Korg Krome Operation Guide

Operation Guide

About this manual

Thank you for purchasing the Korg KROME Music Workstation. To help you get the most out of your new instrument, please read this manual carefully.

The manuals and how to use them

The KROME comes with the following manuals.

• Video Manual (approximately 60 minutes)

•Quick Start Guide (printed and PDF)

•Operation Guide (PDF)

• Parameter Guide (PDF)

• Voice Name List (PDF)

All of these manuals are on the included accessory disc.

A printed copy is included only for the Quick Start Guide.

Video Manual

This video illustrates the main functionality of the KROME.

Quick Start Guide

This provides a simple explanation of the KROME’s functions. To begin, please watch the Video Manual and read the Quick Start Guide.

Operation Guide

Put simply, the Operation Guide is designed to answer the question, “How do I do this?”

It explains the names and functions of each part of the KROME, basic operation, an overview of each mode, how to edit sounds, record on the sequencer, and so on. This guide also explains the basics of effects, the Arpeggiator, Drum Track, and Drum Kits.

Finally, it also contains a troubleshooting guide as well as supplemental information such as a list of specifications.

Parameter Guide

The Parameter Guide is designed to answer the question, “What does this do?”

Organized by mode and page, the Parameter Guide includes information on each and every parameter in the KROME.

Voice Name List

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

PDF versions

The KROME PDF manuals are designed for easy navigation and searching. They include extensive PDF contents information, which generally appears on the side of the window in your PDF reader and lets you jump quickly to a specific section. All cross-references are hyper-links, so that clicking on them automatically takes you to the source of the reference.

Conventions in this manual

References to the KROME

The KROME is available in 88-key, 73-key, and 61-key models. The manuals refer to all models without distinction as “the KROME.” The front panel and rear panel illustrations in the manual show the 61-key model, but they apply identically to the other models.

Abbreviations for the manuals: QS, OG, PG, VNL

In the documentation, references to the manuals are abbreviated as follows.

QS: Quick Start Guide

OG: Operation Guide

PG: Parameter Guide

VNL: The Voice Name List

Symbols , , Note, Tips

These symbols respectively indicate a caution, a MIDIrelated explanation, a supplementary note, or a tip.

Example screen displays

The parameter values shown in the example screens of this manual are only for explanatory purposes, and may not necessary match the values that appear in the Display 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.

What is REMs * ?

(Resonant structure and Electronic circuit

Modeling System) is Korg’s proprietary technology for

digitally recreating the numerous factors that produce and influence a sound, ranging from the soundproduction mechanisms of acoustic instruments and electric/electronic musical instruments, to the resonances of an instrument body or speaker cabinet, the sound field in which the instrument is played, the propagation route of the sound, the electrical and acoustic response of mics and speakers, and the changes produced by vacuum tubes and transistors.

* All product names and company names are the

trademarks or registered trademarks of their respective owners.

About this manual . . . . . . . . . . . . . . . . . . . . . . . . . . . ii

Introduction to the KROME . . . . . . . . . . . . 1

Front and rear panels. . . . . . . . . . . . . . . . . . . . . . . . . 1

Front panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1

Rear panel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3

Objects in the display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4

Basic Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

About the KROME’s modes . . . . . . . . . . . . . . . . . . . . . . . .7

Basic operations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .9

Setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

Turning the power on/off . . . . . . . . . . . . . . . . . . . . 15

Connecting the AC adapter. . . . . . . . . . . . . . . . . . . . . . .15

Turning the power on . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

Turning the power off . . . . . . . . . . . . . . . . . . . . . . . . . . . .15

Connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Audio connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Connecting a damper pedal, foot switch, or foot

pedal. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .18

Connecting the KROME to a computer. . . . . . . . . . . .20

Connecting MIDI devices . . . . . . . . . . . . . . . . . . . . . . . . .20

Playing and editing Programs . . . . . . . . 21

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Automatically importing a Program

into Sequence mode . . . . . . . . . . . . . . . . . . . . . . . . . 42

Playing and editing Combinations . . . .43

Playing combinations . . . . . . . . . . . . . . . . . . . . . . . 43

Selecting Combinations. . . . . . . . . . . . . . . . . . . . . . . . . . 43

Using controllers to modify the sound . . . . . . . . . . . . 45

Performing with the arpeggiator or drum track . . . 45

Easy Combination editing. . . . . . . . . . . . . . . . . . . . 46

Changing the program of each timbre. . . . . . . . . . . . 46

Adjusting the mix . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Simple editing using the knobs. . . . . . . . . . . . . . . . . . . 47

Saving a Combination you’ve edited . . . . . . . . . . . . .47

Detailed Editing with Combinations . . . . . . . . . . 47

A suggested approach for editing . . . . . . . . . . . . . . . . 48

Restoring edited settings. . . . . . . . . . . . . . . . . . . . . . . . .48

Layers, Splits, and Velocity Switches . . . . . . . . . . . . . . 48

MIDI settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Altering Programs to fit within a Combination . . . . 51

Arpeggiator settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Drum Track settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . .52

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Automatically importing a Combination

into Sequencer mode. . . . . . . . . . . . . . . . . . . . . . . . . 52

Playing Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Selecting Programs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .21

Program information. . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Using Controllers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .24

Performing with the arpeggiator or drum track . . .26

Easy Program editing. . . . . . . . . . . . . . . . . . . . . . . . 27

Adjusting the EQ. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .27

Adjusting the volume balance. . . . . . . . . . . . . . . . . . . .27

Using realtime controls to edit the sound or effects .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .28

Using Tone Adjust . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .29

Comparing the unedited sound . . . . . . . . . . . . . . . . . .30

Saving your edits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .30

Detailed Editing with Programs . . . . . . . . . . . . . . 31

Before you start editing . . . . . . . . . . . . . . . . . . . . . . . . . .31

An overview of the edit pages . . . . . . . . . . . . . . . . . . . .32

Basic oscillator settings. . . . . . . . . . . . . . . . . . . . . . . . . . .32

Creating time-varying changes (LFO and EG) . . . . . .35

Diverse modulation settings (AMS and AMS mixer). .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .36

Controlling Pitch . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .37

Using Filters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .38

Using the Amp section . . . . . . . . . . . . . . . . . . . . . . . . . . .40

Making controller assignments . . . . . . . . . . . . . . . . . . .41

Arpeggiator settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Drum Track settings. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .42

Creating songs (Sequencer mode) . . . .53

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53

About the KROME’s Sequencer . . . . . . . . . . . . . . . . . . .53

Sequencer mode structure . . . . . . . . . . . . . . . . . . . . . . .53

Transport control . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54

Playing Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Playback. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Preparations for recording . . . . . . . . . . . . . . . . . . . . . . . 57

Recording MIDI in real time . . . . . . . . . . . . . . . . . . . . . . 60

Step recording. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

Recording multiple tracks from an external

sequencer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Recording System Exclusive events. . . . . . . . . . . . . . . 64

Recording patterns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .65

Other way to record . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66

Song editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

MIDI tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

Track view edit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68

Piano Roll Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

Creating an RPPR pattern . . . . . . . . . . . . . . . . . . . . 71

Creating RPPR data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71

RPPR playback . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

iii

Table of Contents

Realtime-recording an RPPR performance . . . . . . . .72

Creating and playing a Cue List . . . . . . . . . . . . . . 74

Creating a cue list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74

Converting a cue list to a song. . . . . . . . . . . . . . . . . . . .75

Saving your song . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Using Effects . . . . . . . . . . . . . . . . . . . . . . . . 77

An overview of the KROME’s effects . . . . . . . . . . 77

Effect I/O . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77

Effects in each mode . . . . . . . . . . . . . . . . . . . . . . . . . . . . .78

Routing effect settings . . . . . . . . . . . . . . . . . . . . . . 79

Program Effects settings. . . . . . . . . . . . . . . . . . . . . . . . . .79

Using effects in Combinations and Songs . . . . . . . . .81

Dynamic modulation, Common FX LFO . . . . . . . 82

Dynamic modulation (Dmod). . . . . . . . . . . . . . . . . . . . .82

Common FX LFO . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83

Arpeggiator function . . . . . . . . . . . . . . . . 85

Using the arpeggiator while you play . . . . . . . . 85

Using the arpeggiator in Program mode . . . . . . . . . .85

Using the arpeggiator in Combination mode. . . . . .88

Arpeggiator settings in Combination and Sequencer

modes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .89

Linking the arpeggiator to programs or

combinations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

Creating a user arpeggio pattern . . . . . . . . . . . . . . . . .91

Regarding arpeggiator synchronization. . . . . . . . . . .96

Drum Track function . . . . . . . . . . . . . . . . 97

Performing with the Drum Track function . . . . 97

Using the Drum Track function in Program mode .97 Using the Drum Track function in Combination mode

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .98

Drum Track function settings . . . . . . . . . . . . . . . 100

Drum Track function settings in Program mode . 100 Drum Track function settings in Combination mode.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Drum Track function settings in Sequencer mode . . .

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

Synchronizing the Drum Track function. . . . . . . . . 102

Creating a Drum Track pattern. . . . . . . . . . . . . . . . . . 103

Pedal and other controller settings . . . . . . . . . . . . . .111

Creating user scales . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112

Setting Category Names . . . . . . . . . . . . . . . . . . . . . . . .112

Loading & saving data . . . . . . . . . . . . . . 113

Saving data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

Saving data on the KROME . . . . . . . . . . . . . . . . . . . . . .113

Writing to internal memory . . . . . . . . . . . . . . . . . . . . .115

Editing names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .117

Saving to SD card (Media–Save) . . . . . . . . . . . . . . . . .118

Using the KROME as a data filer. . . . . . . . . . . . . . . . . .119

Loading data . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Data that can be loaded. . . . . . . . . . . . . . . . . . . . . . . . .120

Loading data from SD card (Media–Load). . . . . . . .120

Media utility . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Formatting media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .123

Setting the current time. . . . . . . . . . . . . . . . . . . . . . . . .123

Appendices . . . . . . . . . . . . . . . . . . . . . . . . 125

Restoring the factory settings . . . . . . . . . . . . . . . 125

Loading the preloaded data . . . . . . . . . . . . . . . . . . . . .125

Initialization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .125

Troubleshooting . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Power supply . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

Display . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

Audio output . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .126

Programs and Combinations . . . . . . . . . . . . . . . . . . . .127

Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

Arpeggiator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

Drum Track function . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

Drum Kits. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .128

Effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129

MIDI. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129

Damper pedal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129

Media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .129

Connections with a computer . . . . . . . . . . . . . . . . . . .129

Error messages. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130

Error and confirmation messages. . . . . . . . . . . . . . . .130

Specifications. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

Operating requirements . . . . . . . . . . . . . . . . . . . . . . . .135

MIDI Implementation Chart . . . . . . . . . . . . . . . . . 136

Using Drum Kits. . . . . . . . . . . . . . . . . . . . 105

Drum Kit Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

Before you start editing… . . . . . . . . . . . . . . . . . . . . . . 105

Editing a Drum Kit. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Adjusting Global KROME setings . . . . 109

How Global mode is structured . . . . . . . . . . . . . 109

Global settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

Basic setup . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109

MIDI Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

Introduction to the KROME

* The diagram shown is for KROME-61

Front and rear panels

Front panel

1. Volume

VOLUME knob

This knob adjusts the volume of the AUDIO OUTPUT L/MONO, R outputs, as well as the volume of the headphone jack. (See page 15)

2. SW1, 2 and Joystick

8 9

(For details, please see “Using realtime controls to edit the sound or effects” on page 28.)

11 10

13 14

4. Arpeggiator

ARP button

This button turns the arpeggiator on/off. The button will be lit if the arpeggiator is on. (See page 85)

SW1 and SW2

These buttons are used to control the programs or effect parameters, or to turn the joystick lock function on/off. (See page 24)

Joystick

You can control synthesis parameters or effect parameters by moving the joystick up/down/left/right. (See page 24)

3. REALTIME CONTROLS

These realtime controllers consist of four knobs and one button. You can use them to do the following things.

• Control the sound and effects of programs and combinations

• Control the arpeggiator

SELECT button, knobs 1–4

Use the SELECT button to select the functions controlled by knobs 1–4. By using knobs 1–4 you can control the sound, effects, and arpeggiator.

(For details, please see “Realtime control knobs” on page 25.)

5. DRUM TRACK

DRUM TRACK button

This button turns the Drum Track function on or off.

This button also indicates the operating state of the drum track. (Unlit: off, Blinking: waiting for trigger, Lit: on. See page 97.)

6. Effect buttons

MASTER FX button TOTAL FX button

These buttons turn the master effect and total effect on/ off. When the button is on (LED lit), the effect settings of the program, combination, or song will be enabled. When the button is off (LED unlit), the corresponding effect will be off.

The on/off status of these buttons is remembered even when you switch programs, combinations, or songs. (See page 110)

Introduction to the KROME

7. Display

Display

The TouchView display features simple touch control and selection of numerous features and parameters. (See page 4)

8. Mode

COMBI, PROG, SEQ, GLOBAL, MEDIA buttons

KROME has five different modes, each one is optimized for a specific set of functions.

Press one of these buttons to enter the corresponding mode.

For more details, please see “Selecting modes” on page 9.

9. PROG/COMBI BANK

A, B, C, D, E, F buttons

These buttons select program banks A–F and combination banks A–D (see page 21, and page 44). You can also use these buttons to select the bank of timbre programs in a combination, or the bank of track programs in a song (see page 46, and page 57).

If you want to select a GM bank, use the numeric keys (see page 22) or the Bank/Program Select menu (see page 22).

12. Save (Write)

WRITE button

Use this button to save programs, combinations, global settings, drum kits, or arpeggio patterns to internal memory (see page 9).

You’ll also use this button to save songs to media (see page 75).

When you press this button in the appropriate mode or page, a Write dialog box will appear. Press the button once again to save the data.

13. Sequencer

The buttons in this section are used for operations in Sequencer mode, such as recording and playback (see page 54). The REC () button is also used to save a program or combination, or when using the Auto Song Setup function (see page 59).

PAUSE ( ) button REW ( ) button FF ( ) button LOCATE ( ) button REC ( ) button START/STOP ( ) button

14. TEMPO controls

10. VALUE controllers

Use these controllers to edit the parameter that’s selected in the display.

INC and DEC buttons VALUE dial 0–9, –, ., and ENTER buttons

Together, these controls specify and confirm the value of the selected parameter. (See page 10)

COMPARE button

Compares your current edited sound to the sound before it was edited.

For more details, please see “Compare function” on page 11.

11. PAGE SELECT, EXIT

PAGE button

When you press this button, a list of the pages within the selected mode will appear in the display. Press the button of the desired page. (See page 9)

EXIT button

Press this button to return to the main page of the current mode. (See page 9)

TEMPO knob

This knob adjusts the tempo of the arpeggiator, drum track, or internal sequencer.

TEMPO LED

This LED will blink at quarter-note intervals of the current tempo.

TAP button

By pressing (or tapping) this button on the beat, you can enter the tempo used by the arpeggiator, drum track, or internal sequencer (see page 25).

15. Headphone

Headphone jack

Connect your headphones here.

This jack will output the same signal as the AUDIO OUTPUT L/MONO and R jacks.

The headphone volume is controlled by the VOLUME knob.

Rear panel

456

Front and rear panels Rear panel

1. Power supply

Be sure to see “Turning the power on” on page 15 and follow the correct procedure described there.

Note: The KROME has an auto power-off function that automatically turns off the power when the keyboard or front panel buttons have not been used for a certain length of time. With the factory settings, this is set to 4 hours (see “Auto power-off function” on page 16).

Power switch

This switch turns the power on/off. (See page 15)

AC adapter connector

The included AC adapter is connected here. (See page 15)

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

Cable hook

Use this to secure the cable of the included AC adapter. After connecting the AC adapter, loop the cable around the hook located on the KROME’s rear panel so that the cable won’t get pulled out inadvertently. Leave enough slack on the plug end so that you can disconnect it if you want to. (See page 15)

Be careful not to bend the base of the plug any more than necessary.

3. PEDALS

You can connect a damper pedal, foot switch, and foot pedal to these jacks. This gives you a broader range of functions and effects to control. (See page 18)

ASSIGNABLE PEDAL jack ASSIGNABLE SWITCH jack DAMPER jack

4. MIDI

MIDI lets you connect the KROME to a computer or other MIDI devices, for sending and receiving notes, controller gestures, sound settings, and so on. (See page 20)

MIDI IN connector MIDI OUT connector

5. SD

SD card slot

You can insert an SD card here, and use it to save/load KROME programs, combinations, or song data. (See page 118)

6. USB

2. AUDIO OUTPUTS

AUDIO OUTPUT L/MONO & R jack

These are the stereo audio outputs. Use the VOLUME knob to adjust the volume. (See page 17)

USB connector (for connecting to computer)

You can connect your computer to this connector. Using a single USB cable, your KROME can send and receive MIDI information directly to and from a computer, without requiring a MIDI interface. (See page 20)

Note: The USB connector of the KROME is only able to transmit and receive MIDI data.

Introduction to the KROME

h: Toggle buttons

b: Current page

e: Edit cell

g: Check boxes

i: Popup button (1)

j: Popup button (2)

k: Menu command button

a: Mode button l: Stopwatch button

f: Sliders and knobs c: Tabd: Parameters

When selected in Program, Combination, or Sequencer mode

When selected in Global or Media mode

Mode button Page number and name

Tab nam e

Objects in the display

c: Tab

Most pages are divided into two or more tabs.

The KROME uses Korg’s TouchView graphical user interface.

By pressing or dragging objects shown in the display, you can select programs or combinations, or edit parameter values. Here we’ll explain the names and functions of these objects.

a: Mode button

This indicates the mode that’s currently selected.

When you press this button, the Mode menu will appear. In the mode menu, press the name of the mode that you want to move. If you select the currently selected mode, the Page Select menu for that mode will appear. Even in another mode, pressing the right side of the name will display the Page Select menu for each mode.

To close the menu, press the Close button or the EXIT button.

If you access this menu from Global or Media mode, it will include an item named Return. If you press Return, you will return to the mode where you were before selecting Global or Media mode.

d: Parameters

The parameters for various settings are shown in the display.

e: Edit cell

When you touch a parameter in the display, the parameter or parameter value will usually be highlighted (displayed in reverse highlighting). This is called the edit cell, and the highlighted item will be available for editing.

Use a value controller such as the VALUE dial (see page 2) to edit the value.

Alternatively, you can edit the value by pressing the edit cell and using your finger to drag in the direction of the triangles that appear. (The shading of the triangles will change in three levels; this function will become available when the darkest shading is reached.)

In addition, you can display the edit pad by pressing twice in succession on the edit cell, or by holding it down for a time and then releasing it (see page 6).

f: Sliders and knobs

To edit the value of an object shaped like a slider or knob, press it to move the edit cell. For details on how to edit the value, please see “e: Edit cell,” above.

The parameter will be active if it is checked, and inactive if it is unchecked.

Mode menu

b: Current page

This indicates the current page within the selected mode.

Beginning on the left, this area shows the mode button, page number: name, and tab name.

g: Check boxes

The presence or absence of a check mark in these boxes will enable/disable parameters or functions. Putting a check mark in the box will enable the item, and clearing the check mark will disable it.

h: Toggle buttons

This type of button will change its function or switch on/off each time it is pressed.

Play/Rec/Mute button (Sequencer mode)

Solo On/Off button (Sequencer mode)

On/Off button for Effect

Front and rear panels Objects in the display

Press here to scroll to left or right.

Press here and slide to left or right to scroll to the desired location.

Press here to scroll to the corresponding location.

Menu command button

Tex t ed it b utt on

Cancel button OK button

i: Popup button (1)

When this button is pressed, a popup menu will appear, showing the parameter values that are available for selection.

To enter the parameter value, press the desired value in the popup menu.

* Popup menu

This switches the popup menu display between locked and unlocked.

When locked, the pin will be shown closed, and the popup menu will remain displayed even after you press a parameter value. When unlocked, the pin will be shown opened, and the popup menu will close immediately when you press a parameter value.

j: Popup button (2)

When you press this button, a tabbed menu will appear.

To close a tabbed menu, press the OK button or Cancel button.

Scroll bar

Use this when you need to see parameter values that extend beyond what can be shown in the display at one time.

* Dialog box

When you select a menu command, you’ll see a screen containing the settings needed to execute the command. This is called a dialog box. The dialog box that appears will depend on the menu command that you select. Some commands, such as Exclusive Solo, do not display a dialog box.

* Text edit button

When you press this button, the text edit dialog box appears for changing the names of Programs, Combinations, Songs, etc. For details, please see “Editing names” on page 117.

Character Set Selects

Text

Cursor

the type of character.

Character buttons

k: Menu command button

* Menu

When this button is pressed, a list of menu commands will appear.

The menu commands that appear will differ depending on the selected page.

You can also select up to ten menu commands by holding down the ENTER button and pressing a numeric key 0–9. The menu will close when you press the display in a location other than the menu, or when you press the EXIT button.

Shift button Switches between uppercase and lowercase

Cursor buttons Move the cursor to left or right.

Space button Insert a space at the cursor location.

Delete button Deletes the character to the left of the cursor.

Clear button Delete all characters of the text.

Cancel button, OK button If you are satised with the text that you input, press the OK button. If you wish to discard your input and exit the text edit box, press the Cancel button.

characters.

* OK and Cancel buttons

After performing other operations in the dialog box, you can execute the command by pressing the OK button. To cancel without executing, press the Cancel button. (The operation will occur when you press and release the button.) The dialog box will close.

The EXIT button corresponds to the Cancel button, Done button, and Exit button.

* Done, Copy, and Insert buttons

There are buttons which perform function when they are pressed and released, such as Done, Copy, and Insert (similar to the OK and Cancel buttons explained under “* Dialog box,” above).

l: Stopwatch button

When you press the button on the upper right of the display, the time elapsed since power-on will be displayed. You can use the START/STOP button and RESET button to measure elapsed time. This is

Introduction to the KROME

m: Radio buttons

Numerical input pad Calculator

convenient when you want to check the time during a live performance or rehearsal, or to determine the approximate playback time of a song.

• START/STOP: Starts or stops the stopwatch

• RESET: Returns the time to 000:00:00

m: Radio buttons

Press a radio button to select one value from two or more choices.

* Edit pad

Numerical input pad / calculator

If you press an edit cell, slider, or knob twice in quick succession, a pad for inputting numbers or using a calculator will appear. The various buttons have the following functions.

• OPERATION DIRECT/CALCULATE: Switches between numerical input pad and calculator.

• CE (clear entry): Clears the currently-input number.

• Ent: Enters the number from the pad into the parameter, and closes the pad.

• RECALL: Copies the parameter value into the pad.

•Close: Closes the pad.

Value slider / Wheel pad

When you hold down an edit cell, slider, or knob for a while and then release it, the wheel/value slider will appear.

To change the value, drag the wheel/slider pad.

SLIDER

WHEEL

Note: If you don’t want the edit pad to appear, clear the “Value Edit Pop-up” check box in the menu found in Global P0: Basic Setup– System Preferences (see page 111).

* EG, Velocity Split

You can change the values of a EG or velocity split object by dragging in the display.

Note: Some parameters cannot use the calculator function.

Bank and number select pad

If you press twice in succession on Program Select, Combination Select, or Timbre Select, the bank and number select pad will appear.

Bank and number select pad

• BANK: Selects the program or combination bank.

• For other functions, see “Numerical input pad.”

* Realtime control popup

When you use a REALTIME CONTROLS knob, a popup will indicate the function that’s being controlled and its value. A certain length of time after you stop using the knob, this popup will close automatically. If you press the popup while it’s displayed, it will stay visible, allowing you to enter the value using a value controller such as the numeric keys.

Note: If you don’t want the realtime control popup to appear, clear the “REALTIME CONTROL Pop-Up” check box in the menu located in Global P0: Basic Setup– System Preferences.

Basic Information

About the KROME’s modes

The KROME has numerous functions that let you play and edit programs or combinations, record and play back sequence data, and manage media. These functions are grouped into “modes.” The KROME has five modes.

Program mode

Programs are the basic sounds of KROME.

In Program mode, you can:

• Select and play Programs.

• Use one arpeggiator in your performance.

• Play back Drum Track patterns while you perform using a Program.

•Edit Programs

You can use the realtime controls and the Tone Adjust function to easily edit the program.

You can adjust the parameters and settings of the oscillators, filters, amps, EGs, LFOs, effects, arpeggiator, drum track, etc.

You can use up to five insert effects, two master effects, and one total effect.

Plus, you can create drum programs using drum kits (as created in Global mode).

Basic Information About the KROME’s modes

Sequencer mode

Sequencer mode lets you record, playback, and edit MIDI tracks. You can:

• Use the sixteen-track MIDI sequencer to record and play back songs.

Record a single MIDI track at a time, or record as many as all sixteen tracks simultaneously. You can also record exclusive messages.

• Use multiple tracks to record and play back performances generated by two arpeggiators.

• Use one or more tracks to play back the patterns in the drum track.

• Edit songs.

• Use the KROME as a 16-part multi-timbral sound module.

• GM/GM2 playback is also supported.

• Use the Tone Adjust function to easily edit the program of each track.

• Use up to five insert effects, two master effects, and one total effect.

• Record patterns and assign them to individual keys, using RPPR (Realtime Pattern Play/ Recording).

• Create a Cue List that will play back multiple songs in the order that you specify.

• Create user Drum Track patterns.

Combination mode

Combinations are sets of up to 16 programs that can be played simultaneously, letting you create sounds that are more complex than a single Program. In Combination mode, you can:

• Select and play Combinations.

• Use multiple timbres to play arpeggio patterns generated by two arpeggiators.

• Use one or more timbres to play back the patterns in the drum track.

• Use the KROME as a 16-track multitimbral tone generator.

• Edit Combinations

You can use the tone adjust function to easily edit the program of each timbre.

You can assign Programs to each of the 16 Timbres, each with separate volume, pan, EQ, and keyboard and velocity zones; make settings for effects, arpeggiator, drum track.

Plus, you can use up to five insert effects, two master effects, and one total effect.

Global mode

Global mode lets you adjust overall settings for the entire KROME, and edit drum kits, arpeggio patterns. In Global mode, you can:

• Adjust settings that affect the entire KROME, such as master tune and global MIDI channel.

• Create user scales.

• Create drum kits using drumsamples.

• Create user arpeggio patterns.

• Rename program, and combination categories.

• Set the function of the assignable pedals and assignable buttons.

• Transmit MIDI System Exclusive data dumps.

Media mode

You can save or load data using an SD card. In Media mode, you can:

• Save and load Programs, Combinations, Songs, and Global setup data.

• Format SD card, copy and rename files, etc.

• Perform file operations such as copying data to or from media.

• Export and import sequences to and from SMF (Standard MIDI Files).

• Use the Data Filer function to save or load MIDI System Exclusive data.

Introduction to the KROME

IFX 1

IFX 5

MFX 1

MFX 2

TFX

Insert / Master / Total Eect

TRACK 1

TRACK 8

TRACK 2

TRACK 3

TRACK 4

TRACK 5

TRACK 6

TRACK 7

PROGRAM

TRACK 9

TRACK 16

TRACK 10

TRACK 11

TRACK 12

TRACK 13

TRACK 14

TRACK 15

PROGRAM

Arpeggiator B

Arpeggiator A

Drum Track

IFX 1

IFX 5

MFX 1

MFX 2

TFX

Insert / Master / Total Eect

TIMBRE 1

TIMBRE 8

TIMBRE 2

TIMBRE 3

TIMBRE 4

TIMBRE 5

TIMBRE 6

TIMBRE 7

PROGRAM

TIMBRE 9

TIMBRE 16

TIMBRE 10

TIMBRE 11

TIMBRE 12

TIMBRE 13

TIMBRE 14

TIMBRE 15

PROGRAM

Arpeggiator

Arpeggiator B

Arpeggiator A

IFX 1

IFX 5

MFX 1

MFX 2

TFX

Insert / Master / Total Eect

MIDI TRACK 1...16

PCG / SNG

PCG

DrumTrack

DRUMS PROGRAM

ARPEGGIO PATTERN

Preset Drum T rack Pattern

User Drum Track Pattern

Preset Pattern: P0 - 4

User Pattern

OSC 1

PITCH1

FILTER1

AMP1/

DRIVER1

OSC 2

PITCH2

FILTER2

AMP2/

DRIVER2

Multisample 1

Drum Kit

Multisample 5

Multisample 2 Multisample 6

Multisample 3 Multisample 7

Multisample 4 Multisample 8

Multisample 1

Drum Kit

Multisample 5

Multisample 2 Multisample 6

Multisample 3 Multisample 7

Multisample 4 Multisample 8

Key Assign

DRUM KIT

Drumsample 1

Drumsample 5

Drumsample 2

Drumsample 6

Drumsample 3

Drumsample 7

Drumsample 4

Drumsample 8

GLOBAL MODE

PROGRAM

COMBINATION

SEQUENCER

DRUM KIT

MEDIA MODE

ARPEGGIO PATTERN

Relational diagram of the KROME’s modes

Basic operations

After you’ve turned on the KROME, here’s how to perform basic operations, such as selecting modes and pages.

Selecting modes

In order to use a particular function on the KROME, you must first select the appropriate mode.

• Press one of the front panel mode buttons to enter the corresponding mode.

COMBI button: Combination mode PROG button: Program mode SEQ button: Sequencer mode GLOBAL button: Global mode MEDIA button: Media mode

• Alternatively, you can press the Mode button located in the upper left of the display, and select the desired mode from a menu (see page 4).

For a summary of each mode, please see “About the KROME’s modes” on page 7.

Note: The selected mode is shown in the upper left of the display, and also indicated by the lit status of one of the above mode buttons.

