling mode (using the EXB-SMPL option), we recommend that you use ???Save All??? to save the data.

When you use ???Save PCG??? or ???Save Sampling Data??? to individually save a program or drum kit, or a multisample or sample that you created in Sampling mode (using the EXB-SMPL option), we recommend that you save them under the same ???lename in the same directory. When you use ???Load PCG??? to load a .PCG ???le, the identically- named .KSC ???le will also be loaded so that the cor- rect multisamples/samples will correspond auto- matically.

When saving .KSC, .KMP, and .KSF ???les and the data does not ???t on a single SD card (or other vol- ume of media), another dialog box will appear, and you will be asked to specify the next volume of media (???PG p.152 ???If the data does not ???t on the media when saving???)

MIDI data dump

The programs (A-D), combinations (A???C), drum kits, user arpeggio patterns and global settings of internal memory, and sequencer songs, cue lists, can be trans- mitted as MIDI exclusive data and saved on a con- nected MIDI data ???ler, computer, or another TR. (???PG p.131)

Basic functions

Saving data

Restoring the factory settings

Loading the preloaded data

The factory settings are referred to as the ???preloaded data.??? The action of restoring the programs, combina- tions, and global settings of the TR to their factory set- tings is referred to as ???loading the preloaded data.???

This operation will rewrite any data that had been previously written. If you do not want to lose the previously-written data, you must ???rst save it to SD card or external SCSI media (requires the EXB- SMPL option) (???p.46).

1Press the [GLOBAL] key to enter Global mode. (The key will light.)

2Press the [EXIT] key.

You will be in the Global mode 1.1: System page.

3Press the [F8] (???UTILITY???) key to access the Utility menu.

4Press the [F7] (??? ???) key to select ???Load Pre- load/Demo Data,??? and press the [F8] (???OK???) key.

A dialog box will appear.

5Use the [INC]/[DEC] keys to select the data that you want to load.

Use ???Kind??? to select the data that you want to load. For this example, select All Preload PCG.

.PCG ???les contain program, combination, drum kit, arpeggio pattern, and global setting data.

6Press the [F8] (???OK???) key.

A dialog box will ask you for con???rmation.

7Once again press the [F8] (???OK???) key.

All the preloaded data will be loaded.

If the Memory Protected dialog box appears, un- check the memory protect setting, and perform the load operation once again (???p.43).

Loading individual banks or data items

The TR allows you to load individual banks, programs, or combinations. Drum kits and arpeggio patterns can also be loaded individually or as a group.

This is convenient when you want to restore just one item of factory-set data, or when you want to rearrange combinations in a speci???c order for live performance.

It is of course also possible to rearrange programs, but you should be aware that this may change the sounds that are used by a combination (???p.43).

As an example, here???s how to load the combination B015: Rock Organ into C064: Modern Piano.

1Perform steps 1???4 described above to access the dialog box.

2Use the [INC]/[DEC] keys to set ???Kind??? to Combi- nation.

3Press the [] key to move downward, and use the [INC]/[DEC] keys to select Single.

4Press the [] key to move downward, and use the [INC]/[DEC] keys to select the combination B015: Rock Organ as the copy source.

5Press the [] key to move downward, and use the [INC]/[DEC] keys to select the combination C064: Modern Piano as the load destination (???To???).

6Press the [F8] (???OK???) key twice.

The data will be loaded, and C064 will be the Rock Organ combination.

Program mode

In Program mode you can select, play and edit pro- grams.

Program mode consists of pages 1.1: Play???7.2: Ed???Mas- terFX.

In 1.1: Play; you can select and play programs. You can also edit the sound in simple ways, and make arpeg- giator settings. (???p.32)

In 2.1: Ed???Basic???7.2: Ed???MasterFX, you can edit the parameters of the program that was selected in 1.1: Play.

When shipped from the factory, the TR contains numerous preloaded programs. You can edit these pre- loaded programs to create your own original pro- grams. You can also create original programs using your own sampled waveforms or multisamples that you sampled in Sampling mode (using the EXB-SMPL option) or loaded into internal memory in Media mode.

If the separately sold EXB-SMPL option is installed, the TR will have AUDIO INPUT jacks that allow external audio to be input. In Sampling mode you can sample these external audio input sources. In modes other than Sampling mode, the TR???s internal effects can be applied to the external audio input sources, allowing a wide range of applications (???p.115, PG p.128).

All transmission and reception of MIDI data in Program mode is performed on the Global MIDI channel. The global MIDI channel is set in GLO- BAL 2.1: MIDI ???MIDI Channel.???

How a program is organized

A program consists of the many parameters of 2.1: Ed???

Basic???7.2: Ed???MasterFX. The diagram below shows the structure of a program.

Basic program editing

With the factory settings, this instrument???s program bunks A, B, C and D contain preloaded programs. You can edit these programs to create your own original programs.

For parameters in 2.1: Ed???Basic???5.3: Ed???LFOs that are set independently for each oscillator 1 and 2, you can use the Utility ???Copy Oscillator??? to copy settings from one oscillator to the other. This is a convenient way to make the same settings for two oscillators, or to copy settings from one oscillator to the other.

If you wish to save an edited program into internal memory, be sure to Write the program. (???p.43)

In this section we will give examples of how to modify representative parameters in each page. For details on all parameters, refer to in the PG p.1???.

Programs you edit or create can be written into the 512 program memory areas of banks A???D. They can also be saved and managed on SD card in Media mode (???p.43).

Basic functions

Program mode

The three elements of sound

Sound can be broken down into three elements: pitch, tone, and volume.

On this instrument, these elements correspond to the Pitch, Filter, and Ampli???er settings of the program. In other words you would adjust the Pitch settings to modify the pitch, the Filter settings to modify the tone, and the Ampli???er settings to modify the volume.

In Oscillator (Oscillator: 2.1: Ed-Basic settings) you select the waveform multisample that determines the basic sound, and specify its pitch. This sound is then modi???ed by the pitch settings (Pitch: 3.1: Ed-Pitch), ???l- ter settings (Filter: 4.1, 4.2: Ed-Filter), and amp settings (Ampli???er: 5.1, 5.2: Ed-Amp) to create the basic sound of the program.

This basic sound can then be modi???ed further by using insert effect (7.1: Ed-InsertFX settings), master effects, and master EQ (7.2: Ed-MasterFX settings) to apply ???nishing touches. When arpeggiator settings (6.1: Ed- Arp.) and controller settings (2.2: Ed-Ctrl) are added to this, the ???nal result is called a ???program.???

Programs that are used in Combination mode or Sequencer mode have insert effect, master effect, master EQ, arpeggiator, and controller settings that are separate from those of Program mode.

The Compare function

As you are editing a program, you can use the [COM- PARE] key to listen to the previously saved version of the sound, (as it was before you began editing). Press the [COMPARE] key (the key light comes on) to hear the original version. Pressing [COMPARE] again (the light goes dark) returns you to the version you are edit- ing.

If you edit while the [COMPARE] key is lit, the key will go dark. That sound will be the sound that is recalled when the [COMPARE] key is dark.

In 2.1: Ed???Basic you can make oscillator-related set- tings. This instrument provides two oscillators, and for each oscillator you can select a basic waveform (???mul- tisample???) and set the pitch. The multisamples pro- vided by this instrument include waveforms for musical instruments such as pianos, as well as special waveforms unique to synthesizers. Multisamples reproduce the complex overtone structure and fre- quency characteristics that allow us to identify a sound as being ???piano-like??? or ???guitar-like.???

Basic (Prog Basic) page

Mode (Oscillator Mode)

This sets the mode of the oscillator.

Single uses one oscillator and Double uses two oscilla- tors. In the case of Single the maximum polyphony is 62 notes, and in the case of Double the maximum polyphony is 31 notes. If you wish to use a Drum Kit to create a drums program, select Drums. (???p.51)

Mode (Voice Assign Mode)

Indicates whether the program will sound in Poly (polyphonically) or Mono (monophonically).

If this is set to Poly, you will be able to play chords using the program. If this is set to Mono, only one note will sound even if you play a chord. Normally you will set this to Poly, but it is effective to use Mono when you are playing sounds such as analog-synth bass or synth lead. Try switching between Poly and Mono, and listen to the result.

OSC1 page, OSC2 page

Speci???es the multisample for oscillator 1, 2.

Selecting a multisample

The multisample will determine the basic character of the program.

Use ???High MS Bank??? to select the multisample bank, and use ???High Multisample??? to select the multisample.

If the ???High MS Bank??? is ROM or EX, you can select preset multisamples. ???High Multisample??? can be selected from a range of ROM: 000???424, EX: 000???044. (???VNL)

If ???High MS Bank??? is RAM, you can select multi- samples that were created in Sampling mode or loaded in Media mode (if the EXB-SMPL option and sample data RAM is installed). In ???High Multisam- ple??? you can select from 000???999.

You can use the Utility ???Select by Category??? to select internal preset multisamples from 15 catego- ries. (???PG p.8)

High Multisample and Low Multisample

If you specify a High and Low multisample for an oscillator, either the High or the Low multisample will sound depending on the velocity of the note (i.e., the strength at which you play the keyboard). This func- tion is called velocity multisample switching.

1Specify different multisamples for ???High Multi- sample??? and ???Low Multisample.???

2Specify a velocity value for ???Velocity SW L???H.???

Notes played on the keyboard at a velocity less than the value you specify will sound the Low multisam- ple; velocities at or above this velocity value will

sound the High multisample.

For example if you set ???Velocity SW L???H??? to 100, playing the keyboard softly will sound the ???Low??? multisample, and playing strongly will sound the ???High??? multisample.

3Adjust the ???Level??? for High and Low multisam- ples to set their volume balance.

If you do not wish to use this function, set the ???Velocity SW L ??? H??? value to 001. Only the High multisample will sound.

Rev (Reverse) check box

If this is checked, the multisample will be played back- ward. This can produce interesting results when used on sound-effects, etc. Normally you will not check this.

When ???Oscillator Mode??? = Double

To use OSC2, set ???Mode (Oscillator Mode)??? to Double in the Basic (Prog Basic) page.

In the same way as for OSC1, you can set High and Low multisamples for OSC2.

The playback pitch can be set independently. By using the same multisample with slightly different ???Tune??? settings, you can ???detune??? the oscillators to produce a richer sound.

It will be convenient to use the Utility ???Copy Oscillator??? to make the oscillator settings match each other.

When ???Oscillator Mode??? = Drums

(You can create programs using multisamples/sam- ples that were sampled in Sampling mode or loaded in Media mode.)

???Nine internal drum kits (ROM)

???24 user drum kits created in Global mode

(Drum samples can be freely assigned to each key to create a drum kit. For the sound of each key, you can make ???lter and amp settings, and specify routing to the effects and to the individual audio outputs.)

V.Zone (Velocity Zone) page

Here you can specify the range of velocities that will sound oscillators 1 and 2. In the example shown above, the velocity ranges are as follows.

???OSC1 will sound for all velocity values.

???OSC2 will sound only for strongly played notes (64 and above).

???You can use Velocity Multisample Switching in addition to this (??????High Multisample, Low

Multisample???). For this example, set ???OSC1??? in ???Velocity SW L???H??? to 32 and ???OSC2??? to 96. The settings are shown as vertical lines in the velocity zone display.

In this example, the multisamples will sound over four levels.

Velocity values 001???031:

sound only the OSC1 Low multisample.

Velocity values 032???063:

sound only the OSC1 High multisample.

Velocity values 064???095:

sound the OSC1 High multisample and the OSC2 Low multisample.

Velocity values 096???127:

sound the OSC1 High multisample and the OSC2 High multisample.

Basic functions

Program mode

In the Basic (Prog Basic) page, set ???Mode (Oscillator Mode)??? to Drums. When this is set to Drums, you will be able to create a drum program.

This will select a drum kit instead of a multisample. This instrument provides sixteen factory preset drum kits that are suitable for a wide variety of music. (???Drumkit name, VNL)

Here you can only select a drum kit. To edit or create a drum kit, use GLOBAL 5.1: DKit (???p.98).

The following multisamples or drum kits can be used for the oscillator.

???470 internal preset multisamples (ROM, EX)

???Multisamples (RAM) created in Sampling mode (if the EXB-SMPL option is installed)

Ctrls (Controls) page

For each program, this tab lets you make settings for the [SW1] and [SW2,] and for the B-mode of REAL- TIME CONTROLS knobs [1]???[4] (???p.119, PG p.9, 224, 225)

Here you can specify how the pitch of the multisample selected for the oscillator will change. Pitch EG and LFO settings allow the pitch to varied over time.

The parameters of the OSC2 page and OSC2lfo page are valid only if ???Mode (Oscillator Mode)??? is set to

Double.

OSC1 page

Pitch

The ???JS (???X)??? and ???JS(+X)??? settings specify the amount of pitch change (in semitones) that will occur when MIDI pitch bend messages are received or when the joystick is moved to left or right. A setting of +12 allows the pitch to be controlled a maximum of one octave upward; a setting of ???12 allows the pitch to be controlled a maximum of one octave downward.

???Ribbon (#16)??? speci???es the amount of pitch change (in semitones) that will occur when MIDI control change (CC) #16 messages are received or when the ribbon controller of a TRITON or other MIDI-con- nected instrument is moved to left or right. With a set- ting of +12, the pitch will rise one octave at the far right of the ribbon controller, and fall one octave downward at the far left of the ribbon controller.

Pitch EG

When the ???Intensity??? value is set to +12.00, the pitch EG speci???ed in the Pitch EG page will produce a maxi- mum of ??1 octave of pitch change.

Portamento

If ???Enable??? is checked, portamento will be applied. Portamento makes the pitch change smoothly when you play the next note before releasing the previous note.

The ???Time??? parameter speci???es the portamento time. As this value is increased, the pitch will change over a longer time. With a value of 000, there will be no porta- mento.

If Porta.SW (CC#65) is assigned as the function of [SW1] or [SW2] key, the portamento effect can be switched on/off by [SW1] or [SW2] key.

OS1lfo (OSC1 LFO) page

LFO 1/2

An LFO can be used to cyclically modulate the pitch (the ???vibrato??? effect).

???Intensity (LFO Intensity)??? sets the depth to which the LFO speci???ed in 5.3: Ed-LFOs will affect the pitch. With a setting of +12.00, vibrato will produce a maxi- mum of ??1 octave of pitch change.

???JS+Y Int??? speci???es the amount of vibrato that the LFO will produce when the joystick is pushed away from yourself.

???Intensity (AMS Intensity)??? speci???es the depth of vibrato that will be applied by the LFO when AMS (Alternate Modulation Source) is operated. For exam- ple if ???AMS (LFO1 AMS)??? is set to AfterT and you set an appropriate value for ???Intensity (AMS Intensity),??? vibrato will be applied when you apply pressure to the keyboard or when MIDI aftertouch messages are received.

EG (Pitch EG) page

Here you can make settings for the pitch EG. When you wish to create sound effects etc., set the pitch EG to make major changes in pitch over time.

To realistically simulate the slight change in pitch that occurs when a string is plucked or at the attack of a brass or vocal sound, you can use the EG to create a subtle change in pitch at the attack (???PG p.10).

EG and LFO

By using an EG (envelope generator) to apply time- varying change or by using an LFO (Low Frequency Oscillator) to apply cyclic change to pitch, ???lter, or amp, you can create changes in the pitch, tone, or vol- ume.

EG (Envelope Generator)

This instrument provides a Pitch EG, Filter EG, and Ampli???er EG, which produce time-varying changes in pitch, tone, and volume respectively.

Start Level

LFO (Low Frequency Oscillator)

For each oscillator, this instrument provides two LFO???s that can be used to apply cyclical change in pitch, tone, and volume.

Examples of this are vibrato (cyclical change in pitch), wah (cyclical change in tone), and tremolo or auto-pan (cyclical change in volume).

Filter settings

4.1: Ed???Filter1, 4.2: Ed???Filter2

The ???lter allows you to diminish or emphasize speci- ???ed frequency areas of the multisample selected for the oscillator. The tone of the sound will depend signi???- cantly on the ???lter settings.

This instrument provides Filter 1 for OSC1 and Filter 2 for OSC2. For each of these ???lters, you can select from two types (Low Pass Resonance or Low Pass & High Pass). Filter 2 can be used if ???Mode (Oscillator Mode)??? is set to Double.

Basic page

Filter Type, Filter A, Filter B

Selects the type of ???lter, and specify the ???Frequency??? (cutoff frequency) and ???Resonance??? (resonance level).

???Low Pass Resonance (24 dB/oct low pass filter with resonance): Make settings for filter A.

???Low Pass & High Pass (12 dB/oct low pass filter and 12 dB/oct high pass filter in series connection): Make low pass filter settings in filter A, and high pass filter settings in filter B.

Low pass ???lter

This is the most common type of ???lter, which passes the low frequency range and cuts the high frequency range. When the overtones of the high range are cut, a bright sound will become darker (more mellow).

24 dB/oct and 12 dB/oct refer to the steepness of the cut. 24 dB/oct means that the gain will decrease 24 dB in one octave (i.e., as the frequency doubles). A 12 dB/ oct ???lter would decrease the gain 12 dB in one octave. The 24 dB/oct ???lter produces a steeper cut.

Low Pass

Level

12dB/oct

24dB/oct

Frequency

High pass ???lter

This type of ???lter passes the high frequency range and cuts the low frequency range. Use this when you wish to make the sound thinner. However if the cutoff fre- quency (Frequency) is raised excessively high, the vol- ume will become very low.

High Pass

Level

12dB/oct

Frequency

Resonance

When ???Resonance??? is set to a higher value, the over- tones in the region of the cutoff frequency will be boosted as shown in the diagram below, giving a dis- tinctive character to the sound.

When resonance is applied

Low Pass

Level

Low resonance value High resonance value

Mod.1, Mod.2 page

Controllers and the ???lter EG can be used to modulate the ???lter cutoff frequency that was speci???ed in the Basic page. By using a controller to vary the tone or by using an EG to create time-varying changes, you can add a rich variety of tonal change to the sound.

Keyboard Track (Mod.1 page)

This varies the cutoff frequency according to the posi- tion of the key on the keyboard that you play.

???When Ramp ???Low??? is set to a positive (+) value, the cutoff frequency will rise as you play lower on the keyboard, making the sound brighter. When set to a negative (???) value, the cutoff frequency will fall as you play lower on the keyboard, making the sound darker.

???When Ramp ???High??? is set to a positive (+) value, the cutoff frequency will rise as you play higher on the keyboard, making the sound brighter. When set to a negative (???) value, the cutoff frequency will fall as you play higher on the keyboard, making the sound darker.

???Int. ???to A??? and ???to B??? adjust the effect that keyboard tracking will have on filters A and B (???PG p.14).

Filter EG (Mod.1 page)

Adjusts the effect produced by the ???lter EG, whose set- tings are made in the EG page.

???Use the Int. ???to A??? and ???to B??? settings to specify the depth of the filter EG.

???Use the Vel ???to A??? and ???to B??? settings to specify the effect of velocity on the filter EG.

??????AMS??? and ???Int to A, B??? adjust the effect that AMS will have on the filter EG depth.

These three settings will determine the depth of the tonal change produced by the ???lter EG.

Filter Modulation (Mod.2 page)

Set this when you wish to produce tonal change by using controllers etc. to vary the cutoff frequency.

lfoMod (LFO Mod.) page

Indicates settings that allow the LFO to produce cyclic changes in tone (a ???wah??? effect).

Basic functions

Program mode

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

???Int. to A??? and ???Int. to B??? specify the depth of the wah effect that will be produced by the LFO when ???AMS??? (Alternate Modulation Source) is operated. For exam- ple if ???AMS??? is set to AfterT, applying pressure to the keyboard of the TR, will apply a wah effect.

EG page

Indicates settings for the ???lter EG, which controls time- variant changes in tone (???PG p.16). Make settings for the EG here, and set the depth of its effect in the Mod.1 page ???Filter EG??? parameter.

Filter EG and Ampli???er EG

When the Filter EG changes the cutoff frequency, the tone will change. However depending on the volume changes produced by the Ampli???er EG, this can be heard in different ways. For example by changing the speed at which the tone and volume begin (attack) or decay, you can signi???cantly vary the character of the tonal change. It is a good idea to adjust the changes of both the Filter EG (tone) and the Ampli???er EG (vol- ume) as you proceed with editing. (??????5.1: Ed???Amp1, EG page, 5.2: Ed???Amp2, EG page)

Ampli???er settings

5.1: Ed???Amp1, 5.2: Ed???Amp2

These settings affect the volume. Here you can adjust the way in which the Amp EG and LFO produce time- varying and cyclic changes in volume, and how the controllers etc. will affect the volume.

Amp1 applies to OSC1, and Amp2 applies to OSC2. Amp2 can be used if ???Mode (Oscillator Mode)??? is set to Double.

For example, the volume of a piano note begins at a high volume the instant you play the note, and then decreases gradually. The volume of an organ note remains constant as long as you continue pressing the key. The volume of a note on a violin or wind instru- ment can be varied during the note by the musician (i.e., by regulating the amount of pressure on the bow or the force of the breath).

Lvl/Pan (Level/Pan) page

Amp1 Level, Amp2 Level

Adjusts the volume of the sound that has passed through the oscillator, ???lter, and amp.

Pan

Speci???es the pan (stereo position) after the signal has passed through the oscillator, ???lter, and amp. Nor- mally you will set this to C064. If ???Mode (Oscillator Mode)??? is Double and you wish to create a sense of stereo, set the 5.1: Ed-Amp1 and 5.2: Ed-Amp2 param- eter ???Pan??? to left and right for oscillators 1 and 2 respectively. With a setting of Random, the pan will change randomly each time you play a note on this instrument, producing an interesting effect.

AMS Intensity

???Intensity??? speci???es the depth of the panning effect that will occur when ???AMS??? is operated.

If you set ???AMS??? to Note No., the pan will change according to the keyboard position at which you play a note on a this instrument. With a setting of LFO1 or 2, the pan will sweep from side to side (auto pan). Other settings allow you to move the oscillator pan by oper- ating a controller.

Use DKit Setting

This is valid when ???Mode (Oscillator Mode)??? is set to Drums. If this is checked, the pan location speci???ed by the Drum Kit for each drum sound will be used. If this is unchecked, all drum sounds will sound at the same location. Preload and GM drum kits are set to stereo settings. Normally you will leave this checked.

Mod. page

Keyboard Track

This lets you vary the volume relative to the position of the key you are playing on the keyboard.

???When Ramp ???Low??? has a positive (+) value, the volume will increase as you play lower on the keyboard. With a negative (???) value, the volume will decrease as you play lower on the keyboard.

???When Ramp ???High??? has a positive (+) value, the volume will increase as you play higher on the keyboard. With a negative (???) value, the volume will decrease as you play higher on the keyboard.

Amp Mod.

???Velocity Int??? is used by most programs to decrease the volume of softly played notes and increase the vol- ume of strongly played notes, and this Amp Modula- tion parameter adjusts the depth of this control. Normally you will set Amp Modulation to positive (+) values. As this setting is increased, there will be greater volume difference between softly played and strongly played notes.

LFO1 Mod., LFO2 Mod.

Specify how the LFO???s will produce cyclic changes in volume (the tremolo effect).

The volume will be affected by the LFO(s) for which you set an ???Intensity (LFO1 Intensity, LFO2 Intensity)??? value.

???Int (AMS Intensity)??? adjusts the depth by which the tremolo effect produced by the LFO will be affected when you operate an ???AMS (LFO1 AMS, LFO2 AMS).???

For example if you set ???AMS??? to JS-Y #02, tremolo will be applied when you move the joystick of this instru- ment. toward yourself, or when CC#02 is received.

EG page

Here you can make settings for the amp EG, which changes the volume over time.

Every instrument has its own characteristic curve of volume change. This is part of what gives each instru- ment its identi???able character. Conversely, by applying a strings-type Amp EG curve to an organ-type multi- sample, you can produce a sound with a character unlike a typical organ.

Piano

Organ

Strings

OSC1 LFO1, OSC1 LFO2, OSC2 LFO1, OSC2 LFO2

???Waveform??? selects the type of LFO. You can choose from a variety of waveforms, including standard waveforms such as Triangle, Saw, Square, and Sine, as well as Step or Random PG waveforms that pro- duce a sample-and-hold effect (???PG p.22).

You can create a wide variety of effects by adjusting the ???Ofs,??? ???Fade,??? and ???Dly??? settings, and by changing the sign (+/???) of the ???Intensity??? setting in the 3.1: Ed- Pitch, 4.1: Ed-Filter1, 4.2: Ed-Filter2, 5.1: Ed-Amp1, and 5.2: Ed-Amp2 pages. ???Frequency??? speci???es the speed of the LFO.

Freq.Mod (Frequency Modulation)

???AMS??? can be used to vary the LFO speed. This lets you change the LFO speed by operating a controller, or by the EG or Keyboard Track settings.

MIDI/Tempo Sync.

If ???MIDI/Tempo Sync??? is checked, the ???Frequency??? setting will be ignored, and the LFO will synchronize to the tempo of the sequencer and arpeggiator. This lets you produce vibrato, wah, auto-pan, or tremolo that is synchronized to the playback speed of the sequencer or arpeggiator.

Here you can make arpeggiator settings (???p.103).

You can specify the oscillator routing (the signal sent to the insert effect, master effects, and independent out- puts) (???p.112).

Insert Effect settings

7.1: Ed???InsertFX Setup, IFX

Here you can select insert effect and make settings for them (???p.113).

Basic functions

Program mode

For each oscillator, you can use two LFO (Low Fre- quency Oscillator) units: LFO1 and LFO2. You are free to select the type of each LFO and set its speed.

The depth of the LFO1 and LFO2 that you specify here is adjusted by the settings of the 3.1: Ed-Pitch, 4.1: Ed- Filter1, 4.2: Ed-Filter2, 5.1: Ed-Amp1, and 5.2: Ed- Amp2 pages.

Master Effect settings 7.2: Ed???MasterFX

Here you can select master effects and make settings for them. The master EQ is also set here (???p.113).

More about Alternate Modulation

Alternate Modulation is a type of modulation that can be used to control various aspects of the sound.

AMS (Alternate Modulation Source) refers to any of the numerous sources that can control alternate modu- lation, and includes controllers that you operate physi- cally such as the joystick and realtime controllers, incoming MIDI data, as well as modulators such as the EG or LFO.

Since this instrument allows you apply modulation to a modulator, this type of control is referred to as ???alter- nate modulation.???

Intensity is a parameter that sets the degree (speed or depth) to which AMS will control alternate modula- tion.

Combinations of modulations that are frequently used in on the synthesizer. performance (such as using the joystick to vary the pitch) are also provided as special parameters separately from alternate modulation.

This instrument provides 29 types of alternate modula- tion.

In single mode you can use 29 alternate modulation destinations of 29 types, and in double mode you can use 55 alternate modulation destinations of 29 types. There are 42 AMS sources. (However depending on the type of modulation, some sources cannot be selected.) For details on alternate modulation and AMS, refer to PG p.215.

Suggestions on using alternate modulation

When making settings for alternate modulation, think of the effect that you wish to produce, what type of modulation will be necessary to produce that effect, and what parameter of the oscillator, ???lter, or ampli???er needs to be controlled. Then select a source (???AMS???) and set the ???Intensity.??? If you proceed logically in this way, you will achieve the desired effect.

For example if you want to ???control a guitar-like sound so that it appears to be approaching feedback when the joystick is moved away,??? you will make settings so that the joystick controls ???lter modulation or the resonance level.

Auto Song Setup function

This function automatically applies the settings of the current program or combination to a new song in the sequencer.

If inspiration for a phrase or song strikes you while you???re playing a program or combination, you can use this function to start recording immediately.

Hold down the [ENTER] key and press the SEQUENCER [REC/WRITE] key. The ???Setup to Record??? dialog box will open and ask ???Are you sure????. Press [F8] (???OK???) key. You will automatically enter Sequencer mode, and will be in the record-ready state. Press the [START/STOP] key to start the sequencer and begin recording.

Combination mode

In Combination mode you select, play and edit combi- nations.

Combination mode consists of pages 1.1: Play???7.2: Ed- MasterFX.

In 1.1: Play; you can select and play combinations. You can also do some overall editing, and make arpeggia- tor settings (???p.29, 33).

In 2.1: Ed???Basic???7.2: Ed???MasterFX; you can edit the parameters of the combination that was selected in 1.1: Play.

How a combination is organized

A combination consists of a variety of parameters that can be accessed in 2.1: Ed-Basic???7.2: Ed-MasterFX. The diagram below shows how a combination is struc- tured.

Basic combination editing

Banks A, B, and C of the TR contain a variety of combi- nations that use the preloaded programs (banks A, B, C) and the preset and preloaded user arpeggio patterns and effects. You can edit these combinations to create your own original combinations.

Original programs using samples/multisamples recorded in Sampling mode (if the separately sold EXB-SMPL option is installed) or loaded into memory in Media mode can also be used in a combination. Combinations you edit or create can be written into the 384 combination memory areas of banks A???C. They can also be saved and managed on SD card in Media mode (???p.43, 46).

If a program being edited in Program mode is used in a combination, it will sound according to the settings being edited.

If you wish to save an edited combination in inter- nal memory, you must write it. (???p.43)

Suggestions for editing procedure

The parameters of each timbre are set in 2.1: Ed-Prog/

Mix???4.4: MIDI Filter4, and 7.1:Ed-InsertFX. This is where you create the basic combination consisting of the programs you select here.

First use 2.1: Ed-Prog/Mix to select the program for

each timbre, and then use 3.3: Ed-Key Zone and 3.4: Ed-Vel Zone to specify the range in which each pro- gram will sound (layer, split, velocity switch, etc.).

Then adjust the volume of each timbre, and set various other parameters.

To add ???nishing touches to the sound, you can make insert effect settings (in 7.1: Ed-InsertFX) and master effect and master EQ settings (in 7.2: Ed-MasterFX) that are separate from the effect settings of Program mode. In addition, you can make arpeggiator settings (in 6.1: Ed-Arp.) and controller settings (in 2.2: Ed-Ctrl) to create the ???nished combination.

By using the Utility ???Solo Selected Timbre???, you can listen only to the selected timbre. This is a con- venient way to audition individual sounds of tim- bres that are layered. (???p.34)

In pages that display all timbres 1???8, such as 2.1: Ed-Prog/Mix, you can use the [], [] keys to select timbres. You can also select timbres directly by holding down the [TIMBRE/TRACK] key and pressing one of the [F1 T1/T9]???[F8 T8/T16] keys.

Combination mode Basic functions

Timbre8 Parameters

Program

7.1-1 or 7.2-1 etc. indicate pages or tab screens used on this instrument for editing.

Layer, split, and velocity switch

Within a combination, you can use keyboard location and velocity to change the program that sounds. The programs assigned to each timbre can sound in three ways: as a layer, a split, or a velocity switch. A combi- nation can be set to use any one of these methods, or to use two or more of these methods.

Layer

Layer refers to settings which cause two or more pro- grams to sound simultaneously when a note is played.

Program A

Program B

Layer:

Two or more programs sound simultaneously.

Split

Split refers to settings which cause different programs to sound on different areas of the keyboard.

Split:

Different programs will sound in different areas of the keyboard.

Velocity switch

Velocity Switch refers to settings which cause different programs to sound depending on the velocity (key- board playing dynamics).

Velocity Switch:

Keyboard playing dynamics (velocity) switches between different programs.

On this instrument, you can use a different program for each of up to eight timbres, and combine two or more of the above methods to create even more com- plex setups.

Example:

B and C, D are split. In the lower keyboard range, A and B are layered. In the higher keyboard range, C and D are switched by velocity and layered with A.

As an additional possibility, you can set the slope for a key zone or velocity zone so that the volume dimin- ishes gradually. This lets you change a split into a key- board crossfade, or a velocity switch into a velocity crossfade.

Velocity X-Fade (velocity crossfade):

As you play with increasingly stronger velocity, the volume of A will fade out, and the volume of B will fade in.

The Compare function

As you are editing a combi, you can use the [COM- PARE] key to listen to the previously saved version (as it was before you began editing). Press the [COM- PARE] key (the key light comes on) to hear the original version. Pressing [COMPARE] again (the light goes dark) returns you to the version you are editing.

If you continue editing when the [COMPARE] key LED is lit, the LED will go dark, and the current sound will now be the sound that is recalled when the [COMPARE] key LED is dark.

In the section below, we will edit typical parameters in each page while listening to the effect of each parameter.

For a more detailed explanation of these parameters, refer to PG p.31???.

Timbre 1???8 program, pan and volume 2.1: Ed???Prog/Mix

Here you can assign programs to each timbre 1???8, and set pan and volume for each. (These settings can also be made in the Prog and Mix pages of 1.1: Play.)

Prog page

Program Select

Assigns a program to each timbre.

You can use the Utility menu command ???Select by Category??? to select programs from 16 categories. (???p.33)

You can also use the [BANK] and [A]???[GM] keys to select the bank of the program.

If you wish to select programs by receiving MIDI program changes, do so in P1.1: Play.

Mix (Mixer) page

Pan

Speci???es the panning (stereo location) for each timbre. A setting of C064 will reproduce the oscillator pan set- ting of the program. Moving this to left or right will move the sound to left or right while preserving the pan relationship between the oscillators. A setting of L001 is far left, and R127 is far right.

Volume

Adjusts the volume of each timbre.

Create the overall sound by adjusting the volume bal- ance between timbres. The ???Volume??? setting is an important aspect of creating the sound, and this setting will have a signi???cant effect on the overall impression produced by the Combination.

Ctrls (Controls) page

For each combination, you can specify the functions of the B-mode functions of REALTIME CONTROLS knobs [1]???[4], and the [SW1] and [SW2.] (???p.119, PG p.36, 224, 225)

Settings for status, MIDI channel, and

Status

Here you can specify the state of MIDI and the internal tone generator for each timbre. Normally when sound- ing the internal tone generator of this instrument, you will set this to INT. Set this to Off for timbres that you are not using. With settings of Off, EXT, or EX2, this instrument will not sound. With settings of EXT or EX2, you can control an external tone generator con- nected via MIDI. (???PG p.36)

MIDI Channel

Timbres that you wish to play from this instrument???s keyboard must be set to the global MIDI channel. Your playing on the keyboard is transmitted on the global MIDI channel, and will sound any timbre that matches this channel. Normally you will set this to Gch. When this is set to Gch, the MIDI channel of the timbre will always match the global MIDI channel, even if you change the global MIDI channel.

On some preloaded combinations that use the arpeggiator, timbres assigned to the arpeggiator may not have a ???Status??? of INT and ???MIDI Ch??? of

Gch.

The reason for this is that these settings are for tim- bres that sound only when the arpeggiator is on. This is a very useful technique for creating combi- nations that use the arpeggiator. Refer to ???Arpeg- giator settings in Combination and Sequencer modes??? (???p.105, PG p.43), and study the relation- ship between arpeggiator assignments, ???Status,??? and ???MIDI Channel.???

Bank(EX2) MSB, Bank(EX2) LSB

This setting is valid when ???Status??? is set to EX2. It speci???es the Bank Select message that will be transmit- ted from this instrument.

OSC page

Force OSC Mode

Normally you will set this to PRG.

If you wish to force a polyphonic program to sound monophonically, set this either to Mono or LGT (Legato). Conversely, set this to Poly if you wish to force a monophonic program to play polyphonically (???PG p.37).

OSC Select

Normally you will set this to Both.

If the timbre is using a program whose ???Mode (Oscilla- tor Mode)??? is Double, and you want only OSC1 or OSC2 (not both) to sound, set this to OSC1 (only OSC1 will sound) or OSC2 (only OSC2 will sound).

Portamento

Normally you will set this to PRG.

If you want the portamento setting speci???ed for the program of the timbre to be forced off, set this parame- ter to Off. Conversely, if you want to forcibly turn the portamento on, or to change the portamento time, set this to a value of 001???127 to specify the portamento time.

Combination mode Basic functions

Pitch page

Transpose, Detune (BPM Adjust)

These parameters adjust the pitch of the timbre.

???In a layer-type combination, you can set two or more timbres to the same program, and create a richer sound by using ???Transpose??? to shift their pitch apart by an octave or by using ???Detune??? to create a slight difference in pitch between the two.

???In split-type combinations, you can use ???Transpose??? to shift the pitch (in semitone units) of the programs specified for each key zone.

???If you wish to change the playback pitch of a drum program, use ???Detune.??? If you change the ???Transpose??? setting, the correspondence between notes and drum sounds will change.

Adjusting the BPM of multisamples or samples cre- ated in Sampling mode (requires the EXB-SMPL option be installed)

If a timbre program uses multisamples or samples that you created in Sampling mode (or loaded in Media mode) to a speci???c BPM value, you can use the Utility ???Detune BPM Adjust??? to call up a new speci???ed BPM value. This changes the BPM by changing the playback pitch. (???PG p.38)

Note timing and scale settings 3.2: Ed???Param2

Other page

Delay [ms]

Speci???es the timing at which the program of each tim- bre will sound. Specify the time from when you play the keyboard until the program will sound.

If you select KeyOff for this parameter, the timbre will sound when the note is released.

Use Prog???s Scale, Combi???s Scale

Speci???es the scale for each timbre. If you check ???Use Prog???s Scale,??? the scale speci???ed by the program will be used. Timbres for which this is not checked will use the ???Combi???s Scale??? setting.

Layer and split settings 3.3: Ed???Key Zone

Indicates settings such as layer, split, and keyboard crossfade.

Key page

Speci???es the range of notes that will sound each tim- bre. Each area that sounds a timbre is referred to as a Key Zone. By setting key zones, you can create a com- bination in which different programs sound in differ- ent areas of the keyboard.

By combining key zones speci???ed for each timbre, you can create layered or split combinations.

The upper and lower limits for the key zone of each timbre are set by the ???Top Key??? and ???Bottom Key??? respectively.

For example in the following diagram, timbres 1???3 are set to create a layered and split combination. This is speci???ed by the key zone settings.

Timbres 2 and 3 create a layer. Timbre 1 and timbres 2/ 3 are split between the B3 and C4 note numbers.

As an example here, we will explain how to create a combination like the one shown above.

1In the 1.1: Play, Prog page or the 2.1: Ed-Prog/Mix, Prog page, use the ???Program Select??? area to select the program that will be used for each timbre 1???3.

Select a piano program for timbre 1. Select a brass program for timbre 2. Select a strings program for timbre 3.

2In the MIDI page of 3.1: Ed-Param1, set ???Status??? to INT for all the timbres that you wish to use, and set ???MIDI Channel??? to either Gch or to match the global MIDI channel (a ???G??? will be displayed after the channel number).

3In the Key page of 3.3: Edit-Key Zone, set ???Top Key??? and ???Bottom Key.???

Set timbre 1 to a ???Top Key??? of G9 and a ???Bottom Key??? of C4.

Set timbres 2 and 3 to a ???Top Key??? of B3 and a ???Bot- tom Key??? of C???1.

You can also enter these values by holding down the [ENTER] key and playing a note on the key- board of this instrument.

Slope page

Here you can specify the range of keys over which the original volume will be reached, starting at the top key and bottom key.

In the case of the above example, you could set the key zones so that a portion of timbres 1 and 2 overlaps (i.e., is layered) with timbre 3, and set ???Top Slope??? and ???Bottom Slope??? so that the sound changes gradually, instead of changing suddenly between B3 and C4.

Velocity switch settings 3.4: Ed???Vel Zone

Here you can make settings for velocity switching and velocity crossfading.

Vel (Velocity) page

For each timbre, you can specify a range of velocities for which it will sound. The range of velocities for which a timbre will sound is called the Velocity Zone. By setting a velocity zone, you can set up a timbre which will be sounded only by notes played at a cer- tain strength, and not by stronger or weaker notes.

By combining timbres that have differing velocity zone settings, you can create velocity switched combina- tions.

The upper and lower limits of the velocity zone of each timbre are determined by the ???Top Velocity??? and ???Bot- tom Velocity??? respectively. The following diagram shows an example of a velocity switched combination in velocity will switch between timbres 1 and 2 to play different programs. Such combinations are created by setting the velocity zone.

As an example, we will explain how to create a combi- nation like the one shown above.

1In the 1.1: Play, Prog page or the 2.1: Ed-Prog/Mix, Prog page, use the ???Program Select??? area to select the program that will be used for each timbre 1 and 2.

Select a brass program for timbre 1.

Select a strings program for timbre 2.

3In 3.4: Ed???Vel Zone Vel page, set the ???Top Veloc- ity??? and ???Bottom Velocity.???

Set timbre 1 to a ???Top Velocity??? of 127 and a ???Bot- tom Velocity??? of 64.

Set timbre 2 to a ???Top Velocity??? of 63 and a ???Bot- tom Velocity??? of 1.

You can also enter these values by holding down the [ENTER] key and playing a note on the key- board of this instrument.

Slope page

Here you can specify the range of values over which the original volume will be reached, starting from the top velocity and bottom velocity.

In the case of the above example, you could set the velocity zones of the two timbres so that they partially overlap, and set ???Top Slope??? and ???Bottom Slope??? so that the sound changes gradually, instead of changing suddenly between velocity values of 63 and 64.

MIDI ???lter settings

4.1: Ed???MIDI Filter1???4.4: Ed???MIDI Filter4

For each MIDI Filter item, you can specify whether or not the corresponding MIDI message will be transmit- ted and received. The checked items will be transmit- ted and received.

MIDI ???lter does not turn the function itself on/off, but speci???es whether or not that MIDI message will be transmitted and received. For example if portamento is on, portamento will be applied to the sound of this instrument even if ???Portamento SW CC#65??? is unchecked.

For example if you selected a bass program for timbre 1 and a piano program for timbre 2 to create a split- type combination, you could make the following set- tings so that pressing the connected damper pedal would apply the damper effect only to the piano pro- gram of timbre 2.

Set ???Damper CC#64??? in 4.1: Ed-MIDI Filter1,

MIDI 1-2 page.

Timbre 1 ???Damper CC#64???: unchecked

Timbre 2 ???Damper CC#64???: checked

Arpeggiator settings 6.1: Ed???Arp.

Indicates settings for the arpeggiator (???p.105).

Speci???es the routing for each timbre (i.e., how it is sent to the insert effect, master effects, and individual out- puts). (???p.114)

Insert Effect settings

7.1: Ed???InsertFX Setup, IFX

Indicates insert effect, and make settings for them. (???p.114).

Master Effect settings 7.2: Ed???MasterFX

Indicates master effects, and make settings for them. Here you can also make master EQ settings (???p.114).

Combination mode Basic functions

Sequencer mode

This instrument contains a 16-multi track MIDI sequencer. The sequencer is the center to which TR???s numerous functions are integrated, allowing it to be used in a variety of situations including music produc- tion and live performance.

When you turn off the power, the settings made in Sequencer mode and the song data, cue list data, and user pattern data that you recorded are not backed up. If you wish to keep this data, you must save it on external media (SD card etc.) before turning off the power, or perform a MIDI data dump to save the data on an external data ???ler etc.

If you wish to save the programs, track parame- ters, effects, and arpeggiator function settings etc. selected for a song as a template song, use the Util- ity menu command ???Save Template Song.???

Immediately after the power is turned on, this instrument will not contain any cue list data or song data, so if you wish to playback a song on the sequencer, you must ???rst load data from external media (SD card etc.) or receive a MIDI data dump from an external MIDI sequencer (???p.42, 101, PG p.146)

???Various methods of recording are supported, including realtime recording in which your performance on the keyboard and controllers (including MIDI control events) is recorded just as you play, and step recording in which the timing, length, and velocity of each note can be specify in the LCD as you input the pitches from the keyboard.

???The musical data and control events that you recorded can be edited in various ways (including event editing and many other edit commands).

???When the ???Status??? of a track is set to INT or BTH, an external sequencer can be used to play this instrument as a multi-timbral tone generator. When the ???Status??? of a track is set to BTH, EXT, or EXT2, the sequencer of this instrument can play external tone generators.

???Playback can be synchronized with an external

MIDI device.

???This instrument???s AMS (Alternate Modulation) capability lets you use control changes for realtime control of the parameters of the programs used in a program. Its MIDI Sync. functionality lets you synchronize the LFO speed to changes in the tempo.

???Dmod (Dynamic Modulation) functionality lets you control effect parameters in realtime. You can also use MIDI Sync. to synchronize the LFO speed or delay time to changes in the tempo.

Sequencer mode Basic functions

Features of the sequencer

???The sequencer lets you record a maximum of 200,000 events (note data etc.), up to 200 songs, and as many as 999 measures per song.

???Up to 20 cue lists can be created.

A cue list is an arrangement of up to 99 songs that will be played as a chain. You can specify the num- ber of times that each song will repeat. Songs in a cue list can also be converted into a single song.

???The arpeggiator function can be used for playback or recording.

???The RPPR (Realtime Pattern Play/Recording) function can be used for playback or recording.

???Sixteen different template songs are built-in, and contain program and effect settings suitable for various musical styles. Up to sixteen original templates that you create can be saved as user template songs.

???One stereo insertion effect, two master effects, and a stereo master EQ can be used for each song.

???Timing resolution is a maximum of /192.

???Sixteen tracks are provided for musical data, and a master track contains time signature and tempo data that controls the playback.

???A track play loop function lets you loop specified measures independently for each track.

???150 preset patterns ideal for drum tracks are built in. In addition, you can create up to 100 user patterns for each song. These patterns can be used as musical data within a song, or can be played by the RPPR function.

???You can assign names not only to the song, but also to each pattern and track.

???Combination settings can be copied to a song.

???Sequencer data such as a song or cue list that you create can be saved in this instrument???s native format, or transmitted as a MIDI data dump.

???A song you created can be converted into SMF (Standard MIDI File) data. SMF songs can also be loaded.

???The PLAY/MUTE/REC and ???SOLO On/Off??? let you instantly play/mute any desired track.

???You can rewind or fast-forward while listening to the sound.

???The [LOCATE] key lets you move quickly to a desired location.

???If the EXB-SMPL (sold separately) option is installed, multisamples you create can be played in Sequencer mode together with the internal programs.

The Time Slice function of Sampling mode lets you divide a rhythm loop sample and create perfor- mance data that corresponds to the divided sam- ples. In Sequencer mode you can play this performance data, and adjust the playback tempo without affecting the pitch of the rhythm loop sam- ple. You can also exchange the note numbers of the data, or modify the timing to freely re-create the original rhythm loop.

The structure of Sequencer mode

The following describes the structure of Sequencer mode. (see diagram below)

Songs

A song consists of tracks 1???16, a master track, song parameters such as the song name, effect, arpeggiator and RPPR parameters, and 100 user patterns.

A maximum of 200 such songs can be created on this instrument.

Tracks 1???16 and the master track each consist of setup parameters located at the start location, and musical data within the track.

Setup parameters

Tracks 1???16

Bank/Program No.*, PLAY/MUTE/REC, Pan*, Vol- ume*, Track Play Loop, Loop Start Measure, Loop End Measure, Status, MIDI Channel, Bank Select (When Status=EX2), Force OSC Mode, OSC Select, Portamento*, Transpose**, Detune**, Bend Range**, OSC On/Off Ctrl, Delay, Use Program's Scale, MIDI Filter, Key Zone, Velocity Zone, Track Name, IFX/ Indiv.Out BUS Select, Send1(MFX1)*, Send2(MFX2)*

Master track

Time signature*, Tempo*

Musical data

Tracks 1???16

Note On/Off, Program Change (including Bank Select), Pitch Bend, After Touch (Poly After), Con- trol Change, Pattern No.

*When you change the setting during realtime- recording, this will be recorded as musical data. This allows the starting settings to be modi???ed during the playback.

**Musical data (MIDI RPN data) can be used to change the starting settings during playback. For details on control changes and RPN, refer to PG p.236, 239.

Patterns

There are two types of patterns: preset patterns and user patterns.

???Preset patterns: Patterns suitable for drum tracks are preset in internal memory, and can be selected for any song.

???User patterns: Each song can have up to 100 patterns. When using a pattern in a different song, use the Utility menu commands ???Copy Pattern??? or ???Copy From Song??? etc. to copy the pattern. The pattern length can be specified in units of a measure.

Each pattern consists of musical data for one track. It is not possible to create patterns that contain multiple tracks.

These patterns can be used as track musical data by being placed in a track (Utility menu command ???Put to Track???) or copied to a track (Utility menu command ???Copy to Track???). Alternatively, you can use a pattern with the RPPR function of a song.

Cue List

A cue list allows you to playback multiple songs in succession. The TR allows you to create 20 cue lists. Each cue list allows you to connect a maximum of 99 songs in any order, and to specify the number of times that each song will repeat.

The page menu command ???Convert to Song??? lets you convert the two or more songs in a cue list into a single song. This allows you to use a cue list to create the backing, then convert the cue list into a song and add solo phrases on unused tracks.

7.1-1 or 7.2-1 etc. indicate pages or tab screens used on this instrument for editing.

Producing a song

This section describes how to use the TR???s sequencer. As an example, we will create a song by following the order outlined below.

???Creating the basic song???

Here we will use the convenient functions of the TR???s sequencer (e.g., template songs, preset patterns, arpeg- giator) to perform realtime recording and step record- ing.

???Editing the song???

Here we will edit the song that we created in ???Creating the basic song.???

???Creating a cue list???

Here we will complete the song by creating a cue list for the song that we copied etc. in ???Editing the song.???

Creating the basic song

1.Loading a template song, and copying preset patterns (drum phrases)

1 Turn off the power. Then turn it on again.

When you turn off the power, all songs will be erased. Be sure to save any important data before you perform this step.

This explanation assumes that you are starting from the default state immediately after power-on.

2 Press the [SEQ] key to enter Sequencer mode.

3Load a template song.

Press the [F8] (???UTILITY???) key to access the Utility menu, and then use the [F7] key or the cursor keys to select ???Load Template Song??? and press the [F8] (???OK???) key.

A dialog box will appear.

Make sure that the template song name at the right of ???From??? is highlighted, and use the VALUE con- troller to select P13: Acid Jazz.

There are 16 template songs, each containing pro- gram, pan, volume, and effect settings suitable for various styles of music. By loading a template into a song, you can begin recording immediately with- out having to make the same frequently-used set- tings each time. If you want to specify the program and volume etc. yourself from scratch, refer to ???Making track settings for a new song??? (???p.70).

Use the cursor keys to move to ???Copy Pattern to Track too???? Press the [INC] key to check the check box.

If this is checked, a drum pattern will be copied to the song after the template song is loaded.

Press the [F8] (???OK???) key to load the template song.

A dialog box will appear.

Make sure that Preset, P109: AcidJazz 1/Std2 is selected at the right of ???Pattern.??? If not, use the VALUE controller to select it.

You can press the [START/STOP] key to hear the selected pattern. To stop, press the [START/STOP] key once again.

Press the [F6] (???Copy???) key to copy the pattern.

The ???Measure??? value will change from 001 to 009. This indicates that the pattern has been copied from measure 1 to measure 8, and that the next time you press the [F6] (???Copy???) key, the pattern will be cop- ied from measure 9.

Press the [F7] (???Exit???) key.

In the SEQ 1.1: Play/REC, Play/REC page, the

???Song Select??? ???eld will indicate S000: Acid Jazz.

Song Select

Track Select

Preset patterns can be used in a song even after the above steps. This can be done by using the Utility menu commands ???Put Pattern??? or ???Copy Pattern???

(SEQ 5.1: RPPR, Pattern page) (???PG p.71).

4When you play the keyboard, you will hear the drum program for track 1 of the template song that was loaded.

5Press the [] key to select ???Track Select??? T01: Drums.

???Track Select??? is the track that will be used to record/play song data. Normally, the track selected here can be played from the keyboard, and during recording, your performance will be recorded on this track (in cases other than Multi REC or Master Track).

Sequencer mode Basic functions

Use the VALUE control to select T02: Bass, and play it from the keyboard. Next select T03???T08 in order, and play them from the keyboard. (The TR has sixteen sequence tracks, but this template song speci???es only tracks 1???8.)

Select T03: Elec.Piano.

6Press the [START/STOP] key to play back the pre- set pattern that you copied. Play the keyboard while you listen to the drum pattern.

7 Press the [START/STOP] key to stop.

2.Repeatedly playing speci???c measures of a track (Track Play Loop)

Here???s how to use Track Play Loop to repeatedly play back a drum phrase.

1Press the [MENU] key to access the page menu.

Press the [F1] key to select ???Loop,??? and press the [F8] (???Open???) key.

The SEQ 1.2: Loop, Track Play Loop page will appear.

2Check track 1 ???Loop On,??? leave ???Loop Start Meas??? as it is, and set ???Loop End Meas??? to 008.

3When you press the [START/STOP] key, the drum phrase will be played back repeatedly.

When the playback has repeated for the number of measures in the song as speci???ed by ???Length??? (the power-on default is 64 measures), it will stop auto- matically.

By using ???Play Intro??? you can begin the loop after adding an introduction (???PG p.58).

Track Play Loop will continue repeating for the number of measures speci???ed by ???Length.??? If you want to limit the number of repetitions or place other performance data (e.g., a drum ???ll-in) in that track, you will need to expand the pattern into actual performance data. Use the SEQ 5.2: Track Edit Utility menu command ???Repeat Measure??? to specify the number of playback repetitions and expand the pattern as playback data. In the sample illustration below, performance data will be cre- ated to play measures 1???8 of track 1 for four times (i.e., 32 measures).

3. Recording the bass track

1If playback is occurring, press the [START/STOP] key to stop playback.

Press the [LOCATE] key to return to the beginning of the song.

The location will indicate 001:01.000.

2Press the [EXIT] key to access the 1.1: Play/REC page.

3Use ???Track Select??? to select the track that you want to record.

In this example, select T02: Bass.

Press the [START/STOP] key to start playback, and practice playing the phrase that you want to record.

When you are ???nished rehearsing, press the [START/STOP] key to stop playback.

Press the [LOCATE] key.

When the power is turned on, the ???Recording Mode??? of the TR will be set to Over Write record- ing, in which newly recorded data will be over- written. For details on other recording modes, refer to p.81 and PG p.56.

When recording rapid or dif???cult phrases, you can slow down the tempo and record at a more com- fortable tempo. Simply adjust the ???Tempo.??? After recording, restore the original tempo.

You can use the Quantize and Resolution func- tions to correct the timing of your performance as it is recorded.

For example during realtime recording, suppose that you input eighth notes at slightly inaccurate timing, as shown in line 1 of the diagram below. If you set ???Reso??? (Resolution) to and performed realtime recording, the timing would automati- cally be corrected as shown in line 2. With a setting of Hi, the performance will be recorded with the exact timing at which it was played.

There is also a ???Quantize??? function (SEQ 5.2: Track Edit Utility menu command) which corrects the tim- ing of performance data after it has been input. If you have already recorded (without using realtime quantize) and later notice during playback that the timing is not quite right (as in line 1 of the preceding diagram), you can select the SEQ 5.2: Track Edit Utility menu command ???Quantize,??? set ???Resolu- tion??? to , and press the [F8] (???OK???) key to correct the timing as shown in line 2.

4Press the [REC/WRITE] key.

You will hear the metronome. The TR will be in record-ready mode. (???Refer to PG p.57 for details on metronome settings.)

5Press the [START/STOP] key.

After a two-measure count, recording will begin.

Play the keyboard for about 16 measures, and record your performance.

If you make a mistake or decide to re-record, press the [START/STOP] key to stop recording, and press the [COMPARE] key.

When you press the [COMPARE] key to execute the Compare function, you will return to the state prior to recording. (???Refer to p.80 for the content that can be compared in Sequencer mode.)

6When you are satis???ed with your performance, press the [START/STOP] key to stop recording.

For example if your performance in measures 5???8 was the best take, you can use the Track Play Loop function to repeatedly play back just this portion. In the SEQ 1, 2: Loop, Track Play Loop page, check ???Loop On??? for track 2, set ???Loop Start Meas??? to 005, and set ???Loop End Meas??? to 008.

When you press the [START/STOP] key, repeated playback will begin.

After you press the [START/STOP] key to stop playback, we recommend that you press the [LOCATE] key to return to the beginning of the song. After recording, you will automatically return to the measure at which recording began.

4. Recording arpeggio patterns

The performance of an arpeggio pattern can be recorded into a song. With the settings of this template song, the arpeggiator will function on track 4.

1 In ???Track Select,??? choose T04: Guitar.

2 Press the [ARP ON/OFF] key.

3Press the [START/STOP] key and play single notes or chords.

Verify that arpeggios are sounded in synchroniza- tion with the tempo of the drum and bass perfor- mance, and rehearse your performance.

4Press the [START/STOP] key to stop playback. Then press the [LOCATE] key to move the location to the beginning of the song.

5Start recording.

Press the [REC/WRITE] key, and then press the [START/STOP] key.

If you play notes on the keyboard during the count- in, the arpeggio will begin at the same time that recording begins, and then that pattern will be recorded.

Play the keyboard for about 16 measures and record your performance.

Press the [START/STOP] key to stop recording.

If you made a mistake or would like to re-record, you can use the Compare function (press the [COM- PARE] key) to re-record as many times as you wish.

The arpeggio pattern is recorded as the note data that was generated. If you operate ARP-GATE or ARP-VELOCITY while recording an arpeggio pat- tern, this data will be recorded, but it will not be possible to add changes by overdubbing ARP- GATE or ARP-VELOCITY data afterward for those notes.

5. Recording other tracks

1As described in ???Recording the bass track,??? use ???Track Select??? to select T03: Elec.Piano, and record about 16 measures.

6. Step recording

The TR provides two main methods of recording a song. The ???rst is realtime recording, in which your performance on the keyboard and operations of the joystick and other controllers are recorded in realtime. This is how we recorded the bass and electric piano tracks in the preceding sections.

The second method is step recording, in which you can specify the timing, note length, and velocity etc. in the LCD screen, and use the keyboard to input the pitch of the note. only the note-on/off data is recorded. Step recording is suitable when you want to create a distinctive mechanical feel, or when you want to

Sequencer mode Basic functions

record phrases that would be impossible or too rapid to play ???live.???

Rapid phrases can also be recorded in realtime by temporarily slowing down the sequencer tempo.

Here???s the procedure for step recording.

1Press the [MENU] key to access the page menu. Press the [F5] key to select ???TEdit,??? and press the [F8] (???Open???) key.

The SEQ 5.2: Track Edit screen will appear.

2Press the [] key to set ???Track Select??? to T08 (Ch:08) Lead Synth.

For this example we will input a lead performance using an analog synthesizer sound.

3Press the [] key to select ???Measure (From),??? and press the [DEC] key to set this to M:001.

With this setting, step recording will begin from measure 1.