Note: By pressing the GLOBAL or MEDIA button twice, you can select the previously-selected mode (Combination, Program, or Sequencer).

Basic Information Basic operations

2. Press the button for the page that you want to view.

P0: Play is the page you’ll normally use when performing on the KROME. (The same is true in Program mode.) Editing is done in other pages.

As an example here, try selecting “P4 Zone/Delay.” The P4: Zone/Delay– Key Z T01–08 page will appear.

Selecting page group and tabs

Each mode has a large number of parameters, which are grouped into pages. These pages are further subdivided by tabs; with up to twelve tabs per page.

• Make sure that the desired mode is selected.

For this explanation we’ll use Combination mode as an example.

Selecting a page group

Moving by selecting a page group

The Page Select screen shows a list of the page groups within each mode. Select the desired page group from this list.

1. Press the PAGE button.

Alternatively, you can access the mode menu and press the mode button, and then press the right side of the menu (see page 4).

The page select menu will appear.

The page where you were immediately before pressing the PAGE button is shown in a darker color for your reference.

Note: The page that appears will be showing the tab that you most recently selected.

Using the PAGE button plus the numeric keys 0–9 to access different pages

• Hold down the PAGE button and use the numeric keys 0–9 to specify the page number that you want to view.

The specified page number will appear. The page that appears will be showing the tab that you most recently selected.

Note: In pages consisting of multiple pages such as P5– 1, P5–2, P8–1, and P8–2, the first page (P5–1, or P8–1) will be selected.

Using the EXIT button to move between pages

If you’re in a page other than page 0 (e.g., Prog P0: Play) of each mode, pressing this button will take you to page 0.

This button makes it easy to return to the main page of the current mode:

• Press it once to go to the previously-selected tab on the main P0: Play page (Play/REC page in Sequencer mode).

• Press it again to go to the first tab on the main P0: Play page (such as the main Program Play page). If you had previously selected a parameter on this page, that parameter will be selected.

• Press it a third time to select the main parameter on the P0: Play page, such as the Program name in Program mode.

Introduction to the KROME

When a dialog box is open, this button cancels the settings made in the dialog box and closes the dialog box, just like pressing the Cancel button.

If a popup menu or menu is open, pressing EXIT closes the menu.

Selecting pages

• You can access tabbed pages by pressing the tabs shown in the bottom line of the display.

This example shows the Program T01–08 page through Mixer T01–08 page of Combi P0: Play.

Selecting a parameter and editing the value

1. Press the parameter that you want to edit.

2. If you select an edit cell, the display will be highlighted. Edit the value.

• The way that the value will change depends on the type of parameter or object. (See “Objects in the display” on page 4.)

The value in the edit cell can be edited by using the value controllers (VALUE dial, INC/DEC buttons, numeric keys 0–9, – button, (.) button, ENTER button, etc.).

3. You can use knobs 1–4 to edit parameters that are assigned to the realtime controls.

Note:

You can use the COMPARE button to compare the

sound you’re editing with the original unedited sound.

INC/DEC buttons

Use these when you wish to make small changes in the value.

VALUE dial

Use this dial to edit the selected parameter’s value. This control is convenient when you want to scroll through a very long list of selections.

Numeric keys 0–9, ENTER button, – button, (.) button

These buttons are convenient when you know the exact value that you want to enter. Use the 0–9, –, and decimal (.) buttons to enter the value, and then press the ENTER button to confirm the entry.

The – button inverts the sign (+/–) of the parameter value; the decimal (.) button inserts a decimal, for entering fractional values.

Note: When selecting “Program Select” (see page 21), you can select a GM bank by holding down the 0 button and pressing the (.), 1–9, or – buttons.

Functions that use the ENTER button in conjunction with another button

ENTER has a few special functions when it is pressed in combination with other buttons.

By holding down the ENTER button while you press a numeric key (0–9), you can select up to ten menu commands from within the current page.

While a dialog box is displayed, the ENTER button corresponds to the OK button. (The EXIT button corresponds to the Cancel button.)

In Sequencer mode, you can hold down the ENTER button and press the LOCATE ( ) button to use the menu command Set Location.

Other

Specifying a program bank or combination bank

PROG BANK A, B, C, D, E, F/ COMBI BANK A, B, C, D buttons

Use these buttons to change banks when selecting Programs or Combinations. The LEDs in the buttons light up to show the current bank.

In Program mode, these buttons select the Program bank.

In Combination mode, these buttons have two functions:

• When you’re selecting Combinations, they choose the Combination bank.

• When you’re assigning a Program to a timbre within the Combination, they select the Program bank.

In Sequencer mode, when a track’s Program name is selected, these buttons change the Program bank.

Using the keyboard to enter a note number or velocity value

By playing a key while pressing a parameter that specifies a note number (such as G4 or C#2) or a velocity value, you can directly enter that note number or velocity value. (This is not available in menu command dialog boxes.)

Tempo input TEMPO knob, TAP button

You can set the tempo by turning the TEMPO knob or by repeatedly pressing the TAP button.

COMPARE button

You can use this button to return the settings of an edited program, combination, or song to their original state. Refer to the following section.

Basic Information Basic operations

Menu command button

Compare function

Program, Combination mode

Use this when you wish to compare the edits you have made to a program or combination’s sound with the un-edited original (i.e., the sound that is written into memory).

When editing a program or combination, press this button. The LED will light up, and the last-written settings for that program or combination number will be recalled. When you press the COMPARE button once again, the LED will go dark and you will return to the settings that you were editing.

1. When editing a program or combination, press this button.

The LED will light up, and the last-written settings for that program number or combination number will be recalled.

2. Press the COMPARE button once again.

Note: The LED 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 button (i.e., the settings that are written into memory), the LED will go dark, and it will not be possible to return to the previous edits by pressing the COMPARE button again.

Sequencer mode

In Sequencer mode, you can use the COMPARE button to make “before and after” comparisons immediately after using realtime recording or step recording to record a song, or after performing an edit on a track.

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

1. Realtime-record a MIDI track. (Take 1)

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

3. Press the COMPARE button. The LED will light up, and take 1 will be recalled.

4. Press the COMPARE button once again. The LED will go dark, and take 2 will be recalled.

5. If at step 3 you once again realtime-record on the same track (take 3), the Compare function will now be referencing take 1.

6. If at step 4 you once again realtime-record on the same track (take 3), the Compare function will be referencing take 2.

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

Note: If you continue editing when the COMPARE button is lit, the button will go dark. This now becomes the musical data that will be selected when the COMPARE button is dark.

Selecting and executing menu commands

The menu commands provide commands that are specific to each page, such as Write (save) or Copy. The available menu commands will depend on the selected page.

For example, the menu commands in Program mode let you write (save) the settings, or let you perform convenient editing operations such as copying settings between oscillators or effects, or a Sync function that lets you edit two EGs together.

1. On the upper right side of the display, press the button.

The menu command will appear.

2. Select a menu command by touching it with your finger.

A dialog box for the selected menu command will appear.

Check-type commands will not display a dialog box; their status will be switched, and the list will close.

By holding down the ENTER button and pressing a numeric key 0–9 you can access the dialog box for the first ten menu commands without going through the menu.

• If you want to close the list without selecting a command, press the display somewhere other than the list, or press the EXIT button.

3. For a parameter in a dialog box, select it by pressing it with your finger, and use the VALUE controllers (e.g., VALUE dial or INC/DEC buttons) to enter its value.

When selecting a program or combination number in a dialog box, you can also use the BANK button to enter the bank as an alternative to using the VALUE controllers.

4. To execute, press the OK button or the ENTER button.

If you decide not to execute, press the Cancel or the EXIT button.

The dialog box will close.

Global mode

The Compare function that brings back the settings prior to editing is not available in Global mode.

Introduction to the KROME

Writing/saving

After editing, you should write or save your changes as necessary.

For example if you’ve edited a program, your changes will be lost if you select another program or turn off the power. The same applies to a combination.

Settings you edit in Global mode and songs will be remembered as long as the power is on, but your changes will be lost when you turn off the power, unless you write these changes into memory.

• You can write or save by pressing the WRITE button twice.

For more details on the Write operations, see the following pages.

•Programs  p.30

• Combinations  p.47

• Effect presets  PG p.67

• Global settings (pages 0–4)  p.116

•Drum kits  p.116

• User arpeggio pattern  p.116

• User Drum Track patterns  p.103 Preset/user Drum Track patterns are saved in internal memory even when the power is turned off. Patterns that you create in Sequencer mode can be converted into user Drum Track patterns and saved in internal memory.

• User template songs  PG p.164 Preset/user template songs are saved in internal memory even when the power is turned off. Track settings and effect settings of a song you create can be saved in internal memory by using the menu command Save Template Song.

• For details on writing to internal memory  p.115

Refer to the following pages for more information about saving.

• Saving a song  p.75

• Saving to media (Media– Save)  p.118

Note: On the KROME, the action of writing to internal memory is called “Write,” and the action of saving to an SD card device is called “Save.”

Assigning a name (renaming)

You can edit the name of an edited program, combination, song, drum kit, or arpeggio pattern.

You can also change the names of the program and combination categories.

For details, please see “Editing names” on page 117.

Shortcuts

Selecting a GM bank program

• Bank GM: Hold down the 0 numeric key and press –.

• Banks g(1)–g(9): Hold down the 0 numeric key and press 1–9.

• Bank g(d): Hold down the numeric key 0 and press (.).

Moving between pages within a mode

•By holding down the PAGE button and pressing a numeric key 0–9 you can jump to the corresponding page.

Access the menu commands in each page (up to ten items)

• By holding down the ENTER button and pressing a numeric key 0–9.

Input note number values or velocity values

• While holding down the edit cell in the display, press a note on the keyboard. Alternatively, select the edit cell in the display, and then hold down the ENTER button and press a note on the keyboard.

Note: You can also use a MIDI note-on message instead of the keyboard.

Note: While a dialog box is displayed, the ENTER button will perform the same function as the OK button. This means that you can’t use this method to enter a note number or velocity value in a dialog box that contains an OK button.

Specifying the location in a song

In Sequencer mode, sets the current location as the Location (equivalent to the Set Location menu command)

• Hold down the ENTER button and press the LOCATE ( ) button.

ENTER button

• While a dialog box is displayed, this button performs the same function as the OK button.

EXIT button

This button makes it easy to return to the main page of the current mode:

1. Press it once to go to the previously selected tab on the main P0 page.

2. Press the EXIT button. You will move to the previously selected parameter of the P0 top page (Prog: Main, Combi/Seq: Program T01–08).

3. Press the EXIT button. You will move to the following parameter of the P0 top page.

Prog: Program Select Combi: Combination Select Seq: Song Select

In any page of Program or Combination mode, pressing EXIT a maximum of two times will immediately allow you to use the numeric keys or INC/DEC buttons to select programs or combinations. In Sequencer mode, pressing EXIT a maximum of three times will allow you to select a song.

EXIT button (in dialog boxes)

When a dialog box is displayed, this has the same function as the Cancel, Done, or Exit button.

Initialize the KROME

• With the power off, press the power switch while holding down the EXIT button and PAGE button. (While data is being loaded, the display will indicate “Now writing into internal Memory.”) The result will be the same as when you’ve executed Load Preload/Demo Data All. (See page 125)

Basic Information Basic operations

Introduction to the KROME

Setup

Power switch

4: Cable hook

AC adapter

When fastening the cable to the cable hook, take care not to bend this portion any more than necessary.

3: Power cord for AC adapter

1: Power

supply jack

2: Plug into AC outlet.

Turning the power on/off

Connecting the AC adapter

1. Make sure that the KROME is powered-off.

2. Connect the DC plug of the included AC adapter to the power supply jack on the KROME’s rear panel.

You must use only the included AC adapter. Using any other AC adapter might cause malfunctions.

3. Connect the power cord to the AC adapter.

4. Plug the power cord into an AC outlet.

Be sure to use an AC outlet of the correct voltage for your adapter.

5. Use the KROME’s cable hook to fasten the cable so that the DC plug does not become accidentally disconnected.

AC adapter connections

If the auto power-off function is enabled, the time until auto power-off turns off the power will be shown when the system starts up. If this dialog box does not appear, the auto power-off function is disabled; the power will not turn off automatically (see “Auto power-off function” on page 16).

Turning the power on

1. Turn the KROME’s VOLUME knob all the way to the left so that the volume is down.

If external equipment such as powered monitor speakers are connected, lower their volume as well, and then turn off their power.

2. Press the power switch on the KROME’s rear panel to turn the power on.

The display will show the model name and software version. (The illustration shows the screen that will appear with the factory settings. This may change without notice.)

3. Turn on the power of the external equipment that’s connected to the KROME’s AUDIO OUTPUT L/ MONO and R jacks, such as powered monitor speakers.

4. Use the KROME’s VOLUME knob and the volume controls of your external equipment to adjust the volume to a suitable level.

Note: The page that appears when you turn on the power will depend on the Power-On Mode setting (see page 110).

Turning the power off

When you turn off the power, unsaved data will be lost. Be sure to save any important data such as edited sounds or global settings (see page 12).

If the KROME’s auto power-off function is enabled, its power will automatically turn off if there has been no user input for a certain length of time. Unsaved data will be lost even if the power is turned off by the auto power-off function.

1. Turn the KROME’s VOLUME knob all the way to the left so that the volume is lowered.

2. If external equipment such as powered monitor speakers are connected, lower their volume and then turn off their power.

Setup

3. Press the power switch on the KROME’s rear panel to turn the power off.

The KROME’s internal data may be damaged if the power is turned off while data is being written into internal memory, such as during a Save operation. Never turn off the power while processing is being performed. The following message is displayed while data is being written into internal memory. “Now writing into internal memory” If writing to internal memory could not be completed successfully, the KROME will automatically repair the internal memory by initializing it the next time you turn on the power. This is not a malfunction. If this occurs, the following message will appear in the display; press the OK button. The internal memory has been corrupted, likely due to an interruption of power while the system was writing/saving data. This has been repaired and the affected Bank has been initialized.

A small amount of electrical power is used even when the power is off (STANDBY). If you won’t be using the KROME for an extended period, turn off the power and unplug the power cord from the AC outlet.

Auto power-off function

1. While this message is displayed, press the Change Setting button in the dialog box.

The following dialog box will appear.

2. Press the popup button to select the length of time after which the power will turn off. If you don’t want the power to turn off automatically, choose the Disabled setting.

Changing the setting during operation

1. Press the GLOBAL button. (Alternatively, press the mode button and choose GLOBAL.)

2. Press the EXIT button to access P0: Basic Setup.

3. Press the System Pref. tab to access the System Preferences page.

4. In “Auto Power-Off,” specify the amount of time when you want the power to turn off. If you don’t want the auto power-off function to automatically turn off the power, choose the Disabled setting.

The KROME supports an auto power-off function that automatically turns off the power when the keyboard or front panel buttons certain length of time.

* Usage of the VOLUME knob is not included.

Note: With the factory settings, the time until automatic power-off will be approximately four hours.

When the power turns off, the settings you had been editing will be lost. Make sure that you save important settings before this occurs.

(*)

have not been used for a

Changing the auto power-off setting

If you want to change the setting so that the power does not turn off automatically, proceed as follows to disable the auto power-off function.

Making the change in the dialog box immediately after start-up

If the auto power-off function is enabled so that the power will turn off automatically, the dialog box will appear immediately after start-up, indicating the time until automatic power-off will occur.

Auto power-off warning message

When the specified length of time has elapsed without any user input on the KROME, a message will appear, warning you that the auto power-off function is about to turn off the power.

If you want to continue using the system, press the keyboard, a button, or the display. The Auto power-off function will be reset. If the same specified length of time elapses with no user input, the same message will appear again.

Connections

USB

DAMPER

ASSIGNABLE PEDAL

ASSIGNABLE SWITCH

INPUT

MIDI IN

MIDI IN MIDI OUT

MIDI OUT

R L/MONO

AUDIO OUTPUT

Computer

Analog audio output

Powere d monitors, etc.

Connections to MIDI equipment

Pedal connections etc.

MIDI cable

AC adapter power supply connector

Power cab le (Included)

to an AC outlet

Connecting the AC adapter

Connections to computers

MIDI keyboard

Connections must be made with the power turned off. Please be aware that careless usage may damage your speaker system or cause malfunctions.

Connections Turning the power off

Setup

L/MONO

INPUT

PHONES

Powered monitor speakers

Headphones

Audio connections

The KROME does not contain built-in speakers. In order to hear the sound of your performance, you’ll need to connect audio equipment such as powered monitors, a mixer, a stereo set or headphones.

Connecting audio equipment

The KROME’s audio output is designed to produce a signal level that is higher than consumer audio equipment such as CD players. For this reason, performing at high a volume may damage your speakers or equipment. Please use caution when adjusting the volume.

1. Minimize the volume of all connected equipment, and turn off the power.

2. Connect the KROME’s OUTPUT L/MONO and R jacks to the input jacks of your powered monitor speakers or mixer.

Note: If you connect only the L/MONO jack, the L and R sound will be mixed for monaural output. In order to take full advantage of the KROME’s capabilities, we recommend that you listen in stereo. If you’re playing back through your stereo audio system or a cassette-radio that has external input connectors, connect the KROME to the jacks that are marked LINE IN, AUX IN, or external input. (You might need to obtain the appropriate adapter plug or conversion cable.)

Connecting headphones

Using headphones at high volume for an extended time may cause hearing damage. Please avoid excessively high volume levels.

1. Connect the stereo mini-plug of your headphones to the KROME’s Headphone jack.

2. Use the VOLUME knob to adjust the headphone volume.

The KROME’s Headphone jack will output the same signal as the OUTPUT L/MONO and R jacks.

The output from the OUTPUT jack is not turned off even if headphones are connected to the Headphone jack.

Connecting a damper pedal, foot switch, or foot pedal

If you connect an optional damper pedal, foot switch, or foot pedal to the KROME, you’ll be able to control the KROME using your feet.

Connecting a damper pedal

When you press the damper pedal, the notes you’ve pressed will be sustained so that they will continue even after you take your hands off the keyboard. This is also called a sustain pedal; it has the same function as the damper pedal of an acoustic piano.

If the optional Korg DS-1H damper is connected, you’ll be able to take advantage of the “half-damper” effect, where the depth that you press the pedal will vary the damper amount. If any other type of pedal is connected, it will function as a damper switch.

In Combination or Sequencer mode, you can also select settings so that the damper will apply to some sounds but not to other sounds.

1. Connect a Korg DS-1H damper pedal to the ASSIGNABLE PEDAL/SW1/DAMPER jack.

2. Depending on which assignable jack you have connected the pedal to, set the controller type (Type) to Damper, and set the Polarity as appropriate (see page 202 of the Parameter Guide).

Note: The half-damper sensitivity is adjusted to a standard value when the KROME is shipped from the factory. If the half-damper pedal you’re using does not respond appropriately, please adjust the sensitivity (see page 217 of the Parameter Guide).

Connecting a foot switch

This lets you use a simple foot switch, such as the Korg PS-1 or PS-3, as an assignable controller. The foot switch can perform a wide variety of functions, such as:

• An assignable source for modulating sounds and effects

• Portamento on/off

• Program select up or down

• Sequencer start/stop or punch in/out

• Tap Tempo

Connections Connecting a damper pedal, foot switch, or foot pedal

•Arpeggiator on/off

• Switch the Drum Track on/off

• Use various KROME controls (realtime control knobs, joystick, SW1/SW2, etc.)

This button will always function in the same way regardless of the Program, Combination, or Song you’ve selected. You can assign the function in the Global mode.

Using a foot switch to select Programs

You can select programs by using a foot switch connected to the ASSIGNABLE SWITCH jack. By assigning the appropriate function, you can increment or decrement the program number in steps of one.

This lets you change Programs without using your hands–great for quick Program changes in live performance situations.

There are two ways of doing this: by assigning the foot switch to Program Up/Down, or to Value Inc/Dec. Each of these is suited to a particular application, as described below.

• Prog Up/Down: When performing in the normal P0 screen

• VALUE Inc/Dec: When performing while a list such as the Category/Program Select menu is open

Assigning the foot switch to Program Up/Down

Assigning the foot switch to Program Up or Program Down lets you directly control Program changes from the foot switch. For most situations, this is the more straightforward method.

To s e t t h is up:

1. Connect a foot switch to the rear-panel ASSIGNABLE SWITCH input.

Use an optional PS-1 pedal switch.

2. Access the Global P2: Controllers– Foot Controllers page.

Proceed as follows.

Press the GLOBAL button to enter Global mode.

Press the PAGE button to access the GLOBAL Page Select. Press P2 Controllers, then press the Foot Control tab in the display.

3. Set “Foot Switch Assign” to either Program Up or Program Down.

If you choose Program Up, the next program number up will be selected each time you press the foot switch.

If you choose Program Down, the next program number down will be selected each time you press the foot switch.

4. Set the “Foot Switch Polarity” to match the polarity of the pedal you’ve connected.

If you’ve connected the optional PS-1 or PS-3 pedal, choose (–) KORG Standard.

Now, the foot switch will step through the Programs, one by one.

5. If you want to preserve this setting even when the power is turned off, be sure to Write the data. (See page 116)

6. Press the PROG button to enter Prog P0: Play, and press the foot switch to change the Program.

Note:

This setting applies to selecting Combinations, as well.

Note: With the Program Up/Down method, you won’t be able to select programs while the Bank/Program Select or Category/Program Select menus are open. Use the “Assigning the foot switch to Value Inc/Dec” method described below.

Assigning the foot switch to Value Inc/Dec

This lets you use the Assignable Foot Switch to duplicate the functions of the front-panel INC or DEC buttons.

This method is convenient if you want to open the Bank/Program Select menu or the Category/Program Select menu and switch programs while viewing the program or combination menu.

1. Follow steps 1–2 under “Assigning the foot switch to Program Up/Down,” above.

2. At the top of the page, set the Foot Switch Assign parameter to Value Inc (or Value Dec).

3. Now, the foot switch will act just like you’re pressing the front-panel INC or DEC buttons.

Note: The foot switch will work like this for the entire KROME–not just when the Bank/Program select menu or Category/Program Select menu is open.

Connecting a foot pedal

If you connect an optional EXP-2 foot controller or XVP-10 expression/volume pedal to the ASSIGNABLE PEDAL jack, you can use it to apply modulation to sounds or effects, or to adjust the overall volume.

This pedal will always function in the same way regardless of the Program, Combination, or Song you’ve selected. You can assign the function in the Global mode.

Like the Assignable Foot Switch, described above, the Foot Pedal can be used for many different functions, including:

•Master Volume

• Channel Volume, Pan, or Expression

• Assignable sound modulation, as several different AMS or Dmod sources

• Effects Send level control

• Use various KROME controls (realtime control knobs, Joystick, SW1/SW2, etc.)

1. Connect an optional XVP-10 or EXP-2 to the ASSIGNABLE PEDAL jacks.

2. After turning the power on, use Global P2: Controllers– Foot Controllers page “Foot Pedal Assign” to assign the function controlled by the foot pedal. (See page 111, and pages 202, 350 of the Parameter Guide)

Setup

MIDI keyboard

KROME

MIDI IN MIDI OUT

MIDI keyboard

MIDI patch bay

MIDI tone generator

Connecting the KROME to acomputer

USB connection

The KROME provides both MIDI and USB connectors as standard equipment. By connecting the KROME to your computer via USB, you can use it as a controller and MIDI sound module for your DAW software with single cable convenience; and with out the need for a MIDI interface.

By using the dedicated editor, you can edit some of the parameters of the KROME from your computer as though it were a software plug-in.

Note: The USB connector of the KROME is only able to transmit and receive MIDI data.

Before you connect the KROME to your computer via USB, you must install the KORG USB-MIDI driver on your computer.

Connecting via the MIDI connectors

You can connect the KROME to your computer via MIDI by using a commercially available MIDI interface.

Note: For more about MIDI interfaces, refer to the owner’s manual of the MIDI interface you’re using.

Some USB-MIDI interfaces may be unable to transmit or receive the KROME’s MIDI exclusive messages.

Controlling an external MIDI tone generator from KROME

If you want to use the KROME’s keyboard, Joystick and other controllers, sequencer, and arpeggiator to play or control an external MIDI sound module, use a MIDI cable to connect the KROME’s MIDI OUT connector to the MIDI IN connector of your external MIDI sound module.

MIDI OUT

KROME

MIDI IN

Controlling KROME’s tone generator from an external MIDI device

When you wish to play or control the KROME’s tone generator from an external MIDI keyboard or sequencer etc., use a MIDI cable to connect the MIDI OUT connector of the external MIDI device to the MIDI IN connector of KROME.

Connecting MIDI devices

By connecting the KROME’s MIDI connectors to an external MIDI device you can transfer sound settings and performance data such as note messages between your external MIDI device and the KROME.

About MIDI

MIDI stands for Musical Instrument Digital Interface, and is a world-wide standard for exchanging various types of musical data between electronic musical instruments and computers. When MIDI cables are used to connect two or more MIDI devices, performance data can be exchanged between the devices, even if they were made by different manufacturers.

Controlling two or more external MIDI tone generators from KROME

You can also use a MIDI patch bay to control multiple MIDI devices.

KROME

MIDI IN

MIDI OUT

MIDI IN

Playing and editing Programs

4: INC/DEC buttons

3: Program Select

2: PROG P0: Play

4: VALUE dial

1: ROG buttons4: Numeric keypads

ENTER button

5: BANK A–F buttons

Velocit y meter

1: Mode name

(button)

Mode button Page number and name Tab name

Program Select (Program number and name) Category Select popup button

(Category number and name)

Bank number

Program Select popup button

About the KROME’s Programs

Programs are the basic sounds of the KROME.

You can play them by themselves, layer them together in Combinations, or play a different Program on each of the 16 MIDI tracks, either from the internal sequencer or from external computer-based sequencers.

This section of the manual takes a quick look at playing Programs, including tours of the front-panel controllers and basic editing techniques.

Playing Programs

Selecting Programs

There are several different ways to select Programs. Each one is convenient in a different way:

• Using “Program Select” and the VALUE controllers:

• Using the Bank/Program Select menu:

• Using the Category/Program Select menu:

•Find

• Using a foot switch: page 19

• MIDI program change messages let you select Programs remotely, from either a MIDI sequencer or an external MIDI controller

For details, please see below.

Selecting a program using “Program Select” and the VALUE controllers

1. Press the PROG button. (The LED will light up.) (Refer to the illustration below for the buttons.)

Alternatively, you can use the mode button (see “Selecting modes” on page 9).

The KROME will enter Program mode.

2. Access the Prog P0: Play– Main page.

This is shown in the top line of the display.

If a different page is shown, press the EXIT button a few times to return to the Prog P0: Play– Main page.

3. Make sure that “Program Select” is selected.

If it’s not selected, press “Program Select” in the display or press the EXIT button to highlight the indication.

4. Select the program you want to play.

You can use the following methods to select a program.

• Use the INC or DEC buttons.

• Turn the VALUE dial.

• Use numeric keys 0–9 to enter the program number, and press the ENTER button.

5. Press one of the PROG BANK A–F buttons to select a bank.

When you select a different Bank, the button’s LED will light up, and the selected bank will appear on the left side of the display.

Playing and editing Programs

For example, to select bank B, press the PROG BANK B button. The B button will light up, and the name Bank B will appear on the left side of the display.

• To select a GM bank, you’ll use the numeric keys.

GM: Hold down 0 and press –.

g(1)–g(9): Hold down 0 and press the desired number 1–9. For banks that do not have variation sounds, the basic GM sounds will be recalled. (An “*” will be appended to the beginning of the program name.)

g(d): Hold down 0 and press (.).

Auditioning the sound

Play the keyboard to audition the program you’ve selected.

The velocity meter shows the note-on velocity.

• This shows the velocity value of note-on events for the global MIDI channel, such as the keyboard, MIDI IN, and arpeggiator. (If multiple note-on events are received simultaneously, the highest velocity value is shown.)

• Since this shows the note-on velocity values, it will not be affected by the settings of the volume knob or by changes in the audio signal level.

Overview: Program Banks

As program banks, the KROME provides the six banks A–F and the GM banks (GM–g(d)). With the factory settings, the KROME has 640 preload programs in banks A–E. Bank F contains only initialized programs. Programs you’ve created should be stored in this bank.

With the exception of the GM–g(d) banks, you are free to save by overwriting these program memory areas. You can also save these programs on an SD card.

Programs are organized into six banks as shown in the following table.

Program bank contents

Bank Prog. No. Explanation

With the factory settings, these banks contain a wide

A…E 000…127

F 000…127

GM 001…128

g(1)…

001…128

g(9)

g(d) 001…128

Fac tor y Programs.

Initialized Programs.

GM2 main programs.

GM2 variation programs.

GM2 drum programs.

variety of preloaded programs that use the internal multisamples, effects, and arpeggiator.

Use these to create a program from scratch.

These banks contain 256 GM programs and nine GM drum programs that are compatible with the GM2 sound map. The programs of these banks are readonly. Bank GM contains the GM programs. GM lets you select 128 programs numbered from 001–128, and g(1)–g(d) lets you select nine drum programs. You can’t write (save) data to these banks.

Selecting by Bank/Program Select menu

You can select Programs from a menu organized by Program bank.

1. Press the Program Select popup button.

The Bank/Program Select menu appears.

Bank/Program Select menu

In this illustration, Bank A is selected. The menu displays the Programs contained in that bank.

2. Press the tabs on the left side of the display to select banks.

3. Press one of the program names in the center area to select a program.

The selected program will be highlighted, and the program will change.

Alternatively, you can use the INC/DEC buttons to switch programs.

Play the keyboard to hear the program you selected.

4. If you selected Bank GM, the Variation button is shown.

By repeatedly pressing this Variation button, you can successively step through the banks, allowing you to recall a GM2 sound set (see “To select a GM bank” on page 22).