4Press the [F8] (???UTILITY???) key to display the Util- ity menu, press the [F7] key or the cursor keys to select ???Step Recording,??? and press the [F8] (???OK???) key.

A dialog box will appear.

5Press the [] key to select ???Step.??? Press the [INC] key or [DEC] key to select (16th note).

The step indicates the basic note value (length of a note or rest) that will be used when entering notes from the keyboard.

To input a triplet or dotted note, select the ????????? at the right, and press the [INC] key or [DEC] key. Select ???3??? for a triplet, or ???.??? for a dotted note.

???Duration??? indicates the length that the note itself will sound. Smaller values will produce a staccato note, and larger values will produce a legato note. For this example, leave this setting unchanged.

???Vel.??? is the velocity (playing strength), and larger values will produce a louder volume. Set this to about 090.

If you select Key for this parameter, the velocity with which you actually played the keyboard will be input.

6On the keyboard, press and then release the ???rst note that you want to input.

The LCD screen will show numerical values for the data that you input. In the lower right, Next:[M001 01.000] will change to [M001 01.048], and when you input the next note, the data will be input at that location.

Continue pressing notes to input a melody.

You can also delete notes or rests, or input rests or ties. (???PG p.75)

???To delete a note or rest that you input, press the [F6] (???Back???) key. The previously-input note will be deleted.

???To input a rest, press the [F4] (???Rest???) key. This will input a rest of the ???Step??? value.

???To modify the length of a note, you can modify the ???Step??? value before you input the note. However if you want to extend the length (tie) of the note, press the [F5] (???Tie???). At this time, the previously-input note will be extended by the length of ???Step.???

If you want to check the note that you will input next, press the [PAUSE] key. In this state, playing a key will produce sound, but will not input a note. Press the [PAUSE] key once again to cancel the record-pause state, and resume input.

To input a chord, simultaneously press the notes of the desired chord. Even if you do not press them simultaneously, notes that were pressed before you took your hand off of all keys will be input at the same location.

However in the above example, the program of track 8 will not sound chords. This is because the program is set to mono mode, and the song fol- lows the setting of the program. In other words because this track is set to ???Force OSC Mode???

PRG, the ???Voice Assign Mode??? setting of Mono for the program B042: Express Lead remains valid.

7When you are ???nished inputting, press the [F8] (???Done???) key.

8 Press the [START/STOP] key to play back.

When you begin step recording, all data following the recorded measure will be erased from that track.

You need to be aware of this if you begin step recording from a measure mid-way through the song.

If you want to re-input data into a measure that already contains data, perform step recording in another un-recorded track, and execute ???Move Measure??? or ???Copy Measure??? (???PG p.79).

If you want to edit or add to the recorded data, you can use the ???Event Edit??? function (???PG p.75).

7.Using controllers to record tonal changes

Let???s try using the realtime controllers and the joystick to add effects to the performance that we just step- recorded on track 8.

1Press the [EXIT] key, and then press the [F6] (???Pref.???) key to move to the SEQ 1.1: Play/Rec, Preference page.

2Set the ???Recording Mode??? to Over Dub.

Over Dub allows you to add to a previously- recorded track.

3For ???Track Select,??? make sure that T08: Lead Synth is selected.

Press the [START/STOP] key to start playback, and operate the realtime controllers and joystick to rehearse. When you are ???nished rehearsing, press the [START/STOP] key to stop. Press the [LOCATE] key.

4Start recording.

Press the [REC/WRITE] key, and then press the [START/STOP] key.

After a two-measure count-in, recording will begin.

Operate the LFO CUTOFF or RESONANCE/HPF realtime controllers or the joystick (??Y axis) to record their movements.

When you are ???nished performing, press the [START/STOP] key.

If you make a mistake or want to re-record, press the [COMPARE] key to execute the Compare func- tion, and then re-record.

8. Saving the song

Remember to save the song you created. The data will be lost when the power of the TR is turned off. Refer to p.46 for the Save procedure.

Convenient functions for song production and checking the track settings

Monitoring just a speci???c track/Muting just a speci???c track (Solo/Mute functions)

The TR provides a Solo function that lets you play only a speci???c track 1???16, and a Mute function that silences only a speci???c track. These functions can be used in various ways. For example you can intentionally mute or solo speci???c tracks, or listen only to the rhythm sec- tion of the previously-recorded tracks while you record new tracks.

Let???s try out the Mute and Solo functions.

1In SEQ 1.1: Play/REC, press the [F2] (???Prog..8???) key to access the Program page.

Press the [START/STOP] key.

2Select the track 1 ???PLAY/MUTE/REC, ??? and press the [INC] key once.

The display will change to ???MUTE,??? and the play- back of track 1 will no longer be heard. In this way, the ???mute??? function allows you to silence a speci- ???ed track unil the track is un-muted.

Select the track 2 ???PLAY/MUTE/REC??? and press the [INC] key once.

When selecting the parameters of various tracks as above, you can also make your selection by hold- ing down the [TIMBRE/TRACK] key and pressing one of the [F1] (T1/T9)???[F8] (T8/T16) keys.

The display will change, and the playback of track 2 will also be muted.

To cancel muting, press the ???PLAY/MUTE/REC??? and press the [DEC] key.

3Next select the track 1 ???SOLO On/Off??? and press the [INC] key once.

The display will change, and now only the track 1 playback will be heard. In this way, the Solo func- tion lets you hear only a speci???ed track.

If both Mute and Solo are used, the Solo function will be given priority.)

Sequencer mode Basic functions

Press the track 2 ???SOLO On/Off??? and press the [INC] key once.

The display will change, and only the playback of tracks 1 and 2 will be heard.

To turn off the Solo function, select the ???SOLO On/Off??? and press the [DEC] key once again. Select the track 1 and 2 ???SOLO On/Off??? and press the [DEC] key once each.

The display will change, and the playback of tracks 1 and 2 will be muted. If the Solo function is turned off for all tracks, playback will be according to the ???PLAY/MUTE/REC??? settings.

By using the Utility menu command ???Solo Selected Track,??? you can listen to the sound of only the selected track. This is convenient when you want to set track parameters or to make effect settings. (???PG p.51)

[LOCATE] settings

By pressing the [LOCATE] key you can move to a speci???ed location.

The location is speci???ed by the Utility menu command ???Set Location.??? You can also hold down the [ENTER] key and press the [LOCATE] key to set the location even during playback (???PG p.54).

Normally you will set this to 001:01.000. You will return to the beginning of the song.

When you select a song, the [LOCATE] setting will automatically be set to 001:01.000.

Making track settings for a new song

Here???s how to make basic settings for a new song, such as assigning a program to each track, and setting the volume etc. You can check these settings for the tem- plate song you loaded earlier.

1.Assign a program to each track (SEQ 1.1: Play/REC, Program page)

In the SEQ 1.1: Play/REC, Program page, use ???Pro- gram Select??? to assign a program to each track.

At this time you can also use the Utility menu com- mand ???Select by Category??? to select programs by category (???PG p.55).

You can also use the Utility menu command ???Copy From Combi??? to copy settings from a combination (???p.77, PG p.52).

When assigning a program, you can use ???Track Select??? to select the track for which you are mak- ing assignments, and try playing the sound.

2.Set the pan and volume of each track (SEQ 1.1: Play/REC, Mixer page)

In the SEQ 1.1: Play/REC, Mixer page, ???Pan??? sets the pan of each track, and ???Volume??? sets the vol- ume of each track.

3.Specify the tone generator and MIDI channel that will sound each track (SEQ 3.1: Param1, MIDI page)

In the SEQ 3.1: Param1, MIDI page, ???Status??? speci- ???es whether each track will sound the internal tone generator or an external tone generator. ???MIDI Channel??? speci???es the MIDI channel for each track.

If the track status ???Status??? is set to INT, playing the track data or operating the TR???s keyboard or con- trollers will cause the TR???s internal tone generator to be sounded and controlled.

If ???Status??? is set to EXT, EX2, or BTH, playing the track data or operating the TR???s keyboard or con- trollers will cause an external tone generator to be sounded and controlled. (The MIDI channel of the external tone generator must be set to match the ???MIDI Channel??? of TR tracks that are set to EXT,

EX2 or BTH.)

If ???Status??? is set to BTH, both the external tone gen- erator and the TR???s own tone generator will be sounded and controlled.

If you are using the TR???s Sequencer mode as a 16- track multi-timbral tone generator, set this parame- ter to INT or BTH. (??????Status??? PG p.62)

In general, you should set ???MIDI Channel??? to dif- ferent channels 1???16 for each track. Tracks that are sent to the same MIDI channel will sound simulta- neously when either is recorded or played.

4.Make effect settings

(SEQ 7.1: Insert FX, SEQ 7.2: Master FX)

Make settings for each effect in SEQ 7.1: Insert FX

and SEQ 7.2: Master FX. (???p.114, PG p.84)

5.Set the tempo and time signature (SEQ 1.1: Play/REC)

Make these settings in SEQ 1.1: Play/REC. ???Tempo??? sets the tempo, and ???Meter??? sets the time signature. (???PG p.50)

6.Make other settings as necessary

As necessary, make arpeggiator settings (SEQ 6.1: Arp.) and MIDI ???lter settings (SEQ 4.1???4.4: MIDI Filter 1???4). (???PG p.49???87)

When you are ???nished making these settings, the basic setup is complete. Record as described in ???3. Record- ing the bass track??? (???p.66) and following sections.

Song editing methods

A song can be edited in a variety of ways. Here we will explain various ways in which the song we recorded in the preceding pages can be edited for the purpose of creating a Cue List (explained in the section that fol- lows).

1. Copying a song

Here???s how to copy a song. This is convenient when you want to create different variations based on a song.

1Create a new song.

Press the [EXIT] key to display the SEQ 1.1: Play/ REC page.

Choose ???Song Select,??? use the numeric keys to input the song number that you want to newly cre- ate, and press the [ENTER] key. (For example, press the [1] key and then the [ENTER] key.)

A dialog box will appear.

Decide on the number of measures, input the num- ber in ???Set Length,??? and press the [F8] (???OK???) key.

A new song will be created. Next we will copy the song settings and playback data of another song into this newly created song.

2Select the Utility menu command ???Copy From Song,??? and press the [F8] (???OK???) key.

A dialog box will appear. Select the song that you want to copy (i.e., the copy source). If you select All, all song settings and playback data will be copied from that song. If you select Without Track/Pattern Events, settings other than Play Loop and RPPR will be copied. For this example, select All.

Press the [F8] (???OK???) key to execute the copy.

3As described in steps 1 and 2, create one more new song (S002), and copy song S000 to it.

2. Naming a song

Here???s how to assign a name to a song you created.

1Choose ???Song Select,??? and use the VALUE control- ler to select a song. For this example, select song 002.

2In the SEQ 1.1: Play/REC page, select the Utility menu command ???Rename Song,??? and press the [F8] (???OK???) key.

A dialog box will appear. Press the [F5] (???Name???) key to access the text dialog box.

Press the [F1] (???Clear???) key, and input CHORUS (???p.44).

When you are ???nished inputting the name, press the [F8] (???OK???) key.

Press the [F8] (???OK???) key once again to execute the Rename operation.

3As described in steps 1 and 2, assign a name of

INTRO to S000, and VERSE to S001.

3.Setting the number of measures in the song

Here???s how to specify the number of measures in the song. When the power is turned on, this is set to 64 measures. If you realtime-record for more measures than this, the song will be the length of the measures you recorded.

1 Select song S000: INTRO.

2Select the SEQ 5.2: Track Edit page.

In the SEQ 5.2: Track Edit page, press the [MENU] key to access the page menu, select the [F5] (???TEdit???) key, and then select [F8] (???Open???).

3Press the [F8] (???UTILITY???) key to access the Utility menu.

This contains various commands for editing tracks and measures.

Select ???Set Song Length,??? and press the [F8] (???OK???) key.

Sequencer mode Basic functions

A dialog box will appear.

Input the number of measures for the song. For this example, select 008 (8 measures) and press the [F8] (???OK???) key.

The performance data from measures 1???8 will remain, and the data of subsequent measures will be deleted. When you press the [START/STOP] key to play the song, playback will stop at the end of the 8th measure.

If you are using Track Play Loop, check whether the measures speci???ed for ???Loop Start Meas??? and ???Loop End Meas??? would be deleted. If they would be deleted, use ???Move Measure??? (???PG p.79) etc. to move the data into the playback area before you execute this operation.

4Mute tracks.

Press the [EXIT] key to select SEQ 1.1: Play/REC, and access the Program page.

Mute all tracks other than tracks 3 and 4. When you play back, you will hear only the electric piano and guitar performances.

5As described in steps 1???4, set song S001: VERSE to 008 (8 measures), making it an eight measure song.

Then mute all tracks other than tracks 1???3. When you play back, you will hear only the drums, bass, and electric piano.

6As described in steps 1???4, set song S002: CHO-

RUS to 008 (8 measures), making it an eight mea- sure song.

4.Changing the key (transposing/modu- lating)

Here???s how to change the key of a song.

1 Select song S002: CHORUS.

2 Select the SEQ 5.2: Track Edit page.

3Use the [], [] keys to select track T02 for the key change.

4Specify the measures for which the key will be changed.

Press the [] key to select ???Measure (From),??? and use the VALUE controller to set this to 001. Next press the [] key to select ???Measure (To End of),??? and set this to

008.

5Press the [F8] (???UTILITY???) key, select the Utility menu command ???Shift/Ers.Note,??? and press the [F8] (???OK???) key.

A dialog box will appear. If you did not specify the range of measures in step 4, set ???From Measure?????? ???To Measure??? to specify the range that will be edited.

Set ???Mode??? to Shift (Replace), and set the value to +003. (???PG p.81)

Press the [F8] (???OK???) key. The pitch of track 2 will be raised three semitones.

6Use the same procedure to raise the pitch three semitones for each track on which performance data is recorded. However, do not change the key of track 1 which uses a drum kit.

If you change the key of a track that is using a drum kit, the relationship between the notes and the instruments of the drum kit will be shifted, so that the rhythm instruments will not sound cor- rectly.

About editing

Song editing

In addition to copying and renaming a song, other operations such as Delete can be performed from the Utility menu commands in pages such as SEQ 1.1: Play/REC (???PG p.52).

Track editing

Event Editing allows you to edit or insert data in a recorded track. In addition, commands such as Create Control Data (which lets you insert bend, aftertouch, or control change data) and other commands for delet- ing, copying, inserting, or moving tracks can be accessed from the Utility menu command in pages such as SEQ 5.2: Track Edit (???PG p.75).

Pattern editing

Using the Utility menu commands of the SEQ 5.1: RPPR, Pattern page, you can use event editing to mod- ify the recorded data or insert new data, and execute commands to delete, copy, or bounce patterns (???PG p.70).

Creating and playing a Cue List

A cue list allows you to play multiple songs in succes- sion. For example you can create a separate song for each portion (introduction, melody A, melody B, cho- rus, and ending) of a composition, and use the cue list to specify the order of each portion and the number of times that it will be repeated to complete the song.

If you want to change the structure of the song, the cue list lets you do so in an ef???cient way.

You can also use this as a jukebox function that will playback completed songs in the order you specify.

Each unit in a cue list is called a ???step,??? and each step contains a song number and the number of repeats.

Here we will use a cue list to combine the previously- created songs S000: INTRO, S001: VERSES, and S002:

CHORUS.

1Select SEQ 2.1: Cue List.

With the default settings, song S000 will be selected for ???Step??? 01, and End will be selected for ???Step??? 02.

2Press the [F7] (???EDIT???) key

You will be able to insert or delete songs into or from the cue list.

Step

3 Add a song to the Step area.

Use the cursor keys to select Step 02, and press the [F4] (???INSERT???) key. A song will be added to step 02. Use the VALUE controller to select S001:

VERSES.

In the same way, select Step 03, and press the [F4] (???INSERT???) key to add a song to Step 03. Set this step to S002: CHORUS.

If you press [F5] (???CUT???), the selected step will be deleted. If you press the [F4] (???INSERT???) key, that step will be inserted. If you press the [F6] (???COPY???) key, the selected step will be copied. If you press the [F4] (???INSERT???) key, that step will be inserted.

4 Set the last step to End.

If you set this to Continue to Step01, the cue list will play back repeatedly.

5In ???Rep (Repeat),??? specify the number of times that the song for that step will be repeated. For this example, set Step 02 S001: VERSES to 02.

6Specify whether effect settings will also be switched when the song at each step is played back. If you want to effect settings to change, check the ???FX??? check box.

For this example, check the ???FX??? check box for Step 01, which loads the effects.

7When you are ???nished making settings for each step, press the [F7] (???DONE???) key.

8To play back at the tempo that was speci???ed for each song, set ???Tempo Mode??? to Auto.

If this is set to Manu (Manual), playback will use the tempo speci???ed by ??? =???.

Tempo Mode

Rep(Repeat) FX

9When you press the [START/STOP] key, playback will begin from the step that is speci???ed as the ???Current Step.???

Meter

Track

Select

Currently- playing step

Starting measure of that step

Current Step

??????Step???: The arrow will indicate the currently playing step. indicates the currently selected ???Step.??? If you set ???Current Step??? while stopped, the display will change.

??????M****???: Indicates the starting measure of that step.

??????Meter???: Indicates the currently-playing time signature. This cannot be changed.

???The name of a cue list can be specified by the ???Rename Cue List??? page menu command.

???When you play the keyboard, the program of the track selected by ???Track Select??? will sound. If a different program is selected for each song, the program specified for the currently playing song will sound.

Cue list editing will automatically end if you press the [START/STOP] key, etc. ( ??? )

Sequencer mode Basic functions

If playback is not connected smoothly between songs when playing a cue list

Depending on the effect settings, a certain amount of time may be required for the effects to be switched. If this occurs, the playback will not be smoothly con- nected from song to song.

To ensure a smooth transition from song to song, check ???FX??? for ???Step??? 01. Do not check ???FX??? for the remaining steps. This way, the effect settings will be made before playback begins, and there will be no time lag when cue list playback is started or when switching from song to song. Although it will not be possible to change effect types within the cue list, you can use dynamic modulation or MIDI control changes such as Effect Control to control the effects within the cue list, for example applying reverb more deeply on certain songs, or raising the LFO speed for a speci???c song. We recommend this method if you will be using a cue list to construct the song.

When you execute the Utility menu command ???Con- vert to Song???, the effect settings of the ???Step??? 01 song will be speci???ed for the song that results from the con- version.

Even if ???FX??? is not checked, there may be cases in which a time lag in the transition between songs, depending on the musical data of the song. Also, there may be cases in which the musical data is not played at the correct timing at the transition between songs. If this occurs, you can edit the musical data of the song, or convert the cue list to a song for playback. If you use ???Convert to Song??? to convert the cue list to a song, there will be no time lag during playback at the transi- tion between songs, and the musical data will be played at the correct timing.

Using a foot switch to switch the Step

You can use a foot switch to switch the Step.

If you set ???Rep(Repeat)??? to FS, a foot switch connected to the ASSIGNABLE SWITCH jack will control the tim- ing at which the song stops repeating. Set ???Foot SW Assign??? (GLOBAL 1.1: System, Foot page) to Cue Repeat Control.

Converting a cue list to a song

Although it is not possible to record additional mate- rial onto tracks in a cue list, you can convert a cue list to a song, and then record solos etc. on vacant tracks.

You will also need to convert a cue list to a song if you wish to save it onto an SD card as SMF data.

1Select the Utility menu command ???Convert to Song???.

A dialog box will appear.

2In ???To,??? specify the destination song number for the converted data.

The cue list name will automatically be assigned as the song name of the converted data. (For details and cautions regarding ???Convert to Song,??? refer to PG p.60.)

If you wish to select a new song as the convert des- tination, use the numeric keys [0]???[9] to specify the song number, and then press the [ENTER] key. It is not necessary to set ???Set Length??? in the dialog box that appears at this time. The number of measures in the converted song will be used. Press the [F8] (???OK???) key, and the Convert Cue List dialog box will appear.

Creating multiple songs for use in a cue list

If you want to create multiple songs for use in a cue list, it is a good idea to make the various necessary set- tings (program and other settings for each track, effect settings, etc.) for one song (e.g., S000), and then use the Utility menu command ???Copy From Song??? in SEQ 1.1 etc. to copy it to other songs so that the settings will be consistent.

After your cue list is ???nished and you convert it into a song, the track settings (program, pan, vol- ume, etc.) of each step will be converted into play- back data and will be reproduced, but if the MIDI channel settings do not match, it may not be possi- ble to convert the playback state of the cue list into a song.

3Press the [F8] (???OK???) key.

The cue list will be converted into a song. Access the SEQ 1.1: Play/REC page, select the song number that you speci???ed as the conversion destination, and check the results.

Creating and recording RPPR (Realtime Pattern Play/Record)

This section explains how to assign a pattern to RPPR, and how to play and record. (??????Playing with the RPPR function??? p.31)

Creating RPPR data

1 Create a new song. (???p.71)

2Specify the program for each track.

For this example we will use a template song. Use the Utility menu command ???Load Template Song??? to load P14: Hip Hop/Rap. It is not necessary to copy the patterns. (???p.65)

3Select the SEQ 5.1: RPPR, RPPR Setup page.

In this page, the RPPR function is automatically turned on.

4Use ???KEY??? to select the key to which the pattern will be assigned.

Select C#2. This can also be selected by holding down the [ENTER] key and playing a note.

C2 and lower keys are used to stop playback, and cannot be assigned.

5 Check the ???Assign??? check box.

6Set ???Pat (Pattern Bank)??? to the Pre pattern type, and set ???Pattern Select??? to pattern P121: HipHop 1/ HipHop.

7 Set ???Track??? to T01: Drums.

The selected pattern will be played according to the settings (program, etc.) of the track you select here.

8Assign patterns to other keys. Set ???KEY??? to D2.

Press the [F4] (???REVERT???) key.

The settings for ???Assign,??? ???Pat (Pattern Bank),??? ???Pattern Select,??? and ???Track??? will be set to the val- ues that were speci???ed earlier (in steps 5???7).

Choose ???Pattern Select,??? and press the [INC] key once to select P122: HipHop 2/HipHop.

By using ???REVERT??? in this way, you can work ef???ciently when the patterns to be assigned have consecutive or nearby numbers, or use the same track.

Use the above method to assign several patterns from the range of P123: HipHop 3/HipHop???P135: HipHop 15/HipHop.

9Press the C#2 key.

The assigned pattern will play.

Take your ???nger off the C#2 key, and press the D2 key.

The pattern will change, and playback will begin. At this time, the pattern operation will depend on the ???Sync??? and ???M (Mode)??? setting.

Set ???KEY??? to C#2, and set ???Sync??? to Measure. Make the same setting for D2.

Now press the notes consecutively. Notice that the patterns operate in a different way.

With the ???Measure??? setting, patterns will be han- dled in one-measure units. The second and subse- quent patterns to be started will start in synchronization with units of a measure relative to the pattern that was started ???rst.

If you change the ???M (Mode)??? setting to Once, the entire pattern will playback to the end even if you release your ???nger from the keyboard immediately.

To stop playback, either press the same key once again, or press the C2 or lower key.

For details on ???Sync,??? ???M (Mode),??? and ???Shift,??? refer to PG p.73.

The assigned keys will be shown as a keyboard graphic in the LCD screen.

Unassigned keys can be used for normal keyboard performance. Use ???Track Select??? to select the track that will be played from the keyboard. For exam- ple you might assign backing patterns such as

Sequencer mode Basic functions

P00: Pop&Balad 1/Std Preset Pattern P00 - P149

drums and bass to the C#2???B2 keys and use these keys to control pattern playback, and use keys C3 and above to play solos in realtime. It is a good idea to keep the assigned keys together in this way.

RPPR playback

Let???s use the RPPR you created to perform in the SEQ 1.1: Play/REC page.

1 In Sequencer mode, select SEQ 1.1: Play/REC.

2Check the ???RPPR??? check box.

The RPPR function will be turned on. The on/off setting is memorized for each song.

3Play the keyboard, and patterns will begin playing according to the RPPR settings.

???Pattern playback for a key with a ???Sync??? setting of Beat or Measure will synchronize to the pattern playback of the first key. (???PG p.73 ???Sync???)

???If you are playing the pattern in synchronization (when ???Sync??? is Beat, Measure, or SEQ), the pattern will start accurately if you play the note slightly earlier than the timing of the beat or measure. Even if you play the note slightly later than the beat or measure (but no later than a 32nd note), it will be considered to have started at the beat or measure, and the beginning of the pattern will be compressed so that the remainder of the playback will be correct.

If you wish to trigger the RPPR function from an external MIDI device, use the MIDI channel that is selected for ???Track Select.???

4To turn off the RPPR function, uncheck the RPPR check box.

Play RPPR while a song plays back

RPPR can be played in synchronization with the play- back of a song.

Pattern playback for a key with a ???Sync??? setting of SEQ will synchronize to the playback of the song. (???PG p.73 ???Sync???)

Start song playback, and then press the key. The pat- tern playback will start in synchronization with the measures of the song.

Synchronization will be lost if you use the [ REW] or [FF ] keys while a song is playing.

If you want RPPR pattern playback to begin at the moment that song playback begins, it is a good idea to insert an empty measure containing no musical data before the song playback begins.

If the song is stopped, the pattern will synchronize to the timing of the arpeggiator function.

Realtime-recording an RPPR perfor- mance

An RPPR performance can be recorded in realtime. If you are using only one track (T01: Drums) as in ???Cre- ating and recording RPPR??? (???p.75), set ???Track Select??? to T01: Drums, and use single track recording in which only one track will be recorded.

Even if RPPR uses only one track, use multi-track recording if you will be selecting another track in ???Track Select??? and recording its performance at the same time.

You should also select multi-track recording if you cre- ated the RPPR data using multiple tracks rather than just a single track, and want to simultaneously record the performance of multiple tracks.

The RPPR pattern will be recorded as performance data on the tracks used by the pattern.

Here we will explain how you can simultaneously record a performance that uses both RPPR and the arpeggiator.

1For each RPPR pattern , set ???Sync??? to SEQ.

With a setting of SEQ, patterns played by the RPPR function while the sequencer is playing or recording will start in synchronization with the measures of the sequencer.

2We will use the arpeggiator to play the bass pat- tern. Follow these settings.

Set ???Track Select??? to T02: Bass.

Select the SEQ 6.1: Arp., Setup page, and set the track 2 ???Assign??? to A. (Make sure that A is checked for ???Arpeggiator Run.???)

Select the SEQ 6.1: Arp., Arp. A page, and set ???Pat- tern??? to U099 (INT).

Do not check ???Key Sync.???

Press the [ARP ON/OFF] key. (The key will light.)

3In the SEQ 1.1: Play/REC, Preference page, check the ???Multi REC??? check box.

If ???Recording Mode??? is set to Loop All Tracks,??? it will not be possible to select Multi REC. Set the ???Recording Mode??? to Over Write.

4Select the 1.1: Play/REC, Program page.

For all tracks, the ???PLAY/MUTE/REC??? indication will show REC.

The track played by RPPR will be recorded simulta- neously with the track played by the arpeggiator. Set ???PLAY/MUTE/REC??? to PLAY or MUTE for all tracks other than tracks 1 and 2, which we will be recording.

Make sure that ???Track Select??? is set to T02: Bass. Your keyboard playing on keys not assigned to the RPPR function can be recorded on the track speci- ???ed by ???Track Select.???

5In the 1.1: Play/REC, Play/REC page, make sure that the ???RPPR??? check box is checked.

6Press the [LOCATE] key to set the location to 001:01.000.

7Press the [REC/WRITE] key, and then press the [START/STOP] key.

Press a key that plays an RPPR pattern, and one or more keys that play the arpeggiator.

If you press a key during the pre-count before recording, the pattern playback and arpeggio per- formance will begin simultaneously when recording begins, and will be recorded.

Record the RPPR pattern playback and arpeggio performance.

When recording the playback of patterns triggered by RPPR, the timing of the recorded events may be slightly skewed. If this occurs, try setting ???Reso??? (Realtime Quantize Resolution) to a setting other than Hi.

8When you are ???nished performing, press the [START/STOP] key.

Recording will end, and the sequencer will return to the location at which recording began.

If you made a mistake during your performance or would like to re-record, you can use the Compare function (press the [COMPARE] key) to re-record as many times as you wish.

9If you want to record other tracks, un-check the ???Multi REC??? or ???RPPR??? check boxes as necessary.

In step 3, uncheck the ???Multi REC??? check box to defeat multi-track recording.

In step 5, uncheck the ???RPPR??? check box to turn off the RPPR function.

Recording the sound of a combi- nation or program

Here???s how you can easily copy the settings of a combi- nation or program, and then record.

There are two ways to do this. While playing in Pro- gram or Combination mode, you can use the Auto Song Setup function to automatically set up a song using the current settings of the program or combina- tion. Or, you can use the page menu command in Sequencer mode to copy the settings of a program or combination into the sequencer.

Auto Song Setup function

The Auto Song Setup function automatically applies the settings stored with the current program or combi- nation to a new song in the TR sequencer. This allows you to capture your creative moments and perfor- mances without having to manually set any of the sequencer parameters.

As an example, here???s how to use the Auto Song Setup function in Combination mode.

1 Enter Combination mode.

2In the COMBI 1.1: Play, Prog page, select the desired combination. You can use the COMBI 1.1: Play, Mix page to edit the pan and volume of each timbre, and the COMBI 1.1: Play, Arp.A/Arp.B page to edit the arpeggiator settings. When you are ???nished editing, execute ???Update Combination??? or ???Write Combination??? if you want to save your edits.