5. When you are satisfied with the selected Program, press the OK button to close the menu.

If instead you press the Cancel button, the selection you made here will be discarded, and you will return to the program that had been selected before you opened the menu.

Playing Programs Selecting Programs

Find

Here’s how to search for a program by a portion of its name.

1. Access the Bank/Program Select menu or the Category/Program Select menu, etc.

2. Press a tab to select the bank or category that you want to search.

Note: The programs included in the selected tab will be the subject of the search.

3. On the lower left side, press the Find button to access the dialog box.

4. Press the “T” button to access the text dialog box.

Enter the alphanumeric characters that you want to find, and press the OK button. For example if you want to find programs that take effective advantage of SW1 or SW2, enter “sw”.

5. If you select the “Ignore Case” check box, uppercase and lowercase characters will not be distinguished in the search.

6. Press the Find button to begin searching.

Search results are shown in “Found.”

If one or more items are found, the number of items and the first found program will be displayed.

Press the Prev. button or Next button to find the previous or next program. This will cycle through the found items within the tab.

You can play the keyboard to audition the program that was found.

If no items are found, the display will indicate “nothing.”

7. If you are satisfied with the selected program, press the OK button to close the menu.

The selected program will be selected in the menu you selected in step 1. If you are satisfied with the selected program, press the OK button to close the menu.

If you want to search for a different program, or if no items were found, press the Cancel button.

8. Press the tab that you want to select next, and search as described in steps 3–7.

If you press the Cancel button, this selection will be discarded, and you will return to the program that had been selected prior to opening the menu.

Selecting by Category/Program Select menu

You can select Programs from within a category, such as keyboard, organ, bass, and drums.

When shipped from the factory, the preloaded Programs are organized into 16 categories, each with several sub-categories.

1. Press the Category Select popup button.

The Category/Program Select menu appears.

Category/Program Select menu

In the illustration above, the Keyboard category is selected. The menu in the center column area shows the Programs which belong to that category.

2. Press the tabs to the left and right of the display to select a different category.

The name of the selected category will be displayed in full in the top right-hand corner.

3. Press one of the program names in the center area to select a program.

The selected program will be highlighted, and the program will change.

Alternatively, you can use the INC/DEC buttons to switch programs. Touch the scroll ribbon at the bottom of the screen to see all of the Programs in that category.

Play the keyboard to hear the program you selected.

4. If you want to select from a sub-category, press the Jump to Sub button to access the Sub Category/ Prog Select menu.

Press the left tabs to select a sub-category.

Note: You can’t select tabs for a sub-category that has no associated programs.

Select a program as described in step 3 above.

Press the OK button to confirm your selection, or press the Cancel button to discard it. You will return to the main category.

5. When you are satisfied with the selected program, press the OK button to close the menu.

If instead you press the Cancel button, your selection will be discarded, and you will return to the program that had been selected when you opened the popup menu.

Playing and editing Programs

(Lock function)

Joystick

Program information

In the Prog P0: Play– Main page you can view the following information about the selected program.

OSC Picture: This is a graphic that represents the program’s oscillator.

OSC Oct: For a double oscillator or double drums, this indicates “Oct” (the basic pitch of the oscillator).

SW1, SW2: This indicates the function that’s assigned to the SW1/SW2 buttons, and the on/off state of the buttons.

Realtime Controls – TONE CONTROLS/USER CONTROLS/ARP CONTROLS:

This shows information about the functions of the REALTIME CONTROLS knob that’s currently selected. Use the SELECT button to choose the functions that will be controlled by the knobs. For more information about these functions, please see page 28.

EQ (Low, Mid[Hz], Mid, High): This shows the 3-band EQ settings. You can use the value controllers to edit the values.

Effect Controls– IFX, MFX, TFX:

This shows the effects that are assigned. The KROME provides insert effects 1–5, master effects 1 and 2, and a total effect. For the master effects, you can edit the return levels.

Velocity Meter:

This meter shows the note-on velocity value.

The meter shows the note-on velocity of the keyboard, MIDI IN, and arpeggiator etc. (If multiple note-on messages are received simultaneously, the highest velocity value is shown.)

Realtime Controls

- Tone Controls

- User Controls

OSC

Picture

OSC Oct

SW1, SW2

Velocity Meter

- Arp Controls

Eect Infomation IFX 1-5

MFX 1, 2, Send level (On/O)

TFX (On/O)

Using Controllers

In addition to using the keyboard, the KROME lets you control the sound by using the joystick, SW1 and SW2 buttons, knobs 1–4, damper pedal, and foot switch or foot pedal.

These controls let you modify the tone, pitch, volume, effects, etc. in realtime as you play.

[SW1], [SW2]

Joystick

The joystick moves in four directions: left, right, up (away from yourself), and down (towards yourself). Each of the four directions can be used to control a different function, such as modulating Program or effects parameters. These assignments can be different for every Program, but generally, they do the following:

Standard Joystick functions

Move the joystick…

Left JS–X Pitch bend down

Right JS+X Pitch bend up

Up (away from yourself) JS+Y Vibrato

Down (towards yourself) JS–Y Filter LFO (wah)

For details, please see page 82.

Joystick Lock

This function lets you maintain the effect that had been applied prior to releasing your hand from the joystick.

You can use the SW1/SW2 buttons or a foot switch connected to the KROME to lock the current position so that the effect will continue even after the joystick returns to the center position. For details, please see “Locking the Joystick” on page 25.

Controller

Name

Normally controls…

SW1, SW2

You can use these buttons to control program parameters via AMS (Alternate Modulation), or effect parameters via Dmod (Dynamic Modulation).

They can also transpose the keyboard by octaves, turn portamento on/off, or to lock the position joystick.

Each button can work as either a Tog g le or Momentary button. In Toggle mode, the assigned function is switched between on and off each time the button is pressed. In Momentary mode, the assigned function is active on only as long as you hold down the button.

In Program mode, you can check the assignments of SW1 and SW2 on the Prog P0: Play– Main page.

For details, please see “Program information” on page 24.

Playing Programs Using Controllers

When you write a Program or Combination, the on/off status of the SW1 and SW2 buttons is saved.

For details, please see page 82.

Locking the Joystick

1. Using the standard factory sounds, select Program C027: Semi Distortion Guitar.

To select a program, make sure that you are in Program mode, and press the PROG BANK C button, numeric key 2, 7, and then the ENTER button.

2. While holding down a key, move the joystick in the –Y direction (toward yourself).

The tremolo effect will deepen.

3. While keeping the joystick in the –Y direction (toward yourself), press the SW2 button. (The SW2 button LED will light up.)

When you press the button, its LED will light up, and the modulation effect at this point will be maintained.

4. Release the joystick, and play the keyboard.

The modulation will stay the same as it was when SW2 was pressed. Even if you move the joystick toward yourself, the sound will not change.

5. Press the SW2 button once again to release the Lock function.

Keyboard

The KROME’s keyboard provides the following two types of control.

1. Press the SELECT button to select the realtime control function between TONE, USER, or ARP.

TONE, USER: Use the knobs to modify the sound or

effects (see page 28).

ARP: Use the knobs to control the arpeggiator (see page 86).

You can freely switch between these functions without losing your current edits.

2. Use knobs 1–4 to control the selected functions.

When you turn one of these knobs, that knob’s function and value will appear in a popup.

(You can prevent this popup from appearing. See page 111.)

There will be a slight amount of play when turning the knob near its minimum or maximum positions.

TEMPO knob and TAP button

This adjusts the tempo for the KROME as a whole, including:

• Arpeggiator

• Drum Track

• Songs in Sequencer mode

• Tempo-synced LFOs

• Tempo-synced (“BPM”) delay effects

TEMPO LED

The LED will blink at quarter-note intervals of the current tempo.

Velocity

Velocity is a measure of how hard you play a note on the keyboard. This can be used to modulate many different aspects of the sound, such as volume, brightness, or the character of the attack.

Note Number

Sounds can be programmed to change in character based on the note being played.

As you play higher or lower on the keyboard, the note number can modulate the timbre - such as becoming brighter as you play higher notes. Envelopes may also become faster or slower; the volume may change; and so on.

Realtime control knobs

The realtime controls consist of four knobs and the SELECT button. These controls function as follows.

• You can apply modulation to sounds or edit them.

• You can control the arpeggiator.

TEMPO knob

This knob adjusts the tempo. It’s a convenient way to make continuous adjustments.

Note: If the Global P1: MIDI– MIDI Basic page MIDI Clock parameter is set to External MIDI, External USB,

or if it is set to Auto and a clock is currently being received via MIDI, then neither the TEMPO knob nor the TAP button will have any effect.

TAP button

You can set the tempo of the Arpeggiator or Drum Track function in Program, Combination, and Sequencer modes by lightly pressing or tapping the TAP button several times on the beat. In Sequencer mode, you can control the song tempo in this way.

To enter the tempo, use your finger to gently tap the TAP button. The tempo will be entered when you press the button twice, but you should tap several times in order to increase the precision. The average of the last sixteen taps will be specified as the tempo.

During playback, lightly press the TAP button several times at the desired tempo. The tempo will follow your tapping in realtime. This is a convenient way to match the tempo in realtime to the beat of a different source.

You can use tap tempo control whenever the TEMPO knob can be used. For example in Sequencer mode, tap tempo control will not be available if you are playing a song where the Tempo M od e setting is set to Auto. (See page 110 of the Parameter Guide)

Note: You can also use a foot switch connected to the ASSIGNABLE FOOT SWITCH jack to control the tap

Playing and editing Programs

tempo function (see page 18, and pages 202, 349 of the Parameter Guide).

Performing with the

Damper pedal / Foot switch / Foot pedal

For details on using the damper pedal, foot switch, or pedal to control the sound, please see “Connecting a damper pedal, foot switch, or foot pedal” on page 18.

arpeggiator or drum track

Based on note data that it receives from the keyboard or from the MIDI IN connector, the arpeggiator can generate a wide range of phrases and patterns including arpeggios, guitar or keyboard backing riffs, bass phrases, or drum patterns. By setting SELECT to ARP and using the knobs, you can vary the duration and strength of the arpeggiated notes.

For more about the arpeggiator, please see page 85.

The drum track uses a rich variety of drum patterns to play the KROME’s high-quality drum programs. You can select any program and play along with the drum patterns.

Of course you can also synchronize the arpeggiator and the drum track patterns and use them together.

For more about the drum track, please see page 97.

Easy Program editing

OSC Play/Mute Drum Track Play/Mute

Volu me

The fastest way to create the sound you need is to start from a preload program that’s close to what you have in mind, and edit that program.

Simple editing can be done within the various pages of P0: Play where you perform. You can adjust the EQ and volume level, and in the Tone Adjust page you can use the sliders and buttons to perform various useful edits. You can also use the front panel realtime controls to intuitively adjust the cutoff, resonance, and release time.

If you want to do detailed editing, use the editing pages P1 and following.

Adjusting the EQ

You can adjust a mid-sweepable three-band EQ in the Prog P0: Play– Main page.

Note: This EQ will affect both oscillator 1 and oscillator

1. Access the Prog P0: Play– Main page.

2. On the display, select the EQ gain knob or the center frequency of the Mid sweep EQ that you want to edit.

3. Use the VALUE controllers (e.g., VALUE dial) to edit the value.

You can also edit the value by dragging left or right on a knob or edit cell in the display.

Easy Program editing Adjusting the EQ

Adjusting the volume balance

A program’s sound consists of up to two “oscillators” which are played mainly from the keyboard, and one “drum track” which automatically plays the rhythm section.

The volumes of the oscillators and the drum track can be adjusted in the Prog P0: Play- Mixer & Drum Track page.

Note: There’s also a “mute function” which individually silences these, and a “solo function” which mutes all sounds other than the specified one.

1. Access the Prog P0: Play– Mixer & Drum Track page.

2. Select a slider in the display, and use the VALUE dial etc. to adjust the volume of oscillators 1 and 2 and the drum track.

For oscillators that use two drum kits, you can use the OSC1 and OSC2 sliders to adjust the direct sound of the close-miced drum kit and the ambient sound of the drum kit captured with more space.

Note: With single-oscillator programs, you won’t be able to control oscillator 2.

3. You can press the Play/Mute button in the display to toggle the Play/Mute status of oscillators 1 and 2 and the drum track.

4. You can press the Solo button in the display to toggle the Solo On/Off status of oscillators 1 and 2 and the drum track.

The function of the Solo button will switch each time you select “Exclusive Solo” in the menu (see page 64 of the Parameter Guide).

Playing and editing Programs

Level

Frequency

HighLow

Cut off frequency

Level

Time

Level

Time

note-on note-off

Sutart Level

Attack Time

Decay Time

Slope Time

Attack Level

Break Level

Release Level

Sustain Level

Release time

Using realtime controls to edit the sound or effects

You can use the realtime controls (the SELECT button and knobs 1–4) to modify the sound and control the arpeggiator.

1. Press the REALTIME CONTROLS SELECT button to switch the realtime control function between TONE, USER, or ARP.

Each time you press the button, you’ll cycle through A, B, and C modes, and the corresponding LED will light up.

Note: If CC#70–79 are assigned to REALTIME CONTROLS A mode and B mode, the sound that you edit using knobs 1–4 will be saved when you write the program. Arpeggiator settings you adjust in C mode will also be saved.

2. Modify the sound by turning the knob that you want to control. See below for details.

TONE controls

In TONE section you can turn knobs 1–4 to control or edit the following items.

Note: When a knob is in the center position (12 o’clock), the parameter will have the value specified by the program.

Knob 3: EG INT

This adjusts the filter EG intensity (the depth of how the EG affects the filter).

Using the knob will change the amount of how the filter is affected by the EG. Normally, turning the knob toward the left will make the filter EG shallower, and turning the knob toward the right will make it deeper. Since the filter EG operates relative to the filter cutoff frequency, both knobs 1 and 3 will control the tonal change produced by the filter.

Knob 4: RELEASE

This adjusts the filter and amp EG release time, changing the time from note-off until the sound is no longer heard.

Turning the knob will change the release time of the filter EG and the amp EG. Normally, turning the knob toward the left will shorten the release time, and turning the knob toward the right will lengthen it.

Knob 1: CUTOFF

This adjusts the filter’s cutoff frequency. Adjusting the cutoff frequency will modify the brightness of the sound.

Knob 2: RESONANCE

This adjusts the filter’s resonance level.

Adjusting the filter resonance level will boost the sound in the region of the frequency, giving a distinctive character to the sound.

Example:

1. Select program “Category: KEYBOARD A066: Dark R&B Piano.

This is an electric piano sound. Let’s try modifying the sound a little.

2. Press the REALTIME CONTROLS SELECT button to select TONE (the LED will light-up).

3. While you play, slowly turn knob 1 (filter frequency) about 3/4 toward the right.

The piano sound will become more like a synth sweep.

4. Next, turn knob 2 (filter resonance) about 3/4 toward the right as well.

5. Leave knob 2 in its position, and try turning knob 1 to the left and right.

Raising the resonance will change the sound as though you were playing through a wah pedal.

USER controls

In the USER section you can turn knobs 1–4 to control various aspects of the sound such as volume, portamento time,

pan, filter and amp EG, pitch LFO, and master effect send level.

In USER, the most useful functions are assigned individually for each preload program.

The table below shows the standard assignments of the Realtime Controls knobs:

Knob MIDI CC Normally controls…

TONE1 74 Filter Cutoff Frequency

TONE2 71 Filter Resonance

TONE3 79 Filter EG Intensity

TONE4 72 EG Release Time

USER1, 2 Varies for each Program

USER3 Often Chorus Depth - but can vary per Program

USER4 Often Reverb Depth - but can vary per Program

For details, please see page 16 of the Parameter Guide.

ARP controls

In the ARP section you can control the arpeggiator in realtime.

For details on functionality, please see page 86.

Saving the edits you made by moving the knobs

The realtime control knobs are an ideal way to modify the sound while you perform. As needed, press the front panel WRITE button to Write the Program into memory and save the sound you’ve edited. (See “Saving your edits” on page 30.)

However for Realtime Controls USER knobs 1–4, the edited settings can be saved only if you’ve assigned CC#70–79.

Internally, a single knob usually affects several different parameters. When you write a Program, the edits are saved into the individual program parameters, and not to the knob itself.

After writing the Program, you’ll notice that the knobs have returned to their center positions–since the old “edited” values are now the new “saved” values.

Assigning Realtime Controls USER functions to knobs 1–4

You can assign the functions that knobs 1–4 will perform when Realtime Controls USER is selected. (See page 41)

Easy Program editing Using Tone Adjust

Using Tone Adjust

The Tone Adjust function lets you edit the parameters of the program. The program parameters that are most effective for editing will be assigned to the controllers in the display.

1. Access the Prog P0: Play– Tone Adjust page.

This page shows and reflects data generated by the tone adjust function, letting you view the parameter assignments and their precise values.

2. To edit the sound, select a slider (1–8) or button (1–

8) in the display, and use the VALUE dial etc. to use it. (You can edit the value of a slider by dragging it in the display.)

Note: You can assign the principal program parameters to the various controllers in the display. For details, please see page 7 of the Parameter Guide.

For example:

1. Select Program A069, “Deluxe E.Piano.”

2. Access the P0: Play– Tone Adjust page.

3. Look at the assignments for sliders 5, 6, and 8 in the display.

Slider 5 is assigned to F/A EG Attack Time; slider 6 is assigned to F/A EG Decay Time; and slider 8 is assigned to F/A EG Release Time.

4. Raise each of the three sliders so that they are about 4/5 of the way to the top.

The display should show their values as between +60 and +70. This means that you have edited the filter EG and amp EG attack, delay, and release to longer values.

5. Play a few notes.

Notice that the sound has changed from an electric piano into a soft pad. Next, let’s add just a bit of filter modulation, to make the sound more rich.

6. Notice the assignment of slider 2 in the display.

Slider 2 is assigned to “[OSC1] Filter LFO1 Int A” (OSC1 filter LFO1 intensity). It will adjust the amount of filter modulation produced by LFO1.

7. Lower slider 2 slightly so that the display indicates about –6.

8. Play a few more notes.

The filter modulation has added some shimmer to the sound. Now, maybe it could use a bit more edge…

9. Look at the assignments for switches 6 and 7 in the display.

These are programmed to raise the Filter Cutoff and Filter Resonance, respectively. Switches are just on/off,

but you can set a specific value for the On position; notice the +10 and +40 in the switch’s value boxes.

10. Press each of the two switch buttons.

The sound now has a more interesting character, due to the filters. Since it’s brighter, we’ve also restored some of the electric piano character.

Pretty easy, huh? Note: depending on the parameter, you may occasionally hear glitches in the sound as you move the control.

Playing and editing Programs

Changing parameter assignments

The factory Programs include default assignments of Tone Adjust parameters to the sliders, and buttons in the display. If you like, you can change any of the assignments. To do so:

1. Access the Prog P0: Play– Tone Adjust page.

2. Press the popup button located to the left of the assigned parameter.

A popup window will appear, with a long menu of parameters. You can tell various things about the selections, just from the way they appear in the menu:

Parameters which affect only OSC1 or OSC2 are prefixed with [OSC1] and [OSC2], respectively.

Parameters which affect both Oscillators, but which are specific to Programs, are prefixed with [OSC1&2].

The other group of parameters at the beginning of the list, are “Common.” That is, you can use them with most Programs.

Parameters can only be assigned to one Tone Adjust control at a time. If a parameter is already assigned, it’s grayed out.

3. Select a parameter from the menu.

The parameter is now assigned to the control. To close the list without making any changes, press a location in the display outside the popup window, or press the EXIT button.

Comparing the unedited sound

Using COMPARE

When you’re in the process of editing a sound, pressing the COMPARE button will recall the last saved version of the sound, as it was before you started editing.

For details, please see “Compare function” on page 11.

Saving your edits

After you’ve edited a program, you must save it if you want to keep the changes you’ve made. If you re-select the program or turn off the power after editing, your edits will be lost.

1. Press the WRITE button.

The Write Program dialog box will appear. If you want to modify the writing-destination or name, you can do so (see page 117).

2. Press the WRITE button once again to save (write) the program.

For details, please see “Writing a Program or Combination” on page 115.

You can also save programs on an SD card as PCG files. For details, please see “Saving to SD card (Media– Save)” on page 118.

Detailed Editing with Programs Before you start editing

OSC / Pitch

Filter

Amplier

Eects

OSC1 Setup: P2–1, OSC1 Velocity: P2–2

Amp1/Driver1: P4–1

Pitch EG : P2–10

Filter1 EG: P3–10

Amp1 EG: P4–3

OSC1 LFO1: P5–1

OSC 1

OSC 2

Filter1 Mod: P3–3

Filter Key Track: P3–2

Filter1 LFO Mod: P3

–4

OSC1 Pitch: P2–3

OSC1 LFO2: P5–2

Amp1 Mod: P4–2

Program Basic/Controllers: P1

AUDIO OUTPUT L/MONO, R

Master Eect 1, 2: P9

Total Eect : P9

Insert Eect 1…5: P8

3Band EQ : P4–10

Filter1(A/B): P3–1

OSC1 AMS Mix: P6–1/2

Common KeyTrack: P6–9/10

OSC1, 2

Insert Eects Master Eects

FX Control Bus

Routing: P8–1

Common LFO: P5–10

Arpeggio: P7–1, 2

DrumTrk Pattern: P7–4, 5

Tone Adjust: P0–7

Controllers: P1–3

P1–1, P2–2, etc. indicate the on-screen pages and tabs used when editing on the KROME.

Program structure

Detailed Editing with Programs

You can create original sounds by editing a preloaded program or by editing an initialized program. The programs you create can be saved in banks A–F. For details, please see “Saving your edits” on page 30.

Before you start editing

The three elements of sound: pitch, tone, and volume

Sound is made up of three basic elements: pitch, tone, and volume.

The KROME provides “pitch,” “filter,” and “amp (amplifier)” sections that allow you to control these elements.

The “pitch” section modifies the pitch, the “filter” section modifies the tone, and the “amp” section modifies the volume.

You’ll edit “pitch” settings in P2: OSC/Pitch (P2-3) and OSC2 Pitch, “filter” settings in P3: Filter (P3-1–3), and “amp” settings in P4: Amp/EQ (P4-1–2).

OSC (oscillator) 1/2

The OSC (oscillator) generates the waveform that is the basis of the sound. On the KROME, the oscillator consists of multiple sampled sounds such as a multisample or a drum kit (drumsamples).

The KROME provides two oscillators; OSC1 and OSC2. You can create more complex programs by combining these.

The OSC, which is the basis of the sound, can be controlled by modulating its pitch, filter, amp, EG, and LFO to change the sound in a wide range of ways.

Note: Pitch EG is shared by OSC1 and OSC2.

Effects

As effects, you can use five insert effects, two master effects, and one total effect.

The output of OSC 1/2 is sent to these effect processors. By choosing the desired effect for each processor and editing its parameters, you can apply a wide range of effects such as modulation, distortion, and reverberation.

EG, LFO, AMS, and controllers

In addition to the three elements listed above, a sound can vary according to the passage of time, the pitch range in which it’s played, or by performance expressions.

Such aspects can be controlled by modulators and controllers such as the EG (envelope generator), LFO (low frequency oscillator), and joystick. These modulators and controllers apply change to the basic program.

Take a look at the illustration “Program structure” Notice that the signal flow is in the order of Oscillator/ Pitch, Filter, Amp. You can see how the EGs and LFOs affect each section.

As shown in the illustration, each program consists of sections such as OSC 1/2, effects, and the arpeggiator.

Arpeggiator

A program can use one arpeggiator. You can select an arpeggio pattern, specify the range that the pattern will be developed within, and specify the range of notes or velocities that will trigger the arpeggiator.

Playing and editing Programs

An overview of the edit pages

In order to do detailed editing, you’ll need to access the edit pages in the display.

The preceding section “Easy Program editing” on page 27 explained how to use the Prog P0: Play page to do simple editing. For more detailed editing, you’ll use the P1 and following edit pages.

Page Main content

Select and play programs. (see page 21) Oscillator and Drum track level

P0: Play

PLAY

P1: Basic/ Controllers

P2: OSC/Pitch

P3: Filter Filter 1, 2 (tone) settings. (see page 38)

EDIT

P4: Amp/EQ

P5: LFO LFO settings. (see page 35)

P6: AMS/Common KeyTrack

settings. (see page 27) Simple drum track editing. (see page 98) Simple arpeggiator editing. (see page 86) Tone Adjust settings. (see page 29)

Basic program settings, such as Oscillator mode. (see page 32) SW1, 2, and knob settings. (see page 41)

Oscillator selection and pitch settings. (see page 33)

Amp 1, 2 (volume) settings. (see page 40) Amp 1, 2 driver and pan settings. 3-band parametric EQ settings.

AMS Mixer settings. (see page 36) Common keyboard tracking settings.

Basic oscillator settings

Here you can specify the type of program, select the basic waveform (multisample or drum kit), and specify whether it will play polyphonically or monophonically (poly/mono).

Program type setting (single, double, drum kit)

Here you can specify the program type.

Broadly speaking the program type will be either “a program that uses a multisample” or “a program that uses a drum kit” (see “Multisamples and Drum Kits” on page 33).

This choice is made by the Prog P1: Basic/Controllers– Program Basic “Oscillator Mode” setting, which specifies which type the oscillators will use. Up to two can be used simultaneously for each type.

• Multisample: Single, Double

• Drum kit: Drums, Double Drums

P7: Arpeggiator/ Drum Track

ARP/ DT

P8: Routing/IFX

EFFECT

P9: MFX/TFX/LFO

Arpeggiator settings. (see page 88) Drum track settings. (see page 100)

Oscillator output bus and master effect send level settings. (see page 79) Insert effect routing, selection, and settings. (see page 79)

Master effect routing, selection, and settings. (see page 80) Total effect selection and settings. (see page 80)

For details on how to access each mode and page, please see “Basic operations” on page 9.

Single (single program) uses one oscillator, and Double (double program) uses two oscillators.

Drums (drum program) is similar to a single program,

but uses a drum kit (created in Global mode) instead of a multisample. Double Drums (double drum program) uses two drum kits. By using an ambiencetype kit as the second drum kit, you can give a wider sense of space to the sound.

Polyphony

Polyphony is the number of notes that can be played simultaneously, such as in a chord. The polyphony depends on the program type.

Program type Polyphony

Single 120

Double 60

Drums 120

Double Drums 60

Note:

• Double Programs and Double Drums use twice as many voices as Single Programs.

• Stereo Multisamples use twice as many voices as Mono Multisamples.

• If using velocity crossfade switching, the multisample will use twice as many voices as usual.

Detailed Editing with Programs Basic oscillator settings

Bank

Multisample On/Off

Slider

Oscillator image setting

You can specify the program oscillator image that’s shown in the P0: Play– Main page. Adjust this setting in Prog P1: Basic/Controllers– Program Basic Oscillator Mode “OSC Picture 1” and “2.”

1. Press the “OSC Picture 1” or “2” popup button (>) or the image icon shown at right; the dialog box will appear.

2. To select an image, press an image in the list in the lower part of the screen, or at the left or right in the upper part.

3. Press the OK button to confirm your choice.

Polyphonic/monophonic playing

The Voice Assign Mode selects whether the Program will play polyphonically (Poly) or monophonically (Mono).

When this is set to Poly, you can play both chords and melody lines. When this is set to Mono, only one note will sound even if you play a chord.

Normally you’ll set this to Poly, but Mono is useful when playing sounds such as synth basses, synth leads, and other solo instruments.

Try switching between Poly and Mono, and listen to the results.

Working with Multisamples

for each string, so that the multisample would consist of six samples.

• As the name suggests, Drum Kits are optimized for playing drumsamples.

Velocity splits, crossfades, and layers

Each oscillator provides eight velocity zones. This lets you switch between multisamples or drumsamples according to the velocity (speed) at which you play a key.

By specifying the threshold (boundary value) where each zone will respond, and the amount of crossfading (the overlap between zones), you can specify how your keyboard playing dynamics will switch or layer the multisamples or drumsamples. You can use this to make the following types of setups.

• Velocity splits, where multisamples (or drumsamples) are cleanly switched at the threshold

• Velocity crossfades, where multisamples (or drumsamples) are smoothly crossfaded over a specified range outside the threshold

• Velocity layers, where two multisamples (or drumsamples) are layered when you play a specified range outside the threshold

Note: If “Oscillator Mode” is set to Drums or Double Drums, the velocity settings pre-specified for the drum kit will be used, and therefore will not be shown in the screen. The velocity zone settings of a drum kit can be edited in Global P5: Drum Kit (see page 105). You can jump automatically to Global P5 by pressing the Jump to DrumKit Edit button shown on the screen.

Selecting Multisamples

Let’s create a simple velocity crossfade between two Multisamples, using just OSC1.

1. Access the Prog P2: OSC/Pitch– OSC1 Setup page.

2. Set the Multisample On/Off for multisample1 and multisample2 to On.

Set the Multisample On/Off for multisample3 and multisample4 to Off.

What is a multisample?

A sample is a digital recording of a particular instrument or waveform (or other natural or artificially processed sound) recorded at a specific pitch. A multisample is a collection of similarly voiced samples, used to create the same type of sound - piano, bass, guitar, strings, organ - across the entire keyboard, as the basis of a program. The oscillators of single and double programs use multisamples. There are 583 multisamples available in this instrument.

You can assign up to four multisamples to each oscillator and switch between them by velocity.

Multisamples and Drum Kits

Multisamples and Drum Kits allow you to play samples in different ways.

•Multisamples lay out one or more samples across the keyboard. If we use the example of a simple guitar multisample, one sample could be assigned

By dragging the slider to the left, you can select each multisample and view its settings.