This operation will use the settings that are stored with the current Program or Combination. So, if you want to use the arpeggiator when you record, you will need to save the Program or Combination with the arpeggiator function switched on before you proceed.

Sequencer mode Basic functions

3Hold down the [ENTER] key and press the [REC/ WRITE] key.

The ???Setup to Record??? dialog box will appear.

4Press the [F8] (???OK???) key to execute Auto Song Setup, or press the [F7] (???Cancel???) key if you decide not to execute.

When you execute Auto Song Setup, the TR will automatically enter the Sequencer mode, and the settings of the previously selected program or com- bination will be applied to the song. The ???rst unused song will be selected as the song.

Combination settings that are automatically set

The settings that are automatically made when you execute the Auto Song Setup command are the same as if you execute the ???Copy From Combi??? (???PG p.52) utility menu command after making the fol- lowing settings in the dialog box.

???Check ???with Effects???

???Set ???To??? to Track 1 to 8

???Check ???Auto adjust Arp for Multi REC???

Program settings that are automatically set

If you execute Auto Song Setup from Program mode, the program will be selected for track 1, and the following settings will be made.

???Insert effect, master effect, and master EQ settings of the program

???Arpeggiator settings of the program

???Controller Setup (2.2: Ed-Ctrl) settings of the program

5The TR will automatically enter record-ready mode, and the metronome will sound according to the Sequencer mode Pref. (Preference) settings (???PG p.56).

6Press the [START/STOP] key to begin realtime recording. When you are ???nished recording, press the [START/STOP] key once again. (???p.81 ???Real- time recording???)

Copy From Combi (Sequencer mode page menu commands)

Here???s how to use the Copy From Combi page menu commands in Sequencer mode.

Make sure that the global MIDI channel (GLOBAL 2.1: MIDI, ???MIDI Channel???) is set to 01.

1 Create a new song. (???p.71)

2Execute the Utility menu command ???Copy From Combination.???

A dialog box will appear.

Select the combination that you want to copy (i.e., the copy source).

Press the COMBI BANK [B] key, then press numeric keys [9], [9], and ???nally press the [ENTER] key. B099: Steely Keys will be selected.

We will copy the effect settings of the combination as well, so check the ???With Effects??? check box. Since we want to copy the settings of the combina- tion???s eight timbres to tracks 1???8, select Track 1 to 8. Press the [F8] (???OK???) key to execute the copy.

3In the SEQ 1.1: Play/REC, Preference page, check the ???Multi REC??? check box. (???p.77)

When you perform multi-track recording, the multi- ple channels that are being sounded by the arpeg- giator will be recorded simultaneously.

4Set the tracks not being recorded (i.e., tracks 9???16) to PLAY or MUTE. (???p.69)

5Set ???Track Select??? to 01.

In order to play the sounds and arpeggiator in the same way as in Combination mode, set ???Track Select??? to the track that matches the global MIDI channel. When you play the keyboard, the sounds will be heard just as in Combination mode.

6Begin recording.

Press the [LOCATE] key to set the location to 001:01.000.

Press the [REC/WRITE] key, and then press the [START/STOP] key.

If you play a B3 note or lower during the pre-count before recording, the arpeggio pattern will start from the beginning at the moment that recording begins. Record your performance.

7When you are ???nished performing, press the [START/STOP] key.

If you made a mistake or want to re-record, you can use the Compare function (press the [COMPARE] key) to re-record as many times as you want. (The ???MultiREC??? check box will be unchecked when you use Compare, so you will need to check it again.)

If the recorded performance is not reproduced cor- rectly during playback

If you use the Utility menu command ???Copy From Combination??? to copy the settings of a combination, and then perform multi-track recording with the arpeggiator turned on, there may be cases in which the performance during recording is not reproduced by the playback.

Multiple tracks that are set to the same MIDI channel are combined into a single stream of performance data during recording. If there is a track with the same MIDI channel as the track being played by the arpeggiator, the data played by the arpeggiator will be combined with the performance data that was played manually, and all of this data will be sounded by each track of the same channel (if ???Status??? is INT).

In such cases, you can solve the problem by changing the MIDI channel of the track that is played by the arpeggiator, and then creating a track that will drive the arpeggiator.

If the recorded performance is not reproduced by the playback, check the following conditions.

???SEQ 6.1: Arp., Setup page

???Arpeggiator Run??? A, B, and ???Assign??? settings

??? SEQ 3.1: Param1, MIDI page ???MIDI Channel??? settings

If ???Arpeggiator Run??? A and B are checked, and the arpeggiator is assigned to a track, make sure that ???MIDI Channel??? is set to other than 01.

Make sure that the global MIDI channel (GLOBAL 2.1: MIDI, ???MIDI Channel???) is set to 01.

*1 If the ???MIDI Channel??? of multiple tracks operated by the arpeggiator is set only to 01, refer to the lines for ???01 only.??? If the ???MIDI Channel??? settings are 01 and one other chan- nel, such as 01 and 02, or 01 and 03, then refer to the lines for ???01 02, 01 03 etc.??? If the ???MIDI Channel??? settings are 01 and multiple other MIDI channels, such as 01 and 02 and 03, then refer to the line for ???01 02 03, etc.???

*2 Correction is necessary only if the tracks operated by a sin- gle arpeggiator are using only ???MIDI Channel??? 01. In some cases, correction may also be necessary if the two arpeggiators use the same MIDI channel.

Depending on the combination settings, it may also be necessary to change the track settings as well.

In the screens shown above, combination B071: ???In the Pocket??? has been copied using ???Copy From Com- bination.??? As described in steps 1 and 2 of the proce- dure given earlier, try actually copying this to see for yourself. For the arpeggiator settings of this combina- tion, refer to p.105. Taking this setting as an example, determine whether correction is necessary, and if nec- essary, what needs to be corrected.

???Arpeggiator Run??? A and B are checked, and ???MIDI Channel??? 01 and 02 are selected. Corrections must be made. Correction is necessary for one of the arpeggia- tors. If you perform multi-track recording with these settings, the MIDI channels of T01, 02, 03, 04, 05, and 06 are the same, so the low-register bass (T01 and T02), the high-register synth brass/pad (T03, T04 and T06), and the synth mallet played by arpeggiator B (T05) will have their performance data combined into one stream, and the performance will not be reproduced at playback. (T08 is a dummy track used to trigger arpeg- giator A.)

1So that the synth mallet played by arpeggiator A can be recorded separately, change the MIDI chan- nel of T05.

Select the SEQ 3.1: Param1, MIDI T01-08 page, and change the T05 ???MIDI Channel??? to 03.

2Add settings for triggering arpeggiator A.

Select the SEQ 3.1: Param1, MIDI T09-10 page, and for track 9 (or any unused track), turn ???Status??? Off, and set the ???MIDI Channel??? to 01.

(T09 will be a dummy track used to trigger arpeg- giator B.)

3Select the SEQ 6.1: Arp., Setup T09-16 page. Set the track 9 Assign to B.

This will produce the following settings.

This completes the corrections. In the SEQ 1.1: Play/ REC, Preference page, set ???Track Select??? to any track whose MIDI channel is 01. Check the ???Multi REC??? check box and perform multi-track recording.

Sequencer mode Basic functions

Caution and other functions in Sequencer mode

TR song data and its compatibility

The following two types of song data can be loaded from SD card into this instrument???s sequencer.

???Song data saved in this instrument???s own format

This data is only for this instrument. However, it is partially compatible with the TRITON/TRITON- pro/TRITONproX/TRITON-Rack (Multi)/TRI- TON Le/TRITON STUDIO/TRITON Extreme and KARMA Music Workstation (???PG p.250). It cannot be loaded into other instruments.

Since the performance will be faithfully reproduced, including detailed settings of this instrument, you should use this format to save song data that is intended for playback on this instrument.

???Standard MIDI Files

This format is not able to provide a totally faithful reproduction of the performance on this instrument in the way that this instrument???s own format does (although there will be no problem for normal play- back), but does provide compatibility with other SMF-compatible devices.

To load song data from SD card or save song data to SD card, use Media mode. (???p.46, PG p.141)

The Compare function

When you perform realtime recording, step recording, or track editing, this function allows you to make before-and-after comparisons.

If you continue editing when the [COMPARE] key is lit, the key will go dark. This now becomes the musical data that will be selected when the [COM- PARE] key is dark.

Operations for which Compare is available

???Recording to a track

???Track Edit

All commands except for the Utility menu com- mands ???Memory Status??? and ???Rename Track??? of the SEQ 5.2: Track Edit page.

???Recording to a pattern

???Pattern Edit

All commands except for the Utility menu com- mands ???Memory Status,??? ???Rename Pattern,??? ???FF/ REW Speed,??? and ???Rename Track??? of the SEQ 5.1: RPPR, Pattern page.

???Song Edit

SEQ 1.1-4.4 and 6.1???6.4 pages: Utility menu com- mands ???Delete Song??? and ???Copy From Song??? SEQ 2.1: Cue List page: Page menu commands ???Convert to Song??? and ???Copy Song???

In general, track and pattern event data can not be returned to its original state.

Comparing song parameters is possible only during song editing (when executing a Utility menu com- mand).

Operations for which Compare is not available

???Editing song parameters

???Utility menu commands other than those listed above (in Operations for which Compare is available)

Memory Protect

Before you record a track or pattern, or edit the musical data, you will need to turn off the memory protect set- ting in Global mode. (???p.43)

About MIDI

Track status ???status???

You can make settings for this instrument???s sequencer to specify whether it will sound the internal tone gen- erator or an external tone generator.

When Track Status ???Status??? (3.1: Param1, MIDI..8, MIDI..16) is set to INT, operating this instrument???s keyboard and controllers will sound and control this instrument???s own tone generator.

When ???Status??? is set to EXT, EX2 or BTH, operating this instrument???s keyboard and controllers will sound and control the external tone generator. (The MIDI channel of the external tone generator must match the ???MIDI Channel??? of the track that is set to EXT, EX2 or BTH.) With a setting of BTH, both the external tone generator and this instrument???s tone generator will sound and be controlled.

If you wish to use the Sequencer mode of the instru- ment as a 16-track multi-timbral tone generator, select INT or BTH. (???PG p.62 ???Status???)

Synchronizing the sequencer with an external MIDI device

The record/playback tempo of this instrument???s sequencer can be synchronized to an external MIDI device such as a sequencer or rhythm machine (???PG p.242).

Recording on the TR

The process by which your playing on this instru- ment???s keyboard and controllers is captured on the tracks or patterns of a song as data is called ???record- ing.???

Recording a track,

and recording a pattern

Recording a track

There are two ways to record to a track: realtime recording and step recording. You can choose from a further six types of realtime recording.

In addition, you can use event editing to modify data that has been recorded or to insert data, and use track editing operations such as Create Control Data to insert data such as bend, after touch, and control changes.

Recording a pattern

There are two ways to record a pattern: realtime recording and step recording. For realtime recording, only one recording type (loop) is available.

In addition, you can use event edit operations to mod- ify data that has been recorded or to insert data.

The Utility menu command ???Get From Track??? can be used to take musical data from a desired area of a track, and use it as the musical data for a pattern. Con- versely, the Utility menu commands ???Put to Track??? and ???Copy to Track??? can be used to place or to copy the musical data of a pattern in a track.

Realtime recording

This is a method of recording in which your playing on the keyboard and your operations of controllers such as the joystick are recorded in realtime.

This method of recording is normally used one track at a time, and is called single track recording.

As an alternative, multitrack recording allows you to simultaneously record multiple channels of data onto multiple tracks. This is the method you will use when using the RPPR function and the arpeggiator function to record multiple tracks of musical data at once, or when you playback existing sequence data on an exter- nal sequencer and record it onto this instrument???s sequencer in realtime (???p.76).

???Overwrite

With this method, the musical data previously recorded on a track is overwritten by the newly recorded data. When you perform overwrite record- ing on a previously-recorded track, its musical data will be replaced by the newly recorded data. Normally you will use this method to record, and then modify the results by using other types of real- time recording or event editing.

1Use ???Track Select??? to select the track that you want to record.

2Set the ???Recording Mode??? to Over Write. (SEQ 1.1: Play/REC, Preference page REC Setup)

3In ???Location,??? specify the location at which you wish to begin recording.

4Press the [REC/WRITE] key, and then press the [START/STOP] key.

If ???Metronome Setup??? has the default settings, the metronome will sound for a two-measure pre- count, and then recording will begin.

Play the keyboard and move controllers such as the joystick to record your performance.

5When you ???nish playing, press the [START/STOP] key.

Recording will end, and the location will return to the point at which you begin recording.

At this time if you press the [PAUSE] key instead of the [START/STOP] key, recording will pause. When you press the [PAUSE] once again, recording will resume. When you are ???nished, press the [START/ STOP] key to stop recording.

???Overdub

With this method, the newly recorded musical data is added to the existing data.

When you perform overdub recording on a previ- ously-recorded track, the newly recorded data will be added to the previously-recorded data.

It is best to select this method when you wish to add control data, or to record tempo data onto the mas- ter track. This lets you record data without erasing the existing data.

1Use ???Track Select??? to select the track that you want to record.

2Set the ???Recording Mode??? to Over Dub. (SEQ 1.1: Play/REC, Preference page REC Setup)

3For the rest of the procedure, refer to steps 3???5 of ???Overwrite.???

Sequencer mode Basic functions

???Manual punch-in

While the song is playing, you can press the [REC/ WRITE] key or a connected pedal switch at the desired location to start or stop recording.

With this method, the musical data previously on the track is overwritten by the newly recorded data.

1Use ???Track Select??? to select the track that you want to record.

2Set the ???Recording Mode??? to Manual Punch In. (SEQ 1.1: Play/REC, Preference page REC Setup)

3In ???Location,??? specify a location several measures earlier than the point at which you wish to begin recording.

4 Press the [START/STOP] key.

Playback will begin.

5At the point at which you wish to begin recording, press the [REC/WRITE] key.

Recording will begin.

Play the keyboard and operate controllers such as the joystick to record your performance.

6When you ???nish recording, press the [REC/ WRITE] key.

Recording will end (playback will continue).

Instead of pressing the [REC/WRITE] key in steps 5 and 6, you can use a foot switch connected to the ASSIGNABLE SWITCH jack. Set the GLOBAL 1.1: System, Foot page ???Foot SW Assign??? to Song Punch In/Out (???p.117).

7Press the [START/STOP] key.

Playback will stop, and you will return to the loca- tion that you speci???ed in step 3.

???Auto punch-in

First you must specify the area that will be re- recorded. Then recording will occur automatically at the speci???ed area.

With this method, the musical data previously on the track is overwritten by the newly recorded data.

1Use ???Track Select??? to select the track that you want to record.

2Set the ???Recording Mode??? to Auto Punch In. (SEQ 1.1: Play/REC, Preference page REC Setup)

3In ???Auto P Start Meas, ???Auto P End Meas??? specify the area that you wish to record.

For example if you specify M005???M008, recording will occur only from measure 5 to measure 8.

4In ???Location,??? specify a location several measures earlier than the point at which you wish to begin recording.

5Press the [REC/WRITE] key, and then press the [START/STOP] key.

When you reach the starting location you speci???ed in step 3, recording will begin. Play the keyboard and operate controllers such as the joystick to record your performance. When you reach the ending loca- tion you speci???ed in step 3, recording will end. (Playback will continue.)

6Press the [START/STOP] key.

Playback will stop, and you will return to the loca- tion you speci???ed in step 4.

???Loop All Tracks

This method lets you continue recording as you add musical data.

The speci???ed region can be recorded repeatedly. This is ideal when recording drum phrases, etc.

1Use ???Track Select??? to select the track that you want to record.

2Set the ???Recording Mode??? to Loop All Tracks. (SEQ 1.1: Play/REC, Preference page REC Setup)

If ???Multi REC??? is checked, it will not be possible to select Loop All Tracks.

3In ???Loop Start Meas, ???Loop End Meas??? specify the area that you wish to record.

For example if you specify M004???M008, recording will occur repeatedly (as a loop) from measure 4 to measure 8.

4In ???Location,??? specify a location several measures earlier than the point at which you wish to begin recording.

5Press the [REC/WRITE] key, and then press the [START/STOP] key.

Playback will begin. When you reach the starting location you speci???ed in step 3, recording will begin. Play the keyboard and operate controllers such as the joystick to record your performance.

When you reach the ending location you speci???ed in step 3, you will return to the starting location, and continue recording.

The musical data that is loop-recorded will be added to the previously-recorded data.

6You can also erase speci???c data even while you continue loop recording.

If you press the [REC/WRITE] key during loop recording, all musical will be removed from the cur- rently selected track as long as you continue press- ing the key.

By checking the ???Remove Data??? check box you can erase only the speci???ed data. During loop record- ing, press the note that you wish to delete, and only the data of that note number will be deleted from the keyboard as long as you continue pressing that note.

Similarly, bender data will be deleted as long as you tilt the joystick in the X (horizontal) direction, and after touch data will be deleted as long as you apply pressure to the keyboard.

When you are once again ready to record musical data, uncheck the ???Remove Data??? check box.

7Press the [START/STOP] key.

Playback will end, and you will return to the record- ing start location that you speci???ed in step 4.

If Loop All Tracks is selected, normal playback will be looped as well.

???Multi (multitrack recording)

Multitrack recording allows you to simultaneously record onto multiple tracks, each with a different channel. This method can be used with overwrite, overdub, manual punch-in, and auto punch-in recording.

Using the arpeggiator to record multiple tracks simultaneously

A multi-track performance using the arpeggiator function can be recorded simultaneously using multi recording (???p.79).

When simultaneously recording multiple tracks using the RPPR function

You can use multitrack recording to simultaneously record the playback of multiple tracks that are being triggered by the RPPR function. For the procedure, refer to ???Realtime-recording an RPPR performance??? (???p.76).

When simultaneously recording multiple tracks of MIDI data from an external sequencer, etc.

1Make sure that the TR???s MIDI IN and the external sequencer???s MIDI OUT are connected by a MIDI cable.

If they are not connected, turn off the power, make the connection, and then turn the power back on again. (???PG p.233)

2Set the MIDI Clock (GLOBAL 2.1: MIDI, MIDI page ???MIDI Clock???) to External or Ext-USB, so that this instrument will synchronize to the MIDI clock of the external sequencer (???PG p.129).

3Create a new song, and in the SEQ 1.1: Play/REC, Preference page, check the ???Multi REC??? check box. Set the ???Recording Mode??? to Over Write.

4Select the SEQ 1.1: Play/REC, Program page.

For the tracks that you are not recording, set ???PLAY/ MUTE/REC??? to PLAY or MUTE.

5In SEQ 3.1: Param1, MIDI page ???MIDI Channel,??? specify the MIDI channel for each track.

The speci???ed channel of musical data will be recorded on that track. It is a good idea to set tracks 1???16 to MIDI channels 1???16. (This is the default set- ting.) Also make sure that ???Status??? is set either to

INT or BTH.

6Press the [LOCATE] key to set the location to 001:01.000.

7Press the [REC/WRITE] key to enter recording- standby mode.

8Start the external sequencer.

The TR???sequencer will receive the MIDI Start mes- sage transmitted by the external sequencer, and will automatically begin recording.

9When the song ends, stop the external sequencer.

This instrument???s sequencer will receive the MIDI Stop message transmitted by the external sequencer, and will automatically stop recording. You can also press the [START/STOP] key on this instrument itself to stop recording.

0Playback.

In the GLOBAL 2.1: MIDI page, set ???MIDI Clock??? to Internal.

Set ???Tempo Mode??? to Auto.

When you press the [START/STOP] key, playback will begin.

If the correct sounds do not play immediately after playback is started, you may be able to solve the problem by using the Utility menu command ???Event Edit??? (SEQ 5.2: Track Edit) to edit the Pro- gram Change data.

Sequencer mode Basic functions

Step recording

This is a method of recording where you specify the note timing, note length, and velocity etc. in the LCD screen, and use the keyboard to input the pitches.

(???p.67)

Only note-on/off data can be recorded with this method.

Event Edit and Create Control Data

Note data is the only type of data that can be recorded in step recording. However there are ways to record other types of data, aside from the realtime mode. You can use the Event Edit and Create Control Data func- tions.

Event Edit is intended as a way to edit previously- recorded data, but you can also use it to modify pro- gram numbers or insert control changes.

Create Control Data is a function that lets you create and insert controller data that changes smoothly between two speci???ed values over the speci???ed length of time. This is used to input bend, after touch, and control change data etc.

Realtime-recording to a pattern

Here???s how you can use realtime recording to create a pattern. User patterns can be accessed by the RPPR function in the same way as preset patterns, and can be copied to or placed in a song. Playback data from a track can also be copied to a pattern.

Before you begin recording a pattern, turn off the memory protect setting in Global mode (???p.43).

When realtime-recording a pattern, a pattern of the speci???ed number of measures will playback repeat- edly, allowing you to continue adding musical data to it.

1Create a new song, and load the template song ???P02: R&B.??? (???p.65)

2 Access the SEQ 5.1: RPPR, Pattern page.

3 For ???Track Select,??? select track T02: Bass.

4Set ???Pattern Bank??? to User, and set ???Pattern Select??? to U00.

User patterns U00???U99 can be created for each song.

5Select the Utility menu command ???Pattern Param.???.

A dialog box will appear.

6Set the number of measures in the pattern to a ???Length??? of 04 (four measures), and set ???Meter??? to a time signature of 4/4. Press the [F8] (???OK???) key.

7Set the ???Resolution.??? For this example, select

(16th note).

8Begin realtime recording.

You can record in the same way as you did when recording tracks with Loop All Tracks. (???p.82)

Press the [REC/WRITE] key, and then press the [START/STOP] key.

After the pre-count, pattern recording will begin. Play the keyboard and operate the joystick and other controllers to record your performance. When you reach the end of the pattern, you will return to the beginning of the pattern and continue recording. If you continue recording, the newly recorded data will be added to the previously- recorded data.

9If you want to delete speci???c data while you con- tinue pattern recording, you can press the [REC/ WRITE] key or check the ???Remove Data??? check box.

For details refer to step 6 of ???Loop All Tracks??? (???p.82).

0Press the [START/STOP] key to stop recording.

If you made a mistake or decide to re-record, press the [START/STOP] key to stop recording, and press the [COMPARE] key.

Using the arpeggiator for pattern recording

If the arpeggiator is set to operate for the track that is selected for ???Track Select,??? you can turn on the [ARP ON/OFF] key and record the performance of the arpeggiator into the pattern.

For details on arpeggiator settings, refer to p.76 and PG p.82.

Sampling mode

The separately sold EXB-SMPL option can be installed in the TR to add high-performance mono/stereo sam- pling functionality.

Features of EXB-SMPL

???48 kHz 16 bit linear mono/stereo sampling.

???The EXB-SMPL includes a 16 Mbyte 72 pin SIMM sample data (waveform data) memory module. When this memory is installed in the TR, you can sample for approximately 2 minutes 54 seconds in monaural, or approximately 1 minute 27 seconds in stereo. By installing 72 pin SIMM modules, you can expand the memory to a maximum of 64 Mbytes, which will allow you to record up to four 2 minute 54 second samples in mono (or four 1 minute 27 second samples in stereo), for a maximum total of approximately 11 minutes 39 seconds of sampling time (approximately 5 minutes 49 seconds in stereo). (For details on expansion, refer to PG p.260.)

???A maximum of 1,000 multisamples and 4,000 samples can be created.

???In Media mode you can load multisample/sample data from an SD card or SCSI media.

???Korg format or Akai (S1000/3000 samples, mapped multisamples only) format sample data, and AIFF or WAVE format sample data can be loaded. (Once data has been loaded into the TR, it will all be treated as Korg format sample data.)

Sample data created on the TR can be exported (out- put) as an AIFF or WAVE format sample ???le.

???The external audio source that you are sampling can be processed by the one insertion effect to apply effects such as a compressor or EQ. The LFO frequency or delay time of the effect can be specified as a BPM value, which is highly effective when sampling phrase loops etc.

???Both auto sampling and manual sampling can be performed. With auto sampling, recording will begin automatically when the input level exceeds a specified threshold. In either method of sampling, you can make pre-trigger settings.

???The audio input supports both mic and line level signals.

???Datayousampledcanbeplayedimmediatelyfromthe keyboard of the TR or by pressing the [AUDITION] key. It is also easy to convert sampled data into a program, and use it as material for the TR???s HI synthesis system. Multisamples/samples that have been converted into a program can be used in a combination or song.

???The waveform can be viewed in the LCD screen, and edited by a variety of waveform editing commands that include rate convert (down- sampling) and reverse playback.

The following commands are also provided.

Time Slice

This automatically detects the attack portions of a kick or snare etc. in a rhythm loop sample (a looped pattern of drums etc.), and divides it into separate rhythm instrument sounds. A pattern correspond- ing to the divided samples is created automatically, so that you can immediately use the Sequencer mode RPPR function to play the pattern and adjust the tempo without changing the pitch. You can also do things such as adjusting the pitch of only the snare, replacing it with a different sample, or chang- ing the playback timing on the sequencer, in this way creating a new rhythm loop based on the rhythm loop you started with. (Stereo samples are supported.)

Time Stretch

This lets you modify the tempo without changing the pitch of a sample. You can select either Sustain- ing (suitable for sustain-type instruments such as strings or vocals), or Slice (suitable for rhythm loops on decay-type instruments such drums). Ste- reo samples are supported.

Crossfade Loop

An important looping tool that helps smooth out irregularities in long loops which contain complex material. By executing Crossfade Loop, you can eliminate this problem and create natural-sounding loops.

Link (with Crossfade)

This allows you to join two samples into a single sample. You can also crossfade the overlapping por- tion of the samples at this time, so that the volume changes gradually, producing a natural-sounding transition.

???The BPM Adjust function (playback pitch adjust) lets you adjust the playback pitch of each index so that the loop frequency matches the desired BPM value.

???Start, loop start, and end addresses can be specified in units of a single sample. Loop tune, reverse playback, and loop lock functions are also supported.

???The Use Zero function automatically searches for zero-cross points, making it easy to find the beginning or end of the waveform, or locations that will not produce noise when the sample is played back.

???The grid function displays a BPM-based grid on the waveform display, helping you to create loops or make waveform edits that match the desired BPM.

???Each multisample allows you to create up to 128 indices. Each index consists of a sample assignment, a key zone, an original key, a playback pitch, and settings such as level.

???The ???Keyboard & Index??? display lets you edit a multisample while viewing the assignments and zones of each sample.

???Sample names and multisample names of up to 16 characters can be assigned. Sample names and multisample names can also be viewed in Media mode (???PG p.143 ???Translation???).

How Sampling mode is organized

In Sampling mode

???An external audio signal from an external audio device or microphone connected to the AUDIO INPUT 1 and 2 jacks is passed through an analog/ digital convertor, and recorded (sampled).

???You can edit the waveform and loop settings etc. of sample data that you sampled or that you loaded from an SD card, CD-ROM etc., in Media mode.

???You can assign samples to the keyboard to create a multisample. These samples and multisamples can be easily converted to a program using the Utility menu command ???Conv. To Program,??? and these programs can be used immediately in a combination or a song.

Sampling frequency and bit resolution

As shown in the diagram, sampling reads the level of the analog signal at ???xed intervals along the time axis, and stores the levels in memory as digital data.

The ??????xed intervals??? mentioned above are generally expressed as the ???sampling frequency.??? 48 kHz (kilo- hertz) means that sampling is performed 48,000 times each second, and that the interval is 1 (second)/48,000 (times) = approximately 0.00002083 (seconds) = approximately 0.02083 mS (millisecond).

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 resolu- tion. This process converts an analog signal with in???- nite resolution into a digital signal with ???nite resolution. With 16 bit resolution, each level is indi- cated in 65,536 steps (the sixteenth power of two). The greater the bit resolution is, the closer to the origi- nal analog signal the waveform in memory will be.

48 kHz 16 bit sampling is the same quality as in audio devices such as DAT. A CD uses 44.1 kHz 16 bit sam- pling, which is a slightly lower sampling frequency.

Samples and Multisamples

Samples

The data that is recorded (sampled) into internal mem- ory or loaded from a ???le is referred to as a sample or sample ???le. Samples consist of the actual waveform data, and parameters that specify how the data will be played back, such as Start, Loop Start, and End

Sampling mode Basic functions

Level

Analog waveform

Level

Sampled digital waveform

Time

48kHz

= 48,000 times every second = 0.0208 mS cycle

16bit

Time = 65,536 levels of data

Address. Samples can be used in multisamples and drum kits.

The TR can hold a maximum of 4,000 samples in its internal memory.

The TR can share a single waveform among multi- ple samples. This allows you to create multiple samples with different playback addresses from the same waveform without wasting internal memory. For example, suppose that you have waveform data that records a voice saying ???One- Two-Three.??? This single piece of waveform data could be shared by three samples, with the play-

back of sample A producing ???One-Two-Three,??? sample B producing ???One-Two,??? and sample C producing ???Two-Three.??? (???PG p.96).

Multisamples

A multisample consists of settings that make one or more samples sound in different areas of the keyboard. A multisample consist of between one and 128 ???indexes.??? Each index contains parameters that specify the sample that will playback, the zone for which it will playback, the original pitch key, the playback pitch, and level etc.

Sampling

The multisample and sample data in the Sampling mode is not backed up when the power is turned off. If you wish to keep this data, you must save it onto an SD card or external SCSI device before turning off the power.