3. Select Stereo as the Multisample Bank for multisample1 and multisample2.

There are two main types of Multisample Banks: Mono, and Stereo. Note that stereo Multisamples will require twice as many voices as mono Multisamples.

Multisamples are organized by category such as piano, guitar, bell, etc.

Playing and editing Programs

Multisample popup button

4. Press the Multisample popup button for multisample1.

This brings up a list of Multisamples, organized by category. Use the tabs on the left of the display to browse through the different categories.

5. Select a Multisample by touching its name in the list. You can also use Find to search for a Multisample.

6. Press the OK button to confirm your selection.

7. Perform the same steps for multisample2, selecting a different Multisample than for multisample1.

Now that you’ve assigned Multisamples to multisample1 and multisample2, let’s set up the velocity ranges and crossfades.

Multisamples have now been assigned to multisample 1 and 2.

8. Specify the velocity range and crossfade range.

Press the Velocity tab to access the OSC1 Velocity page.

Set the multisample 2 “Threshold Velocity” to 001, and turn “Crossfade” Off.

9. Set the multisample 1 “Threshold Velocity” to 80.

You can also set “Threshold Velocity” by dragging the bottom edge of the line graph.

With these settings, Multisample2 will sound for notes played with a velocity of 79 or less, and Multisample1 will sound for notes played with a velocity of 80 or greater.

The Velocity Split meter shows the oscillator’s eight multisamples and the velocity zones of each oscillator.

The meter on the left shows the note-on velocity. This lets you see which multisample and oscillator will sound for that specific velocity.

10. Set the multisample 1 “Crossfade” to 20, and its

“Curve” to Linear.

The state of this split is shown visually in the screen.

Assigning a drum kit

What is a drum kit?

Drum kits are created or edited in Global mode. For each note of the keyboard, you can assign up to eight drum instrument samples, and use layering, crossfading, or velocity switching to switch between them. Then, in Program mode, you can adjust filter and amp settings, and specify effects and routing to the audio output jacks. (See page 105)

To use a drum kit in a Program, set Oscillator Mode to Drums or Double Drums, and choose one of the 48 user drum kits or the nine GM2 drum kits.

Selecting a drum kit

1. Access the Prog P1: Basic/Controllers– Program Basic page.

2. Set “Oscillator Mode” to Drums or Double Drums.

3. Select a drum kit in the Prog P2: OSC/Pitch– OSC1 Setup page.

4. Specify the basic pitch of the oscillator. For a drum kit, set “Octave” to +0 [8'].

The two multisamples will fade across the range from 80 to 100, with multisample 2 fading-out while multisample 1 fades-in. This produces a smooth change without any sudden switch.

11. As necessary, use the Prog P2: OSC/Pitch– OSC1 Setup page to adjust the “Level” of the two multisamples.

Detailed Editing with Programs Creating time-varying changes (LFO and EG)

Waveform

Level

Time

note-on

note-off

Sutart Level

Attack Time

Decay Time

Slope Time

Attack Level

Break Level

Release Level

Sustain Level

Release Time

Creating time-varying changes (LFO and EG)

Using LFOs

You can use the cyclic change produced by the LFO (Low Frequency Oscillator) to modulate numerous aspects of the sound.

Each Program has two LFOs: LFO1 and LFO2. There is also a single Common LFO, shared by both Oscillators. While LFO1 and LFO2 are separate for each voice, the Common LFO is shared by all voices in the Program. This makes it useful when you want all of the voices to have an identical LFO effect.

You can use these LFOs to modulate many different Program parameters, including:

• Pitch (for vibrato)

• Filters (for wah effects)

• Volume (for tremolo)

• Pan (for auto-panning)

The LFOs can modulate many other parameters, in addition to those listed above.

Using the basic LFO

1. Access the Prog P5: LFO– OSC1 LFO1 page.

4. Select the Shape parameter, and use the VALUE dial to move through its different settings, from –99 to +99.

Notice how the shape of the waveform becomes more curved, and how –99 emphasizes the lower part of the shape, and +99 emphasizes the upper part.

5. Select the Phase parameter, and use the VALUE dial to sweep through its range of values.

Notice how the waveform shifts from side to side. Among other things, this lets you offset the LFOs from one another in time, which can create interesting organic effects.

6. Use the Freq (Frequency) parameter to set the speed of the LFO.

7. Use the Fade and Delay settings to control the way the LFO sounds at the beginning of the note.

For more information on LFOs, please see page 42 of the Parameter Guide.

All of these parameters control the way that the LFO works. In order for the LFO to actually affect the sound, you can use the dedicated LFO routings on the Filter, Pitch, and Amp pages, or use the LFOs as AMS sources for a wide variety of parameters.

Using EGs (Envelope Generators)

An envelope creates a modulation signal by moving from one level to another over a specified time, and then moving to another level over another period of time, and so on.

The Program includes three EGs, for Pitch, Filter, and Amp. These produce time-varying changes in pitch, tone, and volume respectively. They can also be used to modulate a number of other program parameters via AMS.

2. Select the Waveform parameter.

Use the INC and DEC buttons to scroll through the different waveforms, and look at their shapes in the graphic display.

There are a number of waveforms to choose from. Each are suited to different applications:

Tri an gle and Sine are the classic LFO shapes for vibrato, tremolo, panning, and filter wah effects.

Square is useful for gated on and off filter and amp effects, and can create trills when modulating pitch.

The Guitar waveform is designed especially for guitar vibrato; it bends only upwards from the base value.

Saw and Exponential Saw Down are good for rhythmic filter and amp effects.

Random 1 (S/H) creates the classic sample-and-hold effect, which is great for modulating a resonant filter.

3. After looking at the different waveforms, select Tri an gle.

Note: The parameters that can be modulated by an EG and the range of values will differ depending on the EGs provided for each section.

Playing and editing Programs

Diverse modulation settings (AMS and AMS mixer)

Using AMS

AMS (Alternate Modulation Source) lets you modulate program parameters using controllers, EG, or LFO as the modulation source. Extremely creative types of modulation are possible; for example, you can use a single controller to simultaneously modulate multiple parameters, or you can use an EG to modulate an LFO’s frequency and then use that LFO to modulate a filter.

AMS (Alternate Modulation Source) refers to any of the assignable modulation sources in KROME, including:

• Controllers of the KROME itself, such as the joystick, SW 1/2, and the realtime knobs

• Incoming MIDI controllers

• Modulators such as the Filter, Pitch, and Amp EGs, the LFOs, or the AMS Mixers

Intensity is a parameter that sets the degree (speed, depth, amount etc.) of how AMS will control the modulation.

A number of frequently-used modulation routings, such as using the joystick to vary the pitch, are provided as additional, dedicated routings, separate from AMS.

Note that not all AMS sources may be available for some modulation destinations.

For details on alternate modulation and AMS, please see below.

• “Alternate Modulation Sources (AMS)” on page 339 of the Parameter Guide

• “Creating Vibrato” on page 37

• “Pitch EG” on page 37

• “Filter EG” on page 39

• “LFO modulation” on page 39

• “AMS (Pan)” on page 36 of the Parameter Guide

•“LFO1/2” on page40

output signal can be used to modulate a variety of parameters.

This also means that the original, unmodified inputs to the AMS Mixers are still available as well. For instance, if you use LFO 1 as an input to an AMS Mixer, you can use the processed version of the LFO to control one AMS destination, and the original version to control another.

Finally, you can cascade the two AMS Mixers together, by using AMS Mixer 1 as an input to AMS Mixer 2.

For details, please see “6–1: OSC1 AMS Mix1” on page 46 of the Parameter Guide.

Tips for using AMS

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, filter, or amplifier needs to be controlled.

Next, select a source (AMS) and set the Intensity. If you proceed logically in this way, you will achieve the desired effect.

For example in a guitar sound program where you want to use the joystick to control the feedback, you would make assignments so that the joystick controls the filter frequency and resonance.

Controller Setup page

For each program, the function of Realtime Control knobs 1-B–4-B and the SW1 and SW2 buttons can be assigned in the Prog P1: Basic/Controllers– Controllers Setup page.

For details, please see “Setting the functions of SW1 and SW2” on page 41, and “Setting the functions of Realtime Controls USER knobs 1–4” on page 42.

Using the AMS Mixers

The AMS Mixers combine two AMS sources into one, or process an AMS source to make it into something new.

For example, this lets you use an LFO to modulate a filter’s resonance while also modulating it by an EG. Although resonance has only one AMS input, using the AMS mixer makes this possible. You could also do things such as using the filter EG to control the amount of LFO1. The wide variety of other possibilities include using the joystick to control the amount of pitch EG, allowing the joystick to apply bend only to notes played while you hold down the foot switch, or changing the response of a realtime controller.

The AMS Mixer outputs appear in the list of AMS sources, just like the LFOs and EGs. An AMS mixer’s

Controlling Pitch

Pitch bend

Pitch bend smoothly changes the pitch upward or downward, similar to how a guitarist can “bend” strings. On the KROME, you will normally use the joystick to control pitch bend in realtime.

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.

Note: You can also control pitch bend using a controller other than the joystick, or via MIDI.

Ribbon (#16) specifies the amount of pitch change (in semitone units) that will occur when MIDI control change message #16 is received. With a setting of +12, a value of 127 will raise the pitch one octave, and a value of 0 will lower the pitch one octave.

Detailed Editing with Programs Controlling Pitch

Portamento

Portamento makes the pitch change smoothly when you play the next note before releasing the previous note.

The Time parameter controls how long it will take the pitch to change. As this value is increased, the pitch will change over a longer time. With a value of 000, there will be no portamento.

You can turn Portamento on and off via SW1 or SW2, by assigning them to Porta.SW CC#65.

Creating Vibrato

You can use an LFO to create vibrato.

LFO1 Int. or LFO2 Int. sets the depth of how the selected LFO will affect the pitch. With a setting of +12.00, vibrato will produce a maximum of ±1 octave of pitch change.

JS+Y Int specifies the amount of vibrato that the LFO will produce when the joystick is pushed away from you.

Intensity (AMS Intensity) specifies the depth of vibrato that will be applied by the LFO when modulated by the selected AMS (Alternate Modulation Source). For example, if the panel switch assignment for SW1 is set to SW1 Mod. (CC#80) (Prog 1–7a), and you set LFO1 AMS to SW1: CC#80 and specify an appropriate value for Intensity, vibrato will be applied when you turn SW1 on or when MIDI control change #80 is received.

Pitch EG

When the Intensity value is set to +12.00, the pitch EG specified in the Pitch EG page will produce a maximum of ±1 octave of pitch change.

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.

Playing and editing Programs

Filter A (Low Pass)Oscillator

Oscillator

Filter B (High Pass)

Filter A (Low Pass)

Filter B (High Pass)

Low Pass

High Pass

Band Pass

Band Reject

Cutoff Frequency

Using Filters

The filters allow you to diminish or emphasize specified frequency areas of the sound.

The tone of the sound will depend significantly on the filter settings.

The basic filter settings, including the routing, type, cutoff frequency, and resonance, are set on the P3–1: Filter page.

Filter Routing

Each oscillator has two filters, Filter A and Filter B. The Filter Routing parameter controls whether one or both of the filters are used, and if both are used, it controls how they are connected to each other.

The Single routing uses only Filter A as a single 2-pole, 12dB/octave filter (6dB for Band Pass and Band Reject).

The Serial routing uses both Filter A and Filter B. The oscillator first goes through Filter A, and then the output of Filter A is processed through Filter B.

Parallel also uses both Filter A and Filter B. The oscillator feeds both filters directly (and allow independent settings for each), and the outputs of the two filters are then summed together.

The 24dB(4Pole) routing merges both filters to create a single 4-pole, 24dB/octave filter (12dB for Band Pass and Band Reject). In comparison to Single, this option produces a sharper roll-off of frequencies beyond the cutoff frequency, as well as a slightly more delicate resonance. Many classic analog synths used this type of filter.

Serial and Parallel Routing

Low Pass: This cuts out the parts of the sound that are higher than the cutoff frequency. Low Pass is the most

common type of filter, and is used to make bright timbres sound darker.

High Pass: This cuts out the parts of the sound that are lower than the cutoff frequency. You can use this to

make timbres sound thinner or more buzzy.

Band Pass: This cuts out all parts of the sound, both highs and lows, except for the region around the cutoff frequency. Since this filter cuts out both high and low frequencies, its effect can change dramatically depending on the cutoff setting and the oscillator’s multisample.

With low resonance settings, you can use the Band Pass filter to create telephone or vintage phonograph sounds. With higher resonance settings, it can create buzzy or nasal timbres.

Band Reject: This filter type–also called a notch filter– cuts only the parts of the sound directly around the cutoff frequency. Try modulating the cutoff with an LFO to create phaser-like effects.

Filter Types and Cutoff Frequency

Filter Types

This selects the parts of the sound that will be affected by the filter, as described below. With the Serial and Parallel routings, you can independently set the types for Filter A and Filter B.

The filters will produce very different results depending on the selected filter type.

Detailed Editing with Programs Using Filters

Low resonance

High resonance

Resonance

Resonance emphasizes the frequencies around the cutoff frequency, as shown in the diagram below.

When this is set to 0, there is no emphasis, and frequencies beyond the cutoff will simply diminish smoothly.

At medium settings, the resonance will alter the timbre of the filter, making it sound more nasal, or more extreme. At very high settings, the resonance can be heard as a separate, whistling pitch.

To make the resonance track the keyboard pitch, please see “Key Follow” on page 29 of the Parameter Guide.

Modulating the filters

You can modulate the filter cutoff frequency using the Filter EG, the LFOs, keyboard tracking, and other built-in and MIDI controllers. This is a great way to add a rich variety of tonal change to the sound.

LFO modulation

You can modulate the filter via LFO1, LFO2, and the Common LFO. Among other applications, LFO modulation of the filter can produce the classic “autowah” effect.

The Filter1/2– LFO Mod. page lets you set up the following parameters separately for each LFO:

Intensity to A and Intensity to B specify how much the LFO changes the tone.

JS-Y Intensity to A and JS-Y Intensity to B specify the depth of the wah effect produced by the LFO when the joystick is moved toward yourself, or when CC#2 is received.

The AMS setting selects an AMS modulation source to scale the amount of the LFO applied to Filters A and B. The two filters share a single AMS source, with separate intensity settings.

For example if AMS is set to SW1: CC#80, turning SW1 on will apply an auto-wah effect (see page 37).

Filter EG

The Filter EG is a multi-stage envelope, which you can use to modulate the filter as well as other Program parameters. The EG itself is set up on the EG tab; the way that it affects the filters is controlled by the parameters described below, on the Filter1/2– Modulation page:

The Intensity to A and Intensity to B settings control the basic amount of EG modulation for filter frequencies A and B, respectively, before other modulation.

The Velocity to A and Velocity to B settings let you use velocity to control the amount of EG modulation.

The AMS setting selects an AMS modulation source to scale the amount of the Filter EG applied to Filters A and B. The two filters share a single AMS source, with separate intensity Into A or to B settings.

Keyboard Track

Most acoustic instruments get brighter as you play higher pitches. At its most basic application, keyboard tracking re-creates this effect by increasing the cutoff frequency of a lowpass filter as you play higher on the keyboard. Usually, some amount of key tracking is necessary in order to make the timbre consistent across the entire range.

The KROME keyboard tracking can also be much more complex, since it allows you to create different rates of change over up to four different parts of the keyboard. For instance, you can:

• Make the filter cutoff frequency increase very quickly over the middle of the keyboard, and then open more slowly–or not at all–in the higher octaves.

• Make the cutoff frequency increase as you play lower on the keyboard.

• Create abrupt changes at certain keys, for split-like effects.

How Key Track works: Keys and Ramps

The keyboard tracking works by creating four ramps, or slopes, between five keys on the keyboard.

For details, please see “How it works: Keys and Ramps” on page 28 of the Parameter Guide.

Playing and editing Programs

Volum e

Time

Volume

Time

Piano Organ

Volume decays gradually

Volume remains constant until note is released

Using the Amp section

The Amp section includes controls for volume, pan, and the driver circuit.

You can control the volume using the Amp EG, LFO 1/ 2, Key Track, and velocity, along with other AMS sources.

Each Oscillator has its own Amp section: Amp1 for OSC1, and Amp2 for OSC2.

Pan - Use DKit Setting

Use DKit Setting applies when Oscillator Mode is set to Drums or Double Drums.

If this is checked, the Program can use a different pan position for each drum sound, as specified by the Drum Kit. If this is unchecked, all drum sounds will use the Program’s pan position.

The factory presets and GM drum kits use individual pan positions for the different drums, so normally it’s best to leave this checked.

Background - what does “Amp” mean?

Different sounds have characteristic shapes to their volume levels.

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, on the other hand, remains constant as long as you continue pressing the key.

The volume of a note on a violin or wind instrument 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).

Pan

Amp modulation

The basic volume level is set by the Amp Level parameter. You can then alter this using the modulation sources below:

Keyboard Track

This lets you vary the volume relative to the note you play.

For details, please see “Keyboard Track” on page 39.

Amp Modulation

Velocity Intensity is used by most programs to decrease the volume of softly played notes and increase the volume of strongly played notes, and the Amp Modulation 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.

Pan

The main Pan parameter controls the stereo position after the signal has passed through the oscillator, filter, and amp.

Normally you’ll set this to C064, so that the sound is centered equally between the left and right speakers.

To create a stereo effect when Oscillator Mode is set to Double, set the Amp1/Driver 1 page Pan to L001, and the Amp2/Driver2 page Pan R127. This will make OSC1 go to the left speaker, and OSC2 go to the right speaker.

With a setting of Random, the pan will change randomly each time you play a note on KROME, producing an interesting effect.

LFO1/2

Specifies how the LFO’s will produce cyclic changes in volume (tremolo effect).

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

Intensity (AMS Intensity) adjusts the depth of how the tremolo effect produced by the LFO will be affected when you assign an AMS (LFO1 AMS, LFO2 AMS).

For example, if you set AMS to JS-Y: CC #02, tremolo will be applied when you push the KROME’s joystick down (toward yourself), or when CC#02 is received.

Detailed Editing with Programs Making controller assignments

Piano

Organ

Strings

Amp EG

The Amp EG lets you control how the volume changes over the course of a note.

Every instrument has its own characteristic volume envelope. This is part of what gives each instrument its identifiable character.

Conversely, by changing the volume contour–for instance, applying a string-like Amp EG curve to an organ multisample– you can produce interesting and unusual sounds.

Drive

The Drive circuit adds saturation and overdrive to the sound, for everything from subtle fattening to drastic distortion. Unlike an overdrive effect, Drive processes each voice individually, so the timbre stays the same regardless of how many voices are being played.

The two main parameters, Drive and Low Boost, work together to create the overall effect.

Drive controls the amount of edge and bite in the timbre. Low settings will produce mild saturation, and higher settings create more obvious distortion.

Often, it’s useful to increase the Low Boost along with the Drive.

Note: even when the Drive amount is set to 0, the Drive circuit still affects the timbre. If your goal is a

completely pristine sound, use the Bypass control instead.

Low Boost is a special low-frequency EQ which controls the body character of the sound. The specific EQ frequencies affected will change with the Drive setting.

Higher amounts increase the bass boost, and will also intensify the effect of the Drive parameter.

Making controller assignments

Setting the functions of SW1 and SW2

SW1 and SW2 are the two buttons above the joystick.

These on/off buttons can perform a number of different functions, such as modulating sounds or effects, or locking the modulation values of the joystick.

Also, each one may work either as a toggle, or as a momentary switch. In To gg l e mode, each press alternates between on and off; in Momentary mode, the switch only changes for as long as you hold it down.

Each Program, Combination, and Song stores its own settings for what the buttons will do, and whether each button is on or off (based on their current states when the data is saved).

You can set up Panel Switch Assign on the Controllers Setup page.

Mode Page

Programs Prog P1: Basic/Controllers

Combinations Combi P1: Controllers

Songs Seq P1: Controllers

Note: The on/off status of the SW1 and SW2 buttons will be preserved when you write the program or combination.

Note: You can use SW1/2 as alternate modulation or effect dynamic modulation sources to control program parameters or effect parameters. To do so, you will normally assign SW1 Mod.(CC#80) and SW2 Mod.(CC#81). For an example of assigning the SW1 button as an effect dynamic modulation source for a program, and using it to control an effect, see page 82.

For a complete list of the possible assignments, see page 348 of the Parameter Guide.

Note: If you want to keep these settings after the power is turned off, you must save them (see page 116).

Playing and editing Programs

Setting the functions of Realtime Controls USER knobs 1–4

When the Realtime controls is set to USER, the four knobs on the right function as Realtime knobs 1–4.

These can perform a number of different functions, such as modulating sounds or effects, adjusting effects send levels, and so on.

Each Program, Combination, and Song stores its own settings for what the knobs will do.

When using the sliders for AMS or Dmod, it’s important to understand that creating an assignment is a two-step process. First, you assign the knob to send a MIDI controller, such as Knob Mod.1 (CC#17). Second, you assign that MIDI controller to modulate one or more Program or effects parameters.

For the first part of the above, use the mode’s Controllers Setup page (See “Setting the functions of SW1 and SW2,” above).

The default assignments for knobs 1–4 are Knob Mod.1 (CC#17), Knob Mod.2 (CC#19), Knob Mod.3 (CC#20), and Knob Mod.4 (CC#21), respectively.

Here’s an example of how to set up knob 1 to control a Program’s filter and amp EG attack time:

1. Press the MODE PROG button to enter Program mode.

2. Access the P1: Basic/Controllers– Controllers Setup page.

Press the PAGE button to access Page Select, and choose “P1 Basic/Controllers.” Press the Controllers tab.

3. Press the Realtime Controls Knob Assign “Knob 1–B” popup button, and choose F/A Attack (CC#73).

4. Press the CONTROL ASSIGN REALTIME CONTROL button to select USER. (The LED USER will light up.)

5. Use knob 1 to control the EG attack for the filter and amp.

For details, please see page 348 of the Parameter Guide.

Note: If you wish to keep these settings after the power is turned off, you must save the Program, Combination, or Song (see page 116).

Arpeggiator settings

According to the note data received from the keyboard or from the MIDI IN connector, the arpeggiator will automatically generate a wide range of phrases or patterns including arpeggios, guitar or keyboard backing riffs, bass phrases, or drum patterns. When the realtime controls ARP is selected, you can use the knobs to vary the duration and dynamics of the arpeggiated notes.

For more about the arpeggiator, please see page 85.

Drum Track settings

You can use the KROME’s rich variety of drum patterns to accompany you with high-quality drum programs while you perform using a program.

Playing along with Drum Track patterns is often a useful way to come up with new phrases.

For more about the Drum Track function, please see page 97.

Effects

For details, please see “Using Effects” on page 77.

Automatically importing a Program into Sequence mode

You can use the Auto Song Setup feature, which automatically copies the settings of the program or combination and puts the KROME in record-standby mode when you simply press the REC () button. Then you can press the SEQUENCER START/STOP ( ) button to begin recording.

For details, please see “Auto Song Setup function” on page 59.

Playing and editing Combinations

4: INC/DEC buttons

3: Combination Select

2: COMBI P0: Play

4: VALUE dial

1: COMBI button

4: Numeric keypads ENTER button

5: BANK SELECT

A–F buttons

1: Mode name

(button)

Mode button Mode, page number

and name

Tab nam e

Combination Select (Combination number and name)

Category Select popup button (Category number and name)

Bank number

Combination Select popup button

About the KROME’s combinations

Combinations let you split and layer up to 16 Programs at once.

A Combination is made up of 16 Timbres (Note that you don’t have to use all 16 Timbres). Each Timbre is assigned a Program, along with parameters for key range and velocity zones, mixer settings, MIDI channel and controller filtering, and so on.

Playing combinations

Selecting Combinations

There are several different ways to select Combinations. Each one is convenient in a different way:

• Using “Combination Select” and the VALUE controllers:

• Using the Bank/Combination Select menu:

• Using the Category/Program Select menu:

•Find

• Using a foot switch: page 19

• Sending MIDI program change messages to select Programs remotely:

For details, please see below.

As with Programs, each Combination has five insert effects, two master effects, and one total effect for shaping and transforming the sounds of the individual Timbres.

This section of the manual takes a quick look at playing Combinations, including a tour of the front-panel controllers and basic editing techniques.

Selecting a program using “Combination Select” and the VALUE controllers

1. Press the COMBI button. (The LED will light up.) (Refer to the illustration below for the buttons.)

Alternatively, you can use the mode button (see “Selecting modes” on page 9).

The KROME will enter Combination mode.

2. Access the Combi P0: Play– Program T01–08 page.

This is shown in the top line of the display.

If a different page is shown, press the EXIT button several times to move to the Combi P0: Play– Program T01–08 page.

3. Make sure that “Combination Select” is selected.

If it is not, press “Combination Select” in the display to highlight it.

4. Select the combination you want to play.

You can use the following methods to select a combination.

Playing and editing Combinations

Velocity meter

• Use the INC or DEC buttons.

• Turn the VALUE dial.

• Use numeric keys 0–9 to enter the combination number, and press the ENTER button.

5. Press a COMBI BANK A–D button to switch banks.

When you select a different Bank, the button’s LED will light up, and the selected bank will appear on the left side of the display.

For example, to select bank B, press the COMBI BANK B button. The B button will light up, and the name Bank B will appear in the left side of the display.

Auditioning the sound

Play the KROME’s keyboard to hear the combination you’ve selected.

Key zone preview allows you to check the timbre’s layer and split settings, as well as how the arpeggiator is used.

• The keyboard area indicates the last (single) noteon that was received on the global MIDI channel.

• The key zone area shows the timbres that will sound at the key position, differentiated by several colors according to the settings of each timbre.

Overview: Combination Banks

With the factory settings, the KROME contains 384 preloaded combinations that are GM2 compatible. In addition to these, there are 128 combinations to store sounds that you create, or store optional sound libraries.

Combinations are organized into four banks as shown in the following table.

Combination bank contents

Bank Combi. No. Explanation

A, B, C 000...127 Factory Combinations

D 000...127 Initialized Combinations

Selecting by Bank/Combination Select menu

Green: Timbres that are sounded on the global MIDI channel, such as by the keyboard.

Yellow: Timbres that will sound only when the arpeggiator is on (see page 90).

Orange: Timbres that will sound only when the drum track is on.

Blue: Timbres whose timbre channel is set to something other than the global channel. These will not be sounded by the KROME’s keyboard, arpeggiator, or drum track, but will sound in response to MIDI note-on messages from an external device.

Purple: These timbres are used to play an external sound module. They do not sound on the KROME.

None: Timbres whose timbre status is off. These will not sound.

The velocity meter shows the note-on velocity value.

• Note-on velocities from the keyboard, MIDI IN, arpeggiator, and drum track are shown for each timbre/channel. (If multiple note-on events occur simultaneously, the highest velocity value will be shown.)

• Since this shows the note-on velocity values, it is not affected by the setting of the Volume slider nor by changes in the audio signal level. Also, the meter will respond even if key zone settings or velocity zone settings are such that the note is not sounded.

Timbres whose Play/Mute and Solo settings allows them to play are shown in a dark color, and timbres that are muted are shown in a light color.

You can select Combinations from a list organized by Combination bank.

• Press the Combination Select popup button to access the menu and make your selection.

The selection method is the same as in “Selecting by Bank/Program Select menu” on page 22; Refer to that page for details.

Bank/Combination Select menu

Playing combinations Using controllers to modify the sound

Selecting by Category/Combination Select menu

You can select Combinations arranged by category, such as keyboard, organ, bass, and drums.

When shipped from the factory, the preloaded Combinations are organized into 16 categories, each with several sub-categories.

• Press the Category Select popup button to access the menu and make your selection.

The selection method is the same as in “Selecting by Category/Program Select menu” on page 23; refer to that page for details.

Category/Combination Select menu

Find

You can search for a combination by a portion of its name.

The procedure is the same as explained in “Find” on page 23. Please see that explanation for details.

Using controllers to modify the sound

The KROME provides a variety of controllers that you can use to vary the sound, such as the joystick, the SW1, SW2 buttons, and the control surface knobs.

For details, please see the corresponding explanation for Programs: “Using Controllers” on page 24.

Performing with the arpeggiator or drum track

Based on note data it receives from the keyboard or from the MIDI IN connector, the arpeggiator can generate a wide range of phrases and patterns including arpeggios, guitar or keyboard backing riffs, bass phrases, or drum patterns. When the realtime controls ARP is selected, you can use the knobs to vary the duration and dynamics of the arpeggiated notes.

For more about the arpeggiator, please see page 85.

The Drum Track function uses a rich variety of drum patterns to play the KROME’s high-quality drum programs. You can perform along with the drum patterns, or synchronize Drum Track patterns with the phrases generated by arpeggiator.

For more about the Drum Track function, please see page 97.

Playing and editing Combinations

Selected

Timbre Info

Timbre No.

Category/Timbre

Program Select

Play/Mute

Solo On/O

Bank/Timbre

Program Select

Easy Combination editing

You can edit any of the Combinations shipped with KROME. You can create your own combinations by editing a preloaded combination, or by starting from an initialized combination.

A combination has sixteen timbres; you can assign a program to each timbre and specify its volume and pan, the key range in which the program will sound, and how its sound will be routed to the effects. You can create simple setups such as detuned sounds, split, or layers, or highly complex orchestra-like setups.

Even without moving to the various pages for detailed editing, you can make dramatic changes just from within the Combi P0: Play page. You can also edit using the REALTIME CONTROLS knob on the front panel.

Changing the program of each timbre

Adjusting the mix

Adjusting the volume of each timbre

1. Access the Combi P0: Play– Mixer T01–08 page.

This page shows the volume, pan, and Program assignments for all 8 Timbres.

Changing the Programs assigned to timbres (1–16) is a quick way to dramatically alter the sound of the Combination.

1. Access the Combi P0: Play– Program T01–08/T09– 16 page.

In this page you can view the program assigned to each timbre 1–16, and the play/mute and solo status of each.

2. Use any of the following methods to select a Program for each timbre.

•Choose Program Select, use numeric keys 0–9 to input the program number, and press the ENTER button.

•Choose Program Select and turn the VALUE dial or use the INC/DEC buttons.

•If the Program Select parameter is selected, the PROG BANK A–F buttons will switch program banks. (If Timbre Program Select is selected, the BANK button LED of the program bank selected for that timbre will light up.)

• From the Bank/Program Select menu you can view and select programs by bank.

• From the Category/Program Select menu you can view and select programs by category.

• You can transmit MIDI program changes from a connected external MIDI device. (See page 361 of the Parameter Guide)

Note: To select the timbre program via MIDI program change the timbre’s status must be set to “INT.”

2. In the display, press the timbre 1 volume slider and slide it up or down to adjust the volume.

You can also highlight the numerical area of the slider and use the VALUE dial or the numeric keys to adjust the value.

If you check Hold Balance, moving any one of the volume sliders (volume values) will cause the volume of the other timbres to change as well, maintaining the relative volume balance between timbres 1–16. This is a convenient way to adjust the overall volume.

Adjusting the panning of each timbre

1. Access the Combi P0: Play– Mixer T01–08 page.

2. Press the timbre 1 pan knob, and slide it left/right to adjust the panning.

You can also highlight the numerical area of the knob and use the VALUE dial or the numeric keys to adjust the value.

Timbre pan interacts with the pan stored in the Program. A setting of C064 reproduces the Program’s oscillator pan settings. Adjusting the Timbre Pan 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.

Detailed Editing with Combinations Simple editing using the knobs

Parameters

Timbre2

Timbre3

Timbre16

Timbre4

Timbre1

Parameters

Program

AUDIO OUTPUT L/MONO, R

Master Eects 1, 2: P9

Total Eects: P9

Insert Eects 1…5: P8

Arpeggio: P7–1, 2, 3, 4, 5

Timbre

Insert Eects Master Eects

FX Control Bus

Routing: P8-1, 2

DrumTrack: P7–7

Tone Adjust: P0–7

3Band EQ

Controllers: P1–1

Combination structure and corresponding pages

P1–1, P2–2, etc. indicate the on-screen pages and tabs used when editing on the KROME.

Simple editing using the knobs

You can use the REALTIME CONTROLS to perform a variety of edits.

For example, you can use the REALTIME CONTROLS to adjust the Filter cutoff or resonance. You can also use it to vary the depth of an effect, or to change the way in which the arpeggiator generates a phrase.

For details, please see “Realtime control knobs” on page 25.

Saving a Combination you’ve edited

After you’ve edited a combination, you must save it if you want to keep the changes you’ve made. If you reselect the combination or turn off the power before saving, your edits will be lost.

1. Press the WRITE button.

The Write Combination dialog box will appear. If you want to change the writing destination or the name, make the appropriate changes (see page 117).

2. Press the WRITE button once again to save (write) the data.

For details, please see “Writing a Program or Combination” on page 115.

You can also save combinations on an SD card as PCG files.

For details, please see “Saving to SD card (Media– Save)” on page 118.

Detailed Editing with Combinations

You can edit the preloaded combinations (Banks A–C) that the KROME is shipped with, or start with an initialized Combination to create your own original sounds.

You can use the factory Programs to create new Combinations, or use your own custom Programs.

Note: If you’re in the process of editing a Program in Program mode, and you use that Program in a Combination, you’ll hear the edited version in Combination mode as well.

About the edit pages

In the Combi P0: Play page you can select and play combinations. Here you can also use the REALTIME CONTROLS knob and the tone-adjust function for quick editing, or to edit the settings of the arpeggiator or drum track. In the other pages you can edit the sound in greater detail.

For details on each mode and how to access each page, please see “Basic operations” on page 9.

Playing and editing Combinations

Program B

Program A

Layer: Two or more programs sound simultaneously.

Program B

Program A

Split: Dierent programs will sound in dierent areas of the keyboard.

Program C

Program D

Program B

Program A

Keyboard playing dynamics

Strong Soft

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.

A suggested approach for editing

First, select a Program for each Timbre, on the P0: Play– Program T01–08 or T09–16 page. (Note that you don’t have to use all 16 Timbres)

Next, create any desired keyboard or velocity splits, layers, or crossfades between the different Timbres. You can do this on the P4: Zone/Delay– Keyboard Zones page.

After this, adjust the volumes of the Timbres (back on the Program Select/Mixer tab), and set up any other Timbre parameters as desired.

To add finishing touches to the sound, set up the Insert, Master, and Total Effect as desired (on the P8: Routing/ IFX and P9: MFX/TFX/LFO pages, respectively.) These effects can be different from those associated with the individual Programs in Program mode, if desired.

In addition, you can make arpeggiator and drum track settings (on the P7: ART/DT page) and controller settings (on the P1: Controllers page) to create the finished Combination.

Soloing timbres

Combi P0: Use the solo function on the Program T0108, T09-16 page to easily hear the sound for each timbre.

For details, please see “Solo On/Off” on page 72 of the Parameter Guide.

Restoring edited settings

Using COMPARE

When you’re in the process of editing a sound, pressing the COMPARE button will recall the saved version of the sound, as it was before you started editing.

For details, please see “Compare function” on page 11.

Layers, Splits, and Velocity Switches

Within a Combination, you can use note range and velocity level to define the “zone” in which a specific timbre will play.

The Programs assigned to each Timbre can be played in three ways: as part of a layer, a split, or a velocity switch. A Combination can be set to use any one of these methods or to use two or more of these methods simultaneously.

Layer

Layers cause two or more Programs to play simultaneously when a note is played.

Split

Splits cause different Programs to respond on different areas of the keyboard.

Velocity Switch

Velocity Switches cause different Programs to respond depending on the velocity (how hard you play the notes).

Program B Program A

On the KROME, you can use a different Program for each of up to sixteen Timbres, and combine two or more of the above methods to create even more complex setups.

Strong

Keyboard playing dynamics

Soft

Velocity Switch: Keyboard playing dynamics (velocity) switches between dierent programs.

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

Program A

Program B

Keyboard X-Fade (keyboard crossfade): As you play from low notes to high notes, the volume of A will fade out, and the volume of B will fade in.

Detailed Editing with Combinations Layers, Splits, and Velocity Switches

C–1 C4 G9B3

PianoTimbre 1

Brass

Timbre 2

Strings

Timbre 3

127

64 63

Strings

Velocity switch

Timbre 1

Timbre 2

Brass

Creating Key Splits and Layers

Splits and Layers

Let’s create a Combination that combines both splits and layers, like the diagram below:

1. Access the Combi P0: Play– Program T01–08 page.

2. Select a piano sound for Timbre 1, a brass sound for Timbre 2, and a strings sound for Timbre 3.

3. Access the P3: Timbre Parameters– MIDI T01–08 page.

4. For Timbres 1–3, set Status to INT and MIDI Channel to Gch (the Global Channel).

Creating Velocity Switches

Next, let’s create a simple velocity switched Combination, like the diagram below:

1. Access the Combi P0: Play– Program T01–08 page.

2. Select a brass sound for Timbre 1, and a strings sound for Timbre 2.

3. Access the P3: Timbre Parameters– MIDI T01–08 page.

4. For Timbres 1 and 2, set Status to INT and MIDI Channel to Gch (the Global Channel).

5. Access the P4: Zone/Delay– Vel Z T01–08 page.

6. Set Timbre 1’s Top Velocity to 127, and its Bottom Velocity to 64.

You can also enter a velocity value by selecting the parameter and then playing a note with the desired velocity on the keyboard while holding down the ENTER button.

5. Access the P4: Zone/Delay– Key Z T01–08 page.

6. Set Timbre 1’s Top Key to G9, and its Bottom Key to C4.

You can also enter a note value by selecting the parameter and then playing the desired note on the keyboard while holding down the ENTER button.

7. Set Timbres 2 and 3 to a Top Key of B3, and a Bottom Key of C–1.

Key Zone Slope

In addition to “hard” splits, where the sound changes abruptly, you can use the Slope parameters to gradually fade a sound in or out over a range of keys.

In the example above, you could set the Bottom Key of timbre 1 to G3, and set the Top Key of timbre 2 to G4, so that these two timbres overlap.

Next, if you set the Bottom Slope of timbre 1 to 12, and set the Top Slope of timbre 2 to 12, the sound will change gradually instead of changing suddenly.

7. Set Timbre 2 to a Top Velocity of 63, and a Bottom Velocity of 1.

Velocity Zone Slope

Similar to Key Zone Slopes, as described above, these let you fade in and fade out sounds gradually over a velocity range, instead of a simple hard switch.

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

Playing and editing Combinations

MIDI settings

Timbre Parameters MIDI page

Status

This controls the status of MIDI and the internal tone generator for each Timbre. Normally, if you’re playing an internal Program, this should be set to INT.

If the status is set to Off, EXT, or EX2, that Timbre’s internal sounds will not be played. Off simply disables the Timbre entirely. The EXT and EX2 settings allow the Timbre to control an external MIDI device.

For details, please see “Status” on page 81 of the Parameter Guide.

Bank Select (when status=EX2)

When the Status is set to EX2, these parameters allow you to transmit MIDI Bank Select messages to external MIDI devices.

MIDI filter settings

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

The MIDI filters don’t turn the functions themselves on or off. Instead, the filter just controls whether or not that MIDI message will be transmitted and received.

For example, if portamento is on, portamento will be applied to the internal KROME sound even if Enable Portamento SW is unchecked.

As another example, let’s say that you’ve selected a bass Program for Timbre 1, and a piano Program for Timbre 2, with the goal of creating a bass/piano split. You could choose the following settings so that pressing the damper pedal affects only Timbre 2’s piano sound:

1. Access the P5–1: MIDI Filter <1> T01–08 page.

2. Un-check the Enable Damper box for Timbre 1.

3. Check the Enable Damper box for Timbre 2.

MIDI Channel

Timbres that you wish to play from the KROME’s keyboard must be set to the global MIDI channel. Your playing on the keyboard is transmitted on the global MIDI channel, and will trigger 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, Timbres used by the arpeggiator may have their MIDI Channels set to something other than Gch. These will be timbres that play only when the arpeggiator is on, which is a very useful technique for creating “A p re gg i at or b as ed” Combinations. For details, please see “Arpeggiator settings in Combination and Sequencer modes” on page 89. In particular, note the relationships between arpeggiator A/B assignments and MIDI Channel.

Detailed Editing with Combinations Altering Programs to fit within a Combination

Altering Programs to fit within a Combination

You can make various changes to Programs within the context of a particular Combination to make them fit better with other Programs, or to create particular sonic effects. These changes do not affect the original Programs, or how those Programs sound in other Combinations (see page 81 of the Parameter Guide).

Timbre Parameters: OSC

Force OSC Mode

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

Normally this should be set to PRG, so that the sound will play as set by the original Program.

For details, please see “Force OSC Mode” on page 82 of the Parameter Guide.

Timbre Parameters: Pitch

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.

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

Use Program’s Scale, Scale

This specifies the scale for each timbre.

If you check Use Program’s Scale, the scale specified by the program will be used. Timbres where this parameter is not checked will use the Scale setting.

OSC Select

If the timbre is using a Program where the Oscillator Mode is Double or Double Drums, 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).

Normally, this should be set to BTH (Both).

Portamento

If the Program uses portamento, but you’d like to disable this for the current Combination, set this parameter to Off.

Conversely, if you want to force the portamento to be on, or just to change the portamento time, set this to a value of 001–127. The portamento will change to use the newly specified time.

Normally, this should be set to PRG.

Playing and editing Combinations

Delay

You can set some Timbres so that they don’t sound immediately at note-on. This can create cool effects, and more dramatic layers.

You can specify the delay for each Timbre either in milliseconds (ms), or in rhythmic values which sync to the system tempo.

If you set the Delay to Key Off, the Timbre will sound when the note is released.

Editing Programs with Tone Adjust

Using Tone Adjust, you can create detailed edits to Programs within the context of the Combination. These edits will not affect the original Program, or any other Combinations which use the Program. To edit a Program with Tone Adjust:

Select a timbre in the Timbre field of the P0: Play– Tone Adjust page. Then select the parameter that you want to adjust, and use the VALUE controllers to edit the sound.

Arpeggiator settings

According to the note data received from the keyboard or from the MIDI IN connector, the arpeggiator will automatically generate a wide range of phrases or patterns including arpeggios, guitar or keyboard backing riffs, bass phrases, or drum patterns. If the SELECT button is set to ARP, you can use the knobs to vary the duration and dynamics of the arpeggiated notes.

For more about the arpeggiator, please see page 85.

Drum Track settings

While you perform using a combination, you can use the KROME’s rich variety of drum patterns to play high-quality drum programs.

Playing along with Drum Track patterns is often a useful way to come up with new phrases.

For more about the Drum Track function, please see page 97.

Effects

For details, please see “Using Effects” on page 77.

Automatically importing a Combination into Sequencer mode

The Auto Song Setup feature automatically applies the settings of the current Combination to a song.

For details, please see “Auto Song Setup function” on page 59.

Creating songs (Sequencer mode)

Overview

About the KROME’s Sequencer

The sequencer brings together the KROME’s numerous functions such as its arpeggiator, RPPR, highperformance effects, and controllers, allowing you to take advantage of these in a wide range of situations.

This sequencer is a 16-track MIDI sequencer that can store up to 128 songs and 210,000 MIDI events. You can use it to record and play back notes for the internal sound generator as well as for external MIDI sound modules.

When you turn off the power, the settings created in Sequencer mode, the song data, any user pattern data, and Cue List that you recorded will not be backed up. If you wish to keep this data, you must save it on an SD card before turning off the power, or perform a MIDI data dump to save the data on an external data filer etc.

If you wish to write the programs, track parameters, effects, and arpeggiator settings etc. selected for a song as a template song, use the menu command Save Template Song.

Immediately after the power is turned on, KROME will not contain any song data, so if you wish to play a song on the sequencer, you must first load data from SD card, or receive a MIDI data dump from a MIDI filer. For details, please see page 118, and page 219 of the Parameter Guide.

Sequencer mode structure

Sequencer mode is structured as follows.

Songs

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

A maximum of 128 such songs can be created on KROME.

Tracks 1–16 consist of setup parameters (such as each track’s program, pan, and volume) located at the start of the song, and the musical data itself. The master track consists of tempo and time signature data (see “Setup parameters & Musical data” on page 106 of the Parameter Guide).

Song recording and editing

Song recording is performed on tracks.

You can record tracks in either of two ways; realtime recording or step recording. For realtime recording you can choose one of six recording modes.

You can edit tracks by using Event Edit operations to modify the recorded data or insert new data, and by using Track Edit functions such as Create Control Data, which generates and inserts pitch bend, aftertouch, or control change data.

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 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.

You can use these patterns by placing them in a track (Put to Track menu command) or by copying them (Copy to Track menu command). You can also use patterns with the RPPR function of a song (see page 71).

Creating songs (Sequencer mode)

RECLOCATE START/

STOP

PAUSE

REW

RECLOCATESET

LOCATE

<, >

popup

START/

STOP

PAUSE REW FF

Recording and editing a pattern

You can record a pattern in either of two ways: realtime recording or step recording. However, unlike realtimerecording to a track, you can select only one recording type (loop recording) when realtime-recording to a pattern.

You can edit the pattern to correct mistakes in the recorded data, or use event editing to insert new data.

You can use the Get From Track menu command to obtain a desired region of performance data from a track and use it as pattern data. Conversely, you can use the Put to Track or Copy to Track menu commands to place or copy a pattern’s performance data into a track.

How Sequencer patterns are related to Drum Track patterns

The patterns of the Drum Track function you use with a Program or Combination are related to Sequencer mode patterns as follows.

Preset patterns are a common library that can also be used by the Drum Track function.

User patterns cannot be directly used by the Drum Track function, but they can be converted to user Drum Track patterns and used with a Program or Combination. If you convert a user pattern, it will be stored in internal memory, and this data will not disappear even when you turn off the power.

Cue List

The cue list allows you to playback multiple songs in succession. The KROME lets you create twenty cue lists. Each cue list lets you connect up to 99 songs and specify the number of times that each song will repeat.

The menu command Convert to Song lets you convert the songs in a cue list into a single song.

For example you can use a cue list to create the backing, convert the cue list to a song, and then add solo phrases on unused tracks.

PAUSE ( ) button

This button pauses the playback of the song. When paused, the button’s LED will light up. Press PAUSE ( ) once again to resume playback, and the LED will turn off.

REW ( ) button

When the Song is playing or paused, this button will rewind the song. When you press and hold this button, its LED will light up, and the playback will rewind. (Rewind is disabled during recording, and while the Song is stopped.)

Note: You can use the FF/REW Speed menu command to specify the fast-forward and rewind speed.

FF ( ) button

When the Song is playing or paused, this button will fast-forward the song. When you press and hold this button, the button will light up, and the playback will fast-forward. (Fast-forward is disabled during recording, and while the Song is stopped.)

LOCATE ( ) button

By pressing the LOCATE ( ) button you can move to a specified locate point. By default, you’ll move to 001:01.000.

To change the locate point that’s assigned to the LOCATE ( ) button, use the menu command Set Location. Alternatively, you can set the locate point during playback by holding down the ENTER button and pressing the LOCATE ( ) button.

START/STOP ( ) button

This starts or stops recording and playback in Sequencer mode.

REC ( ) button

Pressing this button will enter record-ready mode. Once you’re in record-ready mode (shown by the button’s lit LED), you can begin recording by pressing the SEQUENCER START/STOP ( ) button. For details, please see “Recording MIDI in real time” on page 60.

Transport control

These controls let you play back, record, fast-forward, or rewind the sequencer.

Front panel buttons

You can use the front panel SEQUENCER buttons to control recording and playback on the sequencer.

Buttons in the display (the transport bar)

The transport buttons in the bottom line of the display can also be used to control sequencer recording and playback in the same way as the front panel SEQUENCER buttons.

The transport buttons will appear when you press the “<” button on the lower right side of the display and drag it toward the left. To close them, press the “>” button and drag it toward the right.

Playing Songs

Popup

Location

Song Position Bar

Track Select

Song Select

Meter Tempo

Program Select,

& Popup

Playback

In order to play back song data in the sequencer, you must first record, load or dump song data into the KROME.

Let’s start by loading and playing the demo song data. For details, please see “Listening to the demo songs” on page 21 of the Quick Start Guide.

1. Press the SEQ button or MODE button to enter Sequencer mode.

The P0: Play/REC– Program T01–08 or T09–16 page will appear. If this is not displayed, press the EXIT button about three times.

2. Use “Song Select” to select the song you want to play back.

You can press the Song Select popup button and choose from a list. If you select an empty list, a new song will be created.

You can also select a song by using the INC/DEC button or VALUE dial. However if there is no song, you can’t make a selection using the VALUE controllers.

Changing the volume, mute, and solo settings of each track

In the SEQ P0: Play/REC– Prog T01–08, T09–16, Mixer T01–08, and T09–16 pages you can change the volume, mute, and solo settings of each track.

Muting a specific track/Monitoring a specific track (Mute/Solo functions)

The KROME provides a Mute function that lets you silence specified tracks 1–16, and a Solo function that lets you hear the specified track or channel by itself. These functions can be used in various ways. For example you can intentionally mute or solo specific tracks, or listen only to the rhythm section of the previously-recorded tracks while you record new tracks. Let’s try out the Mute and Solo functions.

1. Use “Song Select” to select the song that you want to play back.

2. Press the SEQUENCER START/STOP ( ) button.

3. Press track 1 Play/Rec/Mute.

The display will change from Play to Mute, and the playback of track 1 will no longer be heard. In this way, the “mute” function allows you to silence a specified track until the track is un-muted.

Press track 2 Play/Rec/Mute. The display will change, and the playback of track 2 will also be muted. To cancel muting, press Play/Rec/Mute once again.

3. Press the SEQUENCER START/STOP ( ) button.

Alternatively, pull out the transport bar and press the START/STOP ( ) button. The transport control functionality in the procedure below is described as button operations, but you can also perform the same operations using the on-screen transport buttons.

The song you selected in step 2 will begin playing.

Note: The song will begin playing if you press the START/STOP ( ) button in a page other than P10: Pattern/RPPR. If you press this button while you’re in P10: Pattern/RPPR, the currently-selected pattern will begin playing. (In P11: Cue List, the songs of the cue list will be played.)

4. During playback, you can press the START/STOP ( ) button to stop playback.

If you press the START/STOP ( ) button once again, playback will resume from where you stopped.

For details on the functions of the LOCATE ( ), PAUSE ( ), REW ( ), and FF ( ) buttons, please see page 54.

You can use the FF/REW Speed menu command to specify the fast-forward and rewind speed.

4. Press track 1 “Solo On/Off.”

“Solo” will be highlighted, and this time, only the performance of track 1 will be heard. To play back only a specified track by itself in this way is known as “soloing” the track (turning Solo on).

If both Mute and Solo are used, the Solo function will be given priority.

Press track 2 “Solo On/Off.” The display will change, and you will hear the playback of tracks 1 and 2. You won’t hear the sound of tracks 3–16.

5. To switch Solo off, press Solo On/Off once again. Press Solo On/Off for both tracks 1 and 2.

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/ Rec/Mute settings.

The SOLO setting is not stored when you save the song.

Creating songs (Sequencer mode)

Loop Start

Measure

Play Intro

Track Play Loop

Loop End

Measure

Exclusive Solo

Exclusive Solo is a function that limits the Solo function (described above) to a single track at a time. If Exclusive Solo is on, only the track for which Solo was last turned on will be played; other tracks will always be silent.

Use the Exclusive Solo menu command to specify how the Solo function will function.

Exclusive Solo off: You will be able to solo more than one track at a time. The status of a track will change each time you press its Solo On/Off button.

Exclusive Solo on: When you press a Solo On/Off button, only that track will be soloed.

Tip : You can turn Exclusive Solo on/off by holding down the ENTER button and pressing numeric key 1.

Loop playback

When recording or playing back a song, you can loop individual tracks that are playing.

In the P0–1: Play Loop T01–08 or T09–16 page, check Track Play Loop for the tracks you want to loop, and use Loop Start Measure and Loop End Measure to specify the starting and ending measure of the region that will play back as a loop.

If you check Play Intro, the measures preceding the loop will be played back as an introduction before the loop begins.

If you play back from the first measure with the settings shown in the screenshot above, the specified region of measures will repeat as follows.

Measures 1 2 3 4 5 6 7 8 9 10 11 12 13

Track 1 1234567856785

Track 2 9109109109109109109

If Play Intro is unchecked, the specified region of measures will repeat as follows.

Measures 1 2 3 4 5 6 7 8 9 10 11 12 13

Track 1 5678567856785

Track 2 9109109109109109109

Recording

Popup

Track Select

Location

Song Select

Meter

REC Resolution

Tempo

Mode

Program Select,

& Popup

Preparations for recording

Before you begin recording, make sure that the memory protect setting in Global mode is turned off. For details, please see “Protecting the memory” on page 110.

Creating a Song

Before we can begin this example, we need to select an empty song where we can record.

1. Press the SEQ button or MODE button to enter Sequencer mode.

2. Choose “Song Select” (e.g., in the P0: Play/REC– Program T01–08 page).

You can press the Song Select popup button, and choose from a list.

Track settings

Since we’re going to record a new song in this example, we will start by explaining how to assign a program to each track, and adjust basic settings such as volume.

1. Assign a program to each track.

Use “Program Select” to assign a program to each track. The method is the same as when assigning a program to a timbre in a combination (see page 46).

You can copy various settings from Programs or Combinations. (See pages 166, 167 of the Parameter Guide.)

2. When assigning a program, you can use Track Select to choose the track to which you wish to assign a program, and audition the sound.

3. Set the pan and volume of each track.

Press the Mixer 1–8 tab (or the Mixer 9–16 tab) to access the Mixer T01–08 page (Mixer T09–16 page).

3. Use the numeric keys to input the number of the new song that you want to create, and press the ENTER button. (For example, press the 1 switch and then the ENTER button.) A dialog box will appear.

If you pressed the Song Select popup to access the Song No. dialog box, press the desired song number to open the dialog box.

4. Use “Set Length” to input the desired number of measures and press the OK button.

You can change the number of measures later if desired. For details, please see “Set Song Length” on page 176 of the Parameter Guide.

5. Press the OK button to create the song.

Tip : You can use the ENTER button instead of the OK button.

• Pan sets the pan position of each track, and Vo l u me

sets the volume level of each track.

4. Specify the tone generator and MIDI channel that will be played by each track.

Press the PAGE button to access SEQ Page Select, and press “P3 Track Parameters” The P3: Track Parameters page will appear. Press the MIDI 1–8 tab (or the MIDI 9–16 tab) to access the MIDI T01–08 page (MIDI T09–16 page).

•Use Status to specify whether each track will play the internal and/or external sound generator.

Normally when using the KROME, you will select INT or BTH.

INT: During playback, the KROME’s internal tone generator will play the MIDI data recorded on that track. When you use the KROME’s keyboard or

Creating songs (Sequencer mode)

controllers, you will be playing and controlling the track selected by Track Select.

EXT, EX2, BTH: During playback, the MIDI data recorded on that track will be transmitted from MIDI OUT to play an external sound module. When you use the KROME’s keyboard or controllers, MIDI data will be transmitted to play and control the external sound module selected by Track Sel e c t . (The MIDI channel of the external tone generator must be set to match the MIDI Channel of KROME tracks that are set to EXT, EX2 or BTH.)

If Status is set to BTH, both the external tone generator and internal tone generator will be played and controlled.

•Use MIDI Channel to specify the MIDI channel for

each track. Normally you will set the MIDI Channel to a different channel: 1–16 for each track. Tracks that are set to the same MIDI channel will sound simultaneously when you record or play back either of the tracks.

5. Adjust the effect settings.

Adjust settings for each effect in P8: Routing/IFX and P9: MFX/TFX/LFO.

For details, please see “Using effects in Combinations and Songs” on page 81.

6. Set the tempo and time signature.

• To set the tempo, you can turn the TEMPO knob or press the TAP button at the desired interval. Alternatively, you can select  (Tempo) in the P0: Play/REC– Program T01–08 page (or similar page), and use the VALUE controllers to set the tempo. Set Tempo M o de to Manual.

• Next you will set the time signature. In this example, we’ll explain how to set the time signature using the “Meter” field. Normally, you specify the time signature before recording the first track, and then begin recording.

a) Press the SEQUENCER REC () button, and set “Meter”

to **/**.

b) Press **/** to highlight it, and use the VALUE controllers

to set the time signature.

c) Press the START/STOP ( ) button to begin

recording. When the pre-count has ended and Locate reaches 001:01:000, press the START/STOP ( ) button to stop recording. The time signature you specified has now been recorded on the Master track. If you press the START/STOP ( ) button during the pre-count, the time signature won’t be recorded.

7. Set the “REC Resolution” if necessary.

When you record in real time on a track, this parameter specifies how the timing of the recorded MIDI data will be corrected. The timing will also be corrected when you record automation data in real tme on an audio track. (Data that was already recorded will not be corrected.)

For example, let’s suppose that you recorded some eighth notes in real time, but your timing was not quite perfect, as shown in part 1 of the illustration below. If REC Resolution were set to  when you recorded, the timing would automatically be corrected as shown in part 2 of the illustration. If REC Resolution is set to Hi,

the notes will be recorded with the timing at which you play them.

8. Make other settings as necessary.

You can adjust the settings for the arpeggiator (P7: ARP/DT), MIDI filtering (P5: MIDI Filter), etc. (See page 89)

You may also wish to use Tone Adjust to tweak the sound. When you are finished making these settings, the basic setup is complete.

Saving your song parameter settings

The song parameter settings you create here can be saved as a template. If you use these settings frequently, you can simply load one of the templates you’ve saved.

For details, please see “Save Template Song (Save as User Template Song)” on page 164 of the Parameter Guide.

Using template songs

Loading a template song is an easy way to create settings appropriate for a particular musical style. You can also assign a drum pattern to a track at the same time.

1. In the P0: Play/REC page, press the menu command button and choose “Load Template Song.”

A dialog box will appear.

2. In the “From” field, choose the template song you want to load.

3. If you check “Copy Pattern to Track too?”, a dialog box for copying a pattern will automatically appear after you execute the “Load Template Song” operation.

If you execute the command without checking this, only the template song you selected in step 2 will be loaded.

4. Press the OK button to load the template song, or press the Cancel button if you decide to cancel.

When you perform this operation, song settings other than track Loop and RPPR will be copied.

If you executed this operation with Copy Pattern to

Track too? checked in step 3, the Copy Pattern To Track dialog box will appear.

This dialog box is the same as the one that appears for the Copy To Track (P10: Pattern/RPPR– Pattern Edit) menu command.

5. In the “Pattern” field, select the pattern that you want to copy.

In the To Track field, select the copy-destination track.

In the Measure field, specify the starting measure of the copy-destination.

Following the pattern name for each of the 605 preset patterns, the musical style and the name of the most suitable Drums category program are partially displayed.

By loading a drums track and the corresponding preset pattern, you can instantly set up a drum track appropriate for each preset template song.

6. To execute this operation, press the OK button.

When you execute this procedure, the Measure field will count up automatically, showing how many measures of the selected pattern have been placed in the selected song. You can then copy another pattern if desired, or add more measures of the same pattern. When you’re finished, press the Exit button.

Copying the settings of a combination or program

You can copy the settings of a combination or program into the sequencer.