After the power is ???rst turned on, memory will not contain any multisample or sample data. You must ???rst load previously-saved data before you can playback or edit any sample data.

Using multisamples

When sampling an instrument that is able to produce a wide range of pitches, such as a piano, recording just one sample and using it (playing it back) over the entire pitch range will not produce a natural-sounding result. By using a multisample you can record separate samples for each pitch range, and assign these samples to their respective pitch ranges to avoid any unnatural sounds during playback. For example, you might record one sample per octave, and assign each of these samples to an index (keyboard area). All of the instru- mental sounds in the TR???s internal preset multisamples are constructed in this way.

By assigning multiple samples such as phrase samples or rhythm loops to a multisample and arranging them across the keyboard, you can play multiple samples simultaneously. Since a different phrase could be assigned to each key, you can perform just as though you were using a pad-type sampler. Alternatively, these samples could be assigned at one-octave inter- vals, and played as phrase variations with different playback pitches.

The TR can hold a maximum of 1,000 multisamples in its internal memory.

A multisample can be selected as the oscillator for a program, and played as a program. In a combination, they can be combined with preset programs, and used in a multi. They can be used with the arpeggiator to produce interesting results (for example, by using the arpeggiator to automatically play sound effects or spo- ken samples).

Preparations for sampling

Connections and settings for a monaural source

When sampling in monaural from a mic, the output of an external audio device or mixer, or an instrumental sound such as guitar or synthesizer, connect the source to the AUDIO INPUT 1 or 2.

Guitars and other instruments with active pickups can be input directly, but instruments with passive pickups (i.e., without internal preamps) cannot be recorded at an appropriate level, due to imped- ance mismatching. When connecting such instru- ments, use a preamp or effect device.

EXB-SMPL

MIC

1Connect the mic or external audio device to the AUDIO INPUT 1 jack.

2Set the AUDIO INPUT [MIC/LINE] switch to match the input source. For input sources with a low input level, such as a microphone, select the MIC position. For other sources, select the LINE position.

The AUDIO INPUT [MIC/LINE] switch affects both the AUDIO INPUT 1 and 2 jacks.

3The [LEVEL] knob will be adjusted later. For now, set it near the center.

4In Sampling mode 1.1: Recording, select the Input/ Pref page.

5In ???Input 1,??? set the various parameters that spec- ify how the signal from the AUDIO INPUT jacks will be received by the TR.

??????Lvl??? adjusts the volume. Normally you will set this to 127.

??????Pan??? adjust the panning. For this example set it to

L000.

???Set ???BUS.??? If you wish to use the TR???s insert effect to process the incoming sound, select IFX here. For this example, select L/R. The input sound will be sampled just as it is.

Be aware that when you change the setting from Off to L/R or IFX, the volume level in the AUDIO OUTPUT L/MONO and R jacks and in the head- phones may rise excessively.

???Input 1??? controls the AUDIO INPUT 1 jack, and ???Input 2??? controls the AUDIO INPUT 2 jack.

The settings above will cause the sound from the AUDIO INPUT 1 jack to be output from the AUDIO OUTPUT L/MONO jack and from the L channel of the headphones.

6Use the [LEVEL] knob to set an appropriate level.

If an overload occurs in the input stage of the TR, ???ADC OVER!??? (AD converter overload!) will be dis- played above the ???Recording Level??? slider. Adjust the [LEVEL] knob or the output level of the external audio device just low enough so that the ???ADC OVER!??? does not appear (i.e., the maximum level that does not cause an overload).

Connections and settings for a stereo source

When sampling in stereo from a stereo mic, the output of an external audio device or mixer, or synthesizer, connect the source to the AUDIO INPUT 1 and 2 jacks.

EXB-SMPL

CD player

AUX OUT

1Connect the L source to AUDIO INPUT jack 1, and the R source to jack 2.

2Make the settings described in steps 2???4 of ???Connections and settings for a monaural source.???

3Set the ???Input 1??? and ???Input 2??? parameters to specify how the signal from the AUDIO INPUT jacks will be received by the TR.

??????Lvl??? adjusts the volume. Set both Input 1 and Input 2 to 127.

??????Pan??? adjust the panning. Set Input 1 to L000, and Input 2 to R127.

???Set ???BUS.??? For this example, select L/R for both Input 1 and Input 2.

The settings in the example above will cause the sound from the AUDIO INPUT 1 and 2 jacks to be output in stereo from the AUDIO OUTPUT L/ MONO and R jacks and from the headphones. The sound of AUDIO INPUT 1 will be output from the left, and AUDIO INPUT 2 from the right.

4Use the [LEVEL] knob to adjust a suitable input level. (Refer to step 6 of ???Connections and set- tings for a monaural source???)

The [LEVEL] knob adjusts both AUDIO INPUT 1 and 2.

Using an insert effect

The TR???s insert effect can be applied to the sound that is being input from the AUDIO INPUT 1 and 2 jacks, allowing you to record a sample with effects applied. As an example, we will explain the procedure for applying an insert effect to a stereo source and sam- pling the result.

1Make the settings of step 1 and 2 in ???Connec- tions and settings for a stereo source.???

2Set the various ???Input 1??? and ???Input 2??? parame- ters.

???Set ???BUS??? to IFX for both Input 1 and 2.

???Set ???Lvl??? and ???Pan??? to the same settings as in step 3 of ???Connections and settings for a stereo source.??? With these settings, the stereo source will be sent to insert effect (IFX).

3Use the [LEVEL] knob to adjust to a suitable input level. (Refer to step 6 of ???Connections and set- tings for a monaural source.???)

4 Select the 7.1: Insert Effect, Setup page.

Make settings for ???Insert Effect,??? ???IFX On/Off,??? and the ???Pan (CC#8)??? of the sound after it has passed through the insert effect. (???PG p.27, 121)

Examples of settings using the insert effect are given in ???Mode (Sample Mode)??? (???PG p.93).

Manual sampling

There are two methods of sampling: manual and auto.

In manual mode, sampling is started by pressing the [START/STOP] key from the recording standby condi- tion (entered by pressing the [REC/WRITE] key once). For the sampling procedure in auto mode, refer to ???Auto sampling??? (???p.90).

1 Select the 1.1: Recording, Recording page.

2For ???Mode (REC Mode),??? select Manual.

This will select manual recording mode.

Sampling mode Basic functions

3 Select the 1.1: Recording, Sample page.

4For ???MS (Multisample Select),??? select 000: NewMS____000.

Immediately after the power is turned on, 000: NewMS______000 will be created automatically. Use the numeric keys [0]???[9] to input the multisam- ple number that you wish to record, and press the [ENTER] key.

If you select a new number, the Create New Multi- sample dialog box will appear. Press the [F8] (???OK???) key, and the new multisample will be created.

To specify the name, use the Utility menu command

???Rename MS.???

5In ???SMPL (Sample Select),??? select the sample that you wish to record. For this example, select ----: ---

No Assign----.

You may sample even in this condition. The sample will be automatically recorded to a vacant sample number.

If you wish to start by specifying the sample num- ber to be sampled, use the [INC]/[DEC] keys or numeric keys [0]???[9] and [ENTER] key to specify the desired number.

A sample will be created when you record. A sam- ple name such as 0000: NewSample_0000 will be assigned automatically. This name can be edited using the Utility menu command ???Rename SMPL.???

If you execute sampling when an existing sample such as 0000: NewSample_0000 is selected, the new sample will be sampled to a vacant sample number. You do not need to be concerned with this setting even when you continue recording successive sam- ples.

6 Select the 1.1: Recording, Recording page.

7Set the ???Mode (Sample Mode).???

Monaural source: If the ???Input1??? setting ???Pan??? is L000, set ???Mode (Sample Mode)??? to L-Mono. If ???Pan??? is R127, set ???Mode (Sample Mode)??? to R- Mono.

Stereo source: Set the ???Mode (Sample Mode)??? to Stereo.

8 Press the [REC/WRITE] key.

If an input signal is present, the Recording Level [dB] meter will move according to the ???Pan??? setting in ???Input1??? and ???Input2.??? This is the recording- standby condition.

In the case of ???Connections and settings for a mon- aural source,??? the L meter will move. In the case of ???Connections and settings for a stereo source,??? the L and R meters will move.

Use the ???Recording Level??? slider to adjust the level. For this example, set the slider to the 0.0 setting (???PG p.94).

9At the moment that you wish to begin sampling, press the [START/STOP] key.

Sampling will begin.

0Sampling will stop when you press the [START/ STOP] key.

Sampling will stop automatically when the remaining amount of memory reaches zero.

AEither press the [AUDITION] key, or press the C2 key.

The sample you recorded will play back.

If you wish to continue recording samples, repeat steps 7???0.

Auto sampling

With auto mode, sampling will begin when the input signal exceeds the speci???ed threshold level.

1 Select the 1.1: Recording, Recording page.

2 For ???Mode (REC Mode),??? select Auto.

This will select auto recording mode.

3Set the ???Threshold.???

When the input signal exceeds the ???Threshold??? level, sampling will begin automatically. The black triangles at both sides of the Recording Level [dB] meter display will indicate the speci???ed level.

When you use auto sampling, the attack portion of the sampled input sound may be lost, depending on the ???Threshold??? setting. If this occurs, you can use ???Pre Trigger??? to sample the sound that occurs before sampling actually begins. Normally you will set this to 0, and use it only when necessary.

4 Select the 1.1: Recording, Sample page.

5Select the ???MS (Multisample Select).???

(??????Manual sampling??? step 4)

6Select the sample in ???SMPL (Sample Select)??? that you wish to record.

(??????Manual sampling??? step 5)

7 Select the 1.1: Recording, Recording page.

8Set the ???Mode (Sample Mode).???

(??????Manual sampling??? 6 7)

9 Press the [REC/WRITE] key.

0 Press the [START/STOP] key.

When the input signal exceeds the ???Threshold??? level, sampling will begin automatically.

ASampling will stop when you press the [START/ STOP] key.

Sampling will end automatically if the remaining amount of memory reaches zero.

BEither press the [AUDITION] key, or press the C2 key.

The sample you recorded will play back.

Creating multisample indexes and sampling

Here???s how to create indexes for a multisample, and how to assign a sample to each index.

1 Select the 1.1: Recording, Sample page.

Create

2Select ???MS (Multisample Select),??? and create a multisample. (Refer to ???Manual sampling??? 4 )

3Press the [F6] (???CREATE???) key to create an index.

Immediately after the power is turned on, the ???Index??? will be indicated as 001/001. This means that there is only one index. The range that is high- lighted in the keyboard & Index is the range of the selected index.

Press the [F6] (???CREATE???) key several times. Each time you press it, an index will be created. The key- board display will indicate the zone and original key location of each index. The highlighted area is the currently selected index.

The index that is created when you press the [F6] (???CREATE???) key will be created according to the 1.1: Recording, Input/Pref page Create settings.

(These settings can also be made in 4.1: Multisam- ple, Pref. page Create Zone Preference. ???PG p.95, 120)

Immediately after the power is turned on, ???Pstn (Position)??? will be R (Right), ???Range (Zone Range)??? will be 012 (Keys), and ???Orig.K (Original Key Position)??? will be Btm (Bottom), so that indexes will be created as shown below.

If you set ???Range (Zone Range)??? to 1(Key), an index will be created for each note of the keyboard. It is convenient to use 1(Key) when you wish to sample numerous takes in succession, such as when recording phrases or rhythm loops.

4 Select ???Index.???

???Index??? can also be selected by holding down the [ENTER] key and playing a note on keyboard. For this example, select 001.

5Assign a sample to the ???Index.???

If sampling RAM memory already contains sam- ples, use ???SMPL??? (Sample Select) to select the sample and assign it.

If you want to record a new sample, you can sam- ple it now.

The sample you record will be automatically assigned to the index you selected in step 4. (???For the sampling procedure, refer to ???Manual sam- pling??? or ???Auto sampling.???)

The assigned sample will sound when you play the keyboard in the range of the index to which the sample is assigned, or when you press the [AUDI- TION] key.

6Repeat steps 4 and 5 to assign a sample to each index.

The number and order of the indexes in a multi- sample, the range of each index, and the original key position can be freely changed later if desired. (???p.94 ???Multisample editing???)

Creating multiple samples

In the example procedure described above, several indexes were created (by pressing the [F6] (???CRE- ATE???) key several times), and then samples were assigned to each ???Index.???

As an alternative method, it is also possible to create one index, sample into it, and then repeat these two steps.

1Press the [F6] (???CREATE???) key once to create an index.

2 Record a sample.

Sampling mode Basic functions

The recorded sample will automatically be assigned to the index you created in step 1.

3 Repeat steps 1 and 2.

This is an ef???cient way to record multiple samples. (???p.36)

Loop settings

With the default settings after the power is turned on, the sounds you sample will automatically be looped (1.1: Recording, Input/Pref page ???AutoLoop (Auto Loop On)??? On)

To edit the loop and other playback address settings for the sample, use the 3.1: Loop Edit, Edit2 page.

1Select the sample for which you wish to make loop settings.

To select the sample, use the ???SMPL (Sample Select)??? or ???Index??? parameters of 3.1: Loop Edit, Edit 1 page or of the 1.1: Recording, Sample page. (???p.91)

If you use ???SMPL (Sample Select)??? to select the sample, be aware that the assignment to the index will also change.

2In the 3.1: Loop Edit, Edit1 page, use the ???Lp (Loop)??? check box to turn loop playback on/off for the sample.

Looping will be turned on if the box is checked. This will operate between the addresses you specify in step 4.

Loop On: S???E???LpS???E??? (LpS???E is repeated)

Loop Off: S???E

3 Select the 3.1: Loop Edit, Edit2 page.

4Specify the start address in ???S (Start),??? the loop start address in ???LpS (Loop Start),??? and the end address in ???E (End).???

Select ???S (Start)??? (highlighted), and use the [VALUE] dial or other VALUE controllers to modify the value. The corresponding vertical line will move. Set ???LpS (Loop Start)??? and ???E (End)??? in the same way. In the example shown below, ???S (Start)??? is set immediately before the ???rst waveform, ???LpS (Loop Start)??? is set immediately before the second waveform, and ???E (End)??? is set as desired.

By using the ZOOM ([F4] key???[F7] key) you can change the range that is displayed. When ???S (Start)??? is highlighted, zoom will be performed from the start address (???PG p.101).

If the ???Zero (Use Zero)??? check box is checked, only those addresses where the waveform data crosses the zero level will be found automatically when searching, and can be set. This lets you eas- ily make address settings where noise is less likely to occur when looping.

5If necessary, use the Utility menu command ???Truncate??? to delete unwanted data that falls out- side the start (or loop start) and end addresses.

Set the parameters, and press the [F8] (???OK???) key to execute the operation. (???PG p.102)

For cautions on the ???Save to No.??? and ???Overwrite??? check boxes, refer to ???About ???Overwrite?????? (???PG p.101).

The waveform data of the currently selected sample will be displayed. To hear this data, play a key in the keyboard range that is highlighted in ???Keyboard & Index.??? Alternatively, you can press the [AUDI- TION] key to play back the data.

In the case of a sample that was sampled with a ???Mode (Sample Mode)??? setting of Stereo, the waveform display will alternate between L and R each time you press the [F3] (???L/R???) key. At this time, the upper right of the display will indicate [L] or [R].

The grid display

The Utility menu command ???Grid??? overlays the wave- form display with a grid based on the BPM tempo value. This makes it easy to make loop settings that are synchronized to the tempo.

In the same way, the grid display can also be used in 2.1: Sample Edit, Edit2 page. The grid can help you to edit the waveform in synchronization with the tempo.

1 Select the Utility menu command ???Grid???.

The following dialog box will appear.

Check ???Grid,??? set ???Resolution??? as desired, and press the [F8] (???OK???) key. The dotted grid lines will appear.

2Set ??? (Grid Tempo)??? to the desired BPM tempo value.

3Set the end address so that it coincides with a dot- ted line of the grid.

This will cause the loop interval to be the same length as the BPM value.

The grid display will be based at ???LpS (Loop Start)??? if looping is on. If looping is off, the grid will be based at ???S (Start).???

4To hide the grid display, select the Utility menu command ???Grid???, uncheck ???Grid,??? and press the [F8] (???OK???) key.

The grid is displayed according to the playback pitch of the base key (the key shown in gray in the ???Keyboard & Index??? area).

You can select the base key by holding down the [ENTER] key and playing a note on the keyboard.

Sample (waveform data) editing

Editing the waveform data of the sample is done in 2.1: Sample Edit. You can use commands such as cut, copy, and normalize to edit the waveform data.

1Select the sample that you wish to edit.

Use ???SMPL (Sample Select)??? or ???Index??? in the 2.1: Sample Edit, Edit 1 page or the 1.1: Recording, Sam- ple page to select the sample. (???p.91)

If you use ???SMPL (Sample Select)??? to select the sample, be aware that the index assignment will also change.

2 Select the 2.1: Sample Edit, Edit2 page.

The waveform data of the currently selected sample will be displayed.

The waveform display of a sample that was sam- pled with a ???Mode (Sample Mode)??? setting of Stereo can be switched between the L and R wave- forms by pressing the [F3] (???L/R???) key. When you do so, [L] or [R] will be displayed alternately in the upper right.

3Use ???S (EditRangeStart)??? and ???E (EditRangeEnd)??? to specify the range that you wish to edit.

The selected range will be highlighted.

If you wish to hear the sound of the selected range, press the [START/STOP] key. The selected range will play back at the pitch of the base key (the key shown in gray on the keyboard display). You can select the base key by holding down the [ENTER] key and playing a note on keyboard.

When you play a key to which the sample is assigned (the highlighted range of the keyboard dis- played in ???Keyboard & Index???), and the sample will be played back according to its loop settings.

The procedure for using the ZOOM and ???Zero (Use Zero)??? check boxes is the same as for 3.1: Loop Edit.

4From the list of Utility menu, select the desired editing command. Make the appropriate settings in the dialog box, and press the [F8] (???OK???) key to execute.

For details on each command (???PG p.101).

A note on saving samples

In the dialog boxes of some Utility menu, there is a ???Save to No.??? setting that lets you specify the sample number to which the edited sample will be saved. At this time, a vacant sample number will be selected automatically, so you will change the setting only if you want to specify the save destination number.

If you check ???Overwrite??? in the dialog box of the com- mand, the data prior to editing will be deleted, and will be overwritten by the edited data. Normally, you will execute the Write operation without checking this, so that the unedited data is preserved. When you are completely ???nished with your editing, you can use the Utility menu command ???Delete SMPL??? to delete unneeded samples.

In Sampling mode, there is no Compare function that lets you compare the data before and after editing.

If you wish to preserve the unedited state of the multisample or sample, use ???Copy SMPL??? or ???Copy MS??? (???PG p.96, 97) to copy the multisam- ple or sample before you begin editing it.

For some Utility menu commands in 2.1: Sample

Edit or 3.1: Loop Edit, you can execute without checking the ???Overwrite??? setting in the dialog box, so that the sample data previous to editing will be preserved.

Sampling mode Basic functions

Multisample editing

Editing a multisample is accomplished with a number of operations i.e. creating indexes for the multisample and assigning a sample to each index, editing opera- tions such as deleting, copying, and inserting indexes, and detailed settings such as sample level and pitch for each index.

Multisample editing is performed in 4.1: Multisample.

Basic settings such as creating indexes and assign- ing samples can also be made in the 1.1: Record- ing, Sample page.

Editing the indices

To change the number or order of the indexes, use the

INSERT, CUT, COPY, and CREATE.

1 Select 4.1: Multisample.

2Use ???MS (Multisample Select)??? to select the multi- sample that you wish to edit.

3 Select the ???Index.???

You can also select this by holding down the [ENTER] key and playing a note.

4Press the keys corresponding to the following function buttons to edit the multisample by changing the number or order of the indexes.

To delete the selected index, press the ???CUT.???

The ???INSERT??? is used in conjunction with the Cut and ???Copy.??? The contents of the index that was Cut or Copied will be inserted.

The ???CREATE??? has the same function as the ???CRE- ATE??? in 1.1 Recording, Sample (???p.91 ???Creating multisample indexes and sampling???).

Modifying the settings of an index

1Make the settings described in steps 1???3 of ???Editing the indices.???

2Set parameters for the selected index.

(???PG p.118)

???Changing the Edit1 page ???Top K (Top Key)??? will change the upper limit of the zone. Simultaneously, the lower limit of the next-numbered index will also change.

???If you check ???Constant Pitch??? in the Edit2 page, playing any note within the zone of an index will always sound the original pitch.

???Edit2 page ???Pitch??? adjusts the sample pitch for each index. You can use the Utility menu command

???Pitch BPM Adj.??? to set the loop interval to a desired BPM value (???PG p.119).

Converting a multisample to a program

The Utility menu command ???Conv. To Prog??? can be selected and executed in the various pages of 1.1: Recording, in 2.1: Sample Edit, in Edit 1 of 3.1: Loop Edit, in the various pages of 4.1: Multisample, and in 5.2: Ctrl Setup. When you execute this utility, the state of the currently selected multisample will be converted into a program.

In Program mode you can make ???lter, amp and effect settings etc., and play the sample as a program. The resulting program can be used in a combination or multi.

For details on using the Utility menu command ???Conv. To Prog,??? refer to p.38 and PG p.99.

Using samples in a drum kit

A sample you created in Sampling mode can be used as one of the instruments in a drum kit. In the GLO- BAL 5.1: DKit, High Sample page and Low Sample page, set ???Drumsample Bank??? to RAM, and use

???Drumsample??? to select the sample that you created.

Using Time Slice to divide a sam- ple and play it in Sequencer mode

Time Slice automatically detects the attacks of the kick and snare etc. in a rhythm loop sample (a looped sam- ple containing a drum pattern, etc.), and automatically divides the sample at the appropriate points. The resulting samples can be automatically turned into a multisample and program. Sequencer mode perfor- mance data for replaying the divided samples can also be created automatically.

Here are some ways that you can use a time-sliced sample in a Sequencer mode song.

???Adjust the tempo of several rhythm loop samples (all of differing tempos) without affecting their pitch.

???Make realtime changes to the tempo without changing the pitch.

Here is an example of the procedure for time-slicing a rhythm loop sample in Sampling mode, and for play- ing the resulting rhythm loop samples in Sequencer mode.

You can try this using a rhythm loop sample that con- tains a drum performance. You can record this on the TR or use Media mode to load data from SD card etc. When trying this for the ???rst time, start with a fairly simple one-measure 4/4 drum pattern. In this example we are using a 120 BPM rhythm loop sample.

1 Access the SMPL 3.1: Loop Edit, Edit1 page.

2 In ???SMPL,??? select a 120 BPM rhythm loop sample.

3 Access the SMPL 3.1: Loop Edit, Edit2 page.

Play back the sample, and check whether the beat plays accurately across the looped point. If not, access the SMPL 3.1: Loop Edit, Edit2 page, adjust ???S (Start)??? (start address) and ???E (End)??? (end address), and execute the ???Truncate??? utility menu command. (???p.92, ???PG p.109)

4Choose the ???Time Slice??? utility menu command.

The Set Sample Tempo dialog box will appear.

5Specify the quarter note time signature and the tempo of the sample.

If you know the BPM, set the ???Source BPM??? ???eld. If you do not know the BPM, set ???Beat??? and the BPM will be calculated automatically. In this example we already know the BPM, so we will set ???Source BPM??? to 120.

6Press the [F8] (???OK???) key.

The sample will be sliced automatically, and the dia- log box will appear.

When you play the keyboard, C2 will sound the original sample (Source), and the keys D2 and above will play the divided samples.

While you listen to each of the divided samples, adjust ???Sensitivity??? so that each of the drums or percussion instruments are separated. For some samples, you may not be able to slice the samples cleanly by adjusting ???Sensitivity.??? If the attack por- tion of the next sample is heard at the end of a sam- ple, or if two sounds are heard in a single sample, you will need to make further edits.

To edit, hold down the [ENTER] key and select the ???Index??? that is assigned to the key you want to edit. (That portion of the waveform display will be highlighted.) Then you can adjust ???S (Start)??? and ???E (End),??? use Divide to divide samples, or use Link to join samples. (???PG p.111 step 7)

7Press the [F6] (???Save???) key.

The Save Smpl/MS dialog box will appear.

From here you can save the time-sliced samples and multisample.

At this time, you can adjust the settings in the ???With??? area to specify which program will use the samples and multisample, and the destination of the Sequencer mode performance data (track or pat- tern) that will be used to playback the rhythm loop sample.

???To create performance data in a track Check ???Program??? and ???Seq.Event??? Program: D072

Seq.Event: Track

Song: 000, Track: 01, Meter: 4/4

Start Measure: 001, Times: 008

Press the [F8] (???Save???) key to save your settings. You will return to the dialog box of step 6.

???To create performance data in a pattern

In order to insert the data into a pattern, press the [F6] (???Save???) key once again to access the Save Smpl/MS dialog box.

Check ???Program??? and ???Seq.Event??? Program: D073

Sampling mode Basic functions

Seq.Event: Pattern

Song: 001, Pattern: U00, Meter: 4/4

RPPR: On (checked), Key: C#2, Track: 01

Press the [F8] (???Save???) key. to save your settings. You will return to the dialog box of step 6.

8Press the [F7] (???Exit???) key to return to the screen of step 3.

9Press the [SEQ] key to enter Sequencer mode, and set ???Song Select??? to 000.

The song data that you speci???ed in step 7 has been automatically set/created as shown below.

???SEQ 1.1: Play/REC, Play/REC page

Song: 000, Meter: 4/4, Tempo: 120

??? SEQ 1.1: Play/REC, Prog..8 page Track01 Program: D072

??? SEQ 1.1: Play/REC, Loop..8 page Track01 Loop On: On

Loop Start Meas: 001

Loop End Meas: 001

Play Intro: Off

If you set ???Start Measure??? to other than 001 when creating performance data in a track, the parame- ters and programs of the SEQ 1.1: Play/REC, Loop..8 page will not be set automatically. (???Loop On??? will be Off, and a program change will be cre- ated at the beginning of the ???Start Measure.???)

???SEQ 5.2: Track Edit, Track Edit page

Track01: track data: 8 measures (D2???)

As an example, try setting ??? (Tempo)??? to 100. Notice that even if you change the playback tempo, the pitch does not change.

If the beat of the rhythm loop sample is not repro- duced correctly or if you hear unwanted noise when you change the tempo, the reason may be that slicing was not performed optimally in step 6. The accuracy with which each rhythm instru- ment sound is separated will signi???cantly affect the quality of the playback. Try adjusting the sepa- ration of each sample in step 6.

In some cases, playing back at a slower tempo may cause the playback to sound unnatural because of regions of silence between samples. Conversely when you play back at a faster tempo, unnatural noise may occur between samples. To avoid such problems, set Stretch ???New BPM??? or ???Ratio??? in step 7 to the tempo that you will use during play back. When you execute the time stretch com- mand, the length of each sample will be adjusted appropriately. (???PG p.112 step 9)

0In ???Song Select,??? select 001.

The song data that you speci???ed in step 7 has been set/created automatically as shown below.

???SEQ 1.1: Play/REC, Play/REC page

Song: 001, Meter: 4/4, Tempo: 120, RPPR: On

???SEQ 1.1: Play/REC, Prog..8 page

Track01 Program: D073

???SEQ 5.1: RPPR, RPPR Setup page

Key: C#2, Assign: On,

Pattern: User, U00, Track: Track01

Pattern data: 1 measure (D2???)

When you press the SEQUENCER [START/STOP] key, playback will begin. According to the Track Play Loop setting, the ???rst measure will play as a loop.

In the SEQ 5.1: RPPR, Pattern page, press the

SEQUENCER [START/STOP] key and pattern U00 will begin playing.

If you press the C#2 key in the SEQ 5.1: RPPR, RPPR Setup page, the RPPR function will begin playing pat- tern U00.

As in step 9, you can change the playback tempo with- out affecting the pitch.

Global mode

In Global mode you can make settings that affect the entire TR, such as user scales, category names, drum kits, and user arpeggio patterns (???PG p.123).

This chapter will describe the procedure for editing a drum kit. For the procedure of editing a user arpeggio pattern, refer to ???Arpeggiator settings??? (???p.103). For details on the parameters of other pages (???p.117).

When you play the keyboard in Global mode, the TR will sound as in the previous mode in which you were previously. Be aware that if you moved from Sampling mode (if the separately sold EXB- SMPL option is installed) to Global mode in a state where the sampling memory contained no data (such as immediately after the power is turned on), playing the keyboard will not produce sound.

When you move from Sequencer to Global mode, playing the keyboard will sound the program or arpeggiator that corresponds to the global MIDI channel (set in GLOBAL 2.1).

The settings that you edit in Global mode are pre- served as long as the power remains on, but will be lost if not written to memory before the power is turned off. The data handled in Global mode can be classi???ed into three types: user drum kit set- tings (GLOBAL 5.1), user arpeggio pattern settings (GLOBAL 6.1), and all other global settings (GLO- BAL 1.1???4.1). Each of these three types of data can be written into the memory area. In Media mode, this data can also be saved on external media such as an SD card (???p.45).

Global mode does not provide a Compare function that lets you make before-and-after comparisons of your editing. Before editing user drum kits, or user arpeggio patterns, you may wish to use ???Copy Drum Kit??? or ???Copy Arpeggio Pattern??? to copy the user drum kit or user arpeggio pattern to an unused number.