This can be done in the following ways.

•Auto Song Setup Auto Song Setup is a function that copies the settings of the selected combination (in Combination mode) or program (in Program mode) to the song in Sequencer mode.

• Menu commands Copy From Combi or Copy From Program. (See pages 166, 167 of the Parameter Guide) In Sequencer mode, you can use these page menu commands to copy the desired settings.

Recording Preparations for recording

Auto Song Setup function

1. Enter Combination mode.

2. In P0: Play page, select the desired combination and edit the Arpeggiator etc. as desired.

Note: If you want to save the edited state of the combination, use the Write Combination menu commands.

3. Press the REC () button. Alternatively, select the page menu command “Auto Song Setup.”

The Setup to Record dialog box will appear.

4. To execute the Auto Song Setup function, press the REC () button or the OK button. If you decide not to execute, press the Cancel button.

You will automatically move to Sequencer mode, and the settings of the combination will be copied to the song.

The first unused song will be the copy-destination song.

Contents automatically copied from a combination

The copied contents will be the same as when you execute the menu command Copy From Combi with the following settings in the dialog box. (See page 166 of the Parameter Guide)

• IFXs, MFXs, TFX checked

• Auto Adjust Arp setting for Multi REC checked

Contents automatically copied from a program

The copied contents will be the same as when you execute the menu command Copy From Program with the following settings in the dialog box. (See page 167 of the Parameter Guide)

• IFXs, MFXs, TFX checked

• Arp checked

• To set to Track 01

• Arp set to A

• with Drum Track checked

• To: Drum Track set to Track 10

• Check Recording Setup Multi REC

• Set the Play/Rec/Mute setting to REC for tracks 01 and 10 (see page 101 of the Parameter Guide).

5. The KROME will automatically enter record-ready mode, and the metronome will sound according to the Metronome setting (See page 119 of the Parameter Guide).

6. Press the START/STOP ( ) button to begin realtime recording. To stop recording, press the START/STOP ( ) button once again.

Creating songs (Sequencer mode)

Recording MIDI in real time

When you’ve finished with “Preparations for recording,” you can start recording.

This is a method of recording what you’re playing on the keyboard and your controller usage, in real time. 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 Drum Track function, the RPPR function, and the arpeggiator to record multiple tracks of musical data at once, or when you play back existing sequence data on an external sequencer and record it onto KROME’s sequencer in real time.

5. When you finish playing, press the START/STOP ( ) button.

Recording will end, and the location will return to the point where you begin recording.

If you press the PAUSE ( ) button instead of the START/STOP ( ) button, recording will pause. When you press the PAUSE ( ) button once again, recording will resume where you left off before pausing. When you are finished, press the START/ STOP ( ) button to stop recording.

The following recording setup parameters are also available.

Overdub

Select this method if you wish to record additional performance data by overdubbing it without erasing the previously-recorded data.

Recording setup

In P0: Play/REC– Preferences page Recording Setup, select the realtime recording method you want to use.

Overwrite

By default, this recording method is selected.

This will record your performance by overwriting any previously recorded data. All data following the measure where you start recording will be erased.

Normally you will use this method to record, and then modify the results by using other types of real-time recording or MIDI event editing.

1. Use Track Select to choose the track that you want to record.

2. Set the Recording Setup to Overwrite.

3. In “Location,” specify the location where you wish to begin recording.

Location

Manual punch-in

Select this method when you wish to use the SEQUENCER REC () button or a foot switch to re- record selected portions of a previously-recorded track.

Auto punch-in

Select this method when you wish to automatically rerecord selected portions of a previously-recorded track.

Then, recording will occur only over the specified area (Auto Punch In Start Measure–Auto Punch In End Measure), rewriting it with the newly recorded data.

Loop All Tracks

Select this method when you wish to repeatedly record over a specified area of a track, while continuing to add data. This is suitable for creating drum patterns, etc.

For details, please see “An example of realtime recording” on page 61.

Multi (multitrack recording)

Use MIDI multi-track recording if you want to simultaneously record multiple tracks of different channels, such as when recording the output of the drum track, arpeggiator or RPPR functions, or when recording from an external multi-track sequencer.

4. Press the SEQUENCER REC () button, and then press the START/STOP ( ) button.

If the Metronome Setup is still set to 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.

Recording Step recording

Bass drum: C3

Snare: E3

Hi hat: F#3

An example of realtime recording

In this example, we’ll assign a drum program to track 01 and create the following one-measure drum phrase.

1. Create a new song, and specify a drum program for track 01.

Use Track Select to select track 01, and verify that you hear a drum program. (See page 57)

2. Access the P0: Play/REC– Preferences page. In Recording Setup, specify “Loop All Tracks” and set it to M001-M001 (see page 117 of the Parameter Guide).

With this setting, measure 1 will be recorded repeatedly. The newly recorded data will be added at each pass.

3. Set “REC Resolution” to . (See page 58)

4. Press the SEQUENCER REC () button, and then the START/STOP ( ) button.

The metronome will sound a two-measure countdown, and then recording will begin.

5. As shown in the musical example printed above, start by playing the C3 note of the keyboard to record the bass drum for one measure.

6. Next, play the E3 note of the keyboard to record the snare for one measure, and then the F#3 note to record the hi-hat.

7. Press the START/STOP ( ) button to stop recording.

8. Play back the result, and listen to the drum performance that you recorded.

Press the START/STOP ( ) button. When you’ve finished listening, press the START/STOP ( ) button once again to stop playback.

9. If you’re not satisfied with the result, press the COMPARE button to return to the state prior to recording, and then re-record from step 4.

Note: When you’re finished recording, change the Recording Setup back to the normally-used Overwrite (P0: Play/REC– Preferences page).

In addition, access the P0: Play/REC– Play Loop T01– 08 page, check Track Play Loop for track 01, and set the Loop Start Measure and Loop End Measure to 001. When you play back, track 01 will repeatedly play the first measure.

Step recording

Step recording is the recording method where you specify the duration and strength of each note, and use the keyboard to specify the pitch of each MIDI note.

You can use the Rest button and Tie button of the dialog box to input rests and ties.

Step recording is useful when you want to create mechanically precise beats, or when you need to record a phrase that would be difficult to play by hand “in real time,” or when you find it difficult to play extremely complicated or rapid passages.

An example of step recording

In this example, we’ll assign a bass program to track 02 and step-record the following two-measure bass phrase.

Step

Note

Time:

Select

C3 . C3 key

G3 - G3 key

C4 - C4 key

D3 - D3 key

Eb3 - Eb3 key

E3 - E3 key

F3 - F3 key

C3 - C3 key

F2 - F2 key

Tie - Tie button

F2 - F2 key

A2 - A2 key

A3 - A3 key

1. Specify a bass program for track 02. Use Track Select to select track 02, and verify that you hear a bass program.

2. Access the P6: Track Edit– Track Edit page.

Step

Time:

. 3 -

Key, Button

- Rest button

Measure/ Beat Tick

001 / 01.000

001 / 01.360

001 / 02.000

001 / 02.240

001 / 02.360

001 / 03.120

001 / 03.240

001 / 04.000

001 / 04.240

002 / 01.000

002 / 01.120

002 / 01.360

002 / 02.000

002 / 02.240

002 / 03.000

002 / 03.240

002 / 03.360

002 / 04.000

002 / 04.240

002 / 04.360

Creating songs (Sequencer mode)

3. Set “From Measure” to 001.

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

4. Press the menu command button, and press menu command “Step Recording.”

A dialog box will appear.

5. In “Step Time,” use “Select” to specify the basic timing value.

Input the first C3 note as . (dotted eighth note). Use the popup button to the left to select .

You can choose a note value ranging from a whole note () to a 32nd note ().

Input a dotted note by selecting “.” with the popup buttons at right.

You can specify “3” to input a triplet. If you want to use the unmodified length of the note that’s selected at the left, choose “–”.

“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.

“Note Velocity” is the velocity (playing strength), and larger values will produce a louder volume. Set this to Key.

If you select Key for this parameter, the velocity of how you actually play the keyboard will be input.

6. On the keyboard, press and then release the first C3 note that you want to input.

The data you input will appear in the display as numerical values. On the upper right side, Measure 001 Beat Tick 01.000 will change to Measure 001 Beat Tick 01.360. The next note you input will be placed at this location.

7. As described in steps 5 and 6, input the notes and rests that follow the first C3 note.

In addition to the methods described in steps 5 and 6, you can also use the following input methods.

• To input a rest, press the Rest button. This will input a rest of the selected Step Time value.

• To enter a tie, so that two or more notes of the same pitch will be played as a single unbroken note, press the Tie button. When you press the Tie button, the previously-input note will be extended by the Step Time length.

• To delete a note or rest that you input, press the Step Back button. The previously-input note will be deleted.

• To input a chord, simultaneously press the notes of the desired chord. Even if you do not press them simultaneously, notes that are pressed before you fully remove your hand from all keys on the keyboard will be input at the same location.

• To audition a note without actually inputting it, press the PAUSE ( ) button. Now when you play a note on the keyboard, it will sound, but the note will not be actually input. In this state, playing a key will produce a sound, but will not input a note. Press the PAUSE ( ) button once again to cancel the record-pause state, and resume inputting notes.

8. When you are finished recording, press the Done button.

Press the SEQUENCER START/STOP ( ) button to play back.

Access the P0: Play/REC– Play Loop T01–08 page, check Track Play Loop for track 02, set Loop Start Measure to 001, and Loop End Measure to 002. track 02 will play measures 1–2 repeatedly.

9. If you’re not satisfied with the result, press the

COMPARE button to return t recording, and then re-record from step 4.

When you begin step recording, all data in the track that follows the measure where you began recording will be erased. You need to be aware of this if you begin step recording from a measure mid-way through the song.

If you want to copy data into a measure that already contains data, perform step recording in an empty track, and use the Move Measure or Copy Measure menu commands. (See page 179 of the Parameter Guide)

If you want to edit or add to the recorded data, you can use the Event Edit or Piano Roll function. (See pages 169, 171 of the Parameter Guide)

the state prior to

Recording Recording multiple tracks from an external sequencer

Recording multiple tracks from an external sequencer

The playback from an external MIDI sequencer connected to the KROME can be recorded simultaneously using multi-recording.

1. Make sure that the MIDI OUT of your external sequencer is connected to the MIDI IN of the KROME.

If it is not connected, turn off the power, make the connection, and then turn the power on.

2. In the Global P1: MIDI– MIDI Basic page, set MIDI Clock to External MIDI. With this setting, the KROME will synchronize to MIDI clock messages from your external sequencer.

Make sure that Receive Ext. Realtime Commands is checked.

3. Create a new song in Sequencer mode, and in the P0: Play/REC– Preferences page, check the Multi REC check box. Set Recording Setup to Overwrite.

5. In the P3: Track Parameters– MIDI T01–08 and T09–16 page, use MIDI Channel to specify the MIDI channel of each track.

Set the MIDI channel of each KROME track to match the MIDI channel of each external sequencer track. Data from each channel will be recorded on the corresponding KROME track.

Make sure that Status is set to INT or BTH.

6. Press the LOCATE ( ) button to set the location to 001:01.000.

7. Press the SEQUENCER REC () button to enter record-standby mode.

8. Start your external sequencer.

The KROME’s sequencer will automatically begin recording when it receives the MIDI Start message transmitted by your external sequencer.

9. When playback has ended, stop your external sequencer.

The KROME’s sequencer will automatically stop recording when it receives the MIDI Stop message transmitted by the external sequencer. You can also stop recording by pressing the START/STOP ( ) button on the KROME.

After this, you can play back the newly recorded sequence:

10. In the Global P1: MIDI– MIDI Basic page, set

MIDI Clock to Internal.

Set Tempo M o de to Auto in the Seq P0: Play/REC– Program T01–08 page.

Press the START/STOP ( ) button to play back.

Note: If the correct sounds are not selected when you start playing back, you may be able to solve the problem by using the menu command Event Edit (P6: Track Edit) to re-specify the Program Change data.

4. Press Play/Rec/Mute to select “REC” for the tracks you want to record.

For the tracks you don’t want to record, select Play or Mute.

Creating songs (Sequencer mode)

Recording System Exclusive events

Exclusive messages received from an external MIDI device or the parameter changes produced when you edit a track parameter or effect parameter can be recorded in real time on any track.

During playback, the exclusive messages you recorded will control the track parameters and effect parameters of the song, and can be sent to external MIDI devices.

Note: You can use the menu command Put Effect Setting to Track to insert an exclusive event containing

the parameter settings for an insert effect, master effect or total effect into the desired location of a track, so that these settings will automatically switch during playback.

GM, XG, and GS exclusive messages can be recorded on a track, but the KROME’s tone generator will not respond to these messages.

Recording internal parameter changes

You can use SysEx for automation of internal KROME effects and Program parameters.

Here we’ll explain how to record internal parameter changes. As an example, we’ll explain how parameter changes recorded on a different track can be used to modify the parameters of the insert effect (IFX1) applied to the program of track 1.

Note: In order to record system exclusive messages, make sure that the Global P1: MIDI– MIDI Routing setting Enable Exclusive is checked. Go to Global mode and verify that this is checked.

2. Select Track 09 in “Track Select,” and record parameter changes as desired.

Note: For this example, select an empty track. If you want to record onto a MIDI track that already contains data, set the P0: Play/REC– Preferences page Recording Setup to “Overdub,” as described on page 60.

• Select Track 09 in Track Select. Then press the SEQUENCER REC () button and then the START/ STOP ( ) button, and begin recording.

• At the appropriate time while recording, adjust the parameter(s) that you want to realtime-record.

In the P8: Routing/IFX- Insert FX Setup page, select another effect for IFX1, and modify the effect parameter values.

1. Select the desired program for MIDI track 1, and route it to IFX1. Then record a phrase of about sixteen measures.

• In the P0: Play/REC– Program T01–08 page, use “Program Select” to select the desired program for MIDI Track 01.

• In the P8: Routing/IFX– Routing T01–08 page, route the MIDI Track 01 Bus (IFX/Output) Select to IFX1. Then in the P8: Routing/IFX– Insert FX Setup page, select the desired effect for IFX1.

• Select MIDI Track 01 in Track Select. Then press the SEQUENCER REC () button and then the START/STOP ( ) button, and record a phrase of about sixteen measures.

Note: In addition to effect parameter changes, you can also record parameters such as sound parameters. For details on the parameters that can be recorded, please see page 191 of the Parameter Guide.

3. Stop recording.

Note: Exclusive messages are always recorded on the current track selected by Track Selec t . In this example, they are recorded on MIDI track 9.

Note: In the MIDI event edit page you can view the recorded exclusive events and their location. Exclusive events are displayed as “EXCL”.

To view these events, go to the P6: Track Edit– Track Edit page, and select the menu command MIDI Event Edit. Then in the Set Event Filters dialog box, check Exclusive and press the OK button.

Exclusive events cannot be changed to a different type of event. Nor can other events be changed into exclusive events.

4. If you go to the page (e.g., P8: Routing/IFX) that shows the parameters you adjusted in realtime, you can watch the recorded changes be reproduced while the song plays back.

Exclusive messages that will be recorded

Pattern Select

Track

Select

Remove Data

REC Resolution

during realtime recording

The following exclusive messages will be recorded. (See page 191 of the Parameter Guide)

• Exclusive messages received from an external MIDI device.

• Parameter changes in Sequencer mode.

• Master Volume universal system exclusive messages assigned to a foot pedal or knob.

Using realtime controls to record changes in a MIDI track’s pan, EQ, volume, and tone adjust

By controlling the pan, EQ, volume, and tone adjust parameters during realtime recording, you can record these changes so that they will be reflected during playback.

Use multi-track recording if you want to modify the settings of multiple tracks simultaneously.

Note: Controlling these parameters will transmit control change or system exclusive messages. In order for this data to be recorded, the Global P1: MIDI– MIDI Routing Enable Control Change and Enable Exclusive settings must be checked. Go to Global mode and verify that these items are checked.

Note: Use Param. MIDI Out in Global P1: MIDI Basic page to specify whether control change messages or system exclusive messages will be transmitted when you edit the Pan (CC#10), Volume (CC#7), or Send 1/2 level (CC#93 and CC#91) parameters.

In this case, the Global P1: MIDI– MIDI Routing settings Enable Control Change and Enable Exclusive must be checked respectively.

Recording Recording patterns

Recording patterns

Recording and editing patterns

You can record patterns in either of two ways; realtime recording or step recording. However, pattern realtime recording differs from song realtime recording in that you can use only Loop type recording.

You can edit patterns by using Event Edit operations to modify the recorded data or insert new data. You can also use the Get From Track menu command to convert a desired region of performance data from a MIDI track into a pattern. Conversely, you can use the Put to Track or Copy to Track menu commands to place or copy the performance data from a pattern into a MIDI track.

In addition, you can use the “Convert to Drum Track Pattern” page menu command to convert a user pattern to a drum track pattern. (See “Converting to a Drum Track pattern” on page 103)

Recording patterns in real time

When realtime-recording a pattern, a pattern of the specified number of measures will play back repeatedly, allowing you to continue adding musical data to it.

1. Create a new song, and as described in “Preparations for recording” on page 57, set the track to the program that will be used by the pattern.

2. Access the P10: Pattern/RPPR– Pattern Edit page.

3. Use Track Select to choose the track that you will use to record the pattern.

The pattern will play back with the program and other settings of the selected track.

4. Set “Pattern (Pattern Bank)” to User, and set “Pattern Select” to U00.

User patterns U00–U99 can be created for each song.

5. Select the menu command “Pattern Parameter”.

Creating songs (Sequencer mode)

A dialog box will appear.

Other way to record

Using the Drum Track function and the arpeggiator to record on multiple tracks simultaneously

6. Set 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 OK button.

7. As necessary, set “REC Resolution” to apply realtime quantization.

8. Begin realtime recording.

You can record in the same way as you did when recording tracks with Loop All Tracks. (See “Loop All Tracks” on page 60)

Press the SEQUENCER REC () button, and then press the START/STOP ( ) button.

After the pre-count, pattern recording will begin. Play the keyboard and use the joystick and other controllers to record your performance.

When you reach the end of the pattern, the sequencer will return to the beginning of the pattern and continue recording. If you continue recording, the newly recorded data will be added to the previouslyrecorded data.

9. If you want to delete specific data while you continue pattern recording, you can press the REC () button or check the “Remove Data” check box.

For details refer to step 6 of “Loop All Tracks” on page 60.

10. Press the START/STOP ( ) button to stop

recording.

If you made a mistake or decide to re-record, press the START/STOP ( ) button to stop recording, and press the COMPARE button. Then begin the pattern recording procedure again as in step 8.

You can use multi-recording to simultaneously record a multi-track performance using the Drum Track function and arpeggiator.

For details, please see “Recording MIDI in real time” on page 60.

Using the RPPR function to record on multiple tracks simultaneously

You can use multi-recording to simultaneously record a multi-track performance using the RPPR function.

For details, please see “Creating an RPPR pattern” on page 71.

Song editing

Song editing Song

You can apply a variety of editing procedures to a song. The available types of editing procedures are listed below.

Song

Load (Save) Template Song: Loads a song template into the song (or saves a song as a template) (see page 58).

Copy From Combination/Copy From Program:

the settings of the specified combination/program to the settings of the song that’s currently selected.

Copy From Song: This command copies all of the setting data and musical data from the specified song to the song that’s currently selected.

Rename song: Renames the selected song. You can enter up to 24 characters.

Delete Song: This command deletes the currently selected song.

FF/REW Speed: This allows you to set the speed at which fast-forward or rewind will occur when you press the FF ( ) button or REW ( ) button.

GM Initialize: This command transmits a GM System On message to the Sequencer mode, resetting all MIDI tracks to the GM settings.

Set Song Length: This command changes the length of the specified song. When it is executed, the length of the master track will change, and the number of measures played will change.

Copies

MIDI tracks

Tracks

Step Recording: This allows you to specify the length and velocity of each note numerically, and to input MIDI data, the pitches, from the keyboard. You can use the Rest button and Tie button to enter a rest or tie.

Event Edit: Here you can edit individual events of MIDI data.

Piano Roll: Allows you to edit notes, velocities, and control changes in the piano roll screen. By selecting and dragging events in the screen, you can edit their pitch or timing, or delete or add events.

Erase Track: This command erases the data from the specified track. It is not possible to erase the master track by itself.

Copy Track: This command copies musical data from the copy source track to the specified track.

Bounce Track: This command combines the musical data of the bounce source and bounce destination tracks, and places the combined data in the bounce destination. All musical data in the bounce source will be erased.

Erase Measure: This command erases the specified type(s) of musical data from the specified range of

measures. The Erase Measure command can also be used to remove only a specific type of data. Unlike the Delete Measure command, executing the Erase Measure command does not cause the subsequent measures of musical data to be moved forward.

Delete Measure: This command deletes the specified measures. When the Delete Measure command is executed, the musical data following the deleted measures will be moved towards the beginning of the sequence.

Insert Measure: This command inserts the specified number of measures into the specified track. When you execute the Insert Measure command, the musical data following the insert location will be moved backward.

Repeat Measure: This command repeatedly inserts the specified measures for the specified number of times. When you execute the Repeat Measure command, the measures will be inserted following the measure specified by To End of Measure, and musical data following the inserted data will be moved backward.

Copy Measure: This command copies the measures of musical data specified as the “From” source to the beginning of the measure specified as the “To” location. When you execute the Copy Measure command, the existing track data at the copy destination will be rewritten.

Move Measure: This command moves the specified measures of performance data to another measure. When you execute the Move Measure command, the performance data following the move-source measures will move forward by the corresponding number of measures, and the performance data following the move-destination will move backward (i.e., later in the song) by the same number of measures.

Create Control Data: This command creates control change, aftertouch, pitch bend, or tempo data in the specified region of a MIDI track or the master track.

Erase Control Data: This command erases data such as control changes, aftertouch, pitch bend, or tempo in the specified range.

Quantize: This command corrects the timing of MIDI data of the type you specify (note data, control change, aftertouch, pitch bend, program change, etc.) in the track.You can also adjust for swing.

Shift/Erase Note: This command shifts (moves) or erases the specified note numbers in a specified MIDI track and range of measures.

Modify Velocity: This command modifies the velocity values of notes in the specified area so that they will change over time according to a selected curve.

Create Exclusive Data: This command creates universal system exclusive messages or KROME parameter change messages in the specified region of a MIDI track.

Erase Exclusive Data: This command erases (deletes)

versal system exclusive messages or KROME

uni parameter change messages from the specified region.

To delete all types of system exclusive message other than those listed above, set the Erase Measure command’s “Kind” field to Exclusive, and execute the command.

Creating songs (Sequencer mode)

Track View area select

The bar at left indicates the four tracks shown in the track view area (in this example, tracks 1–4).

Setup

Press this button to open the Track View Setup dialog box.

Displays note events in a one-octave range

Displays the values for the control message name indicated in the left of the screen

Indicate the selected region. Linked with the identicallynamed parameter of the Track Edit page.

( Track View Setup)

Track name indication Control message name indication

(

Track View Setup)

Scroll button

Selected region

Velocity indication (

Track View Setup)

(

Track View Setup)

(

Track View Setup)

Scroll button

Note events

Location bar

Track view area

Pattern

Too l bo x

Jump to the piano roll.

Specify the starting measure.

Specify the ending measure.

Move the events of the selected measure(s).

Copy the events of the selected measure(s).

Erase the events of the selected measure(s).

Pattern

Step Recording (Loop Type): Here you can perform step recording into a pattern.

Event Edit: Here you can edit individual events of the musical data in a pattern.

Piano Roll: You can edit notes, velocities, and control changes in the piano roll screen.

Pattern Parameter: This command specifies the number of measures and the time signature of the selected pattern.

Erase Pattern: This command erases the data from the selected pattern.

Copy Pattern: This command copies the settings and musical data of the selected pattern to another pattern.

Bounce Pattern: This command combines the musical data of the bounce source pattern and bounce destination pattern, and places the combined musical data in the bounce destination.

Get From Track: This command takes musical data from a MIDI track and loads it into the specified pattern.

Put To Track: This command places a pattern into a MIDI track.

Copy To Track: This command copies the specified area of musical data from the specified pattern to a MIDI track as musical data.

Convert to Drum Track Pattern: This command converts a user pattern into a user drum track pattern, which can then be used with the Drum Track in any mode.

Load Drum Track Pattern: This command loads a user Drum Track pattern into a user pattern.

Erase Drum Track Pattern: This erases the specified Drum Track pattern.

Track view edit

Here we’ll explain track view editing.

You can visually specify regions of measures in the display, and then move, copy, or erase them.

For each track, event data such as notes, velocities, and control changes are displayed (see the illustration below).

Your editing will apply to the highlighted measures. The range is shown in FROM MEASURE and To END of MEASURE in the upper line.

You can move, copy, or erase data in units of measures.

Note: You can’t specify a region of measures unless a tool is selected in the toolbox.

Examples of using the tools

Example) Moving the events of measures 1–2 to measures 5–6

1. Press the tool.

2. Drag over measures 1–2 to specify the edit region.

3. Press the tool.

4. Press measure 5 (the move-destination measure). Alternatively, drag the edit region to measure 5.

Song editing Track view edit

The destination is overwritten by the source data

If you choose Overwrite

The two sets of data are combinedIf you choose Merge

5. In this example, an event exists in the movedestination measure, so the Drag Move dialog box will appear.

Overwrite will overwrite the source data over the destination data (replacing the destination data with the source data). Merge will combine the source and destination data.

Press the OK button to execute the move.

If there are no events in the move-destination measures, this dialog box will not appear; the move will occur immediately.

4. While continuing to press, drag to the movedestination track, and release.

If the move-destination measures contain events, the Drag Move dialog box will appear.

Overwrite will overwrite the source data over the destination data (replacing the destination data with the source data). Merge will combine the source and destination data. Press the OK button to execute the move.

If there are no events in the move-destination measures, this dialog box will not appear; the move will occur immediately.

Example) Moving the data of an entire track

1. Return the location to the beginning.

2. Press the tool.

3. Press the left side of measure 1 in the track you want to move.

Example) Copying the events of measures 1–2 to measures 3–4

1. Press the tool.

2. Drag over measures 1–2 to specify the edit region.

3. Press the tool.

4. Press measure 3 (the copy-destination measure). Alternatively, drag the edit region to measure 3.

Creating songs (Sequencer mode)

The copy will be executed.

5. If desired, you can press another copy-destination to copy the data repeatedly.

Example) Copying the data of an entire track

You can copy the data of an entire track to another track.

Refer to “Example) Moving the data of an entire track.”

In step 2, choose the tool.

Piano Roll Editing

Piano Roll editing lets you enter, edit, or delete event data such as notes, velocities, and control changes.

1. In the Seq P6: Track Edit- Track View page, specify the track and measure that you want to edit.

2. Select the tool in the Track View page or select “Piano Roll” from the menu commands to access the Piano Roll window. (See illustration below)

3. Make sure that the events you want to edit are displayed in the note view area at the upper part of the window or in the control view area at the lower part of the window.

• Press the note view area selector, and use the value controllers.

• Select the tool, and drag.

• Enter “Meas” or “#” in the event list.

• Use the view control zoom buttons to zoom-in/out.

• Switch the view area height selector.

4. Use the tool box to select a tool, and edit the data.

Note: If you want to undo an edit, press the Undo button.

5. To play back the events, press the Play button. A dialog box will open, and the song will start playing. This allows you to check the results of your editing.

6. You can change settings such as the note resolution. Press the Setup button, and adjust the settings in the Piano Roll Setup dialog box.

7. When you’re finished editing, press the Done button.

Note view area

Note view area select

Select what will be shown in the control view area. (In this example, velocity values are shown.)

Control view area

Event list

The Piano Roll Setup dialog box will appear when you press the Setup button (->see Piano Roll Setup).

Note events

Undo cancels the preceding edit. Redo returns to the state prior to Undo.

The selected note event

Plays back the song. The Piano Roll Edit Play dialog box will appear when you press this button ( Piano Roll Edit Play).

Ends piano roll editing

Toolbox:

Select or move a note.

Change the length of notes.

Enter notes.

Delete notes.

Move the note view area that is displayed.

View area height select

Switch the note event display

Scroll (view control)

Zoom

Creating an RPPR pattern

RPPR stands for Realtime Pattern Play/Recording, and is a function that lets you assign pattern data to each key, and then play back that pattern simply by pressing the key where it is assigned. You can realtime-record this performance.

Creating RPPR data

1. Create a new song, and choose a drum program for track 1.

2. Access the P10: Pattern/RPPR– RPPR Setup page. In this page, the RPPR function is automatically turned on.

3. Select the key where the pattern will be assigned.

4. Select C#2.

You can also change this setting by holding down the KEY edit cell and playing a note on the keyboard.

Note: C2 and lower keys are used to stop playback, and cannot be assigned patterns.

5. Check “Assign” for C#2.

6. Set “Pattern Bank” to Preset, and set “Pattern Select” to P001.

7. Set “Track” to Track01.

The selected pattern will be played according to the settings (program, etc.) of the track you select here.

8. Assign patterns to other keys.

For “KEY,” press the INC button to select D2.

9. Press the Revert button.

The Assign, Pattern Bank, Pattern Select, and Track settings will be given the previously (steps 5–7) specified values.

10. Choose “Pattern Select,” and press the INC

button to select P002.

By using Revert in this way, you can work efficiently when assigning contiguous (or nearby) pattern numbers or tracks.

Creating an RPPR pattern Creating RPPR data

• As described above, assign several other patterns such as P003 and higher.

11. Press the C#2 key.

The assigned pattern will play.

12. Take your finger 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 Mode setting.

13. 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 function in a different way.

With the Measure setting, patterns will be handled in one-measure units. The second and subsequent patterns will start in sync with the end of pattern that was previously played.

If you change the Mode setting to Once, the entire pattern will playback to the end even if you release your finger 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, Mode, and Shift, please see page 158 of the Parameter Guide.

• The assigned keys are also shown in the keyboard graphic in the display.

• Keys where no patterns are assigned can be played normally. Use Track Select to select the track you want to play. For example you could assign backing patterns for drums or bass to keys C#2–B2 and use these keys to control the pattern playback, while using the keys C3 and above to play a solo performance in realtime. It’s a good idea to keep your RPPR assignments within a specific range of keys.

Creating songs (Sequencer mode)

RPPR On

RPPR playback

Let’s use the RPPR pattern that you created to perform in the P0: Play/REC– Program T01–08 page.

1. Access the P0: Play/REC– Program T01–08 page.

2. Check the “RPPR” check box.

The RPPR function will be turned on. Set the RPPR on/ off for each song.

3. Play the keyboard, and patterns will begin playing according to the RPPR settings.

If you want to play RPPR phrases from an external MIDI device, you can control them on the MIDI channel of the track that’s selected in Track Select.

• Pattern playback for keys where the Sync setting is Beat or Measure will synchronize to the pattern playback of the very first key played.

• 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.

4. To turn off the RPPR function, uncheck the RPPR check box.

Realtime-recording an RPPR performance

You can record the realtime performance generated by RPPR.

Recording an RPPR performance

The RPPR playback can be recorded as performance data on the track(s) assigned to each pattern. This means that you’ll use either single track recording or multi-track recording, as appropriate for the track settings or performance style of the RPPR you’re playing.

On the other hand, even if RPPR uses only one track, use multi-track recording if you will be recording another track at the same time.

You should also select multi-track recording if you specified the RPPR data using multiple tracks rather than just a single track, and want to simultaneously record the performance of multiple tracks.

Here’s how you can record an RPPR performance and a keyboard performance at the same time. Before you continue, use the P0: Play/REC– Program T01–08 page to assign a drum program to MIDI track 1, and a bass program to MIDI track 2.

1. Assign several keys starting with C#2 to preset patterns.

Check the C#2 Assign setting, and set Pattern Bank to Preset and Pattern Select to the desired preset pattern. For Track, select MIDI track 1 (Track 01) to which you assigned a drum program.

2. For each RPPR pattern, set Sync to SEQ.

With a setting of SEQ, RPPR patterns triggered while the sequencer is playing or recording will start in synchronization with the measures of the sequencer. (See page 158 of the Parameter Guide.)

Play RPPR while a song plays back

RPPR can be played in synchronization with the playback of a song.

Pattern playback for a key with a Sync setting of SEQ will synchronize to the playback of the song. Start the song playback, and then press the key. The pattern playback will start in synchronization with the measures of the song.

Synchronization will be lost if you use the REW ( ) or FF ( ) buttons while a song is playing.

Note: 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.

Note: If the song is stopped, the pattern will synchronize to the timing of the arpeggiator.

3. Access the P0: Play/REC– Program T01–08 page.

4. Check the “RPPR” check box, and set Track Select to MIDI Track 02.

If the RPPR check box is selected, the RPPR function will be turned on even in pages and tabs other than RPPR Setup, allowing you to perform with the RPPR function by pressing a key to which an RPPR is assigned.

Note: In the note range C#2 and above, keys to which no pattern has been assigned can be played to sound the program of the MIDI track selected by Tra ck Select.

Creating an RPPR pattern Realtime-recording an RPPR performance

5. Since you want the tracks you play via RPPR and the track you play from the keyboard to be recorded at the same time, check the Multi REC check box.

Note: If Recording Setup is set to Loop All Tracks, it will not be possible to select Multi REC. Set the

Recording Setup to Overwrite (see page 60).

6. Press the SEQUENCER REC () button to enter record-ready mode.

7. For the tracks you will be recording (MIDI Track 1,

2), press Play/Rec/Mute to make them indicate REC.

Make sure that the tracks you’re not recording are indicated as Play or Mute.

8. Press the LOCATE ( ) button to set the location to 001:01.000.

9. Press the START/STOP ( ) button, and then press a key that plays an RPPR pattern.

Then press the key where the RPPR pattern playback is assigned.

If the key where the RPPR is assigned is pressed during the pre-count before recording, RPPR pattern playback will start the moment that recording begins after the pre-count.

Record the RPPR pattern playback and keyboard 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 REC

Resolution to a setting other than Hi.

10. When you are finished performing, press the

START/STOP ( ) button.

Recording will end, and the sequencer will return to the location where 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 button) to re-record as many times as you wish.

11. If you want to record other tracks, un-check the

Multi REC (See step 5) or “RPPR” (See step 4) check boxes as necessary.

Creating songs (Sequencer mode)

Step

Song

Repeat

S000: Intro

S001: A

S002: B

S003: Chorus

S001: A

S002: B

S003: Chorus

S001: A (Solo)

S003: Chorus

S004: Ending

Cue List

Intro

Intro A A B Chorus

Chorus

B Chorus

Chorus

A(Solo) Chorus Chorus Chorus

Ending

Song Position Bar

Creating and playing a Cue List

A cue list allows you to play multiple songs in succession. You can create the individual sections of a song, such as the intro, melody A, melody B, chorus, and ending, and then use a Cue List to assemble these sections into a song by specifying the desired order and the number of repetitions for each section. You can then edit the cue list to efficiently try out different structures for your song.

You can also use this as a jukebox function that will play back completed songs in the order you specify.

Creating a cue list

Each unit in a cue list is called a “step,” and each step contains a song number and the number of repeats.

For example, suppose you’ve created the songs S000: INTRO, S001: VERSE, and S002: CHORUS. Let’s use a cue list to connect these songs together.

1. Access the Seq P11: Cue List page.

With the default settings, song S000 will be selected for “Step” 01, and End will be selected for “Step” 02.

3. Set the last step to End.

If you set this to Continue to Step01, the cue list will play back repeatedly.

4. In “Repeat,” specify the number of times that the song for that step will be repeated. For this example, set Step 02 S001: VERSE to 02.

5. Specify whether effect settings will also be switched when the song at each step is played back. If you want effect settings to change, check the “Load FX?” check box.

For this example, check the “Load FX?” check box for Step 01, which loads the effects.

6. To play back at the tempo that was specified for each song, set “Tempo Mode” to Auto.

If this is set to Manu (Manual), playback will use the tempo specified by “ =”.

7. When you press the SEQUENCER START/STOP ( ) buttonh, playback will begin from the step that is specified as the “Current Step.”

2. Add a song to the Step area.

Select the “Song” for Step 02, and press the Insert button. A song will be added to step 02. Press the popup button, and then choose S001: VERSE from the list.

In the same way, select the Step 03 “Song,” and press the Insert button to add a song to Step 03. Set this to S002: CHORUS.

When you press the Cut button, the selected step will be deleted and temporarily saved. When you press the Insert button, the song that was cut will be insert at the selected step.

If you press the Copy button, the selected step will be copied. If you press the Insert button, the copied step will be inserted.

• Step: The arrow will indicate the step that’s currently playing. indicates the currently selected “Step.” The Song Position Bar located below the song name shows the progression of the song within the step. While stopped, you can specify the Current Step and the display will change accordingly.

• 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 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

Saving your song Converting a cue list to a song

program that’s specified for the song that’s currently playing will play.

Converting a cue list to a song

The Convert to Song menu command lets you convert a cue list to a single song.

For details, please see “Convert to Song (Convert Cue List to Song)” on page 189 of the Parameter Guide.

Saving your song

In order to ensure that the data you create is reproduced faithfully, we recommend that you save your data by using Save All so that the programs will also be saved. However if you have not changed the program numbers or sounds used in your song, saving only the song-related data (.SNG) will minimize the size of the data.

When you turn off the power, the Sequencer mode settings, the recorded songs, and the user pattern data will be lost.

1. Insert an SD card in the SD card slot.

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

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.

2. Press the WRITE button.

The Save Songs and Cue Lists Data dialog box will appear. If you want to change the name, adjust the appropriate settings (see page 117).

3. Press the WRITE button once again to save (write) the data.

If data of the same name already exists, as message will ask whether you want to overwrite the existing data. If you want to overwrite the existing data, press the OK button.

If the save-destination directory is something other than a DOS directory (e.g., if you’re in a directory shown by opening a .PCG or .SNG file), a message such as “File/path not found” will appear, and you won’t be able to save the data. If this occurs, move to Media mode, select the appropriate save-destination (i.e., a DOS directory), and then execute “Save All” or “Save SEQ.”

Saving a template song

If you want the programs, track parameters, effect settings, and arpeggiator settings etc. used by a song to be saved as a Template song, use the Save Template Song menu command to save these settings.

Creating songs (Sequencer mode)

Using Effects

Stereo In - Stereo Out

Mono In - Mono Out

Mono In - Stereo Out

Eect Eect

Eect

Wet

Stereo In - Stereo Out

Mono In - Mono Out

Mono In - Stereo Out

Eect Eect

Eect

Wet

Stereo In - Stereo Out

Mono In - Mono Out

Mono In - Stereo Out

Eect Eect

Eect

Wet

An overview of the KROME’s effects

You can choose from 193 different types of highquality digital effects. The KROME provides five insert effects, two master effects, and one total effect, together with a mixer section that controls the routing of these effects. All of these are stereo in/out.

Specific parameters of these effects can also be controlled in real time from the KROME’s controllers or via MIDI messages using Dynamic Modulation (Dmod), by MIDI/Tempo Sync, or by using a common LFO to apply synchronized changes to multiple modulation effects.

Effect I/O

Insert Effects

Insert Effects (IFX 1–5) are stereo-in/stereo-out. If you select Dry (unprocessed) for the We t/Dr y parameter, the stereo input signal will be output in stereo without being processed by the effect. If you select Wet (effect applied), the processed signal will be output in one of the following ways:

Total Effect

The total effect (TFX) is stereo-in/stereo-out. The Dry (unprocessed) side of the Wet /Dry parameter sends the stereo input sound directly to the stereo output. The way that the Wet (processed) side is output depends on the type of effect, as follows.

Note: The Parameter Guide includes block diagrams for each individual effect, which include the effect’s input/output structure. (See page 251 of the Parameter Guide)

Master Effects

Master Effects MFX1 and MFX2 are stereo-in/stereoout. Send1 and Send2 determine the send level to the Master Effects.

With Master effects, only the Wet (processed) signal will be output. The output signals from the Master Effects are routed to the L/R bus with the output level specified by Return1 and Return2. These output signals are mixed with the output signals from the bus specified by Bus (IFX/Output) Select (P8– Routing page in each mode) L/R, or with the output signals from the bus specified by Bus (IFX/Output) Select (P8– Insert FX Setup page in each mode) L/R, then routed to the total effect.

Selecting “000: No Effect” will mute the output. The processed signal will be output in one of the following ways, according to the type of effects.

Using Effects

Program mode

Oscillator1 Filter1 Driver1 Amplier1

Oscillator2 Filter2 Driver2 Amplier2 EQ

Insert Eect 1–5

Drum Track

Total Eect

Master Eect 1, 2

Return

OUTPUT L/MONO, R

Send

Combination and Sequencer modes

Timbre 1 /MIDI Track 1 EQ

Timbre 16 /MIDI Track 16 EQ

Insert Eect 1–5 Total Eect

Master Eect 1, 2

Return

OUTPUT L/MONO, R

Send

Effects in each mode

Program mode

For programs, you can use insert effects to process the final sound in the same way that you use the Filter, Driver, Amplifier, and EQ (equalizer) to process the sound from the oscillators (OSC 1 & 2). Next, the master effects are used to create overall ambience such as reverb, and you use the total effect to make final adjustments. You can apply an effect in the same way to the output of a drum track program. All of these settings can be made independently for each program.

Combination and Sequencer modes

In Combination and Sequencer modes, you can use the track EQ and insert effects to process the sound of each timbre/track program. Then you can use the master effects to create overall ambience, and use the total effect to make final adjustments.

In Combination mode, you can adjust these settings for each combination, and in Sequencer mode you can adjust them for each song.

In Sequencer mode, you can switch between effects or modify the effect parameters and record these changes, so that effects will switch automatically or effect parameters will be modified automatically as the song plays back.

Routing effect settings

Routing effect settings Program Effects settings

The insert effects, master effects, and total effect have the same structure in all modes, but the routing settings will determine how the oscillators of a program or the timbres of a combination or track of a song will be sent to each insert effect, master effect or total effect. In the pages that follow, we will explain how you can adjust routing settings and effect settings in each mode.

Program Effects settings

Routing

1. Access the Prog P8: Routing/IFX– Routing page.

2. Use Bus (IFX/Output) Select to specify the bus where the oscillator output will be sent. If you want the oscillator output to be input to insert effect 1, choose IFX1.

L/R: The output will not be sent to the insert effect.

After bypassing the total effect, the sound will be sent to AUDIO OUTPUT L/MONO and R.

IFX1–5: The output will be sent to total effect IFX 1–5.

Off: Choose this if you want the signal to be connected

in series to the master effects at the send levels specified by Send 1 (to MFX1) and Send 2 (to MFX2).

3. OSC MFX Send specifies the send level from each oscillator to the master effects.

This can be set only when Bus (IFX/Output) Select is either L/R or Off.

If Bus (IFX/Output) Select is set to IFX1–5, the send level to the master effects is set by Send1 and Send2 (Insert FX Setup page) after the signal passes through the insert effects.

4. FX Control Bus sends the output of oscillator 1 and 2 to the FX Control bus. Use this if you want the audio input to the effect to be controlled by a different sound.

You can use the two FX Control buses to control effects freely. For details, please see “FX Control Buses” on page 238 of the Parameter Guide.

Insert effects

5. Access the Prog P8: Routing/IFX– Insert FX Setup page.

6. Choose the effect type that you want to use for each insert effect IFX1–5.

When you press the popup button, all effects will be displayed, organized into ten categories. Use the pages located to the left and right to select a category, and choose an effect from the desired category on the display.

You can use the Copy Insert Effect menu command to copy effect settings from another program etc. Also, you can use Swap Insert Effect to exchange (for example) IFX1 and IFX5.

7. Press the On/Off button to turn on the insert effect.

Each time you press this button, the insert effect will toggle on/off. When Off, the result will be the same as when 000: No Effect is selected; the sound will be output without being processed by the insert effect.

8. Make Chain settings.

If the Chain check box is checked, the insert effect will be connected in series. Since the output of the oscillator is being sent to IFX1 in step 2, adjusting settings as shown in the diagram above step 6, would connect all five insertion effects IFX1 → IFX2 → IFX3 in series, so that these effects would be inserted into the output of the oscillator.

9. Adjust settings for Pan: #8, Bus (Bus Select), Send 1, Send 2 and FX Ctrl for the sound after it has passed through the insert effects.

If you’ve specified a chain, the settings that follow the last IFX in the chain will be valid (except for FX Ctrl).

Pan: #8: Sets the pan of the IFX output.

Bus (Bus Select): Specifies the output destination.

Normally you will set this to L/R.

Send 1, Send 2: Sets the send levels to the master effects. For this example, set this to 127.

FX Control Bus: The FX Control Buses lets you create effects “sidechains.” Sidechains let you control an effect with one audio signal (the sidechain), while the effect processes a completely different audio signal. This is convenient for use with vocoders, compressors and limiters, gates, etc. For details, please see “FX Control Buses” on page 238 of the Parameter Guide.

Using Effects

P (Eect Preset)

Eect Parameters

Eect On/O

Wet/Dry

10. Access the P8: Routing/IFX– Insert FX Setup page, and edit the parameters of the insert effect you selected.

Press the IFX 1–5 tabs and edit the parameters.

Effect 1 On/Off: Turns the insert effect on/off. This is linked with the on/off setting on the Insert FX Setup page.

P (Effect Preset): Selects an effect preset. The KROME’s internal memory contains “effect presets” which are parameter settings for each effect from 001: Stereo Compressor through 193: Early Reflections.

Effect parameters you edit are saved as part of each program, but effect presets allow you to save and recall your favorite parameter settings for each effect. If you’ve come up with an effect setting you like, use the menu command Write FX Preset to save it as a preset so that you can easily recall it in a different program or mode.

For details on the parameters of each effect, see page 251 and following in the Parameter Guide.

Double-size effects

Double-size effects (172: St.Mltband Limiter – 193: Early Reflections) use twice as much space as other effects.

You can use double-size effects for insert effects IFX1– IFX4 and master effect MFX1. However, because it takes up two units of effects power, the next-numbered effect will be unavailable. For example, if you’ve selected a double-size effect for IFX1, you won’t be able to use IFX2. If you’ve selected a double-size effect for MFX1, you won’t be able to use MFX2.

An example of when a double-size effect is selected for IFX1 and IFX4

Master effects

11. The input levels to the master effects are set by the Send 1, 2 levels (step 3 or 9). If Send 1, 2 are zero, the master effects will not apply. Send 1 corresponds to MFX1, and Send 2 corresponds to MFX2.

12. Access the Prog P9: MFX/TFX/LFO– Routing page.

13. In MFX1 and MFX2, select the type of each master effect.

The procedure is the same as when selecting an insert effect (see step 6).

Note: You can only select a double-size effect for MFX1. For details, please see “Double-size effects,” above.

14. Press the On/Off button to turn on the master effect.

Each time you press this button, the master effect will toggle on/off. When Off, the output of the master effect will be muted.

15. Use Return 1 and Return 2 to adjust the output levels of the master effects.

Note: For each effect, the Wet value of the Wet/Dr y parameter is the output level of the effect. The return value is multiplied with this (“Return” = 127 will be x1.0) to determine the actual output level of the master effect.

16. Select the MFX1 and MFX2 pages, and set the parameters for each selected effect.

For details on the “Program Effects settings” step 10.

Total E ffect

17. If you use Bus (IFX/Output) Select to choose L/R as the oscillator output, or if you set the post-IFX Bus to L/R, the signal will be input to the total effect.

The output from the master effect is input to the total effect via the Return 1 and Return 2 settings of the Prog P9: MFX/TFX/LFO– Routing page.

After being processed through the total effect, the signal is output from the AUDIO OUTPUT L/MONO and R outputs.

18. Access the Prog P9: MFX/TFX/LFO– Routing page.

19. Choose the desired total effect for TFX. The procedure is the same as when selecting an insert effect. (See step 6)

You can’t use a double-size effect as the total effect.

For details, please see “Double-size effects,” above.

Routing effect settings Using effects in Combinations and Songs

20. Press the On/Off button to turn the total effect on.

The total effect will toggle on/off each time you press the button. If this is Off, the result will be the same as if 000: No Effect is selected. The input sound will be output without being processed by the total effect.

21. Access the TFX page, and edit the parameters of each effect to adjust the final sound as desired.

For details on the “Program Effects settings”, see step

10.

Using effects in Combinations and Songs

In Combination, and Sequencer modes, you can specify the routing of each timbre/track to the insert effects, master effects and total effect. These settings are adjusted in the same way in each of these modes. We will be using the example of Combination mode in our explanation here.

Routing

1. Access the Combi P8: Routing/IFX– Routing T01–

08 page.

4. Press the FX Control 1–8 tabs to access the FX Control T01–08 pages.

Bus (IFX/Output) Select is the same as in the Routing

T01–08 page. You can set it from either page.

FX Control Bus sends the output of the timbre to an FX Control bus. Use this when you want the audio input to an effect to be controlled by another sound. There are two FX Control buses, which gives you a great deal of freedom for controlling effects freely. For details, please see “FX Control Buses” on page 238 of the Parameter Guide.

Insert effects

5. Access the Combi P8: Routing/IFX– Insert FX Setup page.

2. Use “Bus (IFX/Output) Select” to specify the bus where each timbre will be output. Choose IFX1 if you want to send the output of a timbre to insert effect 1.

The routing, insert effects, and chain settings are shown graphically on the upper part of the page. In this example, T01 (timbre 1) uses IFX1 and 2. T02 uses IFX2, T03 uses IFX3 and 4, T02 and T05 use IFX4, and T06 and T07 use IFX5.

3. Use Send1 and Send2 to specify the send level of each timbre to the master effects.

This can be set only if Bus (IFX/Output) Select is set to L/R or Off.

Note: The actual send level is determined by multiplying this by the Send 1 or Send 2 settings for oscillators 1 and 2 within the program selected by the timbre. If the program parameter Send 1 or Send 2 is set to 0, the resulting level will still be 0 even if you raise this send level.

If Bus (IFX/Output) Select is set to IFX1–5, the send levels to the master effects are set by Send1 and Send2 (Insert FX Setup page) following the insert effects.

6. Select an insert effect in IFX1–5 and edit the settings.

7. Access the IFX1–5 pages to edit the individual effect parameters.

These settings can be adjusted in the same way. (See page 79.)

You can use MIDI to control dynamic modulation (Dmod) for each effect, the post-IFX pan (CC#8), and Send 1 and Send 2 levels. An asterisk “*” is shown at the right of Ch01–Ch16 for the channel number of tracks routed to IFX. If you’ve routed multiple tracks that have different MIDI channel settings, this specifies the channel on which they will be controlled.

Master effects and Total effect

These settings can be adjusted in the same way as on page 80.

You can control these effects via MIDI on the “Ctrl Ch.” The specified MIDI channel will control dynamic modulation (Dmod) for the Master and Total Effect.

Using Effects

Dynamic modulation, Common FX LFO

When you move the joystick away from yourself and

Dynamic modulation (Dmod)

Dynamic modulation (Dmod) lets you use MIDI messages or the KROME’s controllers to modulate specific effect parameters in real-time.

Dynamic modulation to control an effect parameter in realtime

As an example, let’s set up dynamic modulation to control an effect parameter in realtime.

1. As described in the procedure for “Program Effects settings” on page 79, set IFX1 to 078: L/C/R BPM Delay. Verify that you’re hearing a delay effect.

2. Access the Prog P8: Routing/IFX– IFX1 page.

Now, we can set the Dmod to change the delay level via the Joystick

3. Set Input Level D-mod to +100.

4. Set Source to JS+Y: #01.

The delay sound will disappear.

The input level to the effect can be controlled by the joystick. As you move the joystick away from yourself, the delay sound will gradually increase.

press the SW1 button, the feedback level will increase, and the delay sound will continue for a longer time. The Amt setting specifies the feedback level that will be in effect when the SW1 button is pressed. If Amt is set to –10, pressing the SW1 button will reduce the feedback level to 0.

Finally, we can use the MIDI/Tempo Sync function to synchronize the delay time to the arpeggiator tempo.

6. Set BPM to MIDI.

7. For L, C, and R, set the Delay Base Note and Times as desired.

For this example, set Delay Base Note to  and Times to x1 so that the effect will be easily understandable. The delay time will repeat at an interval of a 8th note.

In addition, we can use Dmod to change the feedback level via SW1

5. In the P1: Basic/Controllers– Controllers Setup page, set the SW1 function to SW1 Mod.CC#80, and the Mode to Toggle.

Choose P8: Routing/IFX– IFX1 page. Set the Feedback Src to SW1: #80, and set Amt to +30.

8. Rotate the TEMPO knob, and the delay time will change.

When you (push the joystick away from yourself and) press the SW1 button, the feedback level will rise, and the delays will become longer.

9. When you turn on the ARP button, arpeggiator will begin playing.

Select any desired arpeggiator. When you rotate the TEMPO knob, the delay time will change in synchronization with the changing tempo of the arpeggiator.

Depending on the specific delay effect, you may hear some unexpected noise if you change the tempo while the delay is sounding. This is because the delay sound becomes discontinuous, and is not a malfunction.

For some effects, you can synchronize the LFO frequency to the tempo. Set the effect parameters MIDI Sync to On, and BPM to MIDI. For details, please see page 236 of the Parameter Guide.

Common FX LFO

Stereo Flanger

Common FX LFO1

Common FX LFO

Stereo Phaser

Stereo Auto Pan

Waveform = TriangleFrequency[Hz]

Reset

Phase Oset = 0 [deg]

Waveform = Sine Phase Oset = 0 [deg]

Waveform = Sine Phase Oset = +90 [deg]

LFO Type = Common1

Generate original LFO waveform

Two Common FX LFOs are available for modulation effects, such as choruses, filters, phasers, etc. Normally, the phase of the LFOs of multiple modulation-type effects will not be synchronized even if you set them to the identical Frequency, since the LFOs are being generated independently.

However, if you select Common 1 or Common 2 for the LFO Type parameter of a modulation-type effect, the effect will use the one of the common LFOs instead of its own individual LFO. This allows you to use a single Common FX LFO to control two or more modulationtype effects such as flanger, phaser, or auto-pan with the same phase. Since you can make independent settings for LFO waveform and phase offset for each effect, you are free to create complex combinations of effects.

Dynamic modulation, Common FX LFO Common FX LFO

Using Effects

Arpeggiator function

The chord you played on the keyboard is sounded as an arpeggio (broken chord)

Using the arpeggiator while you play

The arpeggiator is a function that automatically generates arpeggios (patterns of individual notes derived from a chord). Most arpeggiators produce an arpeggio when you play a chord on the keyboard.

The KROME’s arpeggiator is also polyphonic, and can produce a variety of chordal transformations or phrases based on the pitch or timing of the notes you play on the keyboard. These functions let you use the arpeggiator to play a wide range of patterns including drum or bass phrases, and guitar or keyboard backing riffs. It is also effective to use the arpeggiator as part of the sound-design process when creating subtlymoving pads, synth-sounds, or sound effects.

The KROME’s Dual Arpeggiator feature lets you use two simultaneous arpeggio patterns in Combination mode, and Sequencer mode. You can take advantage of this in many ways, including a separate arpeggio pattern for a drum program, and another applied to a bass program, or using a keyboard split or velocity to switch between two arpeggio patterns.

The KROME provides five preset arpeggio patterns: the standard UP, DOWN, ALT1, ALT2, and RANDOM. You can also create and store 1,028 of your own user patterns. The factory settings contain a wide variety of arpeggio patterns stored in these user locations (see page 211 of the Parameter Guide).

Using the arpeggiator in Program mode

1. Press the PROG button to enter Program mode, and select a program. For details, please see “Selecting Programs” on page 21.

2. Press ARP button (the LED will light) to turn on the arpeggiator. Arpeggios will begin sounding when you play the keyboard.

3. As described in the following sections “Using knobs 1–4 to control the arpeggiator” and “Selecting an arpeggio pattern and specifying its function,” move the controllers or modify the parameters to change the way that the arpeggios are played.

Arpeggiator on/off

• Each time you press the ARP button, the arpeggiator will be switched on/off.

When the arpeggiator is turned on (the LED will light up) and the selected arpeggio pattern will begin when you play the keyboard.

Note: The on/off status is saved when you write each program.

In Combination and Song modes, the arpeggios may not start when you press the ARP button depending on the saved settings. You may need to play a keyboard (see page 90).

Adjusting the arpeggiator tempo

• Rotate the TEMPO knob or TAP button to adjust the tempo.

The “ =” display in the upper right of the LCD will change. The tempo can be adjusted over a range of 40.00–300.00 bpm. The LED will blink in time with the specified tempo.

As an alternative to using the TEMPO knob or TAP button, you can also set the tempo by selecting “=” in the display, using the numeric keys 0–9 to enter the tempo, and pressing the ENTER button. You can also set the tempo by using the VALUE controllers. The LED will blink in synchronization with the tempo you specify.

Note: The tempo setting is also saved when you write a program.

Note: The arpeggio playback speed is affected by the

Reso setting (Prog P0: Play– Arpeggiator page), or Resolution (P7: ARP/DT– ARP Setup page).

If the Global P1: MIDI– MIDI Basic page MIDI Clock parameter is set to External MIDI, External

USB, or set to Auto and MIDI Clock messages are being received, the display will indicate “ =” EXT, meaning that the KROME is synchronized to an external MIDI device. In this case, you won’t be able to change the tempo by using the KROME.

Arpeggiator function

Using knobs 1–4 to control the arpeggiator

• You can control the arpeggiator by pressing the SELECT button to select ARP and then turning knobs 1–4.

Adjusting the duration of the arpeggiated notes: GATE

• Turn knob 1 to adjust the duration of the arpeggiated notes.

Rotating the knob toward the left will shorten the duration of the notes, and rotating it toward the right will lengthen the duration of the notes. At the center position (12 o’clock), the note length will be as specified by the program parameter: Gate (Prog P7: ARP/DT– ARP Setup page).

Note: The knob setting is saved when you write each program.

Note: It is effective to use the SELECT button to select TONE, and then adjust knob 4 (RELEASE).

Turning the knob toward the left will shorten the pattern length (“Length”) by half. Turning the knob toward the right will shorten the interval of the arpeggiated notes (“Resolution”) by half. When the knob is in the center position (12 o’clock), the pattern will be as specified by the parameters Length and Resolution (Global P6: Arpeggio Pattern– Setup page).

The preset arpeggio patterns P0-P4 can not change the parameters SWING and Length.

Note: The state of the knobs is saved when you write the program.

Note: Depending on the program that’s selected, using knob 4 may not produce any effect.

Selecting an arpeggio pattern and specifying its function

In the Prog P0: Play– Arpeggiator page you can select an arpeggio pattern and specify how the arpeggiator will function.

• In Prog P0: Play, press the ARP tab to access the Prog P0: Play– Arpeggiator page.

Changing the dynamics of the arpeggiated notes: VELOCITY

• Turn knob 2 to adjust the dynamics of the arpeggiated notes.

Turning the knob toward the left will make the notes softer, and turning it toward the right will make the notes stronger. When the knob is in the center position (12 o’clock), the value of the program parameter Velocity (Prog P7: ARP/DT– Arp Setup page) will be used.

Note: The state of the knob is saved when you write the program.