Creating a drum kit

About drum kits

A drum kit consists of drum samples (PCM drum waveform data) assigned to each note, with individual adjustments for pitch and level, etc.

This instrument has 24 drum kit memory areas. With the factory settings, 00 (INT)???15 (INT) contain pre- loaded drum kits suitable for a variety of musical styles. 24 (GM)???32 (GM) contain nine different preset drum kits that are compatible with the GM2 sound map. (???For details on the factory-set drum kits, refer to ???VNL???.)

In GLOBAL 5.1: DKit you can edit these drum kits to create your own original drum kits. You can also create original drum kits using sample waveforms that you sampled in Sampling mode (if the separately sold EXB- SMPL option is installed) or loaded into internal mem- ory in Media mode.

A drum kit that you edited or created can be written into one of the user drum kit memory areas 00 (INT)??? 23 (User). In Media mode, drum kits can also be saved to SD card or other external media.

Multisample programs and drum kit programs

There are two types of programs: those whose oscilla- tor uses a multisample, and those whose oscillator uses a drum kit.

This selection is made by the PROG 2.1 Ed-Basic, Prog Basic page ???Mode (Oscillator Mode)??? setting. To use a multisample for the program, set ???Mode (Oscillator Mode)??? to Single or Double. To use a drum kit, set

???Mode (Oscillator Mode)??? to Drums.

About program parameters

Just as the character and effect processing of a melodic instrument such as piano, organ, trumpet, and strings is fundamentally different from that of percussion instruments such as drums or timpani, the program parameter structure of a multisample program (???Mode (Oscillator Mode)??? to Single or Double) is fundamen- tally different from that of a drum kit program (???Mode (Oscillator Mode)??? to Drums).

The program parameters of a multisample specify ???l- ter and amp settings etc. appropriate for a multisam- ple. For this reason, it is dif???cult to change such a program for use with a drum kit. Thus if you wish to edit a drum kit, you should ???rst use Program mode to select a program that uses a drum kit (???Mode (Oscilla- tor Mode)??? = Drums), and then move to the GLOBAL 5.1: DKit page.

Basic functions

Global mode

Editing a drum kit

Before editing a drum kit, uncheck the Memory Protect (???p.43).

1In PROG 1.1: Play, select the program that you wish to use while editing the drum kit.

Select a drum kit program from the preload pro- grams etc. If the drum kit that you will be editing is already being used by a program, select that pro- gram. (In the separate ???VNL,??? programs that use a drum kit are marked by a d symbol.)

Set ???Octave??? (PROG 2.1???2) to +0 [8']. With a set- ting other than +0 [8'], the relationship between the keys and the sounds will be incorrect.

The effects will sound using the settings of the last- selected program.

When you edit a drum kit, all programs that use that drum kit will be affected.

2Access the High Sample page of GLOBAL 5.1: DKit.

???Key???

???Drumsample Bank??? ???Drumsample???

3In ???Drum Kit,??? select the drum kit that you wish to edit.

If necessary, use the Utility ???Copy Drum Kit??? to copy settings from a preload drum kit or a GM drum kit.

GM drum kits 24 (GM) ??? 32 (GM) cannot be selected here. (It is not possible to edit or write a GM drum kit.) If you wish to modify the settings of one of the drum kits 24 (GM) ??? 32 (GM), you can use ???Copy Drum Kit??? to copy it to 00 (INT) ??? 23 (User), and then edit the copy.

4Use ???Key??? to select the note number that you wish to edit.

The drum sample parameters for the selected note number will be displayed in the High Sample, Low Sample, and Voice/Mix pages. In addition to using the VALUE controllers, you can also use the follow- ing methods to select the note number.

???Hold down the [ENTER] key and play a key on the keyboard to input that note number.

???Use the [F6](???Key??????) and [F7](???Key+???) keys to increment or decrement the note numbers.

5Use ???Assign??? to specify whether a drum sample will be assigned to the note number.

If this is checked, a drum sample will be assigned to that note number. Normally you will check this.

If this is not checked, no drum sample will be assigned to that note number. That note number will sound the drum sample assigned at its right, but a semitone lower. Use this setting when you

want only to change the pitch, such as with tom or cymbal sounds.

6Use ???Drumsample Bank??? and ???Drumsample??? to select the drum sample that will be assigned to the note number.

Set the High Drumsample in the High Sample page, and the Low Drumsample in the Low Sample page.

If you specify a Low Drumsample, use ???Vel.SW L???H??? to specify how velocity will switch between the High Drumsample and the Low Drumsample. (???7)

Set ???Drumsample Bank??? to ROM or EX if you want to select ROM samples. Set ???Drumsample Bank??? to RAM if you want to select samples that were recorded in Sampling mode or loaded in Media mode using the EXB-SMPL option.

About ROM drumsamples

This instrument contains 518 drumsamples in its inter- nal memory.

You can use the Utility ???Select by Category??? to select ROM drum samples from ???fteen categories.

For the drumsample names, refer to the separate ???VNL.???

7Use ???Vel. SW L???H??? to specify how velocity will switch between drumsamples.

The drumsample that sounds when you perform will depend on the velocity (keyboard playing strength) of the incoming note. This is called veloc- ity drumsample switching.

If you set this to 001, only the High Drumsample will sound.

???This is the same type of function as the Velocity Multisample Switching in a program. (???p.50 ???High Multisample and Low Multisample???)

8Set the parameters of the drumsamples that you assigned.

Set the High Drumsample parameters in the High Sample page, and the Low Drumsample parameters in the Low Sample page.

You can set parameters such as volume level (???Level???), pitch (???Trans,??? ???Tune???), and tone (???Fc,??? ???Reso???). (???For details on each parameter, refer to PG p.134.)

9As necessary, repeat steps 4???8 to set drumsample parameters for each note number.

If you wish to use the settings of another ???KEY,??? select the Utility ???Copy Key Setup???.

0 Select the Voice/Mixer page in GLOBAL 5.1: DKit.

ASet the ???Excl Group (Exclusive Group).???

The ???Excl Group (Exclusive Group)??? setting is used when you wish to group drumsamples of the same type.

For example if the note number to which a open hi- hat and a closed hi-hat drumsample are assigned are set to the same exclusive group number, they will be grouped so that the open hi-hat and closed hi-hat can not be sounded simultaneously, ensuring that the hi-hat performance will sound natural.

BUse ???BUS??? to specify the output routing.

Set this when you wish to send the output of the drumsample assigned to each note number to its own insert effect or AUDIO OUTPUT (INDIVID- UAL) jack 1???2.

For example you can specify IFX for snare-type sounds, and L/R for the other sounds. If you want to send only a speci???c drum sample to AUDIO OUT- PUT (INDIVIDUAL) 1 and/or 2, select 1, 2, or 1/2. These settings are valid if ???Use DKit Setting??? (PROG 7.1: Ed-InsertFX, BUS page) is checked for the program that uses this drum kit (???PG p.26, 160).

C Use ???Pan??? to specify the stereo output position.

The setting you make here is valid if the ???Use DKit Setting??? is checked (PROG 5.1: Ed-Amp1, Level/ Pan page) for the program that uses this drum kit.

DUse ???S1 (Send1(MFX1))??? and ???S2 (Send2(MFX2))??? to set the send levels to the master effects.

The settings you make here are valid if the ???Use DKit Setting??? is checked (PROG 7.1: Ed-InsertFX, BUS page) for the program that uses this drum kit.

EUse the Utility ???Write Drum Kits??? to save the data.

If you wish to change the name of the drum kit before you save it, use the Utility ???Rename Drum Kit??? (???p.44).

If you turn off the power before writing the data into memory, your edits will be lost (???p.45 ???Mem- ory in Global mode???).

Basic functions

Global mode

Media mode

How Media mode is organized

In Media mode you can use an SD card or a connected external SCSI device (if the separately sold EXB-SMPL is installed) to save or load various types of data. You can also make settings related to saving and loading functionality.

For details on connecting an external SCSI device and setting the SCSI ID, refer to refer to the manual included with the EXB-SMPL.

Media that can be used

SD card

The SD card is not included. It must be purchased separately.

The TR supports SD cards with a power supply volt- age of 2.7???3.6V and capacities of 16 MB - 1 GB, and SD card with ID.

External SCSI storage media

If the EXB-SMPL option (sold separately) is installed, the TR can save data on external SCSI media (maxi- mum 4 GB) such as a hard disk, Zip, Jaz, ORB, or MO drive.

When the EXB-SMPL option is installed, an external SCSI device of up to 4 GB can be formatted.

When you insert media for the ???rst time after turn- ing on the power, or after changing disks, you must press a function key etc. to make the TR detect the media. When the disk (or other media) is recognized, media information will appear in the LCD screen.

If more than one volume of media is currently rec- ognized, select ???Media??? and use the [INC]/[DEC] keys to switch between media.

The TR cannot format media with a format of other than 512 bytes/block (such as 640 MB, 1.3 GB MO disks etc.).

Formatting media

SD card or external SCSI media (via the EXB-SMPL option) must be formatted.

Newly purchased media or media that has been used by another device cannot be used immediately on the TR. It must ???rst be formatted for use on the TR.

The TR supports MS-DOS format.

For the formatting procedure, refer to ???Format??? (???PG p.156).

Media must be formatted. SD cards or external SCSI media that was formatted on a device other than the TR may not be recognized correctly.

It is not possible to format media of other than 512 bytes per block (e.g., 640 Mbyte or 1.3 Gbyte MO disks).

SD card handling

???The SD card may be hot immediately following use. Power-off the TR and wait for the card to cool before removing it.

???SD cards are precision parts. Do not bend them, drop them, or subject them to physical shock.

???Avoid using or storing SD cards in locations of extremely high or low temperature such as in direct sunlight, a closed automobile, or near a heater, or in locations of high humidity or excessive dust.

???Avoid using or storing SD cards in locations where they may be subject to strong static electricity or electrical noise.

???Do not allow dirt or foreign matter to adhere to the contacts of an SD card. If the contacts should become soiled, gently wipe them off using a dry cloth.

???When you are not using an SD card, keep it in the protective case that was included with the card to prevent it from being damaged by static electricity.

???Do not leave an SD card where it is accessible by infants or children who might place it in their mouth and swallow it.

???Carefully read and observe the owner???s manual included with your SD card.

About the write protect setting of an SD card

SD cards have a write protect switch that prevents the data from being overwritten accidentally and lost. If you set the card???s switch to the ???protected??? setting, it will be impossible to write or erase data on the card, or to format it. If you need to save edited data on the card, move the switch back to its original ???unprotected??? set- ting.

100

Write protect switch

LOCK

Protected

Loading data

Types of data that can be loaded

The data that can be loaded from external media (e.g., SD card) is shown in the diagram below. (???For details on each type of data, refer to PG p.141)

If the EXB-SMPL option is installed, data can also be loaded from media such as a hard disk or CD-ROM.

Data loading procedure

Loading Programs, Combinations, Drum kits, User arpeggio patterns, and Global settings (loading a .PCG ???le)

As an example, here???s how to load a .PCG ???le. A .PCG ???le contains programs, combinations, drum kits, user arpeggiator patterns, and global settings (see diagram below).

Select this if you have used ???Save All??? or ???Save PCG??? to save your own original programs and combinations, and want to reload this data.

If you want to load programs, combinations, songs, user drum kits, and user arpeggio patterns, you must ???rst uncheck the memory protect setting in Global mode. (???p.43)

1If you are loading data from SD card, insert the SD card into the SD card slot.

For details on handling SD cards, please refer to ???Cautions when handling an SD card.???

If the separately sold EXB-SMPL option is installed and you are loading data from a hard disk or other external SCSI device, refer to the manual included with the EXB-SMPL, and verify that the external SCSI device is connected cor- rectly and that the media contains the ???le you want to load.

Basic functions

Media mode

Files that can be loaded

DOS files

101

2Enter Media mode, and press any function key to make the TR recognize the media.

3Select the Load page.

The LCD screen will display ???le information.

4If you are loading from an external SCSI device, use the [INC]/[DEC] keys to select the media that contains the data you want to load.

5 Use the [ ], [ ] cursor keys to select a .PCG ???le.

The selected ???le will be highlighted.

If the data you want to load is located in a lower or higher level of the directory structure, press the [F6] (???OPEN???) or [F5] (???UP???) keys to display the desired data, and then select it.

When you load a .PCG ???le, the data in the internal memory of the TR will be overwritten by the data from the .PCG ???le (programs, combinations, drum kits, user arpeggio patterns, global settings). If internal memory contains data that you want to keep, use ???Save All??? or ???Save PCG??? to save it before you load other data.

6 In the Utility menu, select ???Load Selected.???

A dialog box will appear. The display and opera- tions will differ depending on the type of ???le that is to be loaded. For details on each type of ???le, refer to PG p.143.

7If you execute the Load operation with ???Load

********.SNG too??? checked, the .SNG ???le will be loaded at the same time as the .PCG ???le.

If you execute the Load operation with ???Load

********.KSC too??? checked, the .KSC ???le will be loaded at the same time as the .PCG ???le.

8Press the [F8] (???OK???) key to execute the Load oper- ation.

Loading will be halted if the speci???ed data is not found in the ???le. (???PG p.143)

Never remove the media while the data is being loaded.

Saving data

For the procedure of saving data to an SD card or to external SCSI media, refer to ???Saving on external media??? (???p.46).

Types of data that can be saved

The following types of data can be saved on external media (SD card etc.). If the separately sold EXB-SMPL option is installed, data can also be saved on high- capacity media such as a hard disk.

???.PCG files

Programs, combinations, global settings, drum kits, user arpeggio patterns (the data speci???ed by the ???S.Item??? (Select Save Items) check boxes when sav- ing will be saved).

???.SNG files

Songs, cue lists

???.KSC files

Script ???le (.KSC ???les) listing the multisamples and samples created in Sampling mode (if the separately sold EXB-SMPL option is installed), with multisam- ples (.KMP ???les) and samples (.KSF ???les)

???Standard MIDI ???les (SMF)

A single pattern of Sequencer mode can be saved as SMF data.

???System exclusive data

System exclusive data received by the TR from an external MIDI device (the TR can be used as a data ???ler).

???.WAVE ???les, .AIFF ???les

Samples you created in Sampling mode (if the sepa- rately sold EXB-SMPL option is installed) can be exported and saved as .WAVE ???les or .AIFF ???les.

For details on each type of ???le and the icon associ- ated with it, refer to the lower diagram on p.101.

102

Arpeggiator settings

This chapter describes the procedure for making arpeggiator settings in each mode. For details on the arpeggiator function, refer to ???Using the arpeggiator while you play??? (???p.27).

Arpeggiator settings for a pro- gram

Arpeggiator on/off

Each time you press the [ARP ON/OFF] key, the arpeggiator will be switched on or off. When on, the [ARP ON/OFF] key will light. When you play the key- board, an arpeggio will play according to the selected arpeggio pattern.

The on/off setting is stored when the program is written.

P000: UP

P001: DOWN

DOWN

P002: ALT1

ALT1

Arpeggiator settings Basic functions

Arpeggiator settings

1 Select the PROG 6.1: Ed-Arp., Arpeg. Setup page.

2Use ??? (Tempo)??? to set the tempo.

You can adjust the tempo by rotating REALTIME CONTROLS C-mode [TEMPO] knob. The LED will blink at the speci???ed tempo.

If ???MIDI Clock??? (GLOBAL 2.1: MIDI) is set to External or Ext-USB, the display will indicate ??? = EXT.??? This setting lets you synchronize the tempo with an external MIDI device. In this case, it will not be possible to change the tempo on the TR.

3In ???Pattern,??? select the arpeggio pattern.

You can select from preset arpeggio patterns P000??? P004 and user arpeggio patterns U000 (INT)???215 (User).

The way in which the pattern is played will depend on settings such as ???Octave??? and ???Sort.??? P000???P004 in the following diagrams show how the arpeggio will be played when ???Octave??? is set to 1, and ???Sort??? is checked. P004: RANDOM is one possibility.

P003: ALT2

ALT2

P004: RANDOM

RANDOM

U000 (INT)???U199 (INT)

With the factory settings, various arpeggio patterns are preloaded. These include a variety of patterns such as drum or bass phrases, or guitar or keyboard backing riffs (???VNL).

U200 (User) ??? U215 (User)

With the factory settings, these do not contain pat- terns.

103

4Make settings for the various parameters.

???Octave???: Select the octave range in which the arpeggio will be played.

Octave: 4

Sort

OFF, UP

Sort

ON, UP

If a user arpeggio pattern is selected, the ???Octave Motion??? setting (GLOBAL 6.1: Arp.Pattern, Setup page) will affect the way in which the arpeggio is played.

???Reso???: Speci???es the timing value of the arpeggio notes over a range of 3 ??? .

???Gate???: Speci???es the length (gate time) of each note in the arpeggio. If a user arpeggio pattern is selected, you can set this to Step. In this case, the value of the ???Gt??? setting for each step (GLOBAL 6.1: Arp.Pattern, Edit page) will be used.

This value will be in effect when the REALTIME CONTROLS C-mode [ARP-GATE] knob is in the center position (12 o???clock). Be sure that the knob is in the center position when you make this set- ting.

???Velocity???: Speci???es the velocity of the notes in the arpeggio. If this is set to Key, the velocity with which you actually played the note will be used. If a user arpeggio pattern is selected, you can set this to Step. In this case, the value of the ???Vel??? setting for each step (GLOBAL 6.1: Arp.Pattern, Edit page) will be used.

This value will be in effect when the REALTIME CONTROLS C-mode [ARP-VELOCITY] knob is in the center position (12 o???clock). Be sure that the knob is in the center position when you make this setting.

When a preload user arpeggio pattern is selected, setting the ???Gate??? or ???Velocity??? to Step will add a sense of groove to the arpeggio pattern.

???Swing???: This adjusts the timing of the even-num- bered notes in the arpeggio (counting from the ???rst note), to give the pattern a sense of ???swing.???

???Sort???: If this is checked, the arpeggio will be sounded in order of pitch, regardless of the order in which notes were played on keyboard (On).

If this is unchecked, the arpeggio will be sounded in the order in which the notes were played on key- board (Off).

???Latch???: If this is checked, the arpeggio will con- tinue playing even after you take your hand off the keyboard. If this is unchecked, the arpeggio will stop playing when you take your hand off the key- board.

???Key Sync.???: If this is checked, the arpeggio pattern will start from the beginning when you play a note after having released all notes. This setting is suit- able when you are playing in realtime, and want the arpeggio to start at the beginning of the measure. If this is unchecked, the arpeggio pattern will always be synchronized to the tempo of the MIDI clock. For details on synchronization, refer to ???Syn- chronizing the arpeggiator??? (???p.111).

???Keyboard???: If this is checked, the notes you play on the keyboard will be heard as well as the arpeg- giated notes.

If this is unchecked, only the arpeggiated notes will be heard.

The same setting can be made by editing the param- eter of the same name (or abbreviation) in the PROG 1.1: Play, Arp.Play page.

You can use the Utility ???Copy Arpeggiator??? to copy arpeggiator settings from another program or combination (???PG p.25).

5In the Scan Zone page, specify the range in which the arpeggiator will operate.

???Key Btm,??? ???Key Top???: The arpeggiator will oper- ate when you play keys within the speci???ed range. Keys outside of this range can be played in the nor- mal manner, and will not be affected by the arpeg- giator on/off.

For example if you set ???Pattern??? to P000: UP, check ???Latch,??? set ???Key Top??? to B3, and ???Key Btm??? to C-1, playing a note B3 or lower will trig- ger the arpeggiator. Since ???Latch??? is on, the arpeg- gio will continue even after you release the keys. You can use the C4 and higher keys to play con- ventionally along with the arpeggio sounded by the B3 and lower keys. To change the arpeggio, play keys in the range of B3 and below.

104

???Vel Btm,??? ???Vel Top???: The arpeggiator will operate when you play notes with a velocity (playing strength) that is within the speci???ed range. Notes played with a velocity outside this range will be sounded normally, without regard to the arpeggia- tor on/off.

6If you wish to save the edited program settings to internal memory, turn off memory protect in Glo- bal mode, and write the program (???p.43).

Linking the arpeggiator to a program

If you want the arpeggiator settings written in a pro- gram to be selected when that program is selected, check Program for ???Auto Arp.??? (GLOBAL 1.1: System, Basic page).

Arpeggiator settings in Combina- tion and Sequencer modes

In Combination and Sequencer modes, the TR pro- vides dual arpeggiator functionality that lets you use two arpeggio patterns simultaneously. The settings in each of these modes are made in the similar way.

As an example, the following explanation shows how to make settings in Combination mode. For a detailed explanation and example settings (???PG p.43, 82).

The dual arpeggiator functionality lets you do the fol- lowing things.

???Assign an arpeggiator for each timbre. Choose from Off, (arpeggiator) A, or (arpeggiator) B.

???Make Scan Zone page settings so that you can use keyboard range or playing velocity to switch between normal playing and arpeggiated playing, or to switch between arpeggiators A and B.

???step8

???Make settings for timbres that will be silent when the arpeggiator is Off, and will sound only when

Arpeggiator on/off

Each time you press the [ARP ON/OFF] key, the arpeggiator will be switched on or off. When on, the [ARP ON/OFF] key will light. The selected arpeggio pattern will begin when you play the keyboard. The on/off setting is saved when the combination is writ- ten into memory.

If ???Assign??? is Off or ???Arpeggiator Run??? is not checked, the arpeggiator will not operate even if this key is on.

Arpeggiator settings

1 Select COMBI 2.1: Ed-Prog/Mix, Prog page.

Select programs for the timbres that you wish to use. For this example, select any desired program for timbres 1???4.

2Select COMBI 3.1: Ed-Paraml. MIDI page.

For the timbres that you will be using, set ???Status??? to INT, and set ???MIDI Channel??? to Gch or to the global MIDI channel (set in GLOBAL 2.1: MIDI ???MIDI Channel???).

For this example, set timbres 1???4 to a ???Status??? of INT, and timbres 5???8 to a ???Status??? of Off. Set the ???MIDI Channel??? of timbres 1???4 to Gch.

3 Select COMBI 6.1: Ed-Arp., Setup page.

4 Set ??? (Temp)??? to specify the tempo.

This is the same as for a program (???p.103). How- ever, the tempo is shared by both arpeggiators A and B.

5 Make ???Assign??? settings.

Assign arpeggiator A or B to the desired timbres. Each timbre will be played by the arpeggiator that has been assigned to it.

6Make ???Arpeggiator Run??? settings.

Check the arpeggiator(s) that you want to operate. The arpeggiator(s) checked here will run when the [ARP ON/OFF] key is turned on.

With the settings shown in the LCD screen for steps 2 and 3, turning the [ARP ON/OFF] key on will cause arpeggiator A to operate for timbres 1 and 2, and arpeggiator B to operate for timbre 3. When the [ARP ON/OFF] key is turned off, timbres 1???4 will sound as a layer.

If all timbres ???Assign??? are Off, or if neither ???Arpeg- giator Run??? A or B is checked, the arpeggiator will not function.

7In the Arp. A and Arp. B pages, set the parameters for arpeggiators A and B.

The parameters for A and B are the same as for a program (???p.103).

8In the Scan Zone page, specify the range in which arpeggiators A and B will operate.

The parameters for A and B are the same as for a program (???p.103).

Arpeggiator settings Basic functions

105

You can use keyboard ranges or playing velocity to operate the arpeggiator, or to switch between arpeg- giators A and B. By using the COMBI 3.3: Ed-Key Zone, Key page and COMBI 3.4: Ed-Vel Zone, Vel page to set keyboard ranges and velocity ranges in conjunction with each other, you can create even more variations.

9If you wish to save the edited combination set- tings in internal memory, turn off memory protect in Global mode, and write the combination. (???p.43).

0The ???Status,??? ???MIDI Channel??? and ???Assign??? set- tings shown in the LCD screen of steps 2 and 3 can be made so that certain timbres will sound only when the arpeggiator is On, and will be silent when the arpeggiator is not Off.

Although this is a somewhat sophisticated editing technique, we will describe the settings of one of the preset combinations as an example.

Combination A021: Urban Nature RnB

Select combination A021: Urban Nature RnB, and play it.

Before you play, make sure that the global MIDI chan- nel (GLOBAL 2.1: MIDI ???MIDI Channel???) is set to 01.

???Arpeggiator A is assigned to T (timbre) 4 and 8. When you play the keyboard, the arpeggio pattern

U144(INT): Dr-Nature RnB will sound only the T4

program B004: Trance/GarageKit.

???The arpeggio pattern uses the Fixed Note setting, which is appropriate when playing a drum arpeggio. (???Fixed Note??? is checked in, GLOBAL 6.1: Arp.Pattern, Setup page.) With this setting, the arpeggio pattern will always play the specified pitches regardless of the note numbers received from the keyboard. (???PG p.138)

???The A ???Key Btm??? and ???Key Top??? (COMBI 6.1: Ed- Arp., Scan Zone page) are set so that arpeggiator A will operate only for notes B3 and lower.

???Arpeggiator A is also assigned to T8, but this is so that the T4 program B004: Trance/GarageKit will sound only when the arpeggiator is on.

Notice the timbre settings for T4 and T8

???If the arpeggiator is off, playing the keyboard will sound the timbre(s) that are set to Gch or to the global MIDI channel (in this case, 01). Since the ???MIDI Channel??? of T4 is set to 02, it will not sound. T8 is set to Gch, but since ???Status??? is Off it will not sound.

???Any MIDI channel that is assigned to a timbre will trigger the arpeggiator. In this case, these will be ???MIDI Channel??? 02 and Gch (global MIDI channel). When the arpeggiator is on, playing the keyboard will trigger arpeggiator A which is assigned to T8

(Gch). T4 will be sounded by arpeggiator A. Since the ???Status??? of T8 is Off, it will not sound.

???Since the ???Status??? of T8 is Off, it will not sound, regardless of whether the arpeggiator is on or off. It is a dummy timbre that causes T4 to sound only when the arpeggiator is on.

Combination B071: ???In The Pocket???

Select and play combination B071: ???In The Pocket.???

Before you play, make sure that the global MIDI chan- nel (GLOBAL 2.1: MIDI ???MIDI Channel???) is set to 01.

???Arpeggiator A is assigned to T7 and T8, and arpeggiator B is assigned to T5. When you play the keyboard, the T7 program C004: HipHop Kit will be sounded by the arpeggio pattern U143(INT): Dr- In The Pocket. The T5 program A066: Chord Trigger will be sounded by the arpeggio pattern

U100(INT): Bs-Echo.

???The B ???Key Btm??? and ???Key Top??? (COMBI 6.1: Ed- Arp., Scan Zone page) are set so that arpeggiators B will operate only for the G3 note and above.

???Arpeggiator B is assigned to T8 as well, but this setting is so that the T7 program C004: HipHop Kit will sound only when the arpeggiator is on. Refer to the preceding section ???Select and play Combination A021: Urban Nature RnB.???

Linking the arpeggiator to the combi- nation

If you want the arpeggiator settings of a combination to become active when that combination is selected, check ???Combi??? for ???Auto Arp??? (GLOBAL 1.1: System, Basic page).

106

Creating a user arpeggio pattern

About user arpeggio patterns

The patterns that can be selected on the TR???s arpeggia- tor are called ???arpeggio patterns.??? There are two types of arpeggio patterns: preset arpeggio patterns and user arpeggio patterns.

Preset arpeggio patterns: There are ???ve patterns; UP, DOWN, ALT1, ALT2, and RANDOM.

The operation of these patterns is ???xed, and cannot be edited.

User arpeggio patterns: There are 216 patterns -

U000(INT)???U215(User) - which can develop chords or phrases in a wide variety of ways, based on the pitches that you play on the keyboard or the timing at which you play them.

In GLOBAL 6.1: Arp.Pattern you can modify these user arpeggio patterns, or create a new user arpeggio pat- tern from an initialized condition. Edited user arpeggio patterns can be written to internal memory areas U000(INT)???U215(User). In Media mode, they can also be saved on external media such as an SD card. (???p.46)

Editing a user arpeggio pattern

When you wish to edit a user arpeggio pattern, ???rst turn off memory protect by unchecking the Memory Protect ???Arp. UsrPat??? check box in the Preference page of GLOBAL 1.1: System.

If you enter this mode from the Program mode, your editing will apply to the arpeggio pattern speci???ed for the selected program.

1In Program mode, select a program for which the arpeggio pattern you wish to edit is selected, or a program that you wish to use as a basis for editing the arpeggio pattern.

2Press the [ARP ON/OFF] key to turn the arpeggia- tor on (the key will light).

Even if you moved to Global mode from a program in which the arpeggiator was turned off, you can use the [ARP ON/OFF] key to turn it on.

3 Select the GLOBAL 6.1: Arp.Pattern, Setup page.

4In ???Pattern,??? select the arpeggio pattern that you wish to edit.

For this example, select an empty user arpeggio pat- tern.

If a blank pattern is selected, playing the keyboard will not start an arpeggio. Although preset arpeg- gio patterns P000???P004 can be selected, they can- not be edited.

When you edit a user arpeggio pattern, the changes will have an effect anytime that this pat- tern is used in Program, Combination, or Song.

5In ???Lgth (Length),??? specify the length of the pat- tern.

After the pattern has played for the length speci???ed, it will return to the beginning. This setting can also be changed during or after editing. For this exam- ple, set it to 8.

For the preload arpeggio patterns U000(INT)??? U199(INT), simply changing the ???Lgth??? can sig- ni???cantly change the character of the pattern. Try changing the length and listening to the result.