Note: It is effective to use the SELECT button to select TONE, and then adjust knobs 1 (CUTOFF), 2 (RESONANCE), and 3 (EG INT).

Adding a shuffle feel to the arpeggio pattern: SWING

• If you turn knob 3, the timing of the arpeggiated notes on even-numbered beats will be shifted forward or backward.

Turning the knob toward the left will speed up the timing of the even-numbered beats. When the knob is in the center position (12 o’clock), the timing will be as specified by the program parameter Swing (Global P6: Arpeggio Pattern- Setup page).

Selecting an arpeggio pattern

An arpeggio pattern can be selected from preset arpeggio patterns P0–P4 and user arpeggio patterns U0000(INT)– U1027(USER). The factory settings U0000(INT)–U0899(INT), U0900(USER)–U1027(USER) contain a wide variety of preloaded user arpeggio patterns.

Pattern

• Choose buttons, and popup menu to select an arpeggio pattern.

User arpeggio patterns can also be selected by using the numeric keys 0–9 to input the pattern number and then pressing the ENTER button.

P0: UP

, and use the VALUE dial, INC/DEC

Changing the number of steps in the arpeggio pattern: STEP

• By turning knob 4 (STEP), you can change the number of steps in the arpeggio pattern.

Using the arpeggiator while you play Using the arpeggiator in Program mode

DOWN

ALT1

ALT2

RANDOM

Octave: 4

ON, UP

Sort

OFF, UP

Sort

1324

P1: DOWN

P2: ALT1

P3: ALT2

P4: RANDOM

Sounding an arpeggio in the order of the pitches in the chord you played

You can select whether the notes of the arpeggio will be sounded in the order of the pitches in the chord you played (regardless of the order in which you actually played the notes), or in the order in which you played the notes.

• Press the “Sort” check box in the display to make this setting.

Checked: the arpeggio will play each note in the order of its pitch, regardless of the order in which you actually played the notes.

Unchecked: the arpeggio will trigger each note in the order in which you actually played the notes.

Changing the note value of the arpeggiated notes

The Resolution parameter lets you set the note value of the arpeggiated notes, over a range from  3 –  .

•Press Resolution, and use the VALUE dial, INC/

DEC buttons, or popup menu to select the desired arpeggio note value.

Selecting the octave range where the arpeggio is sounded

Use the “Octave” radio buttons to specify the range of octaves where the arpeggio will play.

• Press an “Octave” radio button to make your selection.

Setting the arpeggio to continue playing even after you have taken your hand off the keyboard

You can select whether the arpeggio will continue playing when you take your hand off the keyboard, or whether the arpeggio will stop.

• Press the “Latch” check box to make this setting.

Checked: The arpeggio will continue playing even after you remove your hand from the keyboard.

Unchecked: The arpeggio will stop playing when you remove your hand from the keyboard.

Synchronizing the arpeggiator to your keyboard timing

You can specify whether the arpeggio will begin at the moment you play the keyboard, or whether it will always play in synchronization to the MIDI clock tempo.

• Press the “Key Sync.” check box to make this setting.

Checked: The arpeggio pattern will start from the beginning when you press a key. This setting is suitable when you want the arpeggio to start from the beginning of the measure as you are playing in realtime.

Unchecked: The arpeggiator will synchronize to the MIDI clock timing.

Sounding both the arpeggio notes and the notes you play

• Press the “Keyboard” check box to adjust this setting.

Checked: The notes you play on the keyboard and the notes played by the arpeggiator will both be heard.

Arpeggiator function

Unchecked: Only the arpeggiated notes will sound.

Changing the duration of the arpeggiated notes

The P7: ARP/DT– ARP Setup Gate parameter specifies the duration of the arpeggiated notes. With a setting of 000–100(%), the duration will always be the specified gate time. Step is available if you’ve selected U0000(INT)–U1027(USER) as the Pattern; the gate value specified for each step will be used.

You can also control this by using the arpeggio control (ARP) GATE knob (see page 86).

Specifying the arpeggio pattern’s velocity and other settings

In P7: ARP/DT– ARP Setup, the Velocity parameter specifies the velocity of the arpeggiated notes. If you choose a value in the range of 001–127, that velocity value will always be used. If you choose Key, the velocity value of how you played the key will be used. Step is available if “Pattern” is set to U0000(INT)– U1027(USER); this causes the velocity value specified for each step to be used.

“Swing” offsets the timing of arpeggiated notes that are even-numbered (counting from the beginning).

“Velocity” and “Swing” can be controlled by knobs 2 and 3 respectively when SELECT is set to ARP.

Using the arpeggiator in Combination mode

In Combination mode the KROME provides dual arpeggiators, allowing you to run two arpeggio patterns simultaneously.

1. In Combination mode, select a combination (see “Selecting Combinations” on page 43).

As you select various combinations, you’ll notice that the ARP button LED will light up for some combinations (see “Linking the arpeggiator to programs or combinations” on page 91).

When you play the keyboard, the arpeggiator will start. Even for other combinations, you can turn the arpeggiator on by pressing the ARP button (the LED will light up).

2. Listen to how the arpeggio can be modified as described in the “Using knobs 1–4 to control the arpeggiator” (above) and “Selecting an arpeggio pattern and specifying its function” sections (below).

The [ARP] switch, [TEMPO] knob, [TAP] switch or each realtime control knob (when ARP is selected using the [SELECT] switch) are enabled for both arpeggiators A and B. Their state is saved when the combination is written.

Selecting an arpeggio pattern and adjusting settings

In the Combi P0: Play– Arpeggiator page you can select an arpeggio pattern and specify how the arpeggiator will function.

• In Combi P0: Play, press the ARP A tab or the ARP B tab to select the Combi P0: Play– Arpeggiator A or B page.

Timbre AssignArpeggiator Run

Specifying the zone where the arpeggiator will function

In P7: ARP/DT– ARP Scan Zone you can specify the range of notes (keys) and velocities where the arpeggiator will function.

Select the arpeggiator(s) that will run

Use the Arpeggiator Run check boxes to specify the arpeggiator(s) that you want to have running. The arpeggiator(s) that are checked here will run when the ARP button is on. However, the arpeggiator will only play a timbre if the table next to the check boxes assigns arpeggiator A or B to a timbre: T 1–16. You change these settings in Combi P7: ARP/DT– ARP Setup T01–08, T09–16 page Arpeggiator Assign (see page 90).

Using the arpeggiator while you play Arpeggiator settings in Combination and Sequencer modes

Arpeggiator-A, Arpeggiator-B

For each arpeggiator A and B, you can adjust settings for Pattern (Select), Resolution, Octave, Sort, Latch, Key Sync, and Keyboard (see page 86).

Checking the structure of a user arpeggio pattern

Let’s see how the combination “A005: Boom Pow Pad” (category: LeadSplits) is constructed.

• Select combination “A005: Boom Pow Pad” (category: LeadSplits), and look at the Arpeggio Play A page and Arpeggio Play B page.

• The drum programs of timbres 1–4 use the same arpeggiator A pattern, but since the notes sounded by each timbre are divided by key zone, each will play only a portion of the arpeggiator pattern. Go to the P0: Play–Program T01–08 page and try muting each timbre 1–4 to hear the result. You can add variety by using different combinations of timbres.

Arpeggiator settings in

• In “Timbre Assign” you’ll see that arpeggiator A is assigned to timbres 1–5, and arpeggiator B is assigned to timbres 6 and 7.

When you play the keyboard, the drum programs of timbres 1–4 will be sounded by the arpeggio pattern of arpeggiator A. (Timbre 5 is a dummy program used to play timbres 1–4. See page 91.)

Arpeggiator B will sound the programs of timbres 6 and 7.

• If you uncheck Arpeggiator Run A or Arpeggiator Run B, it will stop.

If you check it once again and play the keyboard, that arpeggiator will begin running.

• When you access the Combi P7: ARP/DT– ARP Scan Zone page, you’ll see that the B “Top Key” and “Bottom Key” parameters are set so that arpeggiator B will run only for the notes B3 and below. Arpeggiator A is set to run for any key.

Combination and Sequencer modes

In Combination and Sequencer modes, you can use use two arpeggio patterns simultaneously, thanks to the KROME’s dual arpeggiator functionality. The settings in each of these modes are adjusted in a similar way.

The following example shows how to adjust settings in Combination mode.

The dual arpeggiator functionality lets you do the following things.

• Assign an arpeggiator for each timbre. Choose from

Off, (arpeggiator) A, or (arpeggiator) B. → step 5

• Independently specify whether A and B will

function.

• Select an arpeggio pattern and set parameters

independently for A and 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. → step 8

• Make settings for timbres that will be silent when the arpeggiator is Off, and will sound only when the arpeggiator is On. → step 10

→ step 6

→ step 7

Arpeggiator function

Arpeggiator settings

1. Select Combi P0: Play– Program T01–08 page.

Select programs for the timbres that you wish to use. For this example, select any desired program for timbres 1–4.

2. Select Combi P3: Timbre Parameters, MIDI T01–08 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 P1: MIDI Basic 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.

7. On the Arpeggiator A and Arpeggiator B pages, set the parameters for arpeggiators A and B.

The parameters for A and B are the same as for a program (see page 86).

8. In the Scan Zone A/B page, specify the range in which arpeggiators A and B will function.

The parameters for A and B are the same as for a program.

You can use keyboard ranges or velocity ranges to use one or both of the arpeggiators, or to switch between arpeggiators A and B. By using the Combi P4: Zone/ Delay– Key Zone T01–08 – T09–16 page, and Vel Zone T01–08 – T09–16 page to set keyboard and velocity ranges in conjunction with each other, you can create even more variations.

9. If you wish to save the edited combination settings in internal memory, turn off memory protect in Global mode, and write the combination (see page 115 and page 117).

10. The “Status,” “MIDI Channel” and “Assign”

settings shown in the display 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 Off.

3. Select Combi P7: ARP/DT– ARP Setup T01–08 page.

4. Set “ (Temp)” to specify the tempo.

This is the same as for a program. However, the tempo is shared by both arpeggiators A and B.

5. Make “Arpeggiator 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.

6. Make “Arpeggiator Run” settings.

Check the arpeggiator(s) that you want to run. The arpeggiator(s) checked here will run when the ARP button is turned on.

With the settings shown in the display for steps 2 and 3, turning the ARP button on will cause arpeggiator A to run for timbres 1 and 2, and arpeggiator B to run for timbre 3. When the ARP button is turned off, timbres 1–4 will sound as a layer.

If all timbres Assign status are set to Off, or if Arpeggiator Run A or B is unchecked, the arpeggiator will not function.

Combination A001: Bossa Rose (SW1/2) (Category: Keyboard)

Although this is a somewhat sophisticated editing technique, we will describe the settings of one of the preset combinations as an example.

When you play a specific region of the keyboard, this combines settings that cause the arpeggiator to play an arpeggio using different sounds than what's being played by the keyboard, with other settings that cause the arpeggiator sounds to remain completely unplayed when the arpeggiator is off.

Before you play, make sure that the global MIDI channel (Global P1: MIDI Basic MIDI Channel) is set to 01.

Select combination A001: Bossa Rose (SW1/2), turn the ARP button on, and play.

• Arpeggiator A is assigned to timbre 2 and 16. When you play the keyboard, the bass riff arpeggio pattern will sound the timbre 2 program.

•The A

• Arpeggiator A is also assigned to timbre 16, but this

• If the arpeggiator is off, playing the keyboard will

Bottom Key and Top Key (Combi P7: ARP/

DT– ARP Scan Zone page) are set so that arpeggiator A will function only for notes B3 and lower.

is so that the timbre 2 program will sound only when the arpeggiator is on.

Notice the timbre settings for timbre 2 and 16.

Timbre Status MIDI Channel Assign

2INT02 A

16 Off Gch A

sound the timbre(s) that are set to Gch or to the global MIDI channel (in this case, 01). Since the MIDI Channel of timbre 2 is set to 02, it will not sound. Timbre 16 is set to Gch, but since “Status” is Off it will not sound.

Using the arpeggiator while you play Linking the arpeggiator to programs or combinations

• Notes from 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 timbre 16 (Gch). Timbre 2 will be sounded by arpeggiator A. Since the Status of timbre 16 is Off, it will not sound.

•Since the Status of timbre 16 is Off, it will not sound, regardless of whether the arpeggiator is on or off. It is a dummy timbre that causes timbre 2 to sound only when the arpeggiator is on.

Combination A005: Boom Pow Pad (Category: Synth)

Before you play, make sure that the global MIDI channel (Global P1: MIDI Basic MIDI Channel) is set to 01.

Select combination A005: Boom Pow Pad, turn the ARP button on, and play.

• Arpeggiator A is assigned to timbres 1–5, and arpeggiator B is assigned to timbres 6 and 7. When you press any note of the entire keyboard, the drum programs of timbres 1–4 will be sounded by the arpeggio pattern of arpeggiator A. When you play the B3 or a lower note on the keyboard, the synth programs of timbres 6 and 7 will be sounded by the backing arpeggio pattern.

• The arpeggiator A parameters “Bottom Key” and “Top Key” (Combi P7: ARP/DT– ARP Scan Zone page) are set so that arpeggiator A will run for the entire keyboard.

•The B Bottom Key and Top K ey (Combi P7: ARP/ DT– ARP Scan Zone page) are set so that arpeggiators B will function only for the note B3 and below.

• Arpeggiator A is assigned to timbre 5 as well, but this setting is so that the timbre 1 to 4 program will sound only when the arpeggiator is on. Refer to the preceding section “Combination Bossa Rose (SW1/

2).”

Linking the arpeggiator to programs or combinations

You can specify whether the arpeggiator settings written to a program or combination will be recalled when you switch programs or combinations, or whether the current arpeggiator settings will be maintained.

With the factory settings, the former is selected. Use the latter when you want to keep the same arpeggio pattern running, and change only the program sound.

This setting is made in “Load ARP when changing” (Global P0: Basic Setup, Basic page). (See page 110)

Creating a user arpeggio pattern

About user arpeggio patterns

The patterns that can be selected on the KROME’s arpeggiator are called “arpeggio patterns.” There are two types of arpeggio patterns: preset arpeggio patterns and user arpeggio patterns.

Preset arpeggio patterns:

There are five patterns; UP, DOWN, ALT1, ALT2, and RANDOM.

The functionality of these patterns is fixed, and cannot be edited.

User arpeggio patterns:

There are 1028 patterns - U0000(INT)–U1027(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 with which you play them.

In Global P6: Arpeggio Pattern, Setup you can modify these user arpeggio patterns, or create a new user arpeggio pattern from an initialized condition. Edited user arpeggio patterns can be written to internal memory areas U0000(INT)–U1027(USER) (see page 221 of the Parameter Guide).

In Media mode, you can also save user arpeggio patterns to media.

Editing a user arpeggio pattern

If you want to edit a user arpeggio pattern, you must first make sure that memory protect is unchecked. (See page 197 of the Parameter Guide)

If you enter this mode from the Program mode, your editing will apply to the arpeggio pattern specified for the selected program.

1. In Program mode, select a program which uses the arpeggio pattern you wish to edit, or a program that you wish to use as a basis for editing the arpeggio pattern.

2. Press the ARP button to turn the arpeggiator on (the button will light up).

Even if you entered Global mode from a program in which the arpeggiator was turned off, you can use the ARP button to turn it on.

3. Select the Global P6: Arpeggio Pattern– Setup page (see page 211 of the Parameter Guide).

Arpeggiator function

Overview

Resolution

Tone Input

Touch Grid

Parameter

View

Zoom Scroll

4. “Arpeggiator Select” will automatically be set to A when you navigate to this page from Program mode.

5. In “Pattern,” select the arpeggio pattern that you wish to edit.

For this example, select an empty user arpeggio pattern.

If a blank pattern is selected, playing the keyboard will not start an arpeggio. Although preset arpeggio patterns P0–P4 can be selected, they cannot be edited.

When you edit a user arpeggio pattern, the changes will have an effect anytime that this pattern is used in Program, Combination, or Song.

6. In “Length,” specify the length of the pattern.

After the pattern has played for the length specified, it will return to the beginning. This setting can also be changed during or after editing. For this example, set it to 08.

Set knob 4 (STEP) to the center position (12 o’clock) so that the values of the “Length” and “Resolution” parameters (Global P6: Arpeggio Pattern- Setup page) will be used.

Note: For the preload arpeggio patterns U0000(INT)– U0899(INT), simply changing the “Length” can significantly change the character of the pattern. Try changing the length and listening to the result. (See “Length (Pattern Length)” on page 211 of the Parameter Guide.)

7. Make settings for the “ (Tempo),” “Resolution,” “Octave,” “Sort,” “Latch,” “Key Sync.,” and “Keyboard” parameters.

These are program parameters, but they can be set from here as well.

If after accessing this page 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 display step

8. In Arpeggio Pattern Setup, specify how the arpeggio will be developed.

9. Press the button to select Edit dialog.

You can also select the step by pressing the Step line in the parameter view at the bottom. You can also edit by dragging in the parameter view.

Press the button to the left of the parameter view to switch between Pitch (Pitch Offset) → Gate (Gate)

→ Vel. (Velocity) → Flam (Flam).

• To ne : Each step can sound a chord of up to 12 tones (Tone N o . 00–11). By touching and dragging the overview on the right part of the screen or by using the zoom scroll buttons above it, select the location for entering tones in the zoom view below. Press the touch grid to enter tones.

When Step is selected, you can also enter tones by using the numeric keys 0–9 and the “–” and “.” buttons.

Note: The To ne No. corresponds to the numeric keys 0–9 and the “–” and “.” buttons as shown below. Each time you press a numeric key 0–9 or a “–” or “.” button, the corresponding tone will turn on or off. The horizontal lines of the grid in the center of the display correspond to tones.

Tone00–09: 0–9 buttons

one No.

Length: 8

Tone10: – button

Tone11: . button

Step No.

Entering tones

Alternate: Set or reset the tone.

Pen (set only): Set the tone.

Erase (reset only): Reset the tone.

Tool: Opens the tool tablet. The tool tablet lets you use various commands in a region you’ve specified in the overview, or to copy and paste (see “Tool Tablet” on page 214 of the Parameter Guide).

Creating an example pattern

A pattern consists of Steps and Tones.

• Step: Each user arpeggio pattern has up to 48 steps.

Starting with the first step, the arpeggiator will play notes at intervals of the note value specified by Resolution. The vertical lines of the grid indicate the steps.

Use Step to select the step; then specify Pitch Off- set, Gate, Velocity and Flam for each step.

1. Press the alternate button.

2. Enter tones in the touch grid as shown in the

illustration below.

Using the arpeggiator while you play Creating a user arpeggio pattern

3. When 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 first note you play.)

4. For steps 01–08, make settings for “Pitch Offset,” “Gate,” “Velocity,” and “Flam.”

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 Pitch Offset value for each to create a melody using a single tone. (See “Melody pattern”)

Gate: Specifies the length of the arpeggio note for each step. With a setting of Legato, the note will continue sounding either until the next note of the same tone or until the end of the pattern. With a setting of Off, the note will not sound.

Velocity: This specifies the strength of the note. With a setting of Key, the note will sound at the strength of how it was actually played.

The Gate and Velocity settings you select here will be valid if the Gate and Ve lo c i t y parameters (Program P7: ARP/DT– ARP Setup page) of the program selected in Program mode are set to Step. If these parameters have a setting other than Step, the Gate and Velocity that were specified for each individual step will be ignored, and all notes of the arpeggio will sound according to the settings in Program P7: ARP/DT– ARP Setup page. Be sure to verify the settings of the program.

Other examples of creating a user arpeggio pattern

Melody pattern

1. Press the alternate button.

2. In the touch grid, set tone 0 for “Step” 01, 02, 03, 04, 05, 07, and 08 (i.e., all but 06).

3. Specify the pitch. Set the “Step” 02 “Pitch” to +10, “Step” 05 “Pitch” to +12, and the “Step” 08 “Pitch” to –2.

When editing Gate, Velocity, and Swing, use the SELECT button to select ARP, and set knob 1 (GATE) and knob 2 (VELOCITY) to the center position (12 o’clock).

5. To change the user arpeggio pattern name, use the “Rename Arpeggio Pattern” menu command. (See page 221 of the Parameter Guide)

6. If you wish to save the edited user arpeggio pattern to internal memory, be sure to Write the user arpeggio pattern. (See page 221 of the Parameter Guide)

If you turn off the power without writing, the edited contents will be lost.

7. If you wish to save the state of the program at the same time, return to Program mode and write the program. (See page 115)

4. Play a single key; the arpeggio will begin playing.

Chordal pattern

1. Press the alternate button.

2. In the touch grid, set tone 00 of “Step” 01.

3. In “Step” 03, 04, 06, and 07, set tones 00–04.

4. Select “Step” 01, and set “Gate” to Legato.

5. Select “Step” 06, and set “Gate” to Legato.

Note: 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 Arpeg. Program P7: ARP/DT– ARP Setup page, set Gate to Step.

Arpeggiator function

Then return to the Global P6: Arpeggio Pattern– Setup page. For odd-numbered steps, set Flam to a positive (+) value. For even-numbered steps, set Flam to a negative (–) value.

Drum pattern

You can use the arpeggiator to play a rhythm pattern by using “Fixed Note” with a drum program.

1. In Program mode, select a drum kit program.

For this example, select the preset program A017: Jazz Dry/Amb1 Kit (Category: Drums).

2. In Global P6: Arpeggio Pattern, select the Setup page, and parameter settings.

Arpeggio Tone Mode: Set this to Fixed Note. This will

cause the tone to always sound at the specified pitch.

Fixed Note Mode: If you set this to Trigger All Tones, playing a single note on the keyboard will sound all tones.

If you set this to Tri g g e r As Played, the tones will be sounded according to the notes you play on the keyboard (see page 212 of the Parameter Guide).

Let’s input the following rhythm pattern.

4. For each “Tone,” specify “Fixed Note No.”

Use the Fixed Note Setup button to open the dialog box. Here you can assign a different drumsample (note number) of the drum kit to each fixed note.

For this example, set Ton e No. and Fixed Note No. as follows.

Tone No. Fixed Note No.

00 C2 (kick)

01 F2 (snare)

02 F#3 (closed hi-hat)

03 A#3 (open hi-hat)

3. Select the Edit page.

The drumsample corresponding to each note number will differ depending on the drum kit. It’s best to play the keyboard to find the drum sound you want; then hold down Fixed Note No. and play that note to enter the desired note number.

5. Press the alternate button.

6. Enter the kick (Tone00).

In the touch grid, set tone 00 (C2) of Step 01 and 05.

7. Enter the snare (Tone01).

In the touch grid, set tone 01 (F2) of Step 03 and 07.

8. Enter the closed hi-hat (Tone02).

In the touch grid, set tone 02 (F#3) of Step 01, 02, 03, 05, 06, and 07.

9. Enter the open hi-hat (Tone03).

In the touch grid, set tone 03 (A#3) for Step 04.

10. If 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.

Using the arpeggiator while you play Creating a user arpeggio pattern

11. Set the parameters for each step.

Use Ve l oc i t y etc. to add accents to the rhythm pattern.

The Gate and Velocity settings you select here will be valid if the Gate and Ve lo c i t y parameters (Program P7: ARP/DT– ARP Setup page) of the program selected in Program mode are set to Step. If these parameters have a setting other than Step, the Gate and Velocity that were specified for each individual step will be ignored, and the notes of the arpeggio will be sounded according to the settings of the Program P7: ARP/DT– ARP Setup page. Check the settings of the program.

To set Gate or Velocity, select ARP with the [SELECT] switch and set knob [1] (GATE) and knob [2] (VELOCITY) to center position (12 o'clock).

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 combination will be affected by your editing.

1. In Combination mode, select a combination that uses the arpeggio pattern you wish to edit.

For this example, select a combination where both arpeggiators A and B are assigned.

2. Press the ARP button to turn on the arpeggiator (the button will light up).

Even if the arpeggiator had been turned off when you moved here, you can use the ARP button to turn it on. However, if Arpeggiator Run A or B are not checked, and if Arpeggiator Assign, is set to off, then the arpeggiator will not function.

3. Select the Global P6: Arpeggio Pattern– Setup page.

4. If you accessed this page from Combination mode, use the “Arpeggio Select” A and B to select the arpeggiator that you wish to edit.

If this is A, your editing will apply to the parameters 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.

5. Switch 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 Combination P0: Play– Arpeggio A or the Arpeggio B page and uncheck the

Arpeggiator Run check box.

6. To modify the name of a user arpeggio pattern, use the menu command “Rename Arpeggio Pattern.” (See page 221 of the Parameter Guide)

7. If you wish to save the edited user arpeggio pattern 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 (see page 221 of the Parameter Guide).

8. If you wish to save the state of the combination at the same time, return to Combination mode and write the combination. (See page 115)

Note: When editing a user arpeggio pattern, pay attention 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.

Arpeggiator function

Regarding arpeggiator synchronization

“Key Sync.” parameter

The timing of the arpeggiator notes depends on the state of the arpeggiator Key Sync. check box.

If this box is checked, the arpeggiator will start running at the first note-on that occurs after you’ve taken your hands completely off the keyboard.

If this box is unchecked, the arpeggiator will run in synchronization with the internal/external MIDI clock.

Below, we will explain how synchronization occurs when the Key Sync. check box is not checked (Synchronization with Song Start and with MIDI realtime Start messages are excluded).

Synchronization between arpeggiators A and B

In Combination and Sequencer modes, the two arpeggiators can run simultaneously. In this case, if one arpeggiator is already running, and you then run the other arpeggiator (with “Key Sync.” unchecked), the second arpeggiator will synchronize to the “ (Tempo)” based on the first arpeggiator.

If Key Sync. is checked, arpeggiators A and B will run independently, each at their own tempo.

Synchronization with the drum track

If you want the arpeggiator to synchronize to the drum track pattern that’s currently playing, uncheck the Key Sync. setting. In this case, the arpeggiator will synchronize to the beat of the drum track pattern that’s currently playing.

If you want the drum track pattern to synchronize to the arpeggiator that’s currently running, turn on the “Sync” setting (the Trigger parameter of the Drum Track page of each mode).

Synchronization with Song Start

• If the arpeggiator is turned on (ARP button is on) and is running, it will reset to the beginning of its arpeggio pattern when a Song Start is received. (This is unaffected by the Key Sync. setting.)

•In Sequencer mode when Key Sync. is unchecked and the ARP button is on, if you start the arpeggiator by pressing a key during the pre-count before recording begins, the arpeggiator will start its pattern as soon as recording begins, and will be recorded.

Synchronization with external sequencer playback

If “ (Tempo)” is EXT (i.e., if Global P1: MIDI MIDI Clock is External MIDI or External USB) in Program,

Combination, or Sequencer modes, the arpeggiator will synchronize to the MIDI timing Clock and Start messages received from a connected MIDI device.

Note: Synchronization will occur in the same way if MIDI timing Clock is Auto and MIDI realtime clock messages are being received from a connected MIDI device.

Synchronization with external MIDI timing clock

The arpeggiator will synchronize to the “ (Tempo)” timing of the external MIDI timing clock.

Synchronization with MIDI realtime Start messages

If the arpeggiator is turned on and running, an incoming MIDI realtime Start message will reset the arpeggiator to the beginning of its pattern (This is unaffected by the Key Sync. setting).

Synchronization between the arpeggiator and sequencer in Sequencer mode

If song playback is stopped

• The arpeggiator will synchronize to the “ (Tempo)”

based on the internal MIDI clock timing.

• If an RPPR pattern is playing in Sequencer mode, the arpeggiator will synchronize to the beat based on that pattern.

If you want the RPPR pattern playback to synchronize to the arpeggiator that’s currently running, set “Sync” to SEQ (SEQ P10: Pattern/RPPR– RPPR Setup page).

Pattern playback will synchronize to the “ (Tempo)” timing of the arpeggiator.

While playing back or recording a song

• The arpeggiator will synchronize to the beat based on the timing of the song.

Korg Krome Operation Guide

Specifications and Main Features

Frequently Asked Questions

User Manual

About this manual

Table of Contents

Introduction to the KROME

Front and rear panels

Front panel

Rear panel

Objects in the display

Basic Information

About the KROME’s modes

Basic operations

Setup

Turning the power on/off

Connecting the AC adapter

Turning the power on

Turning the power off

Connections

Audio connections

Connecting a damper pedal, foot switch, or foot pedal

Connecting the KROME to acomputer

Connecting MIDI devices

Playing and editing Programs

Playing Programs

Selecting Programs

Program information

Using Controllers

Easy Program editing

Adjusting the EQ

Adjusting the volume balance

Using realtime controls to edit the sound or effects

Using Tone Adjust

Comparing the unedited sound

Saving your edits

Detailed Editing with Programs

Before you start editing

An overview of the edit pages

Basic oscillator settings

Creating time-varying changes (LFO and EG)

Diverse modulation settings (AMS and AMS mixer)

Controlling Pitch

Using Filters

Using the Amp section

Making controller assignments

Arpeggiator settings

Drum Track settings

Effects

Automatically importing a Program into Sequence mode

Playing and editing Combinations

Playing combinations

Selecting Combinations

Using controllers to modify the sound

Performing with the arpeggiator or drum track

Easy Combination editing

Changing the program of each timbre

Adjusting the mix

Simple editing using the knobs

Saving a Combination you’ve edited

Detailed Editing with Combinations

A suggested approach for editing

Restoring edited settings

Layers, Splits, and Velocity Switches

MIDI settings

Altering Programs to fit within a Combination

Arpeggiator settings

Drum Track settings

Effects

Automatically importing a Combination into Sequencer mode

Creating songs (Sequencer mode)

Overview

About the KROME’s Sequencer

Sequencer mode structure

Transport control

Playing Songs

Playback

Recording

Preparations for recording

Recording MIDI in real time