6Make settings for the ??? (Tempo),??? ???Reso (Resolu- tion),??? ???Oct (Octave),??? ???Sort,??? ???Latch,??? ???K.Sync (Key Sync.),??? and ???Kbd (Keyboard)??? parameters.

These are program parameters, but can be set from here as well.

If after moving here from Program mode, you modify these parameters and wish to keep your changes, return to Program mode and write the program. These parameters are not saved by ???Write Arpeggio Pattern.???

For this example, make the settings shown in the illustration 3.

7The ???Type (Arpeggio Type),??? ???Octave Motion,??? and ???Fixed Note??? parameters specify how the arpeggio will be developed.

These settings can be changed during or after edit- ing (???PG p.138).

8 Select the Edit page.

A pattern consists of Steps and Tones.

???Step: A user arpeggio pattern can have a maximum of 48 steps. The arpeggiator will play from the first step, in steps equal to the timing value specified by ???Reso (Resolution).??? The vertical lines of the grid shown in the center of the LCD screen indicate the steps.

Use ???Step (Step No.)??? to select the step. For each step, specify ???Ptch (Pitch Offset),??? ???Gt (Gate),??? ???Vel (Velocity)??? and ???Flam.???

To change Step, you can either use the [], [] keys or select ???Step (Step No.)??? and use the [VALUE] dial or the [INC]/[DEC] keys.

Arpeggiator settings Basic functions

107

???Tone: At each step, a chord consisting of up to 12 tones (Tone No. 00???11) can be sounded.

To input tones, select ???Step (Step No.)??? and then use numeric keys [0]???[9], [???], and [./HOLD] to input tones. The ???Tone No.??? corresponds to the [0]???[9], [???], and [./HOLD] keys as shown below. Each time you press a [0]???[9], [???], or [./HOLD] key, the corresponding tone will be turned on/ off. The horizontal lines of the grid shown in the center of the LCD screen indicate the tones.

Tone00???09: [0]???[9] keys

Tone10: [???] key

Tone11: [./HOLD] key

Tone No.

Creating an example pattern

1 Set ???Step (Step No.)??? to 01, and press the [0] key.

2 Set ???Step (Step No.)??? to 02, and press the [1] key.

3 Set ???Step (Step No.)??? to 03, and press the [2] key.

4 Set ???Step (Step No.)??? to 04, and press the [1] key.

5 Set ???Step (Step No.)??? to 05, and press the [3] key.

6 Set ???Step (Step No.)??? to 06, and press the [1] key.

7 Set ???Step (Step No.)??? to 07, and press the [2] key.

8 Set ???Step (Step No.)??? to 08, and press the [1] key.

9When you play the keyboard as shown in the illustration, the arpeggiator will begin playing.

Tone 0 corresponds to the pitch of the lowest key of chord you play on the keyboard. (If ???Sort??? is unchecked, it will correspond to the pitch of the ???rst note you play.) Likewise, Tone 1 is the next highest pitch played on the keyboard, and so on up to 12 tones in any one step.

0For steps 01???08, make settings for ???Ptch (Pitch Off- set),??? ???Gt (Gate),??? ???Vel (Velocity),??? and ???Flam.???

???Ptch (Pitch Offset)???: This offsets the pitch of the arpeggio note in semitones up or down. You can input the same tone for each step, and change the ???Ptch (Pitch Offset)??? value for each to create a mel- ody using a single tone. (??????Melody pattern???)

???Gt (Gate)???: Specify the length of the arpeggio note for each step. With a setting of LGT, the note will continue sounding either until the next note of the same tone or until the end of the pattern. With a set- ting of Off, the note will not sound.

???Vel (Velocity)???: Specify the strength of the note. With a setting of Key, the note will sound at the strength with which it was actually played.

The ???Gt (Gate)??? and ???Vel (Velocity)??? settings you make here will be valid if the ???Gt (Gate)??? and ???Vel (Velocity)??? parameters (PROG 6.1: Ed???Arp., Arpeg. Setup page) of the program selected in Pro- gram mode are set to Step. If these parameters have a setting other than Step, the ???Gt (Gate)??? and ???Vel (Velocity)??? that were speci???ed for each indi- vidual step will be ignored, and all notes of the arpeggio will sound according to the settings in PROG 6.1: Ed-Arp. Be sure to verify the settings of the program.

Before you set ???Gt (Gate),??? move the REALTIME CONTROLS C-mode [ARP-GATE] knob to the center position (12 o???clock).

Before you set ???Vel (Velocity),??? move the REAL- TIME CONTROLS C-mode [ARP-VELOCITY] knob to the center position (12 o???clock).

ATo change the user arpeggio pattern name, use the Utility ???Rename Arpeggio Pattern??? (???p.44).

BIf you wish to save the edited user arpeggio pat- tern to internal memory, be sure to Write the user arpeggio pattern (???p.45).

If you turn off the power without writing, the edited contents will be lost.

CIf you wish to save the state of the program at the same time, return to Program mode and write the program (???p.43).

108

Other examples of creating a user arpeggio pat- tern

Melody pattern

To simulate the timing nuances of a strummed

guitar chord, select ???Flam.??? In Program mode, select an acoustic guitar program, and choose the user arpeggio pattern that you created here. In the Setup page of PROG 6.1: Ed-Arpeg., set ???Gate??? to

Step.

Then return to the GLOBAL 6.1: Arp.Pattern, Edit page. For odd-numbered steps, set ???Flam??? to a positive (+) value. For even-numbered steps, set ???Flam??? to a negative (???) value.

1Set ???Step (Step No.)??? to 01, and press the [0] key. Set ???Ptch (Pitch Offset)??? to +00.

2Set ???Step (Step No.)??? to 02, and press the [0] key. Set ???Ptch (Pitch Offset)??? to +10.

3Set ???Step (Step No.)??? to 03, and press the [0] key. Set ???Ptch (Pitch Offset)??? to +00.

4Set ???Step (Step No.)??? to 04, and press the [0] key. Set ???Ptch (Pitch Offset)??? to +00.

5Set ???Step (Step No.)??? to 05, and press the [0] key. Set ???Ptch (Pitch Offset)??? to +12.

6 For ???Step (Step No.)??? 06, do not enter a tone.

7Set ???Step (Step No.)??? to 07, and press the [0] key. Set ???Ptch (Pitch Offset)??? to +00.

8Set ???Step (Step No.)??? to 08, and press the [0] key. Set ???Ptch (Pitch Offset)??? to ???02.

Drum pattern

You can use the arpeggiator to play a rhythm pattern by using ???Fixed Note??? with a drum program.

1 Select a drum kit program.

For this example, select preset program A020: Stan- dard Kit 1.

2Select the GLOBAL 6.1: Arp.Pattern, Setup page, and set the parameters.

Check ???Fixed Note.??? If this is checked, tones will always sound at the speci???ed pitch.

If you set ???Mode (Fixed Note Mode)??? to Trigger All Tones, playing a single note will cause all Tones to sound.

If you set ???Mode (Fixed Note Mode)??? to Trigger As Played, the notes you play will determine how Tones are sounded. (???p.110)

Arpeggiator settings Basic functions

Chordal pattern

1Set ???Step (Step No.)??? to 01, and press the [0] key. Set ???Gt (Gate)??? to LGT.

2 For ???Step (Step No.)??? 02, do not enter a tone.

3Set ???Step (Step No.)??? to 03, and press the [1], [2], [3], [4] keys.

4Set ???Step (Step No.)??? to 04, and press the [1], [2], [3], [4] keys.

5 For ???Step (Step No.)??? 05, do not enter a tone.

6Set ???Step (Step No.)??? to 06, and press the [1], [2], [3], [4] keys.

Set ???Gt (Gate)??? to LGT.

7 For ???Step (Step No.)??? 07, do not enter a tone.

8Set ???Step (Step No.)??? to 08, and press the [1], [2], [3], [4] keys.

Mode(Fixed Note Mode)

If ???Fixed Note??? is checked, you will be able to set ???Tone No.??? and ???Fixed Note No.???

Select ???Tone No.,??? and then set ???Fixed Note No.??? to specify the note number that the tone will sound. Here, set ???Tone No.??? and ???Fixed Note No.??? as fol- lows.

Tone No. Fixed Note No.

00 C2 (kick)

01 F2 (snare)

02 F#3 (closed hi-hat)

03 A#3 (open hi-hat)

The drumsamples that correspond to each note number will differ depending on the drum kit. You will ???nd it convenient to audition the drum sounds from the keyboard, and then input the ???Fixed Note No.??? by holding down the [ENTER] key and play- ing the desired note.

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3Select the Edit page.

Each Tone in the display will be shown as a small circle.

For each horizontal line (Tone) in the display, you will specify a drumsample (note number) of the drum kit.

Next we will input a rhythm pattern.

Before you set ???Gate,??? move the REALTIME CON- TROLS C-mode [ARP-GATE] knob to the center position (12 o???clock).

Before you set ???Velocity,??? move the REALTIME CONTROLS C-mode [ARP-VELOCITY] knob to the center position (12 o???clock).

4Input the kick (Tone00).

Set ???Step (Step No.)??? to 01, and press the [0] key. Then set ???Step (Step No.)??? to 05, and press the [0] key.

5Input the snare (Tone01).

Set ???Step (Step No.)??? to 03, and press the [1] key. Then set ???Step (Step No.)??? to 07, and press the [1] key.

6Input the closed hi-hat (Tone02).

Set ???Step (Step No.)??? to 01, 02, 03, 05, 06, and 07, and press the [2] key for each.

7Input the open hi-hat (Tone03).

Set ???Step (Step No.)??? to 04, and press the [3] key. Then set ???Step (Step No.)??? to 08, and press the [3] key.

If ???Mode (Fixed Note Mode)??? is set to Trigger All Tones, playing a single note on the keyboard will cause the rhythm pattern to play.

If ???Mode (Fixed Note Mode)??? is set to Trigger As Played, playing a single note on the keyboard will cause only the kick (Tone00) to play. Playing two notes on the keyboard will cause only the kick (Tone00) and snare (Tone01) to play. In this way, the number of keys that you play will be played by the same number of tones.

8Set the parameters for each step.

Use ???Vel (Velocity)??? etc. to add accents to the rhythm pattern.

The ???Gt (Gate)??? and ???Vel (Velocity)??? settings you make here will be valid if the ???Gate??? and ???Veloc- ity??? parameters (PROG 6.1: Ed???Arp., Arpeg. Setup page) of the program selected in Program mode are set to Step.

If these parameters have a setting other than Step, the ???Gt (Gate)??? and ???Vel (Velocity)??? that were speci???ed for each individual step will be ignored, and all notes of the arpeggio will sound according to the speci???ed gate and velocity.

Dual arpeggiator editing

Here we will use a combination as an example in our explanation.

The same procedure applies when editing an arpeggio pattern in Sequencer mode.

If you have entered this mode from the Combination mode, the arpeggio pattern selected by the combina- tion will be affected by your editing.

1In Combination mode, select a combination that uses the arpeggio pattern you wish to edit.

For this example, select a combination to which arpeggiators A and B is assigned.

2Press the [ARP ON/OFF] key to turn on the arpeg- giator (the key will light).

Even if the arpeggiator had been turned off when you moved here, you can use the [ARP ON/OFF] key to turn it on. However, if ???Arpeggiator Run??? A or B are not checked, and if no timbres have been assigned in ???Assign,??? then the arpeggiator will not operate.

3 Select the GLOBAL 6.1: Arp.Pattern, Setup page.

4If you moved here from Combination mode, use the ???Arp (Arpeggio Select)??? A and B to select the arpeggiator that you wish to edit.

If this is A, your editing will apply to the parame- ters and user arpeggio pattern of arpeggiator A.

If this is B, your editing will apply to the parameters and user arpeggio pattern of arpeggiator B.

5Switch between arpeggiators A and B, and edit their respective user arpeggio patterns.

If you wish to stop one of the arpeggiators, return to Combination mode, and in COMBI 1.1: Play, select the Arp. A or the Arp. B page and uncheck the ???Arpeggiator Run??? check box.

6To modify the name of a user arpeggio pattern, use the Utility ???Rename Arpeggio Pattern??? (???p.44).

7If you wish to save the edited user arpeggio pat- tern in internal memory, you must write the user arpeggio pattern.

In this case, both user arpeggio patterns will be written simultaneously. If you turn off the power without writing, the edited contents will be lost (???p.45).

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8If you wish to save the state of the combination at the same time, return to Combination mode and write the combination (???p.43).

When editing a user arpeggio pattern, pay atten- tion to the global MIDI channel, the channel of each track, and the arpeggiator assignments, and make sure that the arpeggiator you are hearing is the pattern that you wish to edit.

If you moved here from Sampling mode (if the separately sold EXB-SMPL option is installed), the arpeggiator will not turn on. Nor will it be possible to edit arpeggio patterns.

Synchronizing the arpeggiator

The note timing of the arpeggiator will differ depend- ing on the state of the arpeggiator ???Key Sync.??? check box.

If this is checked, the arpeggiator will operate at the timing of the ???rst note-on you play from a state in which all keys are released.

If this is unchecked, the arpeggiator will operate in synchronization with the internal or external MIDI clock.

The paragraphs below explain how synchronization occurs when the ???Key Sync.??? check box is unchecked. (However, synchronization with Song Start and with the MIDI realtime command Start message are excep- tions to this.)

Synchronization between arpeggia- tors A and B

In Combination and Sequencer mode, two arpeggia- tors can operate simultaneously. In this case, if you start an arpeggiator (whose ???Key Sync.??? is unchecked) while the other arpeggiator is already running, the arpeggiator you started will synchronize to the ??? (Tempo)??? based on the timing of the already-running arpeggiator.

If ???Key Sync.??? is checked, A and B will each oper- ate on their own timing.

Synchronization between the arpeg- giators and sequencer in Sequencer mode

When song playback is stopped

???The arpeggiator will synchronize to the ??? (Tempo)??? based on the timing of the internal MIDI clock.

???In Sequencer mode when an RPPR pattern is playing, the arpeggiator will synchronize to the beats of that pattern.

???If you want the RPPR pattern playback to synchronize to the currently-running arpeggiator, set ???Sync??? (SEQ 5.1: RPPR, RPPR Setup page) to

SEQ.

Playback will synchronize to the ??? (Tempo)??? timing of the arpeggiator.

When a song is being played or recorded

???The arpeggiator will synchronize to the beats based on the timing of the song.

Synchronization with Song Start

???When the arpeggiator is on (the [ARP ON/OFF] key is on) and running, receiving a Song Start message will reset the arpeggiator to the beginning of the pattern. (This has no relation to the ???Key Sync.??? setting.)

???In Sequencer mode when the ???Key Sync.??? setting is unchecked and the [ARP ON/OFF] key is on, starting the arpeggiator by pressing notes during the pre-count before recording will cause the arpeggiator to start (and be recorded) from the beginning of the arpeggio pattern at the moment that recording begins.

Synchronization with an external sequencer in Program, Combination, or Sequencer modes

In Program, Combination, and Sequencer modes when ??? (Tempo)??? is EXT (GLOBAL 2.1: MIDI ???MIDI Clock??? set to External or Ext-USB), the TR will synchronize to MIDI Clock and Start messages received from an exter- nal MIDI sequencer (or similar device) connected by a MIDI cable.

Synchronization to external MIDI clock

???The arpeggiator will synchronize to the ??? (Tempo)??? based on the timing of the external MIDI clock.

Synchronization to the MIDI Start message

???When the arpeggiator is on and operating, receiving a MIDI Start message will cause the arpeggiator to reset to the beginning of the pattern. (This has no relation to the ???Key Sync.??? setting.)

Arpeggiator settings Basic functions

111

Effects settings

The effect section of the TR provides one insert effect, two master effects, one master EQ (stereo 3-band EQ), and a mixer that controls the routing of these compo- nents.

You can choose from 89 types of full-digital effects for each effect. The effects are categorized as follows.

Categories of the 89 effect types

01???15 Filter and dynamics effects, such as EQ and com- pressor

16???31 Pitch and phase modulation effects, such as chorus and phaser

32???40 Other modulation and pitch-shift effects such as rotary speaker and pitch shifter

41???51 Early re???ection and delay effects

52???57 Reverb effects

58???89 Mono and mono-chain effects in which two mono effects are connected in series

The external input from AUDIO INPUT 1 and 2 (if the separately sold EXB-SMPL option is installed) can be used outside of Sampling mode. In Program, Combi- nation, and Sequencer modes, the external input sound can be processed by the insert effect, master effects, and master EQ.

This means that you can use the TR as a 2-in/4-out effect processor.

Effects in each mode

In Program mode, insert effect can be used as part of the sound-creating process, in the same way that the output sound of the oscillator (OSC) is processed by the ???lter and amp to create the ???nal sound. Then the master effects can be used to apply spatial-type effects such as reverb. The stereo 3-band master EQ located immediately before the OUTPUT (MAIN) L/MONO and R outputs is used to make ???nal adjustments in tone. These settings can be made independently for each program.

In Combination mode, and Sequencer mode, insert effect can be used to help create the sound of each tim- bre/track. The master effects are used to apply overall spatial processing, and the master EQ is used to make overall adjustments in tone.

These settings are made in Combination mode inde- pendently for each combination, and in Sequencer mode for each song the entire mode.

In Sampling mode (if the separately sold EXB-SMPL option is installed), the sound of an external source that is input from AUDIO INPUT 1 and 2 can be pro- cessed by the insert effect as the sound is sampled. Sampling mode settings are made by the ???Input 1??? and ???Input 2??? parameters of the SMPL 1.1: Recording, Input/Pref page. The settings here are valid only within Sampling mode.

Routing settings and effect set- tings

The insert effect, master, effects, and master EQ that can be used in each mode are structured identically. However, you can change the routing to specify how the oscillator(s) of a program, the timbres of a combi- nation, or the tracks of a song will be sent to the insert effect or master effects. In the pages that follow, we will explain how you can make routing settings and effect settings in each mode.

Effect settings for a program

Routing

1 Select the PROG 7.1: Ed-InsertFX, BUS page.

2Set ???BUS Select (All OSCs)??? to specify where the oscillator output will be sent.

L/R: The output will not be sent to the insert effect. After passing through the master EQ, the sound will be sent to AUDIO OUTPUT (MAIN) L/MONO and R.

IFX: The output will be sent to insert effect IFX.

1, 2, 1/2: The output will be sent to AUDIO OUTPUT (INDIVIDUAL) 1 or 2. It will not be sent to the insert effect, the master effects, or the master EQ.

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Off: The output will not be sent to AUDIO OUT- PUT (MAIN) L/MONO, R, or to (INDIVIDUAL) 1, 2 (After passing through the master effects, it will be output from AUDIO OUTPUT (MAIN).) Select this when you wish to connect the output to the master effects in a series connection at the send levels spec- i???ed by ???MFX Send.???

3???MFX Send??? speci???es the send level from each oscillator to the master effects.

This is valid only if ???BUS Select (All OSCs)??? is set to

L/R or Off.

If IFX is selected for ???BUS Select (All OSCs),??? the send level to the master effects is adjusted by the ???Send 1 (MFX1)??? and ???Send 2 (MFX2)??? parameters (PROG 7.1: Ed-InsertFX, Setup page) after the signal has passed through the insert effect.

Insert effect

1 Access the PROG 7.1: Ed-InsertFX, Setup page.

The Setup page displays the state of the routing and insert effect settings. In this page you can also make ???BUS Select??? settings. Use the [ ], [ ] cursor keys to select (All OSCs), and use the [INC]/[DEC] keys to make the setting.

2 In ???Insert Effect,??? select the desired insert effect.

You can use the Utility ???Select by Category??? to select effects from six categories.

3In ???On/Off,??? turn the insert effect on/off.

If this is set to Off, the result will be the same as if 00: No Effect is selected. The input sound will be output without change.

You can use the Utility ???Copy Insert Effect??? to copy effect settings from another program, etc.

4Set the ???Pan (CC#8),??? ???BUS Select,??? ???S1 (Send1 (MFX1)),??? and ???S2 (Send2 (MFX2))??? parameters that follow the insert effect.

???Pan (CC#8)???: Set the pan. This is valid only if ???BUS Select??? is set to L/R.

???BUS Select???: Specify the output destination. Nor- mally you will set this to L/R. If you want to output the sound from AUDIO OUTPUT (INDIVIDUAL) 1 and/or 2, set this to 1, 2, or 1/2.

???Send1 (MFX1),??? ???Send2 (MFX2)???: Set the send level to the master effects. For this example, set these to 127.

5Move to the IFX page, and set the parameters of the effect that you selected for the insert effect.

For details on the parameters of each effect, refer to PG p.168???.

Master effects

The input level of the master effect is determined by the send level 1 and 2 settings (routing step 3, or insert effect step 4). If send levels 1 and 2 are 0, no master effects will be applied. Send level 1 is for MFX1, and send level 2 is for MFX2.

1 Select the PROG 7.2: Ed-MasterFX, Setup page.

2In ???Master Effect 1??? and ???Master Effect 2,??? select the type of each master effect.

The procedure is the same as for the insert effect. (???step 1)

The input/output of the master effect is mono-on/ stereo-out. Even if you select a stereo-input type effect, the input will be monaural.

3 In ???On/Off,??? switch each master effect on/off.

If this is Off, the output of the master effect will be muted.

4Specify the routing of master effects 1 and 2.

For details on the routing settings, refer to PG p.163.

5In ???Rtn (Return 1, 2),??? adjust the output level of each master effect.

For each effect, the W value of ???W/D??? (Wet/Dry) is the effect output level. This is multiplied by the return value (???Rtn???=127 is x1.0) to determine the actual master effect output level.

6Move to the MFX1 or MFX2 page, and set the parameters of the effect that you selected as the master effect.

For details on the parameters of each effect, refer to PG p.168???.

Master EQ

1Use the stereo 3-band master EQ to make ???nal equalizing adjustments immediately before the sound is output from the AUDIO OUTPUT L/ MONO and R jacks.

Master EQ settings can be made in ???Master EQ Gain [dB]??? of the PROG 7.2: Ed-MasterFX, Setup page, or in the Master EQ page.

For details on master EQ parameters, refer to PG p.213.

Basic functions

Effects settings

113

Effect settings in combination, and song

In Combination, and Sequencer modes, you can spec- ify the routing of each timbre/track to the insert effect and master effects. These settings are made in the same way in each of these modes. We will be using the example of Combination mode in our explanation here.

Routing

1 Select the COMBI 7.1: Ed-InsertFX, BUS page.

2In ???BUS Select,??? specify where the output of each timbre will be sent.

3???S1 (Send1(MFX1)),??? ???S2 (Send2(MFX2))??? speci- ???es the send level from each timbre to the master effects.

This can be set only if ???BUS Select??? is set to L/R or

Off.

The actual send level will be the send level of each timbre multiplied by the send level of each oscilla- tor of the program selected for the timbre. If the send level of a program is 0, the actual level will be zero even if the send level setting is raised here.

If IFX is selected for ???BUS Select,??? set the send lev- els to the master effects by adjusting the ???S1 (Send1(MFX1))??? and ???S2 (Send2(MFX2))??? parame- ters (COMBI 7.1: Ed-Insert FX, Setup page) located after the signal has passed through the insert effect.

Insert effect

The Setup page displays the state of the routing and insert effect settings. ???BUS Select??? settings can also be made in this page. Use the cursor keys [], [], [], [] to select the timbre, and use the [INC]/[DEC] keys to make the setting.

In this example, IFX is used by 1 (timbre 1) and 2 (tim- bre 2).

In the same way as for a program, you can select the insert effect, turn it on/off, and set the ???Pan (CC#8),??? ???BUS Select,??? ???S1 (Send 1 (MFX1)),??? and ???S2 (Send2(MFX2))??? parameters that follow the insert effect. (???p.113)

Master effects

Master EQ

These settings are made in the same way as for pro- grams (???p.113).

Effect settings in Sampling mode (requires the EXB-SMPL option)

In Sampling mode, insert effect can be applied to an external audio source connected to the AUDIO INPUT 1 and 2 jacks, and sampled.

Routing

1Select the SMPL 1.1: Recording, Input/Pref page.

The parameters in ???Input1??? and ???Input2??? specify the insert effect to which the external audio input from the AUDIO INPUT 1 and 2 jacks will be sent. For details on these settings, refer to ???Sampling??? (???p.35).

Insert effect

Select the effect that will be used by the insert effect, and set the ???Pan (CC#8).??? (???p.113)

Master effects

Master EQ

The master effects and master EQ cannot be used in Sampling mode.

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Effect settings for the AUDIO INPUT (requires the EXB-SMPL option)

Even in modes other than Sampling mode, the TR???s effects can be applied to the external audio source con- nected to the AUDIO INPUT 1 and 2 jacks. The effect section of the TR can be used as a 2-in 4-out effect pro- cessor.

Routing

In modes other than Sampling mode (i.e., in Combina- tion, Program, and Sequencer modes) the audio input routing from the AUDIO INPUT 1, 2 jacks is speci???ed in the GLOBAL 1.1: System, Audio In page.

1 Enter Global mode from Program mode.

If you enter Global mode from Sampling mode, the ???Input 1??? and ???Input 2??? settings of Sampling mode will be maintained, and you will not be able to hear the settings made in Global mode. You must move here from a mode that can access exter- nal audio signals (Combination, Program, or Sequencer). In Sampling mode, the settings you make here are ignored. AUDIO INPUT 1, 2 set- tings for Sampling mode are made by the ???Input 1??? and ???Input 2??? parameters in the In/Pref page of SMPL 1.1: Recording (???p.114, PG p.128).

2 Select the GLOBAL 1.1: System, Audio In page.

3Set the parameters for ???Input1??? and ???Input2.???

???Input1??? corresponds to AUDIO INPUT 1 jack and ???Input2??? corresponds to AUDIO INPUT 2 jack.

???Level???: Set the signal level from AUDIO INPUT 1 and 2. Normally you will set this to 127. If the sound is still distorted even when this level is lowered sig- ni???cantly, it is possible that the distortion is occur- ring before the AD converter. Adjust the [LEVEL] knob or the output level of your external audio source.

???Pan???: Set the panning of the signal from AUDIO INPUT 1 and 2. When you are inputting a stereo audio source, you will normally set Input 1 to L000, and Input 2 to R127 (or Input 1 to R127, and Input 2 to L000). When you are inputting a monaural audio source, you will normally set this to C064.

???BUS (IFX/Indiv.) Select???: In the same way as for the oscillator of a program, specify the bus to which the external audio source from AUDIO INPUT jacks 1 and 2 will be sent (???p.112).

???Send 1,??? ???Send 2???: Specify the send levels from the AUDIO INPUT 1, 2 (external input sound) to the master effects, in the same way as for the program oscillators. This setting can be made only if ???BUS (IFX/Indiv.) Select??? is L/R or Off (???p.113).

If ???BUS (IFX/Indiv.) Select??? is set to IFX, this is set by ???Send1 (MFX1)??? and ???Send2 (MFX2)??? (Setup page) after the sound has passed through the insert effect.

If ???BUS (IFX/Indiv.) Select??? is set to other than Off and ???Level??? is raised, the external audio source will be input to the TR. At this time, if audio cables are connected to the AUDIO INPUT 1, 2 jacks, any noise component will be input to the TR even if there is no actual audio input, and (depending on the settings) will be output from the AUDIO OUT- PUT L/MONO, R, 1, 2 jacks. If you are not using an external audio source, and are playing only the internal programs, combinations, and songs, you should set ???BUS (IFX/Indiv.) Select??? to Off, or set ???Level??? to 0.

If audio cables are not connected to the rear panel AUDIO INPUT 1, 2 jacks, the input to the TR will be 0.

About dynamic modulation (Dmod)

Dynamic modulation (Dmod) is a function that lets you use MIDI messages or the TR???s controllers to con- trol speci???c effect parameters in realtime. BPM/MIDI Sync is another function that controls effect parameters, and is used to synchronize the LFO speed of modulation-type effects or the delay time etc. of delay-type effects to the tempo of the arpeggiator or an external sequencer.

For details on each of these functions, refer to PG p.221.

Setting example:

We will show how you can use dynamic modulation to control an effect parameter in realtime.

1As described in the procedure for ???Effect settings for a program??? (???p.112), set ???IFX??? to 49: LCR BPM

Delay. Verify that a delay sound is being output.

2 Select the PROG 7.1: Ed-InsertFX, IFX page.

Using the Dmod function to vary the delay level by pushing the joystick

3 Set ???InLvl Mod??? to +100.

4Set ???Src??? to JS+Y#1.

The joystick will control the input level to the effect. When you set ???Src??? to JS+Y#1, the delay sound will no longer be output; however it will gradually increase as you move the joystick away from your- self.

Basic functions

Effects settings

115

Using the Dmod function to vary the feedback level by operating [SW1] key

5In the PROG 2.2: Ed-Ctrl, Controls page, set the function of ???SW1??? to SW1 Mod. (CC#80), Toggle.

6Return to the PROG 7.1: Ed-InsertFX, IFX page, and set the C Fb (C Delay Feedback) ???(Source)??? to SW1 #80.

7 Set ???(Amount)??? to +30.

8Press the [Exit] key etc. to return to the PROG 1.1: Play page.

When you (move the joystick away from yourself and) press the [SW1] key, the feedback level will increase, and the delay sound will continue repeat- ing.

The ???(Amount)??? setting determines the feedback level when the [SW1] key is pressed. If you set ???(Amount)??? to ???10 and press the [SW1] key, the feedback level will be 0.

Using the BPM/MIDI Sync. function to synchronize the delay time to arpeggiator tempo changes.

9 Set ???BPM??? to MIDI.

0For L, C, and R, set ???L/C/R Bs??? and ???Times??? as

desired.

For this example, set ???L/C/R Bs??? to and ???Times??? to 1 so that the effect will be easily understandable. The delay time will repeat at an interval of a 8th note.

ASet the realtime controller function to C-mode, and rotate REALTIME CONTROLS knob [4] (???TEMPO???).

When you (move the joystick away from yourself and) rotate the knob, the delay time will change.

BTurn on the [ARP ON/OFF] key to start the arpeg- giator.

Move the joystick away from yourself and select the desired arpeggio pattern.

When you rotate REALTIME CONTROLS knob [4], the delay time will change in synchronization to any changes you make in the arpeggiator tempo.

If you rotate the REALTIME CONTROLS knob [4] to change the tempo while the delay is sounding, noise may occur in the delay sound. This is because the delay sound becomes discontinuous, and is not a malfunction.

For some effects, you can synchronize the LFO fre- quency to the tempo. Set the effect parameters ???BPM/MIDI Sync??? to On, and ???BPM??? to MIDI. For details refer to PG p.172.

116

Other functions

Tuning to another instrument/ Transposing

When you play this instrument together with other instruments, or along with music on a CD or tape, you may need to adjust the tuning so that the pitch matches. To adjust the tuning, use GLOBAL 1.1: Sys- tem Basic page ???Master Tune.??? The tuning can be adjusted in a range of ???50 ??? +50 cents (one semitone is 100 cents).

You can also transpose by changing the pitch in semi- tone steps. To transpose the pitch of the entire this instrument, use GLOBAL 1.1: System Basic page ???Key Transpose.??? The pitch can be transposed over a range of ??1 octave.

Here we will explain how to adjust the tuning and transposition of the entire this instrument in Global mode.

1 Press the [GLOBAL] key to enter Global mode.

2 Press the [EXIT] key.

3 Press the [F1] (???Basic???) key.

4To adjust the tuning, select ???Master Tune.??? to adjust the transposition, select ???Key Transpose.???

5Use the VALUE controllers to adjust the setting.

You can use numeric keys [0]???[9] to enter a value and press the [ENTER] key. Alternatively, you can use the [VALUE] dial, or the [INC]/[DEC] keys.

If you wish to keep this setting after the power is turned off, you must Write the Global settings to memory. (???p.43)

Bypassing the effects

Normally, effects are turned on/off within each pro- gram, combination, or song, or in Sampling mode. However if you want the entire-instrument to not use any effects, you can use this Global bypass feature.

1 Press the [GLOBAL] key to enter Global mode.

2 Press the [EXIT] key.

3 Press the [F1] ???(Basic)??? key.

4To turn off insert effect, check the ???IFX Off??? check box.

To turn off master effect 1, check the ???MFX1 Off??? check box. To turn off master effect 2, check the ???MFX2 Off??? check box.

Specifying the function of the Assignable Switch and Assign- able Pedal

Set the assignable function of a footswitch (such as the Korg PS-1) connected to the ASSIGNABLE SWITCH jack.

This switch can act as a source for alternate modula- tion or effect dynamic modulation, or switch porta- mento on/off, control the sostenuto effect, turn the soft pedal effect on/off, turn the arpeggiator on/off, select programs or combinations (up/down), start/stop the sequencer, punch-in/out on the sequencer, or be a trig- ger to advance the cue list step (???PG p.226).

???This setting is made in GLOBAL 1.1: System, Foot page ???Foot SW Assign.???

You can specify the assignable function that will be performed by a footpedal (such as the Korg XVP-10 EXP/VOL or EXP-2) connected to the ASSIGNABLE PEDAL jack.

This pedal can be used to control master volume, alter- nate modulation or effect dynamic modulation, porta- mento pitch change speed, volume, the pan following an insert effect, pan, volume, or send levels to the mas- ter effects (???PG p.227).

???This setting is made in GLOBAL 1.1: System, Foot page ???Foot Pedal Assign.???

You can use this as a source for alternate modula- tion or effect dynamic modulation, and use it to control program parameters or effect parameters. In this case, set ???Foot Switch Assign??? to Foot SW (CC#82), and ???Foot Pedal Assign??? to Foot Pedal (CC#04).

Here we will show how to make settings that allow an assignable switch to change programs or combina- tions.

1Connect a Korg PS-1 pedal switch (or other momentary footswitch) to the ASSIGNABLE SWITCH jack.

2 Press the [GLOBAL] key to enter Global mode.

3 Press the [EXIT] key.

4 Press the [F3] (???Foot???) key.

5Select ???Foot SW Assign,??? and select either Pro- gram Up or Program Down.

If you select Program Up, the next higher program number will be selected each time you press the foot switch.

If you select Program Down, the next lower pro- gram number will be selected each time you press the foot switch.

Other functions Basic functions

117

6Set ???Foot SW Polarity??? to the polarity of the pedal you connected.

If you connected a Korg PS-1 pedal switch, select (-) KORG Standard. The pedal will not function cor- rectly if you do not select the correct polarity.

If you wish to keep this setting after the power is turned off, you must Write the Global settings to memory. (???p.45)

7Press the [PROG] key to enter PROG 1.1: Play, or

press the [COMBI] key to enter COMBI 1.1: Play. Then press the foot switch, and the program/com- bination will change.

Selecting different Velocity and Aftertouch curves

You can change the way in which velocity or after touch will affect the volume or tone. Using this feature, you can (for example) make the volume of the notes more consistent even when they are played with vary- ing velocities (dynamics). Each curve has its own char- acter, so you can select the curve that is appropriate for your own playing dynamics, playing style, and the effect that you wish to obtain (???PG p.124).

1 Press the [GLOBAL] key to enter Global mode.

2 Press the [EXIT] key.

3 Press the [F1] (???Basic???) key.

4To change the velocity curve, select ???Velocity Curve??? and specify the desired curve.

To change the after touch curve, select ???AfterT Curve,??? and specify the desired curve.

If you wish to keep this setting after the power is turned off, you must Write the Global settings to memory. (???p.45)

This setting will affect the operation of the entire this instrument.

Each program has parameters that allow you to adjust the effect of velocity (playing dynamics), and the change will depend on the settings of these parameters. These parameters can be indi- vidually set in detail in Program mode.

Creating original scales

You can create your own original scales. You can create sixteen different User Octave Scales in which the pitch of each note in the octave is repeated for all octaves, and one User All Note Scale in which the pitch of each of the 128 notes can be speci???ed independently.

If you wish to keep this setting after the power is turned off, you must Write the Global settings to memory. (???p.45)

The user scales you create here can be used by specify- ing the scale for a program, for each timbre of a combi- nation, or for each track of a song (??????Changing the scale???)

Changing the scale

You can specify the scale for each program, for each timbre in a combination, or for each track of a song (Sequencer mode).

These settings are made by ???Type??? in the following pages, and by ???Use Program???s Scale??? for a combination or sequencer.

Here we will show how to make settings in Sequencer mode.

1 Press the [SEQ] key to enter Sequencer mode.

2Press the [MENU] key, and then press the [F3] key to select ???Prm2??? Press the [F8] (???Open???) key.

3Select the [F1](???Othr..8???) key or the [F2](???Othr..16???) key.

4If you wish to use the scale that is speci???ed for the program used by a track, check the ???Use Prog???s Scale??? check box for that track.

Tracks that are not checked will use the scale speci- ???ed by Scale ???Type.???

5Set ???Type (Song???s Scale)??? to select the scale for the entire currently selected song.

If you wish to keep this setting after the power is turned off, you must Write the Global settings to memory. (???p.43???)

118

Setting the function of [SW1] and [SW2]

You can specify the function of the [SW1] and [SW2] keys (???PG p.224).

The functions of the [SW1] and [SW2] keys are set independently for each program, combination, and song. In and Sampling mode, the functions of these keys are set for the entire mode.

You can specify the function that will be performed by the [SW1] and [SW2] keys, and can also select between Toggle (when the function will be switched on/off each time the [SW1] or [SW2] key is pressed) and Momentary (when the function will be on only while you continue holding the [SW1] or [SW2] key).

These settings are made by ???SW1/2 Assign??? in the fol- lowing pages.

*: If the EXB-SMPL option is installed

When you write a program or combination, the on/off status of the [SW1] and [SW2] keys is mem- orized.

You can use these keys as alternate modulation or effect dynamic modulation sources, and control program parameters or effect parameters.

In this case, you will normally select SW1 Mod.(CC#80) and SW2 Mod.(CC#81).

For an example in which the [SW1] key is speci???ed as an effect dynamic modulation source for a program and used to control an effect, refer to p.116.

If you wish to keep this setting after the power is turned off, you must Write the Global settings to memory. (???p.43???)

The settings of Sampling mode cannot be saved.

Setting the B-mode functions of REALTIME CONTROLS [1]???[4]

You can specify the B-mode functions of REALTIME CONTROLS knobs [1]???[4]. (???PG p.225)

The B-mode functions are set independently for each program, combination, or song. The functions in Sam- pling mode (if the separately sold EXB-SMPL option is installed) are set for the entire mode.

These settings are made by ???Knob B Assign??? in the fol- lowing pages.

*: If the EXB-SMPL option is installed

You can use these knobs as sources for alternate modulation or effect dynamic modulation, and control program parameters or effect parameters. In this case, you will normally select Knob Mod.1(CC#17), Knob Mod.2(CC#19), Knob Mod.3(CC#20), and Knob Mod.4(CC#21).

Here we will give an example of how knob [1] can be used to control the ???lter and amp EG attack of a pro- gram.

1 Press the [PROG] key to enter Program mode.

2Press the [MENU] key, and then press the [F2] key to select ???Ctrl??? Press the [F8] (???Open???) key.

3Select the Knob 1-B ???Knob B Assign???, and select F/A Attack (CC#73).

4Press the REALTIME CONTROLS [SELECT] key to select B-mode, and turn knob [1] to control the EG attack of the ???lter and amp.

If you wish to keep this setting after the power is turned off, you must Write the Global settings to memory. (???p.43???)

The settings of Sampling mode cannot be saved.

Other functions Basic functions

119

Adjusting the contrast (brightness) of the LCD screen

Use the GLOBAL 1.1: System, Preference page ???LCD Contrast??? to make adjustments. (???p.121, PG p.127)

Using this instrument as a data ???ler

MIDI exclusive data transmitted from an external device can be received by this instrument and saved on an SD card (the Data Filer function). This is done using the Media mode Save page ???Save Exclusive??? (???PG p.154).

Tap tempo control

A tap tempo control function is available in Program, Combination, and Sequencer modes.

While the arpeggiator or sequencer is playing in any of these modes, you can control the playback tempo in real-time by lightly pressing the [TIMBRE/TRACK] key several times at the desired tempo.

This function is convenient when you want to match the playback tempo of the arpeggiator or sequencer playback to another beat in real-time.

The Tap tempo feature also provides real-time control over any BPM or tempo based effects.

The following example shows the procedure for using Tap tempo in Program mode.

1 In Program mode, select C004: HipHop Kit.

2In the PROG 1.1: Play, select the Are. Play page and check the ???Latch??? check box.

3Turn on the front panel ARPEGGIATOR [ON/ OFF] key.

4Lightly press the [TIMBRE/TRACK] key several times at the desired beat. The tempo ??? =??? display in the upper right of the LCD will change accord- ing to the playback tempo.

When you play the keyboard, the arpeggiator will play a drum pattern at the speci???ed tempo.

5Lightly press the [TIMBRE/TRACK] key on the beat, and slightly shorten the intervals at which you press the key.

The playback tempo of the drum pattern will speed up slightly.

Tap tempo control can be used whenever the [TEMPO] knob can be operated. For example, the tempo cannot be controlled while a song is playing in Sequencer mode with ???Tempo Mode??? (???PG p.51) set to Auto.

The tap tempo control function can also be con- trolled from a foot switch connected to the ASSIGNABLE FOOT SWITCH jack, as well as by the [TIMBRE/TRACK] key. (???PG p.127 Global mode ???Foot SW Assign???)

Shortcuts

[MENU] key + numeric keys [0]???[9] x2

???Access the various pages within each mode. Hold down the [MENU] key, and use numeric keys [0]??? [9] to input a two-digit page number.

[MENU] key + [], [] keys

???Access the various pages within each mode. Hold down the [MENU] key, and use the [], [] keys to move.

[TIMBRE/TRACK] key + function keys [F1]???[F8]

???Access the parameters within each page. In pages of Combination Sequencer mode that show timbres 1???8/tracks 1???8 or 9???16 (such as COMBI 1.1: Play, Prog), hold down the [TIMBRE/TRACK] key and press the [F1 T1/T9]???[F8 T8/T16] keys to move the cursor.

[ENTER] key + numeric keys [0]???[9]

???Access the Utility menu commands of each page (up to ten items). Hold down the [ENTER] key and press a numeric key [0]???[9] to select from up to ten of the Utility menu items.

[ENTER] key + keyboard

By holding down the [ENTER] key and pressing a note on the keyboard of the TR, you can perform the follow- ing input operations.

???Input note number values or velocity values

???Select ???KEY??? in GLOBAL 5.1: DKit, SEQ 5.1: RPPR, RPPR Setup page

[ENTER] key + [LOCATE] key

???In Sequencer mode, set the current location as the ???Location??? (equivalent to the Utility menu command ???Set Location???)

120

Appendices

Troubleshooting

If you experience problems, refer to the relevant item and take the appropriate measures.

Power does not turn on

???Is the [POWER] switch turned on?

Turn on the rear panel [POWER] switch.

The power is turned on, but nothing is shown in the LCD screen.

The TR functions normally when you play the key- board or perform other operations.

???Due to changes in the surrounding temperature, the LCD screen may on rare occasions be difficult or impossible to read. If this occurs, perform the following procedure. (???PG p.127)

1Press the [EXIT] key three times, and press the [GLOBAL] key.

2Hold down the [EXIT] key, and press the [REC/ WRITE] key.

3Rotate the [VALUE] dial to adjust the LCD screen.

The power is turned on, but the LCD screen does not display normally, or an error message is dis- played. There is no sound when you play the key- board, and the TR does not function normally.

???This type of problem may occur if a data writing operation to internal memory was not completed correctly, for example if the power of the TR was turned off while a program or other data was being written. If this occurs, use the following procedure to initialize the TR???s internal memory.

1 Turn off the power.

2Hold down the [MENU] key and the [9] key, and turn on the power.

The TR will be initialized, and data will be written into internal memory. While the data is being writ- ten, the LCD screen will indicate ???Now writing into internal memory.???

No sound

???Is your amp or mixer turned on?

???Is Local Control turned on?

In GLOBAL 2.1: MIDI, check the ???Local Control

???If there is no sound from the OUTPUT (INDIVIDUAL) 1, 2 jacks, make sure that ???BUS Select (IFX/Indiv.Out Assign)??? or ???Bus Select???

???Are the ???Key Zone??? and ???Velocity Zone??? set so that sound will be produced when you play?

.......................................................................... ???PG p.65

Notes do not stop

???In PROG 2.1: Ed???Basic, select the Prog Basic page, make sure that the ???Hold??? check box is

???In GLOBAL 1.1: System, Foot page, make sure that ???Damper Polarity??? or ???Foot SW Polarity??? is set correctly.

........................................................................ ???PG p.128

Noise or oscillation is heard

???When using the BPM/MIDI Sync function to control the delay time of an effect, noise may occur in the delay sound. This noise is due to discontinuities in the delay sound, and is not a malfunction.

???When using an effect on the external audio source being input from AUDIO INPUT 1 and 2, oscillation may occur depending on the type of effect or on the parameter settings. Please adjust the input level, output level, and effect parameters. You need to be particularly careful when using a high-gain effect.

???After a sample edit has been executed, or after a stereo sample has been recorded, a small noise may be heard. This has no effect on the audio data that was edited or sampled.

Effects are not applied

???Are the GLOBAL 1.1: System, Basic page ???IFX Off,??? ???MFX1 Off,??? or ???MFX2 Off??? settings checked?

................................................................ ???PG p.124, 125

???If you are in Combination, Sequencer, and master effects are not applied when you raise the ???S1 (Send1 (MFX1))??? or ???S2 (Send2 (MFX2))??? of the timbre/track, does ???Return 1??? or ???Return 2??? from the master effect need to be raised?

.................................................................... ???PG p.47, 86 Alternatively, has ???Send 1??? or ???Send 2??? for each oscillator of the program used by the timbre/track been lowered?.......................................... ???PG p.45, 84

Appendices

Troubleshooting

121

The actual send level is determined by multiplying the send setting of each oscillator in the program with the send setting of the timbre/track.

When you loaded data, a combination or song does not sound correctly

???In the dialog box from which you saved the data, did you check the check boxes for each item that

???In the dialog box when saving the data, did you check the check boxes for each item that you wanted to save?

???Are the bank/number of the programs used by the song the same as when the song was created?

Playback does not start when you press the [START/STOP] key in Sequencer mode

??? Is the GLOBAL 2.1: MIDI, MIDI page ???MIDI Clock??? set to Internal?............................................. ???PG p.129

Can???t record in Sequencer mode

???In the GLOBAL 1.1: System, Preference page, is the Memory Protect ???Song??? check box unchecked?

........................................................................ ???PG p.127

??? Is the GLOBAL 2.1: MIDI, MIDI page ???MIDI Clock??? set to Internal?............................................. ???PG p.129

Arpeggiator does not start

???Is the [ARP ON/OFF] key turned on (lit)?

???If the arpeggiator does not start for a combination or song, make sure that ???Arpeggiator Run??? is checked, and that an arpeggiator is selected for

???Assign.???..........................................???p.29, PG p.35, 82

??? Is the GLOBAL 2.1: MIDI ???MIDI Clock??? parameter set to Internal?............................................. ???PG p.129

???If the [ARP ON/OFF] key does not respond in GLOBAL 6.1: Arp.Pattern, you may have moved here from Sampling mode or Media mode.

No sound when the [AUDIITON] key is turned on

???The Audition function is available only in Program mode.

???If no sound is played when you turn on the [AUDITION] key in Program mode, make sure that the PROG 2.1: Ed-Basic, Audition page parameter ???Audition Riff??? has not been turned Off.

............................................................................ ???PG p.9

???If no sound is played when you turn on the [AUDITION] key in Sampling mode, check the following points.

Is a sample correctly assigned to the currently selected ???Index????

Are the ???S (Start),??? ???LpS (Loop Start),??? and ???E (End)??? address settings correct?................ ???PG p.109

???If you are in the SMPL 2.1: Sample Edit, Edit2 page, are the ???S (Edit Range Start)??? and ???E (Edit Range

RPPR does not start

??? Is the SEQ 1.1: Play/REC ???RPPR??? setting checked?

You converted GM/GS/XG format SMF data and played it in Sequencer mode, but it does not sound correctly

??? Execute ???GM Initialize??? to initialize the settings.

Settings for oscillator 2 are not displayed

???Make sure that the PROG 2.1: Ed???Basic, Prog Basic page ???Mode (Oscillator Mode)??? parameter is set to

Data is not transmitted from the MIDI OUT connec- tor

???If MIDI data is being transmitted from the TR via USB to your computer, transmission from the MIDI OUT connector is halted. If the USB connection is broken, transmission from the MIDI OUT connector will resume.

This instrument does not respond to incoming MIDI data

This instrument does not respond correctly to incoming MIDI data

???Are the GLOBAL 2.1: MIDI, MIDI page MIDI Filter settings ???Enable Program Change,??? ???Bank,??? ???Combi,??? ???Ctrl Change,??? and ???AfterT??? each

???If you wish to receive MIDI exclusive messages, is the GLOBAL 2.1: MIDI, MIDI page MIDI Filter

???Does this instrument support the types of messages that are being sent to it?

Can???t format the SD card

??? Does the media meet the requirements for use on

Can???t save/load data on an SD card

122

???Is the SD card set to the ???protected??? setting? Turn off the write protect switch, insert the card back into the slot, and perform the save or load

Pressing the [SAMPLING] key does not enter Sam- pling mode.

??? Is the EXB-SMPL installed correctly? .......???PG p.260

Cannot input sound

???Is the [MIC/LINE] switch set appropriately? ???p.35

???If there is no sound in Sampling mode, go to SMPL 1.1: Recording, select the Input/Pref page, and make sure that ???Lvl??? and ???BUS??? are set correctly.

................................................................ ???p.35, PG p.95

???If there is no sound in Program, Combination, or Sequencer modes, go to GLOBAL 1.1: System, select the Audio In page, and make sure that ???Input1 Level,??? ???Input1 BUS Select,??? ???Input2 Level??? and ???Input2 BUS Select??? are set correctly.

............................................................ ???p.115, PG p.128

???If sound is still not input even after you have set ???Input 1 Level,??? ???Input 2 BUS Select,??? ???Input 2 Level,??? and ???Input 2 BUS Select??? in the GLOBAL 1.1: System, Audio In page, temporarily lower the ???Input 1 Level??? and ???Input 2 Level,??? and then move to Program, Combination, or Sequencer mode. Turn return to Global mode, and make the

Cannot record a sample

??? Are one or more SIMM modules installed?

Save important samples before deleting them.

..................................................................???PG p.96, 153

The TR does not recognize when MO media has been exchanged, and does not correctly display the media information after the exchange.

???If you are able to switch the mode setting of your MO drive between DOS/V(PC/AT) and Mac settings, please use DOS/V(PC/AT) mode. For details on changing the mode of your drive, refer to the owner???s manual for your MO drive.

???Use the Media mode Media Information page utility ???Scan SCSI device??? to remount the SCSI device.

???If your MO drive does not have a mode setting, or if the media exchange is not recognized even after you switch the mode, use the drive select button to select a different drive, and then re-select the MO drive.

Can???t install the driver included CD-ROM.

???Is the USB cable connected correctly?

???Is the CD-ROM inserted in your CD drive? Make sure that the CD-ROM is inserted correctly.

???Could the lens of your CD drive be dirty?

Use a commercially-available lens cleaner to clean the lens.

???Are you attempting to install from a network CD drive?

This software cannot be installed from a network- connected CD drive.

???Are you able to use USB?

If you are using Windows XP, go to [Control Panel]

???[System], and select the [Hardware] tab. In [Device Manager], check the settings for Universal Serial Bus Controller and USB Root Hub.

???Has the TR been detected as an unknown device? If you are using Windows XP, go to [Control Panel]

???[System], select the [Hardware] tab, and check [Device Manager]. If the TR has not been detected correctly, it will be displayed in ???Other devices??? or ???Unknown devices.??? Reconnect the USB cable; if the TR is again displayed as an ???Unknown device,??? the computer has failed to detect it correctly. Delete the ???Unknown device??? entry, and reinstall the driver. ........................................................... ???PG p.265

Your software does not respond to the TR

???Is the USB cable connected correctly?

???Did you install the driver?

???Has your computer detected the connected TR?

If you are using Windows XP, go to Control Panel ??? ???Sounds and Audio Devices Properties??? and click the Hardware tab.

If you are using Mac OS X, go to Macintosh HD ??? Application folder ??? Utility folder ??? ???Audio MIDI Settings,??? select the ???MIDI Devices??? tab, and check that the TR has been detected.

Some computers may not recognize the TR because of their hardware con???guration.

???Check the TR???s assignments and USB-MIDI port settings.

???The connected device or software may not support the messages you are transmitting. Refer to the owner???s manual of the connected device or software to verify that it responds to the messages you are transmitting.

Appendices

Troubleshooting

123

Speci???cations and options

Speci???cations

System

HI (Hyper Integrated) synthesis system

Modes

Combination, Program, Sequencer, Global, Media, Sampling (if the separately sold EXB-SMPL option is installed)

Tone generator

HI (Hyper Integrated) synthesis system Polyphony: 62 voices (62 oscillators) in single mode

31 voices (62 oscillators) in double mode Filters: 24 dB/oct LPF with resonance

12 dB/oct LPF + HPF Alternate modulation function

Waveform memory

64 Mbyte PCM ROM

(470 multisamples, 518 drumsamples)

If the separately sold EXB-SMPL option is installed: Sample data RAM (SIMM): 16 Mbyte included with the EXB-SMPL (expandable up to 64 Mbyte)

Effect section

1 insert effect (stereo in/out),

2 master effects (mono in/stereo out),

1 master EQ (3-band stereo), all usable simultaneously 89 effect types (available for insert effects or master effects)

Effect dynamic modulation function

Combinations/Programs

384 user memory combinations (384 preloads)

512 user memory programs (512 preloads)

128 + 9 drum ROM programs (GM sound map compat- ible)

383 audition riffs

Drum Kits

24 user drum kits (16 preloads)

9 ROM GM drum kits (GM2 sound map compatible)

Dual polyphonic arpeggiator

Use two arpeggiators simultaneously (Combination, Sequencer modes)

5 preset arpeggio patterns

216 user arpeggio patterns (216 preloads)

Sequencer

16 timbres, 16 tracks + 1 master track Maximum capacity: 200,000 notes Resolution /192

200 songs

20 cue lists

150 preset patterns, 100 user patterns (for each song)

16 preset/16 user template songs

Supports TR format and SMF (formats 0 and 1)

RPPR (Realtime Pattern Play/Recording) function (One set is available for each one song)

Media mode

Load, save, utility

Data ???lter function (save/load MIDI exclusive data) Loading from CD-ROM (ISO 9660 level1) is supported (if the separately sold EXB-SMPL option is installed) Combinations, programs, drum kits, user arpeggio patterns (.PCG) created on the TRITON/TRITONpro/ TRITONproX or the TRITON-Rack can be convert- loaded.

Songs (.SNG) created on the TRITON/TRITONpro/ TRITONproX can be convert-loaded.

Sampling (if the separately sold EXB-SMPL option is installed)

48 kHz, 16 bit linear

Maximum sample data memory capacity 64 Mbyte (with SIMM expansion)

4000 samples, 1000 multisamples

(128 indexes for each multisample

Time Slice, Time Stretch, and various other editing functions

Able to load AIFF, WAVE, AKAI (S1000/3000), Korg format sample data can be loaded

Sample data can be exported in AIFF or WAVE formats

Keyboard

61 key, 76 key: synth action; velocity & aftertouch

88 key: Weighted; velocity & aftertouch.

Controllers

Joystick, [SW1]/[SW2] keys, REALTIME CONTROLS knobs [1]???[4] and [SELECT] key, [ARP ON/OFF] key

User interface

Graphical user interface: 240 ??? 64 pixel LCD display

Mode keys:

[COMBI], [PROG], [SEQ], [GLOBAL], [MEDIA], [SAMPLING]

Value controllers:

[VALUE] dial, [INC]/[DEC] keys, numeric keys ([0]...[9], [???], [./ HOLD]

Cursor keys [ ], [ ](???), [ ], [ ](+), [MENU/PAGE +/???] keys, [EXIT] key, [ENTER] key, [COMPARE] key, [F1]???[F8](T1/T9???T8/T16) key, [TIMBRE/TRACK] key

BANK keys:

PROG BANK: [A], [B], [C], [D], [GM]

COMBI BANK: [A], [B], [C]

SEQUENCER control keys: [PAUSE], [REW], [FF], [LOCATE]

SEQUENCER/SAMPING (if the separately sold EXB- SMPL option is installed) control keys: [REC/WRITE], [START/STOP]

Other:

[AUDITION] key, [CATEGORY] key

124

Audio outputs

1/4" AUDIO OUTPUT (MAIN) L/MONO, R: 1/4" AUDIO OUTPUT (INDIVIDUAL) 1, 2

Audio inputs (if the separately sold EXB-SMPL option is installed)

AUDIO INPUT 1, 2

LEVEL [MIC/LINE] switch, [LEVEL] knob Input impedance: 10 [k???]

Source impedance: 600 [???]

Control inputs

DAMPER (half-damper supported), ASSIGNABLE

SWITCH/PEDAL

MIDI

MIDI IN, OUT, THRU, USB B connector

SD card slot

Usable media: 2.7???3.6 V (16 MB - 1 GB)

Other

AC power inlet, switch

Support for options

EXB-SMPL (one 16Mbyte 72-pin SIMM is included) 72-pin SIMM memory slots x 2 (for sample data RAM)

Dimensions (W ??? D ??? H)

61-key model: 1045 ??? 302 ??? 95 (mm)

76-key model: 1257 ??? 302 ??? 95 (mm)

88-key model: 1414 ??? 365 ??? 123 (mm)

Weight

61-key model: 7.8kg

76-key model: 9.2kg

88-key model: 24.1kg

Power consumption:

13W (if the EXB-SMPL option and two 32Mbyte SIMM are installed)

Included items:

CD-ROM (KORG USB-MIDI driver, Voice Name List) AC/AC power supply 9VAC 3.0A

Operating requirements for con- nection to a computer

Windows

Operating system

Microsoft Windows XP Home Edition/Professional

Computer

A computer with USB connector that meets the above requirements

Macintosh

Operating system

Mac OS X 10.2 or later

Computer

An Apple Macintosh with USB connector that meets the requirements for the above operating system

Options

Expansion board

EXB-SMPL Sampling upgrade

Expression/volume pedal:

XVP-10 EXP/VOL pedal

Foot controller:

EXP-2

Damper pedal:

DS-1H

Pedal switch:

PS-1

Other:

MIDI cable

*Appearance and speci???cations of this product are subject to change without notice. (Aug/05)

Speci???cations and options Appendices

